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Through
sheer determination, intense riyaz and conscious study, Shekhar has been
able to give a new-found expression to the sarod, which he terms as
,“TARANKAAR – BAAZ”. This presentation is unique and different from
the conventional style and his technical achievements are a revelation.
The basic character of this great instrument, is that it is best
suited for staccato abstractions, which is the conventional mode of
presentation of musical techniques. This is the only instrument in indian
music with a fretless steel-base used as a finger-board and is played with
the tip of the fingernail to produce a clear tone. The artiste, has
skillfully exploited all these advantages, and has thus unfolded several
aspects of this medium.
Tarankaar is an ornamental
technique comprising of pulling, hammering and sliding of the strings with
the left-hand to form this new found expression of the sarod.
“BADAA-KHAYAL” on the sarod has been unheard of in the past, but today it
is possible to present even taals like Jhoomra, Tilwada, Adachoutal and
ek-taal, all in an extremely slow tempo. Khayal-ang on the sarod is a
revelation. The Vistaar with its pauses tends to lend a very meditative
feeling and the Bedham-ghasit-taans (continuous sliding phrases) is a
treat to listen. The glides (ghasit-taans) have been stressed upon to lend
a variety of tonal and rhythmic sequences, akin to the gayaki-ang
(vocal-style). Although, the sustain of a note in a pluck instrument has
its limitations, the artiste often prefers to venture into the realm of
the dheema khayal-ang, (slow-tempo khayal) thus, lending an intense
vitality in the presentation, marked by a meditative, poetic style
creating a powerful raag-rasa.
This trend is not prevalent among
contemporary sarod exponents today. The raga-alaap has a positive
individuality around its framework without any departure from the
traditional concept of instrumentation. There are no compromises in
intonation in relation to the basic nature of our raga music. Yet, there
is a strong presence of a technical achievement.
Thus the New way
is the new expression in the art of sarod playing with intense vitality in
the presentation marked by a meditative, poetic style creating a powerful
Raag-rasa. This new presentation is very much akin to the folk-styles
practiced by the Andalusian Gypsies (1100 – 1400 A. D.). The new style is
also influenced by the Carnatic Classical music.
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