hbajpai wrote:The essence of my point was, as simple as a Peshkaar sounds and as effortlessly it appears to be executed, the underlying complexities are significant and should be accounted for. In my own vernacular, if Kaidas are banging on the drums then a Peshkaar is constructing music from the drums. It takes a higher level of maturity, exposure and musical understanding to learn and execute a Peshkaar. A Peshkaar is a personal, individual creative style and should be discussed and presented with critical appreciation in a structured format.
I feel, if one is to particularly discuss Peshkaar's then besides notating a subset of phrases, they also inherit the responsibility to present that discussion with musical criticality and in a structured fashion.
As should have been clear from the cd liner notes, LAK likes to improvise on the phrase Dha Dha Dina, and I myself had mistakenly thought that the long phrase (provided by Bruno Caillat in the liner notes) below the peshkar was another peshkar theme! As is turn out it (again from the liner notes included) it's a phrase that returns to again and again in various forms in his improvisation. The remarkable thing, once you listen to the except included on utube, is indeed its simplicity on paper, and seeming simplicity in execution, and yet the great musical interest it generates. It becomes an exercise in pure rhythm with a minimal use of bols.
p.s. perhaps you would do this forum a great deal of good if you yourself presented and discussed a peshkar "with critical appreciation and in a structured format" so that the rest of us can better understand what you are talking about. Perhaps you could even start with the peshkar from Latif Ahmed Kahn which, to my ears, is surpassingly beautiful. And why only perskars to be discussed that why? Why not Kaidas?