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Download e-book AE MOHABBAT… Reminiscing Begum Akhtar (1)
Long-time member. Redeem your points Conditions for uk nectar points - opens in a new window or tab. No additional import charges on delivery. This item will be sent through the Global Shipping Programme and includes international tracking. Learn more - opens in a new window or tab. She would wake up at 4 a. Her poor mother would stretch the family budget to the utmost to see that her gifted daughter got plenty of nutritious food. Ustad Ata Mohammed Khan of Patiala was her second guru.
She took some time to get the hang of the komal swar s minor notes. He made her practise for hours on the kharaj and do swar abhayas voice culture step by step, each note gliding from one swar to another in ascending and descending order and rendering each note with an enduring sa, re, ga. Ata Mohammed Khan taught her Gumkali for three months. He then taught her another raga, the pentatonic Deshkar. He first taught her asthayi first phase of the composition and then antara second phase of the composition. He also taught her to improvise in many ways from dhaivat to shadj, that is, from the sixth note to the first.
Bibbi was encouraged to use her imagination to improvise. Ata Mohammed Khan gave her a thorough grounding in the basics and prepared her for bigger things. She did that later while rendering light classical forms, and her renderings were full of bhava and wisdom as she grew older and became less dependent on virtuosity. By the time she reached her third teacher, Behre Wahid Khan Saheb, the venerable master of Kirana Gharana, Akhtari was a young woman of immense talent and musical maturity. He gave her a nuanced grounding in Khayal singing. But she knew that her real vocation lay as a light classical singer.
Though she sang thumri very well, in this genre she was surpassed by both Rasoolan Bai and Siddeshwari Bai. Her forte was dadra and ghazal.
In these two forms, she was peerless. In the later part of her life, after her marriage to Ishtiaq Ahmed Abbasi, the quality of the ghazals she sang improved dramatically. How she managed all this was a mystery. She had little formal education but a highly developed aesthetic sense which would be the envy of the most sophisticated, well-read members of the privileged class. She also brought to the fore poets like Shakeel Badayumi, who wrote about everyday emotions and amorous experiences with style, and promoted younger, more populist poets like Sudarshan Faqir and Shamim Jaipuri.
She had the ability to dignify and elevate relatively lesser-known poetry and bring out the nuances of seemingly ordinary verse that the lay reader was most likely to miss. Her great strength was her adaptability.
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