Can content be extracted from a palta? and has? Further more are there paltas for techniques like gamak, meend, ghaseet, zamzama etc.
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? It is a well-known fact that by practicing paltas for long periods, one gets greater speed (tayyari).
[ANP says that this following section is a repetition. How should it be dealt with?]
My contention 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.
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.