This resource is a labour of effort, dedication and devotion to one of the major recognised schools of traditional tabla playing known as the Punjab Gharana.
The term gharana can be summarized as a symbol of stylistic tradition or a school of thought by which a musical style is preserved within a family and passed down from one generation to the other. In terms of traditions of solo tabla performance, it is widely recognised that there are six gharanas each representing a distinctive style, technique and repertoire, namely; Delhi, Ajrada, Lucknow, Farrukhabad, Benaras and Punjab. Each gharana is named after a city, town or region of where its founder hailed from.
Over the course of past 50 years, the tabla has attained huge popularity and mass appeal mainly due to the efforts of the late Ustad Allah Rakha and his precocious son, Ustad Zakir Hussain in projecting solo tabla to a global audience. Although both maestros are icons of the Punjab Gharana, there is a lack of understanding and awareness of the tradition they represent. The majority of analysis and consensus on the stylistic features of Punjabi tabla is simply constricted to both these remarkable musicians.
With the creation of this blog, we aspire to share our thoughts on this stylistic tradition and its wonderful practitioners. Music is an evolving entity and the opportunity for knowledge never ceases, we would therefore welcome suggestions, comments and words of wisdom from you all.
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I was curious as to the differences between the Lahore and Qasur styles, and also I was curious as to how the dus-ungliyon ka tabla style came about, and the dates for the ppl involved
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