PESHKAR; THE INCEPTION OF ILLUSTRATION IN TABLA SOLO OF ALL GHARANA

Indian classical music bifurcates into two major categories – one is Carnatic music, which primarily originated from Southern India. Another is Hindustani or North Indian Classical Music which prevails in northern, eastern, and central regions of the Indian subcontinent. Specifically speaking, the application of Peshkar in Tabla stands out as its primary percussion instrument which is mainly a North Indian musical terminology. The Tabla consists of a set of two drums: Dayan (right drum) and Bayan (left drum). It holds significance in preserving musical rhythm or ‘laya’, whether it be used for solo renditions or accompaniment purposes. This discussion primarily focuses on the Peshkar’s role during solo performances of Tabla. The playing techniques for the Tabla can be categorized into ‘open Baaj’ and ‘closed Baaj’. The term ‘Peshker’ is one of the key terminologies across all Tabla Gharanas. There exist six primary gharanas, namely Delhi, Farrukhabad, Lucknow, Ajdara, Punjab and Banaras. Among these Gharanas; Delhi is considered to be the root of them all. Typically, a Solo performance of Tabla begins with Peshkar as per tradition. This practice was then followed in other gharanas too. Thus, showcasing its universal adoptions barring a few exceptions like Banaras Gharana where initial performance follows a different format known as Auchar, Uthan instead. Various intricate techniques of Tabla, such as Upaj, Laya-Laykari, Bols, and short phrases, can be effectively utilized within the realm of Peshkar. The presentation of a well-executed Peshkar has the potential to enhance any solo Tabla performance significantly. Keywords: Peshkar, Gharana, Inception, Illustration, Baaj, Laya- Laykari, Upaj