Janmadin ki shubhkamnaye – Pandit Dalchand Sharma JI

11 04 2012

Pandit Dalchand Sharma

Today we are celebrating the birthday of the Great Pakhawaj Maestro of our time – Pandit Dalchand Sharma Ji.

Pandit ji is in Benaras now and will be performing in three days festival – Sankat Mochan Sangeet Samaroh.

We pray to Thakur Srinath Ji for your long and healthy life so that you continue to serve Nathdwara tradition of Pakhawaj and take it to higher levels of recognition.

Pandit Dalchand Sharma Ji’s upcoming programs – October ’11

12 10 2011

Following are the upcoming events where Pandit Dalchand Sharma Ji will perform in Oct’11.

Pandit Dalchand Sharma and Sri Ali Zaki Haidar

Oct 13 to 16 –

– Routes to India – at Geneva, Switzerland. Pandit Ji will perform with Sri Paul Grant (Tabla) & Sri Ali Zaki Haidar (Rudra Veena)

Oct 17th, 7 PM onwards

Haveli Sangeet – at India Habitat Center, Lodhi Road, New Delhi – Pandit Ji will accompany Acharya Gokulotsav Goswami Maharaj on Haveli Sangeet

Oct 23rd – 7 PM onwards

Sangeet Vibhuti – Organized by SA MA PA Society at India Islamic Center, Lodhi Road, New Delhi. Pandit Ji will accompany Pt. Phalguni Mitra (Dhrupad vocal)


Sangeet Gharanas – Origin

5 09 2010

In my upcoming posts, I’ll present more on the Gharanas of the Hindustani classical music. I’ll talk about how and why the gharans were formed, why and what is the importance of Gharanas and its development.

Indian music has seen various ups and downs since the primitive times. It’s a long journey which has impacted the music tradition with changing times. If we look at it from historic point of view, then the rise and fall downs of various kingdoms and royal family has impacted the lives and music of the musicians.
An artist is a human being and therefore is a social animal too and the impact of the society in which he moves is clearly visible on his art.
In the course of developement of music, the impact of sacred traditions from the times of Ramayana and Mahabharata, the stability of the hindu kings, extravagance and support to art of the Mughals, devotion of the saints, hard and disciplined life style of Marathas, colourful lifestyles of kingdoms, ignorance of British and freedom struggle is clearly visible on the present state of our music traditions.
Its evident from history that whatever an artist has learned or received over the ages, he has carefully presented it further to the society, this is how the gharans are nourished since ages and with the change in time, the impact is further visible.

Origin of Gharanas –
There is no fixed and firm evidence available which defines a set time of the origin of the gharans, however the various books published in this regard tells us that the Gharans came into existence only around two or three centuries back.
If we look at the dhrupad tradition, there were four different vanis present, before dhurpad, there were bharat mat, shiv mat, hanumant mat & narad mat existed which are synonyms of gharanas only, therefore it’s not correct to think that Gharanas originated only two or three centuries ago.

To be Contd….

Great Pakhawaj Maestros

8 11 2009

I was reading about the other gharanas and maestros of Pakhawaj and I think it will be another topic of interest for the readers, especially the instances which are ‘supernatural’ and are also recorded at various sources. For example, Kudau Singh Maharaj throwing pakhawaj in the air while playing and producing thaap on it or again Kudau Singh Maharaj controlling a mad elephant by playing pakahwaj.

There are numerous such instances in the history of Pakhawaj which are beyond our understanding and logical approach. The explanation of such instances are either with the pakhawaj player or with the Lord himself.

There is one such instance which is recorded in the pothi of Pt. Cheda Ram Ji of Mathura. Kudau Singh Ji was appointed as the pakhawaj player of the Datia Darbar. During this period another pakahwaji, Babu Jodha Singh Ji went to Datia and challenged Kudau Singh Ji. The competition went on for seven days and it was difficult to take a decision because Babu Jodha Singh Ji also was a brilliant pakahwaj player.  Therefore to save his reputation, on seventh day, Kudau Singh Ji prayed to Goddess Kali for help who was very kind on him. Goddess inspired him to play a magnificent chakkardar paran which had three dha in it. Kudau Singh Ji while playing this paran in the darbar, threw up the pakhawaj in the air after stroking two dha and third dha resonated automatically while the pakhawaj was still in the air. Babu Jodha Singh Ji tried to play this paran but obviously could not do so and got defeated.

According to Acharya Brihaspati and Hakim Mohammad Karam Emam, this instance happened at the Lucknow Darbar and not Datia however this is sure that this instance sure did happen but how? Is it not supernatural?

Pakhawaj Today

12 10 2009

There are questions which keeps on ringing in my mind over and over again…what will happen to pakhawaj after say fifty years? Will it be able to survive? If yes, then will it remain in its the pure form? Certainly no one knows the future for sure.

I was recently reading an interview of Vidushi Kishori Amonkar Ji, she mentioned that ‘she has no expectations from any of her disciples if they would be able to carry her legacy forward, she does not see that passion and patience required to master the delicate art of Indian classical music in the present generation’ I’m sure, like her, many other artists and gurus are also worried. There are hardly any takers of this knowledge, if there are any, they either lack time or patience or both.

I was also surprised to see the number of videos available on youtube and other similar websites post by “pakahwaj players”…only few of them carry any quality or knowledge. There are people who are struggling to produce a clear “thaap” or “dha” or are either playing tabla compositions or bols on pakhawaj. There is a lot of work to be done to bring forward the real talented artists, popularize this instrument and above all…keep it alive and resonating for years to come….Jai ho!

Concert at Geneva

1 10 2009

Here are few pics from the last year concert at Geneva. Pandit Dalchand Sharma Ji has accompanied Ustad Asad Ali Khan Sahab (Rudra Veena)

Ustad Asad Ali Khan Sahab

Ustad Asad Ali Khan Sahab

Audience at the concert

Audience at the concert

Pandit Dalchand Sharma and Ustad Asad Ali Khan Sahab

Pandit Dalchand Sharma and Ustad Asad Ali Khan Sahab
Pandit Dalchand Sharma and Ustad Asad Ali Khan Sahab

Pandit Dalchand Sharma and Ustad Asad Ali Khan Sahab

Pandit Dalchand Sharma and Ustad Asad Ali Khan Sahab

Pandit Dalchand Sharma and Ustad Asad Ali Khan Sahab

Nathdwara Parampara – Speciality

19 09 2009


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.


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