Comparative Analysis of Compositions and Playing Style of

Ajrada and Farrukhabad Gharana

To understand the subject of the thesis of the researcher, it is important to

study the baaj and playing style of Ajrada and Farrukhabad gharana. The

development of various baaj or development ofits playing style is actually associated

with make of a tabla. The sound and rhythm of tabla changed over the years as there 

was a change in its construction over the years.

These new baaj were originated to comprise all these specialties that have 

developed over the years. This can understand as during the initial creations ofcompositions of Delhi gharana. Bcinya was smaller and danya was bigger. Due to this

it was appropriate to keep less sound of bcmya.

However, with increasing size of bcmya, it was possible to bring novelty by 

indentifying its sound. This resulted into more use of bcmya in Ajrada gharana.

Initially the players of Lucknow gharana used to play thapiya bacij, when they heard 

compositions style of Delhi gharana for the first they were influenced with it and

adopted that style by doing required changes in it and started using lau in place of

thap.

After this playing style with lau and chant was blended according to the

requirement of the understanding and imagination of the player and with the

combination of khula (Eastern) and bandh (Western) bacij the playing style of

Farrukhabad gharana was established. In this manner the playing style of Farrukhabad 

and Ajrada gharana was established. We will do the comparative study about baaj and

compositions ofthe playing style ofAjrada and Farrukhabad gharana.