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Ok so let’s compare the stats of Virat Kohli, Babar Azam, and Fakhar Zaman.One Day InternationalsVirat KohliSo it’s clear that this batsman has played most of his matches outside India. His away average is also excellent. He has played many matches in SENA(South Africa, England, New Zealand, Australia) countries and scored a good amount of runs. 21 away hundreds. 58.32 away average. I mean it’s quite remarkable. I don’t see any modern day batsman as great as him in this format. His consistency has been great. Scoring hundreds is easy for this guy. In the recent few years, he alongside with Rohit Sharma is responsible for all the 300+ chases by India.Some records held by KohliFastest to 8000 ODI runs.Fastest to 9000 ODI runs.Fastest to 10000 ODI runs.Only player to hit three consecutive hundreds against two oppositions(Sri Lanka, Windies).Most number of hundreds while chasing.Fastest to 1000 runs in a calendar year.Most runs in a calendar year as captain(1460 in 2017).Most occasions of scoring 300+ runs in a bilateral series(6 times).The first batsman in ODI history to go past 500 runs in a bilateral ODI series(against South Africa in 2018).and many more.2. Babar AzamHe has played 17 matches in U.A.E.and 1 match in Pakistan and has scored 958 runs at an average of 68.43 in U.A.E. and 54 runs in Pakistan. His away record is not that good. He has played 33 away matches and has scored 1117 runs. Overall his numbers are good yet his away record is not great. I don’t see him breaking Kohli’s records in the One-dayers.3. Fakhar ZamanHe has played only 23 matches. Although his number seems to be pretty good yet you cannot ignore the fact that he has scored 515 runs against Zimbabwe in 5 matches. if we ignore this, then he has scored 606 runs in 18 matches(pretty average). He hasn’t played much in SENA countries, To be true he was not impressive in the Asia cup too. Although he was the fastest to 1000 runs yet I don’t see him breaking other records and I don’t think he will be able to break Kohli’s records.Test MatchesVirat KohliVirat Kohli’s numbers are pretty good in tests. He’s getting better with time. I remember he had an average of approx 44 three years back. His England tour of 2014 was one of the poorest tours by any batsman(especially of his caliber). But boy! he has improved greatly. He completely dominated recent England tour.593 runs. I mean that was incredible. He was the highest run scorer among all the players of both nations in both the tours- in England and South Africa(being an away overseas tour that was incredible). He is completely dominating this form of the game too. As compared to other legends his record is good but not that great to be honest(because initially, he was not that good in test cricket). Among all the current player I will only rate Steve Smith above him in the Test match cricket.Some records held by KohliOn 5th October 2018, Virat Kohli became the first captain to score 1000+ Test runs in three consecutive years.Virat Kohli is the fastest to 4,000 runs as captain in Tests. He got there in just 65 innings, beating the previous record of 71 innings set by West Indies' Brian Lara.On 20th August 2018, Virat Kohli became the first captain to make 200 runs in a Test match for the tenth time. Brian Lara and Ricky Ponting are next best with seven such performances each.Kohli is the first batsman to score 4 double-centuries in 4 consecutive Test series.The India captain became the only Test skipper in history to score three hundred in his first three innings as captain.Virat Kohli has scored six double hundreds as a captain, the most by any captain. He overtook Brian Lara's record of five double tons.and many more2.Babar AzamNo comments. Nowhere near Kohli3. Fakhar ZamanOnly one match. That too in home ground. Just like Prithvi Shaw, it's too early to say anything.T-20 InternationalVirat KohliVirat Kohli was a great player in the t20’s. I remember 2 years ago he averaged 58 despite playing more than 35 t20’s. But his recent performance in the t20’s in not that good. He has lost his magical touch in the t20. I guess his success as an opener in the IPL compelled him to open for India. Since then, he tried to open for India and has failed considerably. Although his numbers are still great, still I can say that his performance has declined a little bit in the t20’s.Some records of Kohlimost fifties in t20 international cricket(18)2. Babar AzamBabar Azam in t20’s is a great batsman. Although his strike rate is not that good for t20 ’s still you can’t ignore his numbers, they are great. You can probably say that he has played most of his matches in the home ground(Pakistan 7 and UAE 11) still those numbers are excellent. he’s already the fastest to 1000 runs in t20’s breaking Kohli's record by one inning(Babar Azam 26 innings). Well, currently I rate him above Kohli in the t20’s as he has been brilliant in the previous two years while Kohli has struggled a little bit. He can definitely break Kohli’s records in the t20’s.3. Fakhar ZamanNo comments. He has also played most of his matches in home conditions and his record is not good. Clearly, he is way below Babar and Kohli’s standards in the t20’s.To sum up, Kohli has been great in all the formats. His overseas record is also very good. He has been consistent for a very long time. Scoring in home conditions and in one format is easy. But to perform overseas as well as performing good in every form of the game makes him special.His test and One-day record are in no danger especially by these two batsmen. In t20’s Babar will break his records(probably).Peace.Sources-Google,msn,sportskeeda,espncricinfo.image sources-HowSTAT.

Hi All,Three Indian batsman did the country proud by winning the purple cap Sachin Tendulkar in 2010 ,Robin Uthappa in 2014 and Virat Kohli in 2016 .David WarnerThere are quite a few in the fray for wearing the orange cap this season but the favourite could be David Warner the prolific Australian left handed opener who plays across all three formats for Australia , didn't play in 2018 IPl for reasons after being banned for ball tampering ,the purple cap holder Of 2015,2017,2019 could have got a Hat -trick of purple caps had he played in 2018,played 12 matches in 2019 scored 692 runs at an impressive average of 69.2,In 2017 also he averaged 58.27,IPL average of 43.17 playing since 2009.K L RahulKL Rahul the kings eleven skipper also could be a leading contender since he has performed consistently ,played 14 matches scored 593 runs averaging 53.91in 2019,his average was decent in 2018 also 54.92 .didnt play in 2017 due to a shoulder injury,was in excellent form in the last T-20 and ODI against New Zealand in 2020,will be looking forward to carry the same form into UAE,him being appointed as the captain this year and opening alongside Chris Gayle could be motivating him for more.Virat kohli the Highest run getter in IPl and the orange cap holder of 2016 is a prolific run scorer in all formats and for all teams, can bounce back after an ordinary season in 2019 IPL averaging 33.14 after a solid performance in 2018 played 14 matches and scored 530 runs at an average of 48.18,Going by his standards the New Zealand series was also not upto his potential,will be raring to go in UAE.Rishab PanthRishab Panth can express himself under Ricky ponting and Shreyas ,is young and experienced as well .last year he finished seventh in the batting list scoring 488 runs in 16 games at 37.54,lost his place to Wridhiman Saha in the test and KL Rahul in thr T-20 ,will be wanting to prove his critics wrong and redeem himself at UAE.There are also other worthy contenders like Shreyas Iyer , Shikhar Dhawan ,Andre Russell ,Jos Butler,Keane Williamson to name a few who can don the cap.If Suresh Raina comes back as he has indicated ,he could also be a very strong contender ahead of Rishab Panth here, trying to prove a point after all the issues the south paw master batsman has been surrounded with ,Raina had been very consistent in the entire IPL .Let the best batsman wear this cap!Image source: Twitter

This answer is excerpted from a longer paper on Blues tonality.There are several scales referred to as "blues scales." For present purposes, the blues scale consists of the following intervals: minor third, whole step, half step, half step, minor third, whole step. The C blues scale would therefore be the pitches C, E♭, F, F♯, G, and B♭. This is the most commonly used definition both among musicians and scholars, including Levine (1995), Harrison (2001), and Jaffe (2011). However, Jaffe adds the caveat that the blues scale is not a cleanly defined scale, but rather a pedagogical convenience, the most prevalent pitches in a larger and more complex set common to blues practice. Whether or not it is a "true" scale, the blues scale as defined above is certainly a richly generative one for creating a sound that registers as blues.Some authors describe two distinct blues scales, a "major" and "minor" blues scale. Jaffe defines the “Major Blues scale” as the sixth mode of the standard (“minor”) blues scale. The C Major Blues scale would be C, D, E♭, E, G, and A—the sixth mode of the A blues scale (35). Greenblatt (2005) uses the same definitions of the minor and major blues scales. Sutcliffe (2006) concurs that there is not a single blues scale. Instead, he understands blues melodies as deriving from the major scale with a flattened third and seventh, i.e., the Dorian mode. However, Sutcliffe also describes blues melodies as including both the major and minor third scale degrees. He further describes a ‘Blues Pentatonic Scale,’ his term for the minor pentatonic scale played over a dominant seventh chord. Intriguingly, he also describes ♭6^ as “an additional blues 3rd against the major subdominant chord” (n.p.).Blues practitioners use all of the above scales and more. Nevertheless, it is useful to define a singular blues scale, in the sense of Jaffe's pedagogical convenience. While there are many scales used in the blues, we do not need a special term for those scales that are already well-described using standard terminology. Rather than calling the minor pentatonic scale and Dorian mode "blues scales," we should simply use their existing names, and reserve the term ‘blues scale’ for the unique entity described above.There is less of a need to define a distinct ‘minor blues scale,’ since minor-key blues has merged in modern practice with minor modality generally, to the point of the two being coextensive. John Coltrane’s “Equinox” (1960) is a classic example of minor-key blues."Equinox" uses the characteristic minor blues subdominant, ♭VI7, which is comprised “almost exclusively” of the blues scale notes (Jaffe 2011, 37), and can be used in any major or minor-key tune to impart blues feel.If the blues scale is a disputed term, the "blue note" is even more so. We must distinguish between blues scale notes (♭3^, ♯4^, and ♭7^) and blue notes (microtonal pitches that lie between the piano keys.) Theorists and practitioners alike frequently and incorrectly refer to ♭3^ and ♭7^ (and sometimes ♯4^) as blue notes. Quite a few theorists use the term "blue notes" both for microtonal and piano-key notes. For example, Turek and McCarthy (2013) define blue notes both as the equal-tempered ♭3^ and ♭7^, and, later, as “pitches, most notably the third and seventh scale degrees, slightly flatter than their equal-tempered counterparts” (593). Stoia (2013) is one of several theorists who describe the "blue third" both as being minor, and as lying between minor and major. These contradictory usages are needlessly confusing. We can avoid confusion by reserving the term "blue note" exclusively for microtonal pitches.Blues musicians treat pitches “as mobile, unstable units instead of treating them as discrete points in a scale” (Tallmadge 1984, 155). Should we consider blue notes to be stable units, of equal significance to the blues scale itself? Or are they best thought of as embellishments, the consequences of blues musicians’ pitch play?The most commonly referred-to microtonal blue note in the literature is the "neutral" third, the pitch lying mid-way between ♭3^ and 3^. Van der Merwe (1992) asserts boldly that, in blues practice, “[i]nstead of the major and minor thirds of the printed page, most of the thirds will be neutral in actual performance” (123). Furthermore, he observes that the third is not the only microtonal note in common blues usage. Several other pitches can be flattened by a quarter tone or a full semitone: “The degrees of the mode treated in this way are, in order of frequency, the third, seventh, fifth, and sixth” (119). These are empirical statements that might or might not be substantiated through analysis of recordings, but van der Merwe does at least categorize the blue notes consistently as microtones.Titon (1977) believes that blue notes should be included in the basic definition of the blues scale. Using a corpus of recordings of “downhome” or country blues made between 1926 and 1930, Titon identifies the set of the most commonly occurring pitches as the “downhome blues scale” (155). The downhome blues scale in C consists of the following pitches: C; D; E complex (E♭, E, and two distinct intermediate pitches); F; G complex (F#, G and one distinct intermediate pitch); A; B complex (B♭, B and one distinct intermediate pitch); C’; D’; and E’ complex. Titon maintains that the scale should span a tenth rather than an octave, because the blues musicians in his study treat the lower octave differently than the higher one. He identifies this practice as the basis for the bluesy sound of the 7#9 chord, with ^3 in the lower octave and ♭3^ on top. Titon also tallies the most frequent movements from one blues scale pitch to another within his corpus, and proposes a generative system for blues melodies by cataloging melodic contours derived from them.Weisethaunet (2001) sees blue notes as a central component of blues tonality, but is reluctant to define them so strictly. In his view, blue notes are a consequence of performers' pitch play. Rather than viewing them as distinct entities, Weisethaunet argues that we should understand blue notes to be inseparable from the other expressive devices comprising the feel of the blues.[I]n blues performance every note may be bent or altered, but in different ways depending on style and how such notes appear in the harmonic texture. One of the most frequently heard ‘blue notes’ as regards pitch discrepancy in post-war electric guitar playing may be that of the bent fourth: this is commonly bent to include different pitches between the fourth and the fifth (and higher pitches as well). The second (which does not even appear in what scholars have named the blues scale) also seems to be a very common ‘blue note’ feature of most blues guitarists’ repertoires: moving between the second and the minor third in innumerable ways. In fact every note of the twelve-tone chromatic scale may appear in a blues tune, possibly also as ‘blue notes’, because microtonality, attack, and timbre variation are such essential parts of blues expression (101).Is Titon correct that there is a finite number of blue notes that can be formalized into a scale, or should we be convinced by Weisethaunet that the entire pitch continuum is available to blues musicians, making it impossible to define a discrete set of blue notes? For the sake of pedagogical clarity, perhaps we should take the view that the blues scale is more than a straightforward set of equal-tempered piano-key notes; rather, that it is a group of islands in the midst of the pitch continuum, home bases from which to explore the surrounding microtones.Tagg (2009) is one of many authors who explain the blues scale as an extension of the minor pentatonic scale. Harrison (2001) posits that the blues scale descends from the minor pentatonic scale by adding a chromatic "connector" between 4^ and 5^ (35). These theories are reasonable enough, but they do not explain why such minor sonorities came to be used over major chords in the first place. Jaffe (2011) moves closer to an explanation by surmising that the blues scale emerged from the practice of flatting the diatonic 3^, 5^ and 7^—in blues, these pitches can either replace or coexist with their diatonic counterparts. Characteristic jazz sonorities like 7#9 would then emerge out of superimposition of the flatted diatonic scale notes onto the diatonic I, IV and V chords (37).A more complex explanation of the blues scale can be found in van der Merwe’s concept of the African-descended "ladder of thirds" (1992). By this theory, the blues scale originated by stacking minor thirds above and below a central pitch. Adding a minor third to the tonic gives the blues scale’s ♭3^, and adding another minor third gives #4^. Adding a minor third on top of the major triad gives the blues scale’s ♭7^. Van der Merwe supports his theory with the observation that in blues, the minor third interval has a similar function to the leading tone in Western tonal theory. In blues melodies, ♭3^ can be heard as resolving down to tonic, and 6^ can resolve up to tonic.Kubik (2005) has observed that listeners to certain field recordings from various regions in Africa find them to be particularly "bluesy," and that those recordings share particular musical properties.I discovered that in many cases, the impression was created by just a few traits that appeared in those musical styles in various combinations and configurations: (a) music with an ever-present drone (bourdon), (b) intervals that included minor thirds and semitones, (c) a sorrowful, wailing song style, and (d) ornamental intonation. Songs with a prominent minor seventh in a pentato hexatonic framework also sometimes received this designation, as did pieces that featured instrumental play with a clash between a major and minor third or with a specific vocal style (191-192).Kubik therefore sees blues and jazz as the effort of black musicians to recreate African tonal practice on instruments designed for European scales. Specifically, the African practices he believes to have led to the blues include the "span" process (a kind of harmonic parallelism), the use of equiheptatonic tunings and scales, and tuning systems derived from the natural overtone series.African practices are not the only plausible roots of the blues scale. Various European folk musics, particularly those of the United Kingdom, use thirds lying between the equal-tempered minor and major thirds. The "ladder of thirds" is also common to British folk music. It is quite possible that the myriad African musical practices imported to the United States by the slave trade became established due to the “catalytic influence” of British folk styles over the course of the 19th century (van der Merwe 1992, 145). Given the hybrid nature of all other American music, we should expect nothing different for the history of blues tonality.ReferencesGreenblatt, D. (2005). The Blues Scales. Petaluma, CA: Sher Music Co.Harrison, M. (2001). Contemporary Music Theory Level Three: a Complete Harmony and Theory Method for the Pop and Jazz Musician. Harrison Music Education Systems: Hal Leonard Corp.Jaffe, A. (2011). Something Borrowed Something Blue: Principles of Jazz Composition. Advance Music GmbH.Kubik, G. (2005). The African matrix in jazz harmonic practices. Black Music Research Journal, 25(1), 167–222.Levine, M. (1995). The Jazz Theory Book. Sher Music Co.Stoia, N. (2010). Mode, Harmony, and Dissonance Treatment in American Folk and Popular Music, c. 1920–1945. Music Theory Online, 16(3).Sutcliffe, T. (2006). Appendix B: 20th Century Popular Music. Retrieved November 24, 2014, from Chord Progressions in Tonal Music.Tagg, P. (2009). Everyday Tonality. New York & Huddersfield: The Mass Media Scholars Press. Retrieved from Tagg.org.Titon, J. T. (1977). Early Downhome Blues: A Musical and Cultural Analysis (p. 318). University of North Carolina Press.Turek, R., & McCarthy, D. (2013). Theory for Today’s Musician (2nd ed.). New York & London: Routledge.Van der Bliek, R. (2007). The Hendrix Chord: Blues, Flexible Pitch Relationships, and Self-standing Harmony. Popular Music, 26(2), 343–364.Weisethaunet, H. (2001). Is there such a thing as the “blue note”? Popular Music, 20(01), 99–116.