A beautiful rendering of the Farukhabad peshkar by Amod Dandage. I absolutely love the the aesthetic of Amod Ji’s peshkar, and this peshkar embodies some if Faroukhbad’s essential character. The word peshkar comes from the Hindi/Urdu verb, peshkar karna, which means ‘to present.’
Amod Dandage (Farukhabad Gharana) playing here Peshkar in Teentaal. Amod Dandage is a disciple of Us. Mamhulal Sangaokar, Pt. Omkar Gulwadi & he has been training under the able guidance of Pt. Arvind Mulgaonkar for the last 15 years.
“Peshkar has a number of interesting characteristics. It often uses interesting counter-rhythms (layakari) and has a fully developed process of theme and variation. If the process of theme and variation follows the rules of kaida then it is called kaida-peshkar. Often substitution processes are used which, although logical, violate basic rules of kaida. In such cases it is simply referred to as peshkar.” -David Courtney (from http://chandrakantha.com/tablasite/articles/cyclic2.htm)
To add to Courtney’s description, there are a number of different approaches to peshkar stemming from one’s gharana. For example, Faroukhabad’s peshkar always expands from a set pattern of bols (tabla sounds) that is distinct from say, the Panjab gharana. All gharanas too, have their own aesthetic approach to expansions and variation. Furthermore, within this aesthetic there are individual nuances and additions that give peshkar its amazing depth and scope.
Within the Benares gharana however, the popular composition known as ‘Benares peshkar’ is treated more like a kaida.