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Blind Lemon Mike

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Reply with quote  #1 
Hey, 

i recently discovered the great Balaram Pathak. I think he is a very interesting and unique player and i enjoy listening to him very much. 

One thing i noticed is his use of harmonics. Unfortunately i couldn't find a video where one could observe his technique. 

So the question is: 

Does anyone know how, by seeing him perform or maybe from a teaching situation, how
he did it? 

Is anyone else also doing that, that i'm not aware of? 

Have you tried that and do you incorporate it in your own playing? If so, how is you personal technical approach to this? 

Before gettin into a lenghty description i just quickly tried to record the two aprroachs i came up with myself. One is incorporating the Mizrab, the other one does not. 

Please beware, i am a amateur and Beginner player, this is just to demonstrate and should not have any musical purpose or value..  [wink]

I know it's not something i should focus on right know but I'm curious...



regards from Germany
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Lars

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Reply with quote  #2 
Abdul Halim Jaffer Khan used this technique also, it's likely one of them got the technique from the other or some other unknown person. Anyway there was a book called Jafferkhani Baaj which taught this technique and had a video CD as well. It's out of print though, maybe a second edition coming but haven't heard any updates from them. https://www.jafferkhanibaaj.com/jafferkhani-baaj

Lars

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Blind Lemon Mike

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Reply with quote  #3 
Thank you for that Link, Lars. I will try to get that or  stay tuned for a second edition. 

Do you have that book and do you know how he is doing it? Can you describe it? Am i somewhat close?

regards 
Blind Lemon Mike

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Lars

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Reply with quote  #4 
Quote:
Originally Posted by Blind Lemon Mike
Thank you for that Link, Lars. I will try to get that or  stay tuned for a second edition. 

Do you have that book and do you know how he is doing it? Can you describe it? Am i somewhat close?

regards 
Blind Lemon Mike



I found a new copy a little while ago and will have it shortly, it's a cool book and I'm always looking for them.

They hit the note, then touch the mizrab in the RA mode to the string an octave above to do it. So you've got the right idea, the technique relies on a very light and quick touch of the mizrab and you'll get a sustained echo effect which is what they call it.


Lars

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barend

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Reply with quote  #5 
There is a short video on YouTube of him showing that technique. From what I can see he is touching the string with his right side of his hand an octave above the note you play and then play a da stroke at the left side of the string. It is pretty unusual to do it that way and I prefer to touch the string at the octave with the thumb like you do in the video.

I don't use it very much though because it seems too much copycat to me.
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Ingo

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Reply with quote  #6 
Yes, Lars & Barend have it spot on. Mike, I sent you a PM about that video.
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Blind Lemon Mike

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Reply with quote  #7 
thanks to everyone for your replies. This helped a lot and it is clear to me now how he does it. 

I find it very intersting that he plucks to the left of the Harmonic Position, i would not have thaught about that on my own. 


@barend I think it is sort of a special effect thing that only is interesting for a very short time and if you overdo it the effect probably wears out very quickly. 

So i understand why you might not do it, also since it is sort of signature thing of his. 

regards 
BlindLemonMike
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chrisitar

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Reply with quote  #8 
there is a youtube video showing mr pathak practicing in the studio before recording his legendary bilasknani todi, https://www.youtube.com/watch?v=liWjsRRdliA which you can see up close how he does it
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korizeugma

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Reply with quote  #9 
Thanks for this topic. Speaking of the Jafferkhani baaj, would like some explanation of the technique for harmonics in the following. Happens between 19:20 -20:00.

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chrisitar

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Reply with quote  #10 
Looks like he has a chikari string tuned to komal ga and is doing harmonics on it at the octave with the jor to make Sa -> Ga then harmonics on the 7th fret to make re, then harmonics on the octave of the baaj to get ma, then at the 7th fret of the baaj to make high sa
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korizeugma

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Reply with quote  #11 
Makes complete sense. Though these techniques are rarely heard.
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JRJ

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Reply with quote  #12 
Guitarist's who came to the sitar 'later in life' know where all the harmonics are;-).
jRj
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Sanjeeb

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Reply with quote  #13 
Hi,
I had shared a video about what I knew about this 3 years ago. Hope it helps.



Best Regards
Sanjeeb Sircar
http://www.sanjeebsircar.com
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korizeugma

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Reply with quote  #14 
A very helpful demonstration.
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