If we consider thumri numa raags like Piloo,Khamaj,Tilakkamod etc. Vilambit Gat is
usually omitted unless one has the mijaz and capability to develop light classical music
vistar. Otherwise what you mention would be correct. However don’t forget that
classical music is governed by munde munde matir bhinna
Q52
Namaste Guruji. Similarly if we choose to play a madhyalaya gat instead of, or followed
by the vilambit, I guess the speed will be determined by one's ability to play tans in
double lays. Is this right? Thanks and regards
Noted. In other words, these should be regarded as mere guidelines, to be finally
adopted to suit one’s temperament and ability. Is this correct?
Absolutely
Many thanks Guruji for all these responses. Pranam and regards
Guruji, is this what and why musicians refer to as Zinda laya?
My further query in this regard and Guruji’s answer…
In regards to what Suvarna didi has asked…the tempo of madhya lay is also dependant
on the character of the gat.. isn’t it?
The character of the gat has to be in synch with the tempo. In other words the player
has to be talented enough to ensure that both the tempo and the gat are good friends
Suvarna- The concept of Zinda lays applies to all levels of tempo as a result of an
unconscious understanding between the player and his accompanist- tabla player –
which is apparently absent when a machine is used.
Aptly explained. Pranam