| TYPE | TALA | GHARANA | COMPOSER | SUBMITTER | DATE |
| Kaida | Tintal | Punjab | Ustad Alla Rakha | Amos Libby | 08/01/98 |
| COMPOSITION | |||||
x Dha-TeRe KeTeTaKa TeReKeTe DhinNa GheNa DhaGhe TinNa KeNa Ta-TeRe KeTeTaKa TeReKeTe DhinNa GheNa DhaGhe GheNa GheNa |
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| COMMENTS | |||||
| "Nothing particularly difficult here...this composition was given to me by my teacher, Ustad Mulazim Hussain, disciple of Ustad Altaf Hussain, a classmate of Alla Rakhaji's under Ustad Kader Baksh." - Amos Libby | |||||
Essentially the same composition:
| TYPE | TALA | GHARANA | COMPOSER | SUBMITTER | DATE |
| Kaida | Tintal | Punjab | Traditional/Allah Rakha | Sajjad Chowdhry | 08/11/98 |
| COMPOSITION | |||||
x Dha-TeRe KiTeTaKe TeReKiTe Dhin-Na- | 2 Gi-Na- Dha-Ge- Tin-Na- Ki-Na- | o Ta-TeRe KiTeTaKe TeReKiTe Tin-Na- | 3 Ki-Na- Dha-Ge- Dhin-Na- Gi-Na- | |
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| COMMENTS | |||||
| "The reason I wrote Traditional with Allah Rakha ji's name is because this piece is played by almost everyone in Punjab. Even if there are slight differences in the exposition of others it points to the Traditional character of the piece. Remember that the Ta in the second matra is on the syahi. This is a great practice piece!!" - Sajjad Chowdhry | |||||
Any comments, requests, or reports of technical difficulties may be sent to:
david@chandrakantha.com