Nathdwara Parampara – Speciality

Following are few points which are unique and are special in the playing style of Sri Nathdwara Gharana and which gives this Gharana a separate identity.

— As per Pandit Dalchand Sharma Ji, melody and tone clarity is given a lot importance. I’m not allowed to play anything extra till the time I master the thaap. Its the most difficult part to master for a pakhawaj student.

— Instead of tit, kita or kiti is used more prominately in this gharana. For example – dha kit tak, ta kit tak, kita tak thun thun, kradhet tit kind of bols are used effectively and frequently

— The style is different from the Nana Panse Gharana (which is soft and soothing) but similar to that of Kudao Singh Gharana (which is full of energy and forceful).

— One can also observe the system of playing ta on left and ka played on right hand which appears to be different from other paramparas.

— ta, din, thu, na, kita, tak, ga-di-ga-na are used for the preliminary practices. Here is a small exercise that I’ve learnt from Pandit Ji

ta ta ta ta thun thun thun thun |    din din din din na na na na | etc.

— The use of dhin naka is very prominent and important and is the special feature of this gharana. Its used more than its used in any other gharanas.

Please note that the bols or strokes mentioned in the post are pakahwaj bols, please refer to few of the videos added on this blog to listen to the samples.

Pakhawaj Solo by Pandit Dalchand Sharma

Sensational “dhuma kita ka baaj”, the very essence of Nathdwara Gharana.

In my next posts, I’ll write more about the Nathdwara Gharana and the style of pakahwaj playing.