Pakhawaj Beat
Bhavani Shankar
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Name | Artist | Time | Price | ||
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1 |
Pakhawaj Solo In Slow Tintaal (16 Beats) | Bhavani Shankar | 17:07 | Album Only | View In iTunes |
2 |
Pakhawaj Solo In Fast Tintaal (16 Beats) | Bhavani Shankar | 28:11 | Album Only | View In iTunes |
2 Songs |
Customer Reviews
Spiritual beats
Bhavani Shankar was born into a distinguished musical family, beginning his study of pakhawaj and tabla at the tender age of eight. His father Pandit Babulalji was a renowned Kathak performer, a popular style of Indian classical dance, which specialises in intricate rhythmic patterns. He is a versatile performer who has accompanied many of India's finest musicians including Hariprasad Chaurasia and Shiv Kumar Sharma. In the last few years he has made his mark as a prolific composer for films and experimental fusion projects, his mesmerising performances with 'Shakti', alongside Zakir Hussain and John McLaughlin, have made him one of the most sought after percussionists in the world. Pakhawaj is considered as the 'king' of all Indian percussion instruments. It is traditionally associated with Dhrupad, an ancient style of singing full of religious and heroic themes. Before the emergence of the tabla in the eighteenth century, it was used to accompany the most popular Indian instruments of the time including the Veena, Rabab and Sarangi. Images of this majestic looking drum are depicted in ancient sculptures in some of the most famous temples in India. In the early hours of the morning Pakhawaj is often the first sound to be heard in the old temples, having the power to drive away all evil spirits. Pakhawaj is a horizontal barrel-shaped, double-headed drum. The smaller head on the right side is treated with a tar paste substance that keeps the head taut and high in pitch. The left side of the drum is treated with a substance called atta, a mixture of whole-wheat flour and water, freshly put on to the skin immediately before a performance. The paste helps to create the distinctive warm bass tone, which is unique to the instrument. The name 'pakhawaj' originates from the two words, paksha meaning side and baaj meaning to play. Together, pakshvadya became Pakhawaj, meaning an instrument, which is played from both sides. Compositions played on Pakhawaj are called 'bols', containing syllables derived from the ancient Sanskrit language. The four main sounds ta, dhit, tun, and nan are said to represent the four faces of God. The ancient poet saints used these bols in their poetic compositions, some of them like Kumbhan Das were highly proficient pakhawaj players themselves. These syllables have a lyrical quality and throughout his performance, Bhavani Shankar recites the syllables of the composition either before playing or simultaneously. The performance begins with a type of composition known as 'Strotra Paran'. The 'Strotra's or 'Stuti's, are metrically composed verses, sung in praise of different Gods. In this composition, there are references to the Hindu Gods Shiva, Shankar and Brahma, and their stories are integrated into a musical composition, which incorporates typical Pakhawaj syllables like 'takete' and 'tetekota godigine'. Throughout the performance, Bhavani Shankar is accompanied by Shishirchandra Bhatt on Harmonium, and Ikram Khan on Sarangi, who provide the 'lehra', a repeated melodic phrase that outlines a rhythmic structure of sixteen beats.
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