Hi again,
my problem today is. . . . . . . . .what is peyshkar? (peshkar)
if a definition and an example could be provided I would be grateful. i am currently learning a long piece for a forthcoming performance but as yet i cannot see the logic of the peyshker or of its developments. ideally i wish to introduce tirkit into the piece but my ignorance prevents me.
cheers,
omja
Omja -paste in the peshkar you have and we will provide variations
Warren
omja (Nov 29, 2002 03:15 a.m.):
hi again,
my problem today is. . . . . . . . .what is peyshkar? (peshkar)
if a definition and an example could be provided I would be grateful. i am currently learning a long piece for a forthcoming performance but as yet i cannot see the logic of the peyshker or of its developments. ideally i wish to introduce tirkit into the piece but my ignorance prevents me.
cheers,
omja
Hi Warren,
theme for the piece is as follows. . . .
Dha Kirdha Ti
Dha Dha Tin Na
Ti Dha Dha Ti
Dha Dha Tin Na
Ti Dha Kirdha Ti
Tin Na Dha Ti
Dha Kirdha Ti
Dha Dha Dhin Na
I was helped by a previous post which explained that peyshka acts as an introduction and that the playing is syncopated with beats implied rather than played on the beat. But why? how did the form come about? why the syncopation? why the use of triplets? Finally how are the paltas formed from the theme?
thanks warren.
omja
I myself can't answer those question but all I can say is that. .try to feel it in your heart !! The moment you can become the player and the listener at the same time then, even if u don't know the reason for the whys and whys, you will feel a great pleasure in performing and you will perform it so well u won't even believe it(of course it helps knowing a bit of layakari). Don't strugle with to much information if you are not ready for it. First play and play and make every minute of your practice count. Get a nice simple peshkar and play it with feeling(u can't get close to the "feeling" by listening a lot of great players like Ahmadjaan Thirakwa and others and then try to recreate that in you. . .
Thanks for the kind words rod. . . . . . . . . . . you mention this. . . . . .of course it helps knowing a bit of layakari. . . . . . . . . . . .what's that???
layakari is the tempo(i.e., single time, double time, etc.).
I don't have a better definition here but is basically that.
for exaple, you could have one bol per beat:
dha | dha | dha |dha | . . .etc = 1 | 1 | 1 | . .etc at 40 bpm(beats per minute) say.
. .
or you could have two bols per beat
dha te | dha te | dha te |. .etc = 1 2 | 1 2 | 1 2 |. . .etc
. .now, since there are two bols inside the beat and assuming the speed of the metronome hasn't changed,
i.e 40 bpm, then you would have to sing/play faster because you are squeezing two bols inside the same time interval.
or if you had three bols inside the beat and the speed remained the same, i.e. 40 bpm u could have:
dha te te | dha te te | dha te te |. . .etc (triplet or ari)
1 2 3 | 1 2 3 | 1 2 3 | . . .
. .and so u would have to sing/play a bit faster still.
this way u can go on to 4 , 5, 6,. . .etc. you are squeezing more bols inside the same time interval and so the play is sounding faster. . .and sometimes odd because of the odd number of bols etc
there is a lot more on layakary(it can be very complicated when u get to 1 1/2, 1 3/4 etc) but I have just been getting to grips with it after four years playing and I have to say, my playing has improved tremendously. lot to go though.
I will see if I post some simple exercises I got. If some one can explain it better and post some exercises then would be nice too.
Thanks again rod. I value your contribution to my dilemma. Your explanation about time/beat was crystal clear. If you could provide working examples i would be grateful. either post to the tabla site or send direct as per my details.
I too have rediscovered lessons which i have needed to relearn, some have been very basic indeed, but by relearning some things my playing has improved significantly. i understand why slow and patient learning is so important with the tabla 'cause if you don't learn something the first time round you will need to learn it again later. .But its the same when we learn anything, we want to learn quickly and to become proficient as soon as possible, like with driving, making love or playing the banjo. . . . . . . . .
anyway thanks for your help, can i offer anything to you in return??
omja
ps where are you mailing from?? (not texas is it?)
Well I think I understand your beat breakdown
and think this is a very basic Delhi Peshkar. I found this Delhi peshkar on our austin tabla database, http://www.angelfire.com/music3/tabla this may make some good variations for your Pesh, play this line next
Dha- -kre, dhati, dha dha, dhina, trkt, dhati, dha dha, dhina| next probably play your original theme
Dha Kirdha Ti
Dha Dha Tin Na
Ti Dha Dha Ti
Dha Dha Tin Na
then play kali
Ta- -kre, tati, ta ta, tina, trkt, tati, ta ta, tina, and your original theme again
Dha Kirdha Ti
Dha Dha Tin Na
Ti Dha Dha Ti
Dha Dha Tin Na
You can keep tieing your original theme to the end of your variations or you could probably skip playing the theme it is so basic it won't matter
Here is another Delhi peshkar example that fits
and can probably be used. Delhi Peshkars have there own set of rules but the variations tend to change more freely than others like Farrukbhad which is fairly strict in formula. Here are another couple of Delhi peshkar lines a slightly different but may be usable.
dha-kre, dha ti, dha tr,kt dha , |ti dha, dha ti, dha dha, dhin na,| ---kre, dha ti, dha tere, kita dha,|ti dha, dha ti, dha dha, tin na,|
Next kali
ta kre, ta ti, ta tere, kita ta,| ti ta, ta ti, ta ta, tin na,| ---kre, dha ti, dha tere, kita dha,|ti dha, dha ti, dha dha, dhin na,|
next
dha-kre, dha ti, dha tr,kt dha , |ti dha, dha ti, dha dha, dhin na,| ---kre, dha ti, dha tere, kita dhati,|dha ti, dha ti, dha dha, tin na,| then play Then play kali of this using the same formula of the 1st one
Next , very slight variation with a tihia could be an ending.
dha kre, dha ti, dha tere, kita dha,|ti dha, dha ti, dha dha, dhin na,|---kre, dha ti, dha tere, kita dhati, |-dha ti, dha ti, dha dha, tina|ta �kre, ta ti ,ta tr,kt ta,|ti ta ,ta ti ,ta ta ,tina,|---kre,dhati,dha tere, kita dhati, - [ dha ti, Dha--- ]3x
Another simple delhi kaida goes like this, this one is from Sadanand Naimpali so you will get the idea how delhi pashkar can very so much from the first theme, also each of these veriations requires a kali section which is not written and you have to figure out yourself.
Theme
Dhati,dhati, dha dha,dhina,|gena,dhati,dha dha,tina,|Tati,tati,ta ta,tina,|gena,dhati,dha dha,dhina
Variation 1
Dha- -kre, dhati, dha dha, dhina, trkt, dhati, dha dha, tina
keta dha-, trkt, dha-tr,kt dha-,|tit dha, dhati, dha dha, tina
Variation 3
Dha� -kre, dha- -kre dha tr,kt dhatit, dha dhati, dha dha,dhina |
Variation 4
Dha- -kre, dha- tr,kt dha t,rkt dha,|trkt, dhati, dha dha, tina
keta dha-, trkt, dha-tr,kt dha-,|tit dha, dhati, dha dha, tina
Variation 5
dha tere ki,ta dha tere,kita dha te,re kita dha,| terekita, dhati, dha dha, tina
Tihia
{(dha tereki,ta)4xdha-}3x
Delhi peshkar can often drift into lagge or rela, to keep it simple this one has a small tihia. When Sadanand played this he doubled the terekitas (meaning play 2 trkts in the same space as one) which makes it more interesting.
In any case this is delhi examples , farrukbhad and Punjab are absolutely completely different.
omja (Dec 10, 2002 11:02 a.m.):
Hi Warren,
theme for the piece is as follows. . . .
Dha Kirdha Ti
Dha Dha Tin Na
Ti Dha Dha Ti
Dha Dha Tin Na
Ti Dha Kirdha Ti
Tin Na Dha Ti
Dha Kirdha Ti
Dha Dha Dhin Na
I was helped by a previous post which explained that peyshka acts as an introduction and that the playing is syncopated with beats implied rather than played on the beat. But why? how did the form come about? why the syncopation? why the use of triplets? Finally how are the paltas formed from the theme?
thanks warren.
omja
keeping the beat e.g 40bpm constant.
simple and great for practicing singing or reciting/voice.
now, 4 in one beat (40bpm)
1 2 3 4 | 1 2 3 4 | 1 2 3 4 |
beat falls in number one. sing them aloud while clapping for the beat and say, hiting the palm of your other hand with the ring finger for 2, middle finger for 3 and index for 4 or if u prefer, the other way round.
now,
miss the beat i.e. do not say it.
- 2 3 4 | - 2 3 4 | - 2 3 4 |
keep clapping and fingers etc but do not say/sing number 1. So that it goes: silence 2 3 4 | silence 2 3 4| . . .etc
now the same but
- - 3 4 | - - 3 4| . .etc
- - - 4 | - - - 4 | . .etc
- 1 - 2 | - 1 - 2 | . .etc
here you have 8 in one:
- 1 - 2 - 1 2 3 |
and
- 1 - 2 - 1 - 2 |
these examples are good to learn to improvise.
exaple, the one above, - 1 - 2 - 1 2 3 |
if 1 = dha and 2 = te and 3 = te
(note that the te's are different strokes) then it would go
- dha - te - dha te te | - dha - te - dha te te | . . .etc
1 2 3 | 1 2 3 | . . .etc note that 1= dha, 2 = te and 3 = te
so it goes:
dha te te | dha te te | . . .= 1 2 3 | 1 2 3 |. . etc
1 2 3, 1 2 3 | 1 2 3, 1 2 3 |. . . etc
and as above 1 = dha 2 = te . .etc
dha te te dha te te | dha te te dha te te | . . .etc
and a very interesting one goes like. . .
1 2 3 4 1 2 | 3 4 1 2 3 4 | 1 2 3 4 1 2 | 3 4. . .etc = 6 in the matra but with a very interesting feel to it here 1 = dha, 2 = dha , 3 = te and 4 = te
dha dha te te dha dha | te te dha dha te te | dha dha te te|.etc
