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TablaBeatz

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Reply with quote  #1 
When writting out new compositions for me to play I think thoughtfully of my bayan fingering - and try to find a balance between what the performer uses / what I have learnt in the past / and what I find most comfortable.

I try my best to keep my bayan fingering consistent through out the composition.

I find sometimes if I havent played a composition in a while - I sometimes mix up the bayan fingering - and get confused between 1 or 2 finger use.

Does bayan fingering have to be strict and fixed ?
Some parts of compositions require Dhage as 1 finger then 2
Some parts of compositions require Dhage as 2 fingers then 1

1) is it unforgivable if I am not consistent with my fingering throughout the composition?
(I note that for all compositions I play I am very consistent - however its just the odd one or two compositions that I get tripped up sometimes and confused)

Any thoughts / input anyone??

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assingh

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Reply with quote  #2 
The forum members will be sharing more insight on it but I will share these two threads with you.

http://forums.chandrakantha.com/viewtopic.php?f=3&t=6758

http://chandrakantha.com/forums/viewtopic.php?f=3&t=10627

Regards,
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VNO Design

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Reply with quote  #3 
I have always heard Swapanji say that it doesn't matter, and you should play whichever way is more comfortable. Naturally there is more power in the double finger Ge, so usually you will end on the two finger stroke if it is a bol such as "Dhage", to allow the bass to resonate through the next bol.

I haven't heard of anyone notating out the bayan strokes in terms of individual fingers. The accents will dictate how the composition is to be played along with the feeling of the bols, so your fingers should be guided by the bol.

Here is a great practice line for bayan work centered around the "Gegenage" bol which is played straight. Accent on the beginning of each line for the first 100 laps or so, then you can have some fun moving the accents around. Also it does go to khali which is pretty fun in itself.

Gena gena gegenage
Nagegena Gegenage
Gena Gegena Gegena
Nagegena Gegenage

Best wishes,

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assingh

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Reply with quote  #4 
Hello,

I found very good discussion on this same topic in archives.

http://forums.chandrakantha.com/archives/1/1022.html

Regards,
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TablaBeatz

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Reply with quote  #5 
Thanks for the comments guys -
I remember when with my teacher many years back he also told me "it doesn't matter and as long as it sounds good" - this was when i realised my fingering for one composition was a bit different to when he played it -

Good to know - its funny when you become a better player you stress about the little things which before you completely missed !

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Greg

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Reply with quote  #6 
My guru-ji did often notate which bayan fingers to use especially in exercises that were designed for the bayan hand, try this rela...

Dha- -ge naga gege naga gege naga gena
gena gege tete gege naga gege nake kena

...and see how you get on with the right hand fingering.

8)

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TablaBeatz

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Reply with quote  #7 
Quote:
Originally Posted by "Greg"
My guru-ji did often notate which bayan fingers to use especially in exercises that were designed for the bayan hand, try this rela...

Dha- -ge naga gege naga gege naga gena
gena gege tete gege naga gege nake kena

...and see how you get on with the right hand fingering.

8)
T R I C K Y !!! thanks for confusing me more Greg ! Lol

but i'll seriously work on it!

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gurdain

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Reply with quote  #8 
The composition just written above is composed by my guruji, Pandit Shankar Ghosh (Farukhabad Gharana)

It is good practice for the baya
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Bhagi

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Reply with quote  #9 
Gurdainji, are those your Dhere Dhere vids on youtube? If so, great vids and great playing.
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Greg

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Reply with quote  #10 
All..

We are graced by the presence of Gurdain-ji... :wink: ...seriously he is one of the best UK based tabla players...check his youtube vids...

http://www.youtube.com/user/gurdain

and those of "Chakardar"...

http://www.youtube.com/user/chakardar

G

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