Peshkar

Pesh is a Farsi word which means to present, presented (offered) or in front of. Peshkar word is formed
from this. Some of its qualities are similar to Kayada, as keeping in mind the Taal and Tempo, Peshkar
can also be extended/ improvised.

A Solo Tabla performance begins with Peshkar in all gharanas except Benaras.

By presenting Peshkar a performer shows the skill and expertise with tabla phrases and rhythms. Its
rhythm of the composition typically sways in unequitable fashion. The performer uses the group of
words like - DhikdaDhinta, TrakaDhinta, KidaNaka, TinaKena, DhatiDhaGe, DhaDhaDhinta etc. in
his/her performance. During improvisation, bols of Aad (Adi) Laya are utilized, e.g. DhinDhinaGina,
DhaGeTirKit, DhaGeTit DhaGe, etc.

The Peshkar composition is played with the aid of different bols in various tempo and which keeps
expanding with accents and emphasis at various points. This gives scope to freedom of thought, and
improvisation via creativity embedded with the Khali, the Bhari and the Khand components.

In Peshkar, there are very few restrictions compared to Kayada. While presenting this, divisions of the
Taal, artistic use of various bols, its rhythm, expertise of the presenter etc. should be kept in mind. In a
vocal recital, the singer introduces a particular Raag with its Aalaap. Similarly, while presenting a Tabla
solo, the presenter begins with a Peshkar.

Ustad Zakir Hussain is known for his unique style of Peshkar which begins in vilambit laya, then played in
different tempos (Dugun, Aadi, Tigun etc.), expanded and improvised via Tihaai and use of Layakari
(mathematical calculations).

Peshkar can be considered to represent the personality and own thought and lineage of a Tabla player. It
is an individual composition that can be expanded per the rhythm, knowledge of words and the gharana
one belongs to.