Editor’s Note:
Since the publication of last month’s installment of The Vital Anjan, I lost my last surviving grandparent, my Nānā. Each of my four grandparents—by their deeds, conversation, ideas, habits, memories, skills, and virtues—contributed in their own way to my understanding of GurSikhī’s excellences and of the GurSikh community’s struggles. This journal sprang to life from the gift of such formative relationships, so I thought it would be appropriate to offer something in its pages by way of memorial.
Upon reflection, it struck me that the most fitting, durable, and meaningful tribute I could offer here in celebration of their lives would be to share four of ‘my’ gat or tablā bōl-s or ‘compositions’ from the tradition of Indic classical percussion to which my Nānā first linked me. In the fullness of time, the digital nature of this journal may allow me to present video recordings of the same. Those unfamiliar with the incredibly rich tradition of North India’s classical percussion are encouraged to begin with the overview of its basic principles and significance to GurSikh mysticism published in this journal’s February 2021 essay.
Finally, given the sophisticated percussive grammar of Indic rhythm’s poetics, systematic development of percussive themes, and meticulous transmission of traditional repertoire and phraseology (for which I offer my maestro and all of my respected teachers over the years my deepest gratitude) I would hesitate to say that ‘I composed’ the bol-s that follow; the vocabulary of an explorer’s ‘discovery’—or even a Platonist’s ‘recollection’—better captures the experience of first encountering them in the course of my riyāz. It is an illusion, more generally, to believe that we created beings are capable of creation. We mortals live in the unending labor of comprehending and acting within the order inherent in the Creator’s handiwork. By the example of those who lived before and the inexhaustible gifts of the Maker do we learn of our own nature and the demanding path to unbroken happiness both here and hereafter.
I dedicate the compositions that follow to my Dādā jī, Dādī jī, Nānī jī, and Nānā jī,
Sardār Amrik Singh
(b. 1923 – Kohat, undivided India; d. 2016 – Alexandria, Virginia)
Sardārnī Pritam Kaur
(b. 1930 – Kohat, undivided India; d. 2020 – Alexandria, Virginia)
Sardārnī Mohinder Kaur Kohli
(b. 1935 – Quetta, undivided India; d. 2021 – Saratoga, California)
Sardār Pritam Singh Kohli
(b. 1930 – Pinanwal, undivided India; d. 2022 – Saratoga, California)
with loving gratitude.
Note on Notation:
Each of the four compositions is given by matrā in the Gurmukhī and Latin scripts. In the latter, I employ capitalization to denote distinct bōl-s (and in turn, strokes). Of course, musical notations, by their nature, indicate only the skeletons of the music. Indispensable nuances—as of nikās and vistār—are known through direct study. Even if I am able to share brief video clips in due course, these would serve as a basic illustration and introduce only a few of the improvisational byways latent in the compositions. At the time of publication, I am including an audio demonstration of the third composition. Inquiries about these compositions are most welcome at editor@vitalanjan.com.
I. Kaidā – Tiṅ Tāla, Vilaṁbita Laya
II. Dujjī Dhā Tīā – Tiṅ Tāla, Madha Laya
III. Relā – Tiṅ Tāla – Madha Laya
IV. Gat-Kaidā – Tiṅ Tāla, Vilambita Laya
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Nihal Singh