Shahid Parvez

Ustad Shahid Parvez


About this album

An undisputed virtuoso amongst the sitarists of the younger generation, Shahid Parvez hails from a traditional family of sitar and surbahar players. The Etawah gharana, to which he belongs, has given us masters of the order of Ustad Imdaad Khan, Ustad Inayat Khan and his brother, Ustad Wahid Khan, Shahid's grandfather.

Though catholic in imbibing influences, Shahid has been trained primarily by his father, Ustad Aziz Khan. Besides the sitar, he has also received instruction in vocal music and tabla. Despite having begun public performances at a very young age, Shahid has never taken his genius for granted and remains ever diligent towards his riyaz (practice).

In more ways than one, this deep seated sense of balance manifests itself in both his person and his playing. Just as his underplayed personal profile provides a perfect foil to his musical brilliance, his musical style, too, maintains a judicious blend of both the main styles of sitar playing: the gyaki (vocal) and the tantrakari (instrumental).

Raga Deshkar
Alap, Gats in jhaptala and teentala
A late morning raga, Deshkar has a pentatonic structure. To distinguish it from the evening raga Bhoopali, which also uses the same note structure, its vadi is the dhaivat (natural sixth) as opposed to Bhoopali's gandhar, (third) and its elaboration is done in the second half of the octave. Shahid's rendering of this raga establishes the mood of Deshkar by stressing on the dhaivat unambiguously. After introducing the raga in a short, evocative alap, he plays two khayal - type gats set to the jhaptala and teentala.

Raga Dhani
Alap, Gat in madhyalaya rupaktala
A late afternoon raga, Dhani is a pleasant derivative of the Kafi scale, obtained by omitting the dhaivat (natural sixth) from Bhimpalasi. With the shadaja (tonic) and the pancham (fifth) as its vadi and samvadi, it has a folksy lilt to it, which distinguishes it from the more sombre Bhimpalasi. Shahid plays a medium paced gat set to the tala rupak in this raga, exhibiting in the process its whole musical potential and range of moods.

Raga Yaman
Alap, Gats in vilambit and drut teentala
Yaman is the king among the evening ragas, a major manifestation of the kalyan scale. A sampurna raga, with all seven notes, it employs the teevra madhyam (sharp fourth) and revolves around the consonance of the gandhar (natural third) and the nishad (natural seventh) - its vadi and samvadi.

Shahid has unfolded the raga in a systematic manner in the alap, highlighting its vital note combinations and their innate balance in the upper and the lwer tetrachords. He then plays two gat compositions in vilambit (slow) and drut (fast) teentala, replete with passages of melodic grace and rhythmic complexity.


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