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Pandit Mohan Shyam Sharma (पखावज के विद्वान पंडित मोहन श्याम शर्मा)
Pandit Mohan Shyam Sharma is one of the leading Pakhawaj players of India. He learnt the pakhawaj from Pandit Tota Ram Sharma of Mathura. Pandit Mohan Shyam Sharma started his career as an accompanist with the junior Dagar brothers and toured with them, and with Ustad Asad All Khan extensively in India and abroad.
The specificity of his playing lies in his handling of the techniques of accompaniment. It is marked by his imaginative variations anticipating on the singer's variations while keeping up the required coordination and respecting the mood of the raga. He has a personality of his own and yet blends in the performance.
He has given workshops and solo performances. He has been recorded in solo by India Archive Music Limited. He has also made a name for himself as a very talented teacher in the guru-shishya parampara style of teaching and has many students, Indian and foreigners. He has appeared on a number of CD recordings in India, Switzerland, England, and the USA.
Contact Information
Pandit Mohan Shyam Sharma
House No. 13 B, Gali No. 21 A
Molarband Ext. Badarpur New Delhi, 110044 INDIA
Contact:
+911129893913 +91119810487991 |
An August 2006 interview in The Hindu: Drumbeats from heaven.
Recordings
Pandit Mohan Sharma has accompanied numerous leading vocal and instrumental indian classical musicians, including the dagar ensemble with Ustad Wasifuddin Dagar.
An incomplete list appears at dagarvani.org here.
His first solo recording published by Underscore records is available here.
Another solo recording with India Archive Music, New York, will be available later this year.
Multimedia
New recordings from 2011 appear below. Archived older recordings are in the recordings page.
The pakhawaj is an Indian barrel-shaped, two-headed drum. It is the only accepted percussion instrument in dhrupad and is also widely used as an accompaniment for various forms of music and dance performances.
The alphabet of Pakhawaj
The alphabet of the Pakhawaj is composed of the following thirteen distinct sounds (पखावज के यह तेरह):
Letter | Descriptive Image |
1. tA (१. ता ) | |
2. di (२. द) | |
3. thu (३. थू) | |
4. n (४. न) | |
5. ti (५. त ) | |
6. T (६. ट) | |
7. k (७. क) | |
8. kat (८. कत) | |
9. g (९. ग) | |
10. din (१०. दं ) | |
11. gi (११. ग) | |
12. N (१२. न) | |
13. dha (१३. धा) |
Common beats or rhythm cycles
Various time cycles of pakhawaj are composed from this alphabet. During a performance, a time cycle (or beat) is composed of Theka, Upaj, Paran, Rela and Chhand. Every time cycle is composed of a certain number of beats. For example Chautal, a common dhrupad time cycle consists of 12 beats. Theka, Upaj, Paran, Rela, and Chhand in chautal are therefore played in 12 beats.
पखावज कR SवTभVन तालX इVहZ तेरह अ�र[ को Tमला कर बजाई जाती ह� | कायabम[ के दौरान इdछक ु ताल का ठेका, उपज, परन, रेला, और छंद बना कर बजाया जाता है | हर ताल कR मा$ाएँ तय होती ह�| जैसे चौताल १२ मा$ा कR ताल है | अतः ठेका, उपज, परन, रेला, और छंद सभी १२ मा$ा मX बजाये जाते ह� |
Improvisation during concerts
If a portion of the Upaj is repeated three times, its called a tihayi. The performers use the tihayi for synchronization. Arrival at the start of the time cycle together by the performers is often appreciated and applauded by the audience.
उपज का एक भाग अगर तीन बार दहराया ु जाए तो उसे 9तहाई कहते ह� | गायक और पखावजी दोन[ 9तहाई पर एक साथ आते ह� | इस तरह जब यह जगलबंदZ ु सम पर आती है तो बहत ु अdछा pतीत होता है और qोता इसका pोतसाहन करते ह� |
Theka
Upaj
Paran
Rela
Chhand
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