Pakhavaj material

The following links are to video selections from a pakhavaj solo in chartal, played by James Kippen on tabla. Toronto, June 3, 2004. Lahra accompaniment: Anwar Khurshid (sitar). (Video courtesy of Margaret Walker.)

> Theka & badla hua theka
> Sath
> Mohra
> Chakradar
> Salami chakradar

Tabla material

> Gat

The following demonstrations were recorded by Lowell Lybarger in Toronto in 1997 during our first meeting, and before Lowell came to do his Ph.D. with me at the University of Toronto. He asked for numerous characteristic pieces of the Lucknow gharana, and for the fingerings and techniques used to play them. These selections were designed not for performance speed but rather to illustrate Lucknow technique slowly and clearly. (My children can often be heard playing in the background: this was a very informal recording session.)

Rela – A simple rela, but with intricate fingering and the subtle use of the sur in addition to kinar and siyahi.

Rang – A classic rang ("colour") of Lucknow, frequently played by Afaq Hussain. It is a type of rela with nothing but resonant bols.

Chal – Also called a chhand, this is by Wajid Hussain.

Chal – This is a variation on the above chal (chhand) by Afaq Hussain.

Gat – Ahmedjan Thirakwa used to play a similar gat to this, though the one here is apparently an old Lucknow version. The same gat is repeat four times, each time with a different ending.

Gat – A purabi gat, probably created by Ahmedjan Thirakwa, though it exists in several slightly different versions.

Farmaishi Tukra – By Abid Hussain Khan, it is the tihai that is farmaishi: in other words, the first time round, the first part of the tihai lands on sam, the second time round the second part of the tihai lands on sam, and the third time round the third part of the tihai lands on sam to end the piece.

Chakradar – By Wajid Hussain Khan.

Gat Tukra – Probably by Amir Hussain Khan, but this also exists in many different versions.

Gat – This is an old gat by Mammad Khan of Lucknow. It is widely known and often played, but rarely is it attributed to Mammad Khan.