Peshkar

I had more or less written the following thoughts some few months back but somehow did not put on blog.  May be it is just sheer laziness or simply inertia! So finally without indulging any further today I am uploading this piece without much editing.... 

I found that just like playing a good Peshkar is difficult, to write about Peshkar is equally difficult. I have had written the draft many a times over in mind & it used to get discarded almost immediately. The sole objective of this blog is not just putting forth what Guruji has taught me, though it happens almost by default & I suppose that should be the case anyway. The attempt here is to either give coherence to some dormant thoughts, provoke some thoughts in readers mind or at least stimulate the curiosity of the reader in Gharanedar Tabla or Traditional Tabla. 

So the first major composition of Tabla; Peshkar!

Peshkar is decidedly fiefdom of Delhi Gharana, though Peshkar played by Thirakwasaheb is equally majestic if not more! I would rather say that present day Peshkar is hugely influenced by him as it is more compelling, heart surrenders the moment he starts “ Dhin kda Dhin Dha.......” after a very lilting Mohra/Uthan. It is sheer poetry fit for the Gods!

Typically one gets to listen to Delhi & Farrukhabad Peshkar only. Though Habibuddin Khansaheb’s Peshkar is available on recordings which are very rare to come by, it is in Delhi style only. In a LECDEM Sudhir Saxenaji informs that in Ajarada, Peshkar is played in Tishra Jati. Though now it looks a remote possibility that some authoritative figure of Ajarada would be able to demonstrate it, the explanation is very logical & plausible. But at the same time I don’t think, Ajarada masters would limit themselves to only convert Chatushra Jati to Tishra, but would have add some out of the world poetic touch to it as like the case of Kaida. I have not come across any distinct Peshkar of Lucknow as such, but they have something called Ukhad Pachhad. Like Peshkar/Kaida it is also played in Ekgun – Dugun fashion & developed sequentially.

The typical Delhi Peshkar goes something like this,

“ Dha kda Dha Ti    Dha Dha Tirakit

   Dha Ti   Dha Dha Ti Dha    Ti Na

   Ta kda   Ta Ti       Ta Ta      Tirakit

   Dha Ti   Dha Dha Ti Dha    Dhi Na”

(Kit sounds & is normally played like Kda in Peshkar & hence I have used Kda.)

The Lucknow Ukhad/Pachhad:

Tirakit Dhina Dhin Dha Da Dha

Dhin Dhin Dha Dha Dhin Dha Da Dha

Dhin Dha Da Dha Dhin Dha Da Dha

Dhin Dhin Dha Dha Dhin Dha Da Dha

Tirakit Tin Ta Tin Ta Da Ta

Tin Tin Ta Ta Tin Da Ta

Dhin Dha Da Dha Dhin Dha Da Dha

Dhin Dhin Dha Dha Dhin Dha Da Dha

The typical Farrukhabad Peshkar goes something like this,

“ Dhin kda Dhin Dha  Ti Dha Dhinna

   Dha Ti   Dha Dha Ti Dha    Tin Na

  Dha    daDha Dhinna Dha Tit

   Dha Kit takDhin  naDha Tinna

   Kit tak Tin kDa Tinna Kit tak

  Tingtina Kin Dhage TrakTin Tina Kin

  Tak Ghida n Dhage Dhinna Ghidan

   Dha geDhin naGhida nDhage Dhinna

To understand above let us look at two wonderful definitions by present day stalwarts.

Let’s look at definition by Sudhir Mainkarji first:

“Peshkar is a composition based on theme of Theka, in which one can relate with the Khanda & the vowel based Bols, normally played in lower speed, which created various permutations & combinations.” 

“A composition (generally) played at the beginning of the Tabla Solo, which allows the Tabla player to showcase his improvisations in various Bols, which also allows for Laykaari, one which starts & ends with Vowel based Bol and which also consists of various Tempi between two Matra.”   Peshkar as defined by my Guruji.

Though it sound like the proverb “Chhota Munh Badi Baat” I can’t resist a comment that both definitions complement each other beautifully & bring out the essence of Peshkar. Also both definitions assume certain basic knowledge of Tabla or rather reader is serious Tabla student. 

Now lets’ look into Peshkar as explained by Habibuddin Khansaheb in one his recital. He explains that the word Peshkar forms from two words “Pesh” & “Kar”. He defines “Kar” differently. According to him “Kar” stands for Kaida & further explains that a Kaida should emerge while playing Peshkar.  Then he goes to elaborate in his inimitable style that only “Chatusra” Jati Kaida should emerge if one is playing Peshkar in Chatusra Jati, otherwise people will come to know that this Tabla player does not know anything (“He has no Taalim”). Here I am painfully aware of my limitations as translator that how the feeling of contempt about the unlearned behind the sentence is being lost in translation!   

Amir Hussain Khansaheb primarily explains Peshkar as a composition which allows the Tabla player to free his fingers/veins as one needs some time to acclimatise. He says otherwise there is no difference between Peshkar or Kaida as both are will have development in terms of Bal, though Peshkar is offers more freedom due to its loose format & one can evolve various patterns which can be interpreted & reinterpreted as per understanding & capacity of the player to reproduce in his own way.  

So now one can see how complex playing good Peshkar as it requires not only good mental capacity but also needs good aesthetic/poetic sense. Of course here basic assumption is other basic qualities like tonal quality, balance of Dayan & Bayan, Taiyyari & Padhant are at adequate level.  Mugging up the basic Bol & playing them at high speed with some half cooked acrobatics with Laya is not Peshkar. It is as difficult as Aalap, rather more difficult as there are no Notes like vocal or instrument which strike a chord of familiarity with listener based on the particular Raag to help the player.

I have uploaded a portion of Natthu Khansaheb’s famous Peshkar ( Mediafire Sharekey: http://www.mediafire.com/?gz1t8a2cdkjzf97 ). Considering the recording in 30’s the copy I have is very good, though one needs good quality speakers to enjoy the Tonal quality.

As like in other notes  the names are to be read with honorific like Khalifa or Ustad or Pandit.

End note: As I intend to upload few rarest of rare recordings in bits to supplement my thoughts or to give an example of stylistic/personal interpretation or development, I would request the enthusiastic listener to soak in those, as just ripping & copying the material & having Bols textually known will not help much. One should only learn/unlearn at feet of proper Guru as the famous saying of old stalwarts (Bujurg log) goes by “ Dikhya, Parakhya, Sikhya & Kartab!