Mohan Veena

Methodology Followed:

Fingering Techniques of improving or modifying the quality of sound production in order to increase the aesthetic effects are emphasised.

Some of these embellishments are kana or grace notes, kampan or tremor, krintan or pizzicato, zamzama, meend or portamento or glissandi, Ladi( quick tremolo strokes) are taught with fine detailing in order to appreciate the subtleties involved in playing Sitar.

Similar ornaments also exist in the case of Sarod but involve slightly different techniques, since the latter does not have frets.

In Sangeet sadhana Gata ( vilambit and drut gat )compositions with khayal gayaki aanga are taught following a particular sequence which is broadly as i) sthayi, (manjh), Antara ii) dugun tan, iii) jhala with tan and tihai.

We follow the traditional aalap-jod-jhala-gat sequence. Instrumental renditions either follow the tantkari ang or the gayaki ang. Our String instrument teaching style follows Maihar Gharana ( Baba Allaudin Khan gharana), with considerable vocal influence.

It uses both khayal gayaki style and dhrupad ang in the rendition. Our Guruji is from Maihar Gharana and usage of all forms of taans like chhut and sapat tans, phirat, diri-diri tans, dhrupad style gamak Taans are practised here with finer detailing and demonstration.