We have often discussed the role of paltas with our students.
The average response of the students was that, due to regular and strict
practice of paltas, the voice / playing could achieve greater speed (tayyari) and
thereby improve the quality of one’s performance. Hence, the practice of
playing paltas has been considered to be a regular, indispensable part of riyaz.
We have heard stories of musicians practicing paltas for hours and hours
together for a long duration (chilla).
My question is how does practice of paltas improve the speed / quality of
expression? The normal answer would be that, it is a well-known fact that by
practicing paltas for long periods, one gets greater speed (tayyari).
My contention that is when one practices paltas, after a few executions, the
active mind starts wandering elsewhere whilst the voice / hand continues with
paltas. How does this happen? When the conscious mind is not focused on
paltas but is elsewhere, it is the subconscious mind, which takes over the actual
execution of the paltas. It is also noted that the execution becomes tension free
and hence easy and swifter.
It is when conscious and subconscious minds are applied together for execution
of paltas, there is tension and therefore it becomes a hindrance to achieve
tayyari. In my opinion therefore, if the real role of paltas is to enable the
musician to achieve speed, better quality etc., it will be possible through
bifurcation of conscious and sub-conscious minds. My theory therefore is that
conscious mind should create music and subconscious mind should execute.