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37th Baithak | Artistry of Laya & Taal | Taalyogi Pt. Suresh Talwalkar

37th Baithak | Artistry of Laya & Taal | Taalyogi Pt. Suresh Talwalkar


Friends, now we have the privilege, honor to invite Talyogi Pandit Suresh Talwalkarji You might remember, perhaps some of you don’t know That we had a baithak with him at guruji’s residence and all the baithaks for your kind information are available on Youtube. So should you have missed anything you can go back and refer to and at that time Panditji had also spoken about laya-taal perhaps predominently centering around Tabla as such But we felt, he also felt that there were lots of areas that still needed to be covered given his exhaustive knowledge expertise and continuously thinking nature. So we thought we shall have one more and perhaps this time one more facet of his himself as a tabla player as a percussionist, as a pakhawaj player as a guru will come forth and I think I have the privilege of requesting Sureshji to come on the stage and start and I will hand over the microphone to guruji to engage him in the dialogue and today we shall have Aditya Khandwe on the vocal support Please take your seat here. Aditya Khandwe on vocal support Akshay Kulkarni on the tabla is also guruji’s (incomprehensible) student and Abhijit Shinkar on the harmonium So friends may I request you to please swith off your mobile phones and thank you all for coming Friends one more small item I forgot today Dyanesh is in the 10th grade and he is a 14 year old boy. He needs your blessings. So lets give him a big-big hand. I wish well done. Over to you guruji. Friends I am so happy that we got a full hall. Kalesaheb is also here. He just got up and saw him and is very happy. and he says that so many lovers or Sureshji and tabla both are here. You will wonder why I am seating here on a chair down below Well if you know perhaps that I am only 91 years old now. and after 2 months I will be 92. So sitting on the stage sitting okay, getting up okay but without a back rest for 2 1/2 hours to enjoy Sureshji’s music would be very difficult. So I thought I will take a chair with his permission, sit here so that we can First of all Sureji thank you very much. That you have come again for our baithak. We call it all inclusive talim as Suvarna explained. Because the idea was originally, frankly, That our students they get a chance to take the blessings of the major artists. So they play for 15-20 minutes and then the main item takes place. Today too that boy small child played. They are all learning. But they, our Khansaab used to say, one is to play in public that is equivalent to a month’s practice. So that they also get some exposure. To seek your blessing, he performed. Now Sureshji would you like to speak first or play first? Then I will ask some questions and then [Music continues] Wonderful! A start should be musical.
– Wonderful! Feels nice while playing
-Yeah
Wonderful! This peshkar, and my viewpoint behind this,
-Yes I want to explain that too. First the increase in the tempo my guruji, Nageshkar guruji he told that first the tempo is increased then the peshkar,
-Okay should arise from it. So like, [Music continues] So any phrase we don’t decide and come that we will play Ada taal. then double it or go into Ada taal, any phrase that comes to the mind that should be enjoyable. Peshkar is not fixed with planning. -Some people have it decided.
– Means this is my -Yes thats what I wanted to ask.
– and even if it is decided, it is still beautiful. People who decide on it can also play well. Only this is good is also not correct. But there is an art Learning goes from out to within but what comes out from within is an art -Hmm Hmm
– So art has to come out and that time what does that artist feel? That thing has to come out. And I got this thing from the music. Sureshji what you said, last time you had started, about conscience and sub conscience mind
– Yes so now, things arising from sub conscience mind, meaning people say that if the conscience and sub conscience both are used then it causes tension. And when the sub conscience makes the music and sub conscience pastes it, -we ..
-so it is the same thing. -Yes
-What you are saying What I was trying to say was, I have also written it in my book, research and consciousness -Yes
-Research we have to go in a trance while playing but we should also be conscious of the work we are doing that is also done properly. Whether the bols are playing properly or not. Whether the tempo of the bols is incrementing or not. Whether the rhythm is proper or not. We have to be conscious about it. And along with it, research is also to be maintained. Research too. -Certainly
– So this fight goes on. Its not a fight but sweet competition. Yes sweet competition but for that one has to do a kind of penance. -Correct
-And its not a question of the player’s technique Means with practice one can not make sure that this will happen. Today’s subject we have kept as laya and taal. And the combination of laya and taal, in that what and where, which one should be important please explain that. Laya has 3 stages. One is Layadar. Second is Layakar And the third is Taliya. Now I will broadly explain what is Layadar. Because we maintain laya in one stage. A constant laya, in the same laya after playing theka for 15 minutes ask oneself whether in the same laya did I start? The inner self must acknowledge that yes this is the laya I started with I have seen great examples of these instances. Our guruji, Gajananraoji
-Yes I came back from abroad and went I had not visited him for 2-3 months so when I went to his house then he was teaching Ulhasji and others were also teaching, So he said, “Suresh has come. Its time for my walk. We will take a walk and you continue practicing.” This They were singing, so he told them, “I will be back in half, you continue.” So we left from there I also left with him. So he asked, “Where all did you perform?” Germany, okay, Englang okay.” Within half an hour after enquiring everything, as the house was visible, So he said,”Look at this, Dha Tirkit dhin He said, ” Take this Laya with you.” -Wow!
-As people give sweets in the hand similarly he gave Laya. When I started entering the house So he played on Bayan, tabla was not allowed. Theka was played on bayan. So he played on the bayan What was heard was, my tali and sound of bayan was one,
– Great!
-But when we went closer then we found that the matra was also the same. -Wonderful,wonderful! So this is layadar stage This is not layakari This is layadar stage. And layakari I think I mentioned it last time. Yes I have mentioned it in the last baithak
-Its available on the Youtube. -Yes on the Youtube
-For you
-Where I have also played with mouth. that was about Mattataal. With this hand I played teentaal and with this hand I played ektaal. [ tabla Bols recitation] Means from anywhere One should be able to change taal from 8 matra or 4 matra to anything. Wonderful! One should be able to carry this out. This is layakari and like this there are major layakaris
-Yes which is very complicated and very difficult layakari that is in Carnatic music. So I learnt from those gurus there, Ram Nadeshwar, my guruji I have trained under him for laya taal. So I will just give one example of it
-Yes Takkit, this is just the phrase But see [Music continues] So at first this is 1 and 3 quarters. 1 and 3 quarters. [Music continues] 1 and 3 quarters, 3 times [Music continues] Then it becomes 1 and 1/2 Then it becomes 5 and quarter [Music continues] When I went to him, so at first he taught me Rupak, said, “Rupak, fast paced how do you say that? So I said, “[Tabla bols continue] He said, “Good, be happy. its good” “Can you reduce anything from this?” I said, “No, this is the theka that I can hold So he said, “See you are calling this 7 matras, [Tabla bols continue] so don’t call this 7 matras.” First he taught me to count 1/2 matra. -Okay
-Now see how its done. [Tabla bol recital] Wow!, Wonderful! He taught me various different kind of lessons So when you are talking about South Indian Carnatic, laya work and our Hindustani, any resemblance? Can any stream learn from another? Any angle where they are ahead? Any angle where we are ahead? -Yes, certainly. So can you elaborate on that? Because what we hear that Carnatic is very much layadar. and they work a lot on it. It is not word based.
-Okay Literature on Laya taal is very less. -Okay
-Our side we a have a lot of literature for laya taal. -Okay
-Like peshkar, kayada, rela rav is there.
-There are different forms Yes very many forms. They have Nadai and Korvai. -When you said this
-There may be 1-2 more. But there are not many forms
-Forms are not there. Sharadji one question that I want to ask is here all the students of tabla are sitting, experts are sitting. but when it goes to Youtube then many people from world over listen to this. And many questions are received through it. That all these stalwarts speak, its okay for the initiated people. but please explain this peshkar then this follows all these different forms we don’t understand this, but we like tabla but we don’t understand it and how to codify it? Are there any bols which will identify whether its kayada or peshkar? Can you say something about this in a very simple way? so that people can understand it. Simple means, Alaap are always in peshkar
-Okay The laya of the alaap,
-Yeah That is the laya of peshkar.
-Yes. And when it goes towards the climax, then kayada rela can be played, climax of the peshkar,
-Okay But mostly its a vilambit playing that takes place. But again that it may be as much elongated, even then it will play in the quadruple speed. Like [Bols of tabla] You can say this but there are 4 words in 1 matra. Hmmm So how much laya can be elongated? this also should be taken into consideration
-True Since this is an instrument of laya taal. So its laya will be Sur is obtained from [indistiguishable] and laya is obtained from Gati (speed) -Hmmm
-So if the gati is stopped then it becomes sur. So the speed has to be seen and maintained. This becomes a responsibility.
-Wow! You have explained laya, now a little about taal? Taal is derived from laya like sur form a raag, similarly laya forms the taal Then there are divisions of the taal With those divisions taal is derived. Once upon a time these instruments were non existent. Tabla was non existent. But kalkriya was existent even before that. -Yes.
-Dashprayan of taal is still there
-Yes And it is fixed with a clap -Yes.
-Divisions of claps And taal as well as theka theka is a beginning of taal Wow! theka is a beginning of taal But sometimes theka does not follow taal. Meaning like in 3 taal, 1st matra dha, 5th matra dha 9th matra actually needs ta but there is dha Yes? And where 13th matra ta is there where dha is required there it is ta Not only this but on 14th matra weight is not given to the dhin, then the shape of the taal or theka is not even proved. Like [bols of tabla played and recited] This is
[overlap] [Music continues] LIke this [Music continues] Now Arvindji, this thing that dhin on the 14th matra is not mentioned in the clap of the 3 taal at all. So this theka that has its own way. of that taal. Its own way Some taals like zaptaal, are straight. [Bols are recited] So always same matching and contrast matching is an element of nature So this will happen. Like black pant and white shirt is also matching. and white pant and white shirt is also there. So old stalwarts who have come towards taal we cannot change that. Anybody’s wish. But I feel that the taalkriya should also be seen. Regarding the same thing, 9and1/2, 7and1/2, so all this half matra is in fashion, so how does that fit in the chhand? -Why not?
-Please explain that. Because we have seen that zaptaal is played minus 1 matra. So how does this..
-This I will explain this with 9 matra taal, whose divisions,
-Yes 9 matra are 4and 1/2, 4and1/2. Okay?
-Yes. [Music continues] Now you see [Music continues] Wonderful!
-This is called Padmadit This is deepchandi.
-But when we listen it outside, we don’t hear this theka Sorry?
-The theka or words that you explained -Yes
-So when we listen to this out side the 9 matras then we don’t get to listen to this theka. There are many taals of 9 matra. -Okay
-Basant taal, Matta taal,
-Yes Actually matta taal comprises of 18 matras. But they call it ekal (single) or dwikal (double) due to that Now to compare it with Pakhawaj We had spoken on the phone, that pakhawaj should be covered. So the relation of the laya taal with tabla How it is with pakhawaj and how both are compatible? One is Pakhawaj is played with the palm.
-Yes and tabla is played with the fingers.
-Yes Everybody knows this. But what is the effect of this on the instrument? Yes.
-The variations and expressions of dha that are not there in pakhawaj as it is in tabla. -Okay
-If the pakhawaj is playing dha then this [Demonstration] Now how much expression will this dha get?
-True
-Just one. Whether you play it loud Or you play it soft, the only expression you will get is this.
-Okay Now see the expression of dha in 3taal theka. Dha of the 1st matra and dha of the 4th matra -Wow!
-Watch the difference. [Music continues] I am not even playing bayan for the dha of the 4th matra I am not even playing bayan and if played then it will sound like its machine played. [Demonstration] This will be felt. So what has been given by tabla? This tabla instrument came much later than pakhawaj. but has become stronger. A marathi saying which means, someone who has come much later on the scene yet becomes stronger -Still in the evolutionary process
– Yes, so now it so happens that with pakhawaj dhrupad singer gives claps dhrupad singers show the taal using claps now the pakhawaj player will play because in the subconscious mind while playing does not realise as to which beat is going on. If the theka is played [Demonstration] this could be vilambit even then from vilambit ti ra ki ta is going on if you ask any singer, ti ra ki ta matra which count of matra it was? so he will have to think and count and then he will be able to tell but he will arrive at the sum before that. At least he is arriving
-Yes and the reason for arriving there is is that the theka is stronger. due to tabla. and its expressions dha dhin’s it is stronger because of that. and then about pakhawaj as an instrument I would only it might look as if I am speaking ill, but it is not so. because when tabla was innovated, it adopted all the literature of pakhawaj. [bols of tabla] tabla adopted the entire scripture of pakhawaj but the style of playing -That is different.
-It is different because the instrument is different -And the bilad is also different
-Yes certainly but this pakhawaj and especially tabla, this is the main difference as I believe. And then there is one more thing in pakhawaj, Arvindji expandable creation does not exist. My next question was this expandable, expand unable its patent
-No Mainkar is sitting here, its also his patent. He has done a lot and written beautifully in many of the books. So expandable creation which is empty. [Demonstration] This emptiness -Yes
-is only to be found in tabla. -Wow!
-No other instrument has it. There are a lot of students with me learning western drums, casual etc. but I teach them this, empty and filled I teach every one of them. I have told them never to use base drum in empty. I also say not to use even floor based drum. I will take it a little forward, you had once mentioned that tabla instrument and tabla accompaniment are two different things. accompaniment is with khayal. accompaniment is with khayal and string instruments are supported with or Kathak is supported and accompaniment means you lead and I follow and if we are going together then it is support. Wonderful! Wonderful! Okay, please show us some example too. Means, lets sing a dhrupad I will support dhrupad [Demonstration] Means the bandish itself is a self basis for a taal then where is the need for theka? If the bandish itself is guiding the taal [Demonstration] This is Annasaheb Ratanjankarji’s bandish
-Wah! Wonderful! Wonderful! Dhurpad dhamar bandish is such that it tells you the taal Khayal’s bandish does not tell you taal Say that again. Khayal’s bandish will never tell you taal. khayal is never sung in the taal, it is always sung in theka. for example [Demonstration] Now the tabla player will be thinking where should I give the 2nd matra?
Now the tabla player will be thinking where should I give the 2nd matra? He looks at the singer. Singer also looks at him. and when the first avartan arrives at the sum This happens many times. -You also accompany
-Yes I do And then this reason is also know that, that particular bandish if the singer is from Agra or Gwalher, then the laya of the bandish is known Is it? Many times when I accompany Ulhasji then he will never tell which theka is required. He will never tell, zumra or tilwada or 3taal When the mukhada of the bandish is opened then automatically my dha or dhin is played.
-Wow! automatically, many times this has happened. So the 2nd matra of the khayal will never tell you the laya and due to this it becomes accompaniment -So you are trying to say that layakar and layadar both should be there. No that layadar layakar is different. but the principle says that khayal does not express the laya it does not tell you the laya of the theka -Yes
-And because of this it should be accompaniment Once it so happened, I will not name the tabla player with our guruji Gajananraoji, at Chabildas Highschool He was singing probably the tabla player had fixed in his mind to spoil the program And as soon as he started the mukhada of the khayal so he started playing chakradhar so when he finished chakradhar, now if you have played chakradhar, then what is the basis for it? There was no basis then he had to halt. So when he finished chakradhar, guruji said, “Have you finished? Good! Now play the theka” People were laughing This shows our tradition
-Yes
-Traditional values That this should not be done with khayal, backstabbing This should not be done
-Yes
-This is told by the principles. I am not telling this for the sake of story. Because what is the principle in it? along with khayal, even drut khayal drut, medium tempo,
-Yes that bandish too along with laya moves hitherto, just watch. [Demonstration] This bandish too is not expressing the matra -Yes
-So along with it, there is a certain nature theka should be played in such a manner that the theka of the taanpura there are 2 taanpuras behind the singer tabla and this theka should become the taanpura of the laya Wonderful!Wonderful! It should become like taanpura, this is constantly there in my mind Very good! And that theka should be such that whether you while singing, thinking or making taans you are also not aware but automatically arrive at the sum because that theka runs in the brain, which seeps into the subconscious mind that should be the role of the tabla player. That is very necessary. To prove it wrong it will just take 2 mins. Its not a big deal There was one example a long time ago, Khansaab was playing in the big temple here -Yes
-Tirkhawasaab was accompanying him and the string broke. So naturally it took about 2-3 minutes but after that both of them from the same place started playing in the same laya and matra -Wow!
-Means the gap of 3 minutes did not matter, its like what you say about the subconscious mind
-Certainly. And along with this since we are on the topic of accompaniment, then you also use vocal music with you instead of lehra, please elaborate a little on that. Thats a very simple thing, I just played zaptaal If [Demonstration] if this is played on the harmonium then how do I get that weight of the words? [Demonstration] “Pawan ho man, Pooja se pawan ho man” (Hindi lyrics) When ‘Pa’ is sung the weight that is available to the sum and words of the bandish words of the bandish first show the meter and first association of the meter is with the taal. with the taal. now if the bandish listeners [Demonstration of lyrics] if this settles in the minds of the listeners this bandish means what happens? Means cycle of the taal is set in the minds. And once the cycle of the taal is set in the mind then whats happening to you in taal is understood by the mind which is ready for it. It automatically becomes ready for listening. Sureshji what you are explaining now about the upaj (understanding) creating it in different ways is that due to the training? Or is it natural? Or is it by birth? Yes? Somebody is asking something? Okay. Upaj is I have written in the book too upaj and upaj ang (understanding and natural ability to understand) I have written about it.
-Yes But now you are referring to normal upaj, I am talking about the same one. Upaj is not taught but sanskar can be done (cultivated) of upaj. -What can be done? Sorry.
-Sanskar can be done and that is done at the time of training. The meaning of training as I know it that any knowledge that is given in taal in the taal. Ilm means knowledge, which is given that is the talim, which is given sanskars are done. Guru plays and one has to just copy it, follow it. then what has guru played? guru also does not know. If asked to play again it will not come back. but continue practicing and it will happen. With the training, and all these things. I don’t call it teaching, there are many schools to do that. Teaching is also very easy. but sanskars are very fine. And sanskars are given. Once upon a time Mainkarji used to come [bols of tabla] He used to do such upaj Don’t know, miss that upaj, many years have passed. from Mainkarji. But we have witnessed that time. of Mainkarji’s too. [Bols of tabla recital] Wow! [Demonstration] This is his kayada Now if you say this kayada in any taal, then it will simply go with it. Because what is the basic role of the upaj? Taal should become chhand, it is necessary. Arvindji, taal should become chhand and it is necessary. What is the meaning of becoming a chhand? To become chhand there should not be any need to count the matras of the taal. It is understood by the chhnad. -True
-Yes? Means there is no need to count the matras of the taal. Then it becomes chhand. This is what is called taal. Like our film music is going on based on dadra and kerwa its more than 50 years The band that is played in the marriages, barat etc People dance on that beat. But if you ask the people dancing which taal you are dancing to? Because dadra, kerwa arrives at the sum even before the count starts Great! But when the same dadra, kerwa is taal of the sum Then the chhnad has to be same for 3taal, zaptaal. Tilwada, zumra everything should be the same, that is the purpose. If taal has to become chhand then what happens to raag? I ask this myself. Then I derive at that raag should become dhun. -Wow!
-It can be any difficult rag like bihagda, khokar If a raag does not become dhun How to reach the upper, lower octave? How to do sanchar (move in the set of surs)? If this was not made Then how can a raag be sung? Then it will be like computerised. Just calculation like laya taal, everything will be like that.
-True. -And most of the times its happening
-Dhun should be there. Dhun for raag and chhnad for taal are very important. and dhun for raag this final point should not be there. Music starts from here. There is no final point Because if raag has dhun and taal has chhand then Our guruji used to say, “Okay start the singing now” Now a days even if the taanpura is set right, then people appreciate it. In our times, even after setting the taanpura nicely Gajananraoji used to say that, okay nice, start now. Singing. Means no appreciation. This is a must. Kumarji used to tell his students Once the taanpura is set only then I will enter, otherwise I will not enter. So now this patience is also lost. Of the students.
-Students
-Yes They have been disgraced. -Sorry
-They have been disgraced. Okay, there is one more question about practice Many people are asking like on Youtube too. How to practice? Please explain that too. So I thought about tabla, I better ask Sureshji. Everyone has their own principle. Everyone has practiced. I will explain about mine. I have learnt a lot by being close to many people. One day Before my marriage I used to go to Mogubai Kurdikar And I used to go to all these people. To play theka and to listen. So, Once Mogubai Kurdikar was telling her students Now Bihagda, [lyrics] bandish, Its a bandish of 3 cycles. Okay? Vilambit 3 cycle bandish And her discipline was very strict. -Okay
-She said, “How dare you breath in this octave?” Those are the words There is place for breathing between the 2 words. One should breath only there. In such strict discipline, she used to say, “How many times asthai, antara (paras) needs to be repeated till it is correct, I will not tell that.” She used to say that. But once it is right then it has to be repeated 108 times more. So this is a type of practice. If asthai, antara has to be repeated 108 times after it is correct, And if any mistake occurs during 108 then 108 starts all over again
-108 So I have adopted this principle. Even today in my Ashram, if I sit then I make the students do 108 cycles minimum. various phrases 8-10 times repetition happens since morning. 108 cycles take place. Now the question is during those 108 cycles what is the role of the practice? One is bols should be clear and correct. The technique should be right Its very individualistic. Everybody has a different technique That should be played correctly. But in the laya in which to play Practice, so in which breathing stays normal, that is the laya in which it should be practiced. That is the laya in which it should be played. If the breathing is speeding up [Bols of tabla] then it is wrong Because we are getting tired before our hands get tired. So whats the use? And for this principle people from kathak also come for training. So I tell them the same thing. that before your feet feel tired you should not feel tired due to breath. Should not be tired [Bols of tabla] One day in Ichalkaranji Tikhawakhansaab was telling for his uncle how he got the practice done. From him. He used to play sarangi with dancers and used to say, “till I come back, till morning keep playing in this laya only. [Bols of tabla] Whichever phrase, keep playing in the same laya. And when he came back, [Bols of tabla] This was being played. So he beat them up with the stick. He said, “Be ware, how did you decide?” “You should not decide, your fingers should decide.” True, very true These words were also repeated by Samta Prasadji. About the practice. He said, “don’t decide yourself about increasing the tempo” “Fingers will guide you” “To increase the tempo.” Practice. So this is a principle for practice But I have also written a chapter on total practice. In my book, in which it is said that the meaning of practice is most of the people understand it as technique. For technique, am I right? Whether it is sitar, tabla, pakhawaj it is understood as technique. But no. I think differently. Intellect should also practice. -Must think
-Yes If music is emanating from action, body, intellect, mind and flourishing from these then the practice for all these is a must. True Otherwise, hands go fast and tihai and cannot even say tihai from sum to sum in Rupak. This is the situation There are many good tabla players and knowledge But its not happening But is the guru also at fault? The important thing I fell that the fundamentals, we practice, like if there is a fat in the body then it is here too. or they cannot say [bols of tabla] this They don’t know how to slice this. I have seen many people I have seen many people and then there are some who say laya is natural it cannot be taught I don’t agree with this, I do teach. And also make them do it to the extent. Because I know how to teach. And when does one understand? Because why is this student unable to play. We have to ask this to ourselves. 100 times over and over Then I find the way. Then I find the way and then I know that if I do this then he will be able to do it. But many times it is the reverse, it does not come. Then back to square one of thinking And truthfully Arvindji, I am not lying, I have found the ways even through dreams That if I do this then he will be able to learn it. And it comes
-That is why you are called Taalyogi Okay, any of you wish to ask any qustions I still have 1-2 quesitons but before that any questions regarding the discussions that took place the floor is open now. You have stated 3 phases
-Please state your name first
-Keshav Paranjpe You have explained 3 phases. Layadar, layakar and claps Then layadar was explained layakar was also explained But claps was not explained.
-I will explain Now, and just one thing I will explain, tihai And in that tihai, layadar tihai will be the same, But layadar phase layakar phase and claps phase Because Birju Maharaj had kept my lecture and I was speaking about layadar, layakar and claps Then Maharajji asked me to give an example of this It happened then, [Bols of tabla] This bandish I am using because it gives satisfaction otherwise only with the song the effect is not seen because it does not provide that weight [Music continues]
the effect is not seen because it does not provide that weight [Music continues] I am not saying this. But the style of saying this is due to the theka Firstly layadar, half bandish will be sung, simple tihai [Demonstration] Now it has to be said in layadar phase So first the speed of the laya should be maintained Now it has to be said in this [Demonstration] This shows the speed of the layadar phase and it is maintained. Means {Demonstration] Now the same layadar phase Sorry layadar is finished, layakar Layakar means to give various shapes to the laya Have to give different shapes [Demonstration] I am playing differently I will sing the same one [Demonstration] And now claps In this the taal has to be seen in the bandish Now with the divisions of the taal [Demonstration] And this different, laya has 3 phases [Demonstration] Watch the divisions of taal Means watch the word near the division. [Demonstration] There is wisdom of taal here. Awareness of taal ist here I have deliberately given this example using only one bandish. I have tried to explain all this in just one tihai that like [Demonstration] Now this is in zaptaal, our guruji taught us zaptaal in rupak. How, just watch, [Demonstration] Wonderful! This is sukshma laya Sukshma laya The sukshma layakari is Our guruji met with Ramnadeshwaranji, One day I was sitting at his place So Ravishankarji had come. He had brought a big plate full of cloth, coconut, sweets and offered to him’ Meaning Ravishankarji was very senior to him in age. But Ravishankarji gave his respects to him. He asked me, “Hows that you are here?” So I told him that I was learning, so he blessed me and patted my back and said, “Continue this, don’t stop it” “These are very talented people”
-True Sureshji, lets change the subject, okay?
-Yes There are various gharanas of tabla -Yes
-Would you like to say something about it? Tabla has 6 gharanas
-Yes Which are very prominent 1. Delhi From Delhi, there is branch called Bannewali Agrada They also have a good turf. And Farukhabad, Lucknow is there. Banaras and Punjab is there. I respect these gharanas whole heartedly. Their contribution is also great. But fundamental gharana of tabla that is Delhi. and Delihi gharana in tabla instead I would say Delhi gharana of tabla. Because tabla as an instrument first evolved then it was just the Delhi gharana. Can you tell something about the specialty? You have mentioned these various 6 gharanas so the distinguishing features of these gharanas. Yes there is a specialty like peshkar and kayada is of Delhi gharana. The same specialty is also of the Agrade but instead of peshkar it is kayada. and the expansion of kayada is very different
-Okay Like Habibuddinkhansaab of Agrada -Yes
-He had a great control on the expansion activity
-Okay and there were very few people who could expand like him. -Kinar ka baaz, syahi ka baaz etc
-There are only 2 baaz [With demonstration] Low ka baaz and Kinar ka baaz
-Kinar ka baaz There are only 2 baaz What we also call as Delhi baaz and Purab baaz. -Yes
-So Kinar or Low baaz Can also be called. But these are the 6 gharanas But in music in general when I think of gharana Not just tabla
-Yes then I feel that gharanas first literature literature of those gharanas the technique and their presentation. These 3 things make the gharana
-Differentiates
-Yes Literature means bandish of that gharana Various bandishes Then Nikas, technique and a very special presentation. This is normally of a gharana. It is also individualistic. presentation
-But overall. But overall in a gharana The teach in a particular way.
-Yes This is how it is sung. And with the gharana there is a close association of style. About style I think gharana is value oriented and style is individual oriented. Style showcases the artist, gharana showcases the discipline. and value is also showcased. and personally the gharanas that I respect but I don’t consider that as a limitation. because for the art to be expressed in the open the artist’s own style has to be seen That is what I feel. -No that is..
-Like your guruji also he stayed in the same gharana yet developed his own unique style. I think thats how it should be. The same was done by Tirkhawakhansaab Their own styles in tabla
-Yes certainly. Anybody else, any questions?
-Yeah -Please state your name
-Mukund Athawale If the laya is used too much standard of the art goes down. What do you think?
-Not at all See, how much layakari should be done, then as much as you please You want to make it really difficult, go ahead. as much difficult as you wish, but you should not come into trouble. Yes, every artist has his own way. Some will do, some will not. I don’t think that will affect his art. I arrived early over here So I was listening to the video of the Bhaij i,Gaytondeji. It was a good feeling. All the old memories of Tirkhawakhansaab, Aamir Hussainkhansaab, after listening I was enjoying it. So it is not necessary that layakari has to be done Some people do it. What you are saying happens, because they are unable to contain it. Now for e.g. I will say a bandish and will do some upaj creation in it. watch it. [Demonstration] I was asking him whether I sung this bandish during the last time. I have played difficult with my own wish. But tell me whether it is good or not. So this cannot be called difficult and the music does not end here. [Music continues] Its difficult different breathing every time. but if that is controlled and the beauty is maintained and maintaining the beauty comes towards the end. Laya taal study comes before that. Laya taal is studied Alla Rakhakhansaab used to ask me “Where did you study taal?” He used to always ask this. Because his study of taal was very deep. So I told him that our guruji I have also learnt from Khapruji Nageshkarguruji has also learnt from Layabhaskar Khaprumama So he has also taught us various lessons in the beginning. And what my guruji taught me about laya, I will tell today. Watch this[Demonstration] Now the same in vilambit single, double, tripple should be able to play. [Demonstration] This is how 8 laya
-8 Laya 8 times Now this was not possible in the beginning. So when I was able to do it so he said now why are you doing just theka? Now play the bandish of the taal for that theka. While doing this one day he said, “Go down and call for one tea for me.” So there was Shankar Vilas Hotel downstairs
-Is it?
-Yes I went to order tea. After ordering tea, I was coming back somebody just slapped me. Then I saw tram was on oneside, bus on another and taxi in the front
-Oh! and I was right at the center. I was afraid. Not afraid of that I was not afraid that I was saved. I was afraid that if somebody has seen this and if they report this then I will get beaten up at home. And the same thing happened. Somebody told. If I think about this after 10-15 years that such an incident happened with me. then I got the answer for that. That if I wander around in such a trance of laya taal Then I should not worry as the God will take care. True, very true. This is what I felt at that time. Very true. If today the guru is teaching then what is taught is never understood at that time. It is understood after 10 years as to what the guru taught. True
-One will never understand at that time. You will get the material like guruji has given a kayada but in reality what that kayada is the true meaning of that kayada Guru also should be right one. Yes and if the practice is done for 10-15 years Only then one would know this, not otherwise.
-Wow! Guru should be of such caliber and student too
-Yes Our Parikhsaab used to say as to what qualities should a student possess? One is surrender, devotion, hardship Sincerity, punctuality
-Loyalty
-And loyalty This is what you say and I use it everywhere, including the book I have mentioned it and I don’t accept intelligence in this. Because when the intelligent people come, I am the one who is afraid. Because he will stray away from practice. Little less intelligent but sincere That will pay off. Such confidence from within [unintelligible] is a must. [unintelligible] Intelligent can also be sincere
-Yes certainly But mostly Many of our students are sitting here. If they are paying attention, it will be good. But how a guru should be? [unintelligible]
-There are 5
-For the guru? Please tell me, I knew only 3. First of all knowledge Then science should be there. Analytic ability should be there. To analyse. Third should be Vachan, articulation should be there. speaking, explaining. 4th is Prayogsidhhi Should be able to demonstrate. And lastly which is the most important Shisya Nishpadan, Making of the student. These are the 5 attributes of a guru
-Certainly. I say only 3 from these.
-Knowledge science, Vachan prayogsidhhi and shishya nishpadan. Knowledge, how to teach and willing to teach [Unintelligible] Willing to teach cases are also many. Because if you are not willing to teach then whats the use? You may have good knowledge. Then why did you accept the student? Oh! There are many such gurus But Sureshji, it is true that one does not find guru in every lane. Yeah that is there. This is a very old incident there were such ustads.
-Yeah but now just a few days ago, Zakirbhai was telling you and I was there. I remember, it was a morning 29th May. Yes? I know what he was telling. That he has served his guru appropriately we have also not done so much
-True. And he got what is due by servicing Zakirbhai said this in front of me. -No he was..
-I just explained the nuances of your own health. You are training so many students that is why your health is good. Certainly. [Inaudible] See our ustad taught me for 60 years. So it is my duty That Vilayatkhani which we have converted into a family That should continue. That is what we are striving for. You have maintained sitar culture in Mumbai. Otherwise this sitar, sarod culture is in Bengal. -True
-Yes?
-True
-The culture is in Bengal Of sitar and sarod.
-Right But today is the day of Sureshji. A little I will speak a little.
-Sure, sure. Parallel to this.
-Sure, sure I am not speaking about myself
-Okay Once upon a time string instrument accompanying artists used to come from Kolkatta. Tabla players. Now a days tabla players go from here to Kolkatta. For accompanying the instrument concert. This changes with time. I wanted to say that today Sureshji You have excelled yourself. We were very happy. And I think everybody with me, I want to speak about the baithak. -Sorry?
-About the baithak Oh! Sure, go ahead. -Is it okay?
-Certainly. What is the purpose of baithak? Because I am also doing baithak. You know, yesterday at our place, 10th baithak took place. Every month, we started in September, yesterday it took place. Next baithak is on 13th. Now a days mega event are taking place. Artist sits with the focus Someone in the audience cannot see another person. Artist audience can see the artist but the appreciation cannot reach the artist This is an issue. So the medium for appreciation is only claps. Hmmm, True Now whether an artist should get claps or not I am not favouring this. But all the innovations of the music are they all worth claps? If someone uses gandhar in darbari, then will anybody clap? Nobody will clap. Even the tabla player [Bols of tabla] Now watch this and tell me whether this will get an applause? [Demonstration] How will you applaud this? You will say, Wonderful! It should be applauded
-Yes You will say, Wonderful! [Demonstration] I will say 2-4 old anaghat (bols of tabla) This bandish how various people used to say this Tirkhawasaab used to say [Demonstration] The singer, Jagannathbuva Purohit was also a good tabla player how he used to say this [Demonstration] Wonderful! How our Nivruttibuvaji guruji used to say this, watch So nobody can give clap in this. So such innovations that should come back in music These are now disappearing. These are now disapearing -We…
-Darbari when gandhar is touched [Demonstration] then everybody says wow!
-That is appreciation. Yes exactly. Sureshji I remember one incident
-Yes Once in Surant during the program in the old times, with the Indian seating Carpet was in the front Nobody used to sit on the carpet People sit at different places. after some time, 4-5 people came and sat on the carpet So I asked during the interval regarding the carpet. They said, “Don’t you know? Its a membeship of the appreciation group. There is a appreciation group. You have to become their member, Then you can sit on the carpet right in front of the artist and express appreciation. I will narrate an incident bang opposite to this one. Opposite
-Lets hear it
-Yes That is the work of the tabla No, look here Thirkhawasaab came He sat first and then the tablas were brought. Then he removed the cover. So someone said, “Wow! Great!” Wonderful! So Tirakhawakhansaab just looked at him Then started tuning Oh Wow! Wonderful! Then finally he started playing The appreciation was also increasing It increased so much that Thirkhawasaab halted said, “First get the admirer out” “Get him out” “He is going to spoil the whole concert” [Inaudible] So means the appreciation should also I will tell one more incident regarding appreciation. I have mentioned this in my book, okay? In the baithak many times it so happens we present a very difficult piece so one connoisseur appreciates but no one else appreciates. So that artist who has presented a difficult piece understands that this person has understood my subject. Yes? Understood. But he does not know that the admirer has understood, but to what extent? Because in his appreciation he has appriciated at the right places in that admiration why, only an artist can do so. He understood that only an artist can admire like this. But that appreciation was over confident that it can finish the player and player understood that. That appreciation was also so over the board, that he understood, but after understanding one should remain quiet but he was going overboard. Understood. This was becoming too much.
-Yes So the appreciation, can affect the artist they can understand that this person is admiring but upto what extent this is good. What is the level of an admirer? Faiyyazkhansaab in Baroda there was one Sahastrabuddhe said, “Call that brahmin. Make him sit in front of me. He admires rightly.” Dattopant, isn’t it? Your friend Dattopant Sahastrabuddhe, right? You are referring to him, right?
-Yes He use to live in Goregaon
-Yes the same I have been to his place. twice , 2-3 times. So this too, when the artist does his practice so during the practice he understand the faces of everyone and who is capable of what is certainly understood. And once Thirakhawasaab said “Why are you admiring?Shut up” Means one doesn’t even have a right of admiration. And he told his own incident When Thirakhawakhansaab used to listen to Nathukhansaab he never even raised his eyes. This way, he used to admire. This way. He never raised his eyes. So the respect that should be there for the stalwarts that is understood in the appreciation. Whether it is there or not. True
-It is understood from the appreciation. His meter is understood. So in the baithak,mostly it is appreciated at the right places then the music takes a very different route. This kind of music was played once upon a time. If someone is admiring then the music will continue on those lines. Today that is not happening Now such singers, players and listeners are also not there. Here the situation is going in a different.. That was my last question What do you think is the future?
-Baithak must take place Baithak is very necessary I agree. It is very much needed. I agree. Another thing is the baithak there are around 12-15000 subscribers are there for our baithak. And in that they say the same thing, “We have only heard the names of the stalwarts.” But any dialogue with them how they learnt how they struggled etc. that clarity of the different people in the world And even in India in the small cities people do not get that opportunity. Like today you have spoken so much full of knowledge mentioned practical things spoke of very subtle things where can people hear all this? Everywhere you don’t go yourself. Now Youtube is such technical facility available that everybody all over the whole world can see it. [Inaudible] One second
-After the program people were mentioning this baithak over there. So this is a great achievement. You are right, baithak must take place -Baithak must happen
-Because there after the program some people met me at dinner I was also surprised. They said, “We watch every episode.” Another thing is that, it is a permanent thing. It can be watched anytime. -Anytime
-Anytime Its not like if you have missed it today… We have also uploaded all the 10 on the YouTube. -Great!
-Yesterday he sang at our baithak. and before him my student who is a professor at BHU his son Shrutisheel played tabla There is one tabla percussion of someone then vocal or instrument I have a question which personally I feel that a person of your caliber can speak a little. Many times now a days, one thing of course I can say that tabla is the most popular instrument among all the instruments may it be string instrument or any other but many places particularly, I will name the place, in Bengal or tabla players from Bengal they sit very close But what I, an artist like Zakirbhai also says that when an artist is accompanying then they should be at right angle What is your personal opinion? [Overlap/inaudible] …due to this. How do I sit with Ulhasji? There is no question about you. But regarding this someone like you… There is a principle for it. Because with the main artist… -untill
-First of all you are accompanying him Yes? So first try to understand his music. Look him in the eye. Like this if you see, you can look eye to eye with many [Overlap]But this is on the rise. And it is also seeping in Maharashtra with the tabla players.
[Overlap]But this is on the rise. And it is also seeping in Maharashtra with the tabla players. I feel very odd And tabla players feel offended if they are told to sit in a particular way. Panditji, do you agree with this? Is it true? I do not accept this. No? Okay that’s what I was saying
-This is the way to sit. My students sit like this. Right? Many of your students play with me. Therefore I know. Vijay Ghate sits like this also. [Overlap/indistinguishable] True
-If Vijay Ghate sits then other will also follow Sureshji when the alaap is going on then the tabla player should not make a face. No, they just don’t try to enjoy. Yes they should take interest and appreciate Certainly. Appreciate, but I say first he should get involved. and he himself is not ready to get involved. Because now, sometimes.. Yes
-I feel, you are saying, he should appreciate but is everyone’s music is appreciable? No. Even if you are not appreciating, at least complain. If not appreciation, at least a complain. Good evening. Amol Kapadia I have a question Tabla bol like you mentioned there are some bols in the tabla bol which cannot be played on a pakhawaj. There are mridangam bol, Ghatam bol, Tabla bol My guruji Taufiquebhai has made a [indistiguishable] boli He has shared it with us my question is that, all these bols, the languages particularly of percussions which is the oldest among these? Oldest?
-Pakhawaj
-Pakhawaj Mridung Which is the most used? and lastly according to you which is the biggest with minimum compromise? where the maximum bols can be played? On Tabla Because you see tabla starting with dhrupad dhamar accompanies lavani too. Once upon a time tabla was played with lavani too. Anna Joshi used to play He used to play tabla with lavani So tabla is an versatile instrument, yes? Tabla accompanies dhrupad dhamar Ustad Alla Rakhakhansaab, Pandit Kishanmaharajji With Siyaram Tiwari With Siyaram Tiwari Kishanmaharajji played for dhrupad dhamar It was enjoyable Alla Rakhakhansaab used to play wonderful dhamar with Khadim Hussainkhansaab Splendid! One simple question on behalf of all the students Easiest to understand and learn which are the bols? Bols of which instrument? Bols of which instrument, easiest for students? Individualistic Thank you, thank you. Because it may be difficult for you but easy for another. Individualistic Can I ask?
-Yes ask away. Say it. Here use the microphone. Please mention your name for recording sake. Namaste, I am Bhupal Panashikar, student of guruji. The time that I have heard you, now and for many years Your love for singing it is unique as we call in Marathi, the music that you listen the new tabla player or a new sitar player, should they learn vocal How should it be learnt? Minimum is you should know to hum the bandishes Yeah, yeah, sorry, I will speak in Hindi. Means every tabla player should at least know the 4-5 asthayi, antare, mukhade of any one raag Of every raag?
-Should know Because when I I used to sing in the beginning so I told Raju to play the theka. Sorry Raju means Vijay Ghate. Play the theka, but I did not know to sing in that laya Not properly. Laya was such that theka and song was not falling on the sum Then I understood that how much difficulty I must have caused to the singers till then. So when I started singing myself, then what theka is required then I understood. Understood. As to how to play theka. Because in your theka the song is heard. That is because I have realized it from within. As to how the theka needs to be played Now for e.g. Ada Choutal what I did, so you see [Demonstration] This is machine laya, isn’t it? Mechanical laya? [Demonstration] This is mechanical laya but [Bols of tabla] how I am delaying it. [Demonstration] And my guruji taught me this. Vinayakraoji used to play ada choutal like this. and he used to delay the theka [bols of tabla] in such a way That delay I always use in peshkar [Demonstration] This laya of [Bols of tabla] is to be understood. How?[Recital of Bols] Otherwise [Recital of Bols] This is poetry. This is poetry. Yes And that has to be matched with laya of taal So our music, tabla playing should tend towards poetry If it does not tend towards poetry You asked question about layakari can finish it? Yes it happens, can happen. Because it does not tend towards poetry. If it tends towards poetry then it is good, isn’t it? Yes Praveen Karkare Please explain a little about padhant Your padhant is excellent you don’t just read it, you sing it. How would you guide for padhant? For students, for me? Before padhant deep practice of laya taal is a must Then padhant should be done via 3 mediums. Layadar, layakar and claps So the same padhant should be seen of your own padhant. If you can see these 3 differently then you will choose that up to where the layakari should be maintained up to where the layadari phase to be maintained up to where the claps or other should be expressed. This is it. For that first of all cutting should be understood. First the study of laya taal there are 10 steps of how it should be done First you should know which matra it is. Then that bandish should be said in laya After saying it in laya it should fit in taal After it comes in the taal, then look out for beauty etc. But this is just a preliminary role of it. There is a great difference in getting it correct and right. And there is also a difference in getting it correct and understanding it. First you have understood. But you are not getting it correct. Then you get it correct but not right, it is slightly off the mark. So these 3 steps are there in everything. My lecture was kept in Pune on this subject. I delivered a lecture on this subject. So there are 10 phases to it from time to time. I will speak sometime on this topic, but Firstly there is no patience till anything reaches right. Till you get it right. If they just get it correct, they are so happy as if they got it right. Yes?
-[Inaudible]
-Do you know here it has to be sure shot I will give one example. Dronacharya from Mahabharat, okay? Everybody is asked ‘What do you see there’ Yes? Everybody says ‘They can see the bird’. So they are told to move aside. Each one is asked ‘What do you see?’ They answer ‘I can see the parrot sitting’. Yes? When Arjun is called he answers ‘I can see the eye of the parrot’. Now aiming at the bird and aiming at the eye This is perfection, Perfection. Right? This time Arjun and Krishna are having meals in the darkness Yes? Lord Krishna and Arjun are having meals in the darkness. Lord Krishna asks Arjun, “Your bite, how does it not go in nose? How does it enter the mouth?” Arjun replies that he is used to the distance. Yes? He is used to the distance. So he said that, this is the Matsyabhed. This ‘getting used to’ should be there then Mastyabhed is easy for you. Practice should be faultless, right. If you see a circle Then you will see a dot in the center of the circle. But you have to consider that dot as circle. And then again find the center dot. This is the difference between correct and right. So, yes Namashkar Panditji. I am a student of Aban Mistry. Adarsh Avadhani. I have learnt from him for quite a few years. Whose student?
-Aban Mistry I am connected with Farookhabad, and also follow. Many of us accompany with vocal on tabla with instrumental music too we accompany That too we can manage but dance accompanying for dance, then many of us perspire. So what would you advice for this? What is the solution?
-I will explain First memorize the bandishes of the dance. Then how those bandishes can be played learn this from an expert. Then you will get used to it. Got it? [Demonstration] Now how will you play this? Watch this. There are various types of Nikas and it is not necessary that [Bols of tabla] this should be played. You can also play it on open bol. Yes? It is not necessary that these bols has to be played in this fashion. [Demonstration] If you play this then [Demonstration] cannot be done. Actually that is the problem because improvisation scope is too much in the dance, so when you are accompanying a dancer then whether it is going right or not this tension is always there. We loose our heart there itself. For the initial times you will have to copy somebody. The tabla players who play for dance, in the beginning how do they play these bols [Recital of bols] This is called a bandish for the dance, but it is not so. This is a bandish of Udhosinghmaharaj for pakhawaj. [Recital of bols} This is also not a dance bandish This is also a pakhawaj bandish [Demonstration] This is the nikas for it. [Demonstration] [Recital of bols] [Demonstration] This is played. But [Bols] These are the 3 bols of the dance. And from [Bols] these [Bols] These 3 additional bols were derived. And there are only 6 bols for kathak. There is nothing more. Remember this. And with these 6 bols the entire dance is not performed. Pakhawaj, tabla bols are also included in the dance. There are various sounds in the nature that is called Permelu. [Recital of bols] These are called permelu. [Inaudible] [Recital of bols] This is also permelu So nikas for these should be done by oneself. [bols] and you play [bols] then they will throw you out. They will ask you to stop playing. Next one please. Tabla player, artist needs to think. And he does not have the thinking capability First you have to train for that. You have to meet some tabla player Ask them this is the rachna, how to play this? Once you learn 10-15, then you will be able to carry on. Did you get it? Are you happy? Are you happy with the question? -I have got the starting point. From here [Overlap] -I can still make it easier if you want. Technically there is no shortcut You will have to learn This is a must. [Demonstration] -Shall I finish it with a bandish?
-Certainly, sure. Sing a drut bandish [Bandish discussion I will present a Yaman bandish.
-Great! I have created this with Nivruttibuvaji in my mind And he was an authority of laya taal and he was very careful with sukshma laya There is one grahapraman in dashapraman of taal which describes sum Sum, Anaghat, Atit and Visham. These are the 4 types of grahas. So all these 4 grahas at the same time will be seen in one word ‘Jiya’ [Lyrics] [Music starts, continues] ‘Ji’ Anaghat ‘Ya’ Atit Sum comes between ‘Ji’ and ‘Ya’ And ‘Me’ Visham. [Demonstration] This ‘Hi’ is Yamak of ‘Me’ Yamak of visham graha ‘Me’ is coming in the same place as ‘Hi’ This is a yamak of music. [Domonstarton] This is called Bechut (uncontrolled) laya Like you have ‘Jhoot ki taan’ (fake taan) this is a matter of bechut laya Mukhada of Antara
this is a matter of bechut laya Mukhada of Antara is coming bechut, just watch. [Demonstration] Is there any concrete laya? And this happens only in khayal. [Demonstration] I can see various different mukhade in this Like [lyrics] Bandish itself is expressing the chhand So what chhand is expressed by bandish? Watch this. [Demonstration] [Indistinguishable] Sukshma difference is derived. Wonderful! I try to merge with laya and taal. You have entranced everyone. Thank you so much. Thank you, Thank you.

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37 thoughts on “37th Baithak | Artistry of Laya & Taal | Taalyogi Pt. Suresh Talwalkar

  1. Thank you so much for this! It is lovely to see old and experienced people have such an open mind! This feels like a blessing!

  2. सभी गुरुजन को दंडवत प्रणाम बहुत ही उन्दा कार्यक्रम है संगीत के विषय मे आप सभी को सुन कर आनन्द आता है मैं आशा करता हु आगे भी अछे अछे कार्यक्रम देंगे

  3. Always treat to listen to Pt. Suresh Talwalkarji, really looking forward to listen pt. Satyasheel Deshpandeji in Baithak's coming sessions.

  4. It was a great and inspiring session….and pt ji it's a humble request if possible plzz we want a lecture (baithak) of pt kumar bose…plzz…

  5. What a treasure-trove of knowledge! Sending pranaams to all gurujis and loads of gratitude to Pt. Arvind ji for organizing these baithaks.

  6. पंडित ही नहीं महापंडित सुरेश जी| सादर अभिवादन|

  7. Ust. Zakir Hussain, Pt. Birju Maharaj, Pt. Sanjeev Abhyankar, Pt. Nayan Ghosh jese gunijano ko sunna chahenge baithak me Pandit Ji. Because sabhi gyan ke bhandar hai acche sessions ho skte hai. And Naman 🙏 to Pt. Suresh Talwalkar Ji, He is just amazing.

  8. Pranaam Arvindji ! Thank you for another great session with Panditji. Wish it happens again. Please also arrange sessions with Pt. Kumar Bose, Pt. Swapan Chaudhury and Pt. Nayan Ghosh Ji.

  9. ताल योगी जी नमन स्वीकार करें,क्या नर मदीन अवनद्ध वाद्यों के लुघु और गुरु वर्णों से उत्तपन्न छंदों से बने ताल वैदिक शैली के हैं ? जो नोगत में गम्भीर ध्वनियो के वाद्यों से आदि कालों से प्रदर्शित होते आये हैं,क्या ये ताल छन्दशास्त्र से विकसित हैं ? ढोल नगाड़ों,से प्रस्तुत होने वाले देवधनाक्षरी छन्द,,गायत्री छन्द के तालों में 1 आवर्तन में 8 डंकों (विभागों)के प्रचलन आज भी हैं,क्या ये विकसित वैदिक ताल हैं ? आशीर्वाद रूपी ज्ञान मिले तो कृपा होगी महाराज जी।

  10. Arvind ji thank you so much for organising these events and uploading for everyone to see. It makes it possible to learn real music and philosophy in Australia 😁🙏

  11. Sir ji please ek vedeo harmonium pe lahra vaadan ki visheshta Ya niyam jaise topic par rakhiye naa please

  12. Arvindji, These baithaks are a unique opportunity for lay listerners like me to understand how these great maestroes actually think. Can you please invite Pt Indrakishore Mishra of Betiyah? He is trying to preserve a very distinct and obscure dhrupad tradition and I think many lay listerners like me would appreciate the chance to explore Dhrupad from a different perspective.

  13. This was truly wonderful. A rare tabla artiste who enjoys khayal and immerses himself in its aesthetics.

  14. गुरु जी की तारीफ के लिये तो हमारे पास शब्द ही नहीं बाकी ऑरेंज कुर्ते वाले तबलिस्ट कि होनी चाहिए जो इतनी पैनी लयकारी में भी अपना लय बनाये रखे हैं । गुरुकृपा से ही शम्भव है ।

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