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Aanaddha

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Reply with quote  #1 
Here's a fun one one for Chaz I got from Anubrata;

Tintal:

Dhate / tedhe / tedhe / tedha / tete / dhage / thuna / ghena
nana / nate / tedhe / tedha / tete / dhaghe / thuna / kata


(** four na's :wink: )

Played like:

( Dhatete ' dhete ' dhete ' dhatete ' dhaghe thuna ghena /
nanana ' tete ' dhete ' dhatete ' dhaghe thuna kata
)


A.

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If he could sing, and nature to accompany him, what need would he have for an instrument?
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Chaz

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Reply with quote  #2 
What a nice kaida! It has very unusual subject matter, both the four consecutive nas and Dhete starting with the middle finger. I think it would be a good one to practice. Thanks for posting it, Aanaddha; by the way, who is Anubrata?
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Aanaddha

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Reply with quote  #3 
Quote:
Originally Posted by "Chaz"
What a nice kaida! It has very unusual [url]subject matter, both the four consecutive nas and Dhete starting with the middle finger. I think it would be a good one to practice. Thanks for posting it, Aanaddha; by the way, who is Anubrata?
I've been playng the Dhete's and tete's starting with the index finger - whatever suits you.
:wink:

Anubrataji is the son and cherished student of Pt. Anindo Chatterjee.

http://tablawallah.googlepages.com/home


A.

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If he could sing, and nature to accompany him, what need would he have for an instrument?
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SurTaal

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Reply with quote  #4 
Sweet. Is this Bubui's own composition?
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SurTaal

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Reply with quote  #5 
Aanaadha,

Since the composition ends with "kata", it lloks like you've given us the khula portion. How does the bandh go? At what point in the bandh do you reintroduce the bayan? I know there are many choices. Just curious as to what Anubrata suggested. Thanks.

SuTaal
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Anagat

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Reply with quote  #6 
Hi all,

I know a composition very similar to this by Shankar Ghosh. The version that I learned was:

dha tete dha tete dha dha tete dhage thunaghena na na na tete dhete dha
tete dhage thunakena

I learned it from my guru who is a student of Shankar Ghosh. The following is a description of the technique that I was taught:

1) "tete"s are played as they are always played -- middle finger followed by index finger.
2) to answer someone's question about where the bayan comes in in the khali portion -- I was told to reintroduce the bayan on "ghena" of the "thunaghena". This would make sense because the continuation of the thunaghena to thunaghenananana is the characteristic feature of this kaida.

It must be mentioned that technique or bayan application is subject to interpretation by the gharana and senior-musicians. My disclaimer is that this is how I was taught -- I don't claim that this is the only "correct" way of playing, because, for the most part, there is no such thing in tabla.

Thanks.
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Chaz

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Reply with quote  #7 
Hi Anagat (do you end before Sam? :wink:), thanks for your imput. If this composition is in fact from Delhi then I'm not surprised 'tete' is played how you learned it. The version you give puts it closer to a jhora of the famous "dhatetedhatetedhadhatetedhaghetinakena" kaida that's been the topic of so much discussion recently. I wonder if it was something thought of by Gnan Prakash Ghosh?
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Anagat

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Reply with quote  #8 
Hi Chaz,

I am pretty sure that this was composed by Shankar Ghosh of the Kolkata Gharana. I have confirmed this with at least two sources, one being my guru, who as I mentioned, is Shankar Ghosh's student, and the other a student of Sabir Khan.

Thanks.
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tablafreak

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Reply with quote  #9 
Ive got a tape of anindo playing this - its awesome. Maybe ill try to post a clip soon
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tablafreak

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Reply with quote  #10 
anyone have an ftp site that i can load to?
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