HANDBOOK ON THEORY OF INSTRUMENTAL MUSIC CLASS VIII DELHI PUBLIC SCHOOL, SURAT

Transcription

1 HANDBOOK ON THEORY OF INSTRUMENTAL MUSIC CLASS VIII DELHI PUBLIC SCHOOL, SURAT

2 THE EVOLUTION OF TABLA GHARANAS Pecussion instuments simila to tabla can be seen in Indian temple sculptues dating back thousands of yeas, howeve it is geneally ageed that the pesent fom of tabla became popula in the oyal couts of Delhi duing the 17th and 18th centuies. The individual usually cedited with the most significant developments of tabla technique and epetoie at this time was Siddha Khan ahi. His gandsons and thei vaious disciples caied the at of tabla playing to othe majo centes of Noth Indian cultual life, a dispesion which natually led to the evolution of a numbe of distinct egional pefomance styles. At the pesent time these schools of tabla playing o ghaanas (- deived fom the Hindi wod gha o "house"-) commonly include those of Delhi, Ajaa, Benaes, Faukhabad and Lucknow. A sixth style, the Punjab ghaana, which developed independently in what is pesent-day Pakistan is also included in this list. Each ghaana has imbibed the essence, cultue and chaacte of its founding city/aea into its tadition. 1) DELHI 2) AJRARA 3)PUNJAB 4)LUCKNOW 5) FARRUKHABAD 6)BENARAS GHARANAS OF TABLA Any discussion petaining to tabla solo pefomance o accompaniment is not complete without mentioning the vaious styles of playing the tabla which manifested in specific families o goups known as "ghaanas". The tem "ghaana" (liteally meaning "family" o "household") has an impotant meaning fo tabla playes. It descibes the taditions established by a founding atist, his descendants and thei disciples. Ghaanas came into existence in most aeas of Hindustani classical music lagely because being a pofessional musician was usually a heeditay occupation. Musical instuction followed genealogical lines fom fathe to son, and also fom guu to shishya (teache to disciple). It was this manne of tansmission of knowledge that led to the fomation of stylistically unique schools known as ghaanas. Sometimes, the tem "baj" is also used, although this does not have the same connotation as ghaana, as it efes moe to playing style. As mentioned befoe, the six majo ghaanas of tabla povide the backbone fo all pofessional activity on the Indian classical concet cicuit. Thei names ae deived fom the places of thei geogaphical oigin: Delhi, Ajaa, Faukhabad, Lucknow, Benaes, and Punjab. (Some ethnomusicologists/authos also mention the following ghaanas of tabla: Vishnupu, Dacca and Oissa.) These ghaanas, although they each hold a distinct epetoie of compositions and musical knowledge, ae no longe so isolated fom each othe and have meged with one anothe to some extent. This has esulted in less distinct playing styles and moe fusion of styles, a phenomenon that has manifested in many wold-class tabla playes today who ae affiliated with moe than one ghaana, including Ustad Zaki Hussain (Punjab, Faukhabad) and Pandit Anindo Chattejee (Faukhabad, Lucknow). Thee ae two majo playing styles (Baaj) in Tabla - 1. Band Baaj 2. Khula Baaj Banda Baaj: Banda liteay means closed, so in this style, the esonance o sound fom the ight side (Daya/Tabla) is contolled o subdued. As the esonance is limited, sound afte a stoke vanishes quickly and so, anothe stoke is made; which culminates into the incease in the speed. In the Banda Baaj, Tabla is moe played on Chaati (the bode side) and the sound fom Baya (Dugga) is also contolled. In shot, in the Banda Baaj, the impotance is given to sound of Tabla and speedy pogations.

3 Khulaa Baaj: Khulaa liteay means open. This is exactly opposite to the Banda Baaj. In this style, one can find a clea influence of Pakhawaj, the poto-type of Tabla. The Pakhawaj uses the open, esonant sound with full palm and finges. In this style, the speed is not given much impotance, on the contay, the tonal ichness and esonance is essential. In this style, the Daya (Tabla) is played moe on Maidan (the middle potion) with the esonance of Baya (Dugga). With these two basic styles, late some Ghaanas of Tabla wee developed, namely Delhi, Lucknow, Ajada, Faukhabad, Benaas and Punjab. These Ghaanas have thei own aea of expetise as well as commonalities. Many geat mastes in the last centuy have contibuted in shaping these Ghaanas of Tabla. 1. Delhi Ghaana: This is the fist and fundamental Ghaana of Tabla. Ustad Sidhha Khan adhi was the founde of this Ghaana. He was bon in cica 1700 and afte leaning the Pakhawaj, stated expeimenting on Tabla. He also composed seveal compositions especially fo Tabla playing. He impoved the technique of playing on Chaati, glides fom Dugga which made the Tabla as a popula accompanying instument fo Khayal singing. As this Ghaana gave impotance to playing on Chaati with two finges, it is also called Do Ungaliyon Ka Baaj. Peshkaa, Kayda, Rela is the specialty of this Ghaana. The Kayda played in this Ghaana is usually in Chatusa Jaati in which the syllables ae 'it, Kit, tit, aage, Naage, Kinaa, Tinaa, ii'. While playing Tabla in speed, the sound is delightful and subtle. This Ghaana is famous fo solo playing as well as accompaniment. The mastes of this Ghaana ae Sidhha Khan, Ghasit Khan, Kallu Khan, Muni Khan, Nikhil Ghosh, etc. 2. Lucknow Ghaana: The at of solo Tabla playing was bon in Delhi, it got populaity quickly in suounding aea and came to the neaby city of Lucknow. By that time, Lucknow was immeging as an abode of music and vaious atists migated to Lucknow fom Rampu, Jaipu, Delhi, etc. In this city, thee wee many Thumai singes, Kathak dances to whom the Pakhawaj was not a suitable pecussion instument and so the Tabla got the special seat. So, Tabla playes migated fom Delhi Ghaana and changed some playing technique and adapted it fo Kathak and Thumai. Asafuddoullah, the Nawab of Lakhnow, gave patonage to the nephews of Ust Sidhha Khan, Ust. Modau khan and Miya Bakshu Khan. They tied to convet the Khula Baaj of Pakhawaj into Tabla and composed many of such compositions with Banda Baaj that would suit Kathak. In this Ghaana, the Gat, Paan, Tukda ae the majo compositions with the syllables such as 'Tagenna, etet, Kadet, Titakit, etta, Ghidnag'. This Ghaana is also called 'Puab Baaj' o 'Khulaa Baaj'. Ust Abid Hussain Khan, Munne Khan, Pandit Biu Misha wee celebated atists of this Ghaana. 3. Ajada Ghaana: Thee is a small village called Ajada in Meath distict of Utta Padesh. Ust Miu Khan and Ust Kallu Khan settled in Ajada. These two Tabla playes wee disciples of Sitaab Khan (disciple of Buga Khan, the son of Sidhha Khan who was founde of Delhi Ghaana), so thei basic style was like the Delhi Ghaana. Futhe these two bothes, who wee vey igoous in pacticing, stated impovisation of Aad Laya and syncopation which tuned the simple Delhi ghaana into a complex and ticky style. They composed Tisha Jaati Kayda and complex Kaydas with the use of syllables such as 'Ghitak, igan, Tit, Kat'. They also applied the use of thid finge, playing on 'Siyahi' (the black potion on the cente of Tabla) and technique of 'Ghissa' on Dugga. The impotant atists of this Ghaana wee Habibuddin Khan and Shamsuddin Khan.

4 4. Faukhabad Ghaana: Ust Haji Vilayat Khan (son in law of Bakshu Khan of Lucknow Ghaana) was the founde of this Ghaana. Ustad Bakshu Khan gave extensive taining to Haji Vilayat Khan and also made him his son in law. At the wedding ceemony, Ustad Bakshu Khan gave nealy 500 compositions of Tabla to Haji Vilayat Khan as gift and these compositions ae known as 'Dahej Gat-s'. Haji Vilayat Khan went back to his hometown, Faukhabad afte maiage thus ceating the Faukhabad Ghaana. Ustad Haji was a geat pefome, compose as well as teache. Celebated Tabla playes such as Ahmadjan Thikawa, Ami Hussain Khan, Lalji Gokhale, Sabi Khan, etc belong to Faukhabad Ghaana. The influence of this Ghaana is widely spead in Mahaashta, Bengal, Hydeabad, Indoe, etc places. One can find blend of open sound like Pakhawaj as in Lakhnow Ghaana as well as the speed of Delhi Ghaana. Peshka, Kayda, Rela and Gat-Toda ae the specialty of this Ghaana. Use of syllables 'Tak Tak, i i' is common and 'Kdaan, Ghidaan, ii KiTatak, etta, NagaNaga' ae the fequent syllables. 5. Benaas Ghaana: This Ghaana emeged aound 200 yeas ago and was founded Pandit Ram Sahai, disciple of Ustad Bhodu Khan of Lakhnow Ghaana. Once thee was a concet aanged by Asafuddaula, Nawab of Lakhnow, in which Pandit Shaada Sahai was going to pefom with his young nephew, Ram Sahai. Duing the concet Bhodu Khan obseved that Ram Sahai was a vey keenly inteested student of music and had good undestanding and concentation. He decided to teach Ram Sahai and gave him all of his knowledge with compassion like his own son. Afte completing the taining fo 12 yeas, he etuned to Benaas and stated pefoming with geat dynamism. Once an old musician commented that "Thanks to Lucknow Ghaana we ae fotunate to listen to good Tabla playing". This heated Ram Sahai and he left Tabla playing fo nealy six months afte which he developed a new style of his own musing which is well known as 'Banaas Ghaana'. Thee is a clea impact of Pakhawaj in this Ghaana, also the Laggi-Baaj while accompanying with Thumai is a specialty. Tabla is played with fou finges and stokes ae given on Chaati as well as Siyahi with equal weight. In this Ghaana, unlike othe Ghaanas, they stat with faste compositions. Banaas Ghaana has amalgamated the majo aesthetic values fom othe Ghaanas, such as Peshka is fom Delhi Ghaana and Kayada fom Lakhnow Ghaana. Tabla playes of this Ghaana sit in Weeaasan postue while playing with Dugga in the lap and Tabla in font. This combines Khula Baaj and Banda Baaj vey effectively with use of 'iikit, DHiginaa, itkit, GheGhenaga, KataGadigan' syllables. Playing TeenTaal in supefast tempo is a aea of expetise of this Ghaana. Most of the followes of Banaas Ghaana ae Hindu and so they believe that pecussion is oiginated by Lod Shiva and they have composed seveal 'Stuti-Paan', i.e. compositions in the paise of Gods and Goddesses. Majo Tabla playes of Benaas Ghaana ae Pandit Ram Sahai, Kanthe Mahaaj, Samta Pasad, Kishan Mahaaj, etc 6. Punjab Ghaana: This Ghaana is bon out of Pakhawaj tadition in Punjab and is sepaated fom the influence of Delhi o Lucknow Ghaana. The founde of this Ghaana, Pandit Lala Bhavani Das Pakhawaji was contempoay to Ustad Sidhha Khan, founde of Delhi Ghaana. He was a fluent Pakhawaj playe and was well vesed in complex Layakaai (hythmic designs). This Ghaana uses the fou finges efficiently fo playing Bandishs, which is one of its fotes. It has an influence of 'Thapiyaa Baaj', i.e. use of loud stoke on Daya with full palm of Pakhawaj. Tabla playing in this Ghaana is speedy, complex and full of enegy and so, it is vey attactive and catches the mind of audience pomptly. Peshka is aely played but Misha Jati and Khand Jati Kayada and vey complicated Bandish-s with fequent syllables such as 'etta, adanna, TakitTakit, Kadhetta, iikat' ae commonly endeed in this Ghaana. Ustad Allaakha Khan, Zaki Hussain, Yogesh Samsi ae eminent Tabla playes of Punjab Ghaana.

5 Biogaphy of Pandit Kishan Mahaaj Pandit Kishan Mahaaj, a famous Indian tabla playe, bon at 3d Septembe 1923 in the Kabi Chaua, Vaanasi, Utta Padesh. He was bon at the popitious Hindu festival day named Si Kishna Janamashtami in the family elated to the pofessional music. Kishan Mahaaj has passed away ecently at his 84 at 4th May 2008 in the Khajui nea to Vaanasi. He belonged to the Benaes ghaana and had dedicated his life to the Hindustani classical music. His fathe name was Hai Mahaaj, who had tained him in the classical music. He discontinued his taining because of the death of his fathe but was again continued by his uncle named Kanthe Mahaaj. He got maied with the Savita Devi (daughte of the Siddheshwai Devi). He has a son and thee daughtes named Puan Mahaaj, Anjali, Punima and India. Tabla caee of Pt. Kishan Mahaaj When he had stated his tabla caee by pefoming in the shows, he was just 11. In the late yeas, he staed pefoming stage shows togethe with the famous pesonalities like Omkanath Thaku, Faiyaz Khan, Bhimsen Joshi, Ravi Shanka, Bade Ghulam Ali Khan, Giija Devi, Sitaa Devi and many othes. He was fully capable to pefom in any envionment with any accompaniment. He was comfotable with the vaiety of instuments such as Sita, upad, Saod, ama. He became a famous epesentative of the Banaas Ghaana in the field of Indian classical Music. Solo Tabla pefomance of Pt. Kishan Mahaaj Kishan Mahaaj has pefomed his tabla solo pefomance many times in many egions of the India. He has given a pefomance named Sangat fo seveal geat dances such as Si Shambhu Mahaaj, Sitaa Devi and many moe. He had many followes; some of them ae Sukhvinde Singh Namdhai, Balkishna Iye, Ranesh Misha and many moe. He was fond of paticipating in the pominent occasions all ove the wold. Some of his geat events ae Edinbugh festival as well as the Commonwealth Ats festival of the UK in He pefomed his last pefomance fo the Nagai Natak Mandali on 3d Mach. At this event he felt uncomfotable because of heat attack and admitted in the ICU. He has also pefomed in the film Banaas Utsav in 2003.

6 Awads and Recognitions He was honoed with the Padma Shi awad in the 1973 and the Padma Vibhushan awad by the Indian Pesident in the In the 1969, he again honoed by the title of Sangeet Samat fom the Payag Sangit Samiti. UP Sangeet Natak Akademi pleased him in He got Sangeet Natak Akademi awad in 1984 and Hafiz Ali Khan Awad in He also awaded with the Ustad Inayat Khan Memoial awad in DEFINITIONS : KAYDA : A kaida is a type of tabla composition. Thee ae diffeent types of tabla compositions, both fixed (pe-composed) and impovised. I'll play a vaiety of diffeent types of composition in each solo, and will identify them, with souces, ghaanas (styles o schools, lit 'houses') etc when possible.kaida is a fom based on theme and vaiation. A hythmic seed (theme) is intoduced, which is then used as a basis fo elaboation though impovisation and/o composition. The wod kaida is an Aabic wod meaning 'ule' o 'a system of ules'. The ules fo playing a kaida ae complex, but in shot, one must only use the bols that ae in the oiginal theme, follow the ules of tala, and maintain the bhai-khali stuctue. TIHAI: A tihai is a hythmic patten epeated thee times, ending (usually) on the fist beat of the hythmic cycle, which is called sam. PALTA OR VISTAAR :The tem Palta liteally means to evese o to alte, while Vistaa means to expand. Accodingly Palta o Vistaa is obtained by substituting some o many van of Kayda, o by applying diffeent pemutations and combinations to a given Kayda Palta bings in vaiation and supise element into the pefomance. The epetoie of Kayda and palta is almost unlimited. KAYDA OF TIRKIT IN TEEN TAAL: Kayda a a Ti kit a a Tin Na Ta Ta Ti kit a a in Na Vaiations I-IV belong to one goup. Hee, the phase a a Ti Te is manipulated. Paka I a a Ti kit a a Ti kit a a Ti kit a a Tin Na Ta Ta Ti kit Ta Ta Ti kit a a Ti kit a a in Na Paka II a a Ti kit ss a Ti Kit a a Ti Kit a a Tin Na Ta Ta Ti Kit ss Taa Ti Kit a a Ti Kit a a in Na Paka III a a Ti Kit a ss Ti kit a a Ti Kit a a Tin Na Taa Taa Ti kit Taa ss Ti Kit a a Ti Kit a a in Na

7 Tiha ai I 2x a Ti Ki Ti N T T Ti Ki i a t a a n a a a t a a n a N Ti Ki - a a a t a - a a Ti Ki - Ti KI t a - a a T The theme of the kayda TI TA Kayda a a Ti Te a a Tin Na Ta Ta Ti Te a a in Na Vaiations I-IV belong to one goup. Hee, the phase a a Ti Te is manipulated. Paka I a a Ti Te a a Ti Te a a Ti Te a a Tin Na Ta Ta Ti Te Ta Ta Ti Te a a Ti Te a a in Na Paka II a a Ti Te Ti Te a a a a Ti Te a a Tin Na Ta Ta Ti Te Ti Te Ta Ta a a Ti Te a a in Na Paka III Ti Te a a Ti Te a a a a Ti Te a a Tin Na Ti Te Ta Ta Ti Te Ta Ta a a Ti Te a a in Na Paka IV Ti Te a a a a Ti Te a a Ti Te a a Tin Na Ti Te Ta Ta Ta Ta Ti Te a a Ti Te a a in Na Vaiations V-VIII constitute a goup. Hee, two phases, a a Ti Te and Ti Te Ti Te, ae manipulated. Paka V a a Ti Te Ti Te Ti Te a a Ti Te a a Tin Na Ta Ta Ti Te Ti Te Ti Te a a Ti Te a a in Na Paka VI Ti Te a a Ti Te Ti Te a a Ti Te a a Tin Na Ti Te Ta Ta Ti Te Ti Te a a Ti Te a a in Na Paka VII Ti Te Ti Te a a Ti Te a a Ti Te a a Tin Na Ti Te Ti Te Ta Ta Ti Te a a Ti Te a a in Na Paka VIII Ti Te Ti Te Ti Te a a a a Ti Te a a Tin Na Ti Te Ti Te Ti Te Ta Ta a a Ti Te a a in Na Vaiations IX-XI constitute anothe goup. Hee the patten of bols is pemuted in thee diffeent ways. Paka IX a Ti Te a Ti Te Ti Te a a Ti Te a a Tin Na Ta Ti Te Ta Ti Te Ti Te a a Ti Te a a in Na

8 Paka a Ti Te Ti Te a Ti Te a a Ti Te a a Tin Na X Ta Ti Te Ti Te Ta Ti Te a a Ti Te a a in Na Paka XI Ti Te a Ti Te a Ti Te a a Ti Te a a Tin Na Ti Te Ta Ti Te Ta Ti Te a a Ti Te a a in Na Vaiations XII-XV constitute a goup. The phase a Ti Te a is manipulated by intoducing silent peiods. Paka XII a Ti Te a a Ti Te a a Ti Te a a a Tin Na Ta Ti Te Ta Ta Ti Te Ta a Ti Te a a a in Na Paka XIII a Ti Te a -- Ti Te a a Ti Te a a a Tin Na Ta Ti Te Ta -- Ti Te Ta a Ti Te a a a in Na Paka XIV a Ti Te a -- Ti Te a -- Ti Te a a a Tin Na Ta Ti Te Ta -- Ti Te Ta -- Ti Te a a a in Na Paka XV -- Ti Te a -- Ti Te a -- Ti Te a a a Tin Na -- Ti Te Ta -- Ti Te Ta -- Ti Te a a a in Na A simple one avatan tihaai (lasting one cycle). Shown in baaaba laya (single speed). Tihaai I 1x a a Ti Te a -- a a Ti Te a -- a a Ti Te a Tihaai I played in dogun (double speed). In dogun, tihaai I has to be peceded by one (o an odd numbe of) instance/s of the kayda theme. Tihaai I 2x a a T T a i e a a Ti N T T T T n a a a i e a a i n N T T - a a a i e a - a a T T - i e a - a a A chakkada tihaai (a "ecusive" tihaai). Each of the thee identical phases of tihaai II below, contains tihaai I inside of it, with a "peamble" (the phase a a Ti Te). This tihaai should be stated fom the sam in dogun also. Tihaai II 1x a a Ti Te a a Ti Te a -- a a Ti Te a -- a a Ti Te a -- a a Ti Te a a Ti Te a -- a a Ti Te a -- a a Ti Te a -- a a Ti Te a a Ti Te a -- a a Ti Te a -- a a Ti Te a LAGGI IN TAAL DADRA 6 BEATS CYCLE DHATI DHADHA TEENNA TATI DHADHA DHINNA T i T e X O