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bhilaj51

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Reply with quote  #16 
Lesson - 8 has just been posted on Youtube
It shows how to play Peshkar in Vilambit & Laya Kari teental
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evening84

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Reply with quote  #17 
Excellent stuff !!

There is a lot to like in these videos. I love how these are so informal - mistakes get made and laughed off, the talcum gets lost, there are hand-written notes that get shown and talked about. One gets a feel of a conversation with a friend - a very sincere friend at that because some of the material that gets discussed is really top-notch. Not only have I never come across such material online, I frankly never expected to see someone give so freely. So thank you, John - you are a role-model on several fronts.

I had a couple of questions on the Dha-A-Ge-Ge execution (the context is the Kaida discussed under Bending The Baya Lesson) :
(1) For some reason, I find executing Dha-Ge-Ge-Ge (using middle-index-middle-index on baya) easier than the Dha-A-Ge-Ge (using middle-slide-index-middle). [I am doing doing the bending though during the Dha Ge]. Do you see any problems with this ?
(2) Adapting this to the drut Teental theka - you talked briefly about it. Could you clarify if this is a correct representation (and are you starting the theka with index finger on baya for the first dha ? )
Dha Dhin-A-Ge-Ge Dha
Dha Dhin-A-Ge-Ge Dha
Dha Tin-A-KeKe Ta (obviously no bending here)
Ta Dhin-A-Ge-Ge Dha

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bhilaj51

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Reply with quote  #18 
Hi "evening 84" thanks for your kind words and glad you appreciate the clips, your query is interesting in that you find it easier to use the finger method you mention ie middle finger index middle index in that sequence and having just tried it out i see nothing wrong in practicing that as it is still a musical fill and will improve your control of those baya fingers, however if you find the slide or using the heel of your hand where it joins the wrist to make a "Ge" then try playing the kaida (first four beats ) as 1 Dha - tere 2 ketedha 3 ge - na - 4 Dha - ghege ( 5 tu -na- ) The 4th beat is where i showed the bend the baya trick so just leave the 2nd syllable of the 4th beat as silent so its dha(silent) ghege - the reason i say this is because the way you described you play it has 4 ge's in a row and that can sound a bit busy but obviously if played slow then it will sound very good so try leaving that second ge out and see how that feels. I would advise you persevere with trying to get the slide although it doesnt have to be a slide and can be more a little jump of the very beginning of your wrist on to the gab/blackspot and a swift retreat as you play the 3rd and 4th ge's in the Dhaslideghege phrase - confused ? ! hope not but really if it sounds good play it thats my philosophy. regarding the drut teental, this is down to practice but you have to have a foundation and eventually things just improve and your theka comes more musical - i was taught originally to play teental with index finger first Dha's and dhins with middle finger(s) but i tend to play both dha and dhin with middle finger when its quite perky in tempo and just use the index finger as ge when i play dhage so the middle finger for dha and the index for ge in dhage so for instance i think you should play drut teental as x Dha - dhin - dhin - na- 2 Dhage dhin - dhin - na 0 Dha - tin - tin - na(ka) 3 Tete dhin - dhin - na - x Dhage dhin - dhin - na - etc when you start , start the very first beat with a Dha using index finger but after the first cycle play Dhage on the first beat of the theka cycle - practice drut this way first just straighforward as i wrote it there and after a while try and put a "slide" or jump in between all the dhins on the Tali lines even if you have to slow down and play at madya speed to get it, then just play a little faster , then a little more in stages. - I could go on but its difficult to explain in writing and much easier to demonstarte on the drums, but practice drut as above and you will get a nice basic "feel" going and again there's no set rules as to where you place a Dha or Dhage and the middle finger and index finger. I know from experience things just start to happen bit by bit and if you practice the bending the baya kaida the way i showed and drut as i explained here you will find eventually the two will marry and you will get your "own" theka sound trust me. I will try and do video on this very theka alone ok as bending the baya in theka is very hard to teach because its a technique that just happens unlike playing fixed bols - Good Luck and sorry reply is a bit long but hope you get what i'm saying - jhalib- bhilaj
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hbajpai

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Reply with quote  #19 
I concur with all the sentiments of Evening84 about you and your videos.

I would like congratulate you, appreciate your efforts and sincerely acknowledge you on your positive and humble attitude. You are simply a cool cat

Thank You and wish you only the best. Cheers!
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evening84

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Reply with quote  #20 
Thanks for such a detailed response - it is all clear.
Cool Cat, indeed !!

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rch

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Reply with quote  #21 
Balaj
I love your demonstration and the lessons. Hope to learn a lot from it. You describe the bols slowly and clearly along with fingering techniques, which I find very useful to me as a beginner. I for one, believe that the demonstration is better than any of the tabla lessons I have had in a group setting. However, I do have a question on the Bayan positioning where the Syahi is at 6 o clock position. I have a similar make of Bayan as you do from Swami Vidya Kendra ( the yellow sticker with the Sitar/ tabla picture). It's a great Bayan, but when I play with Syahi at the 6 o clock position, the modulations are great but the over all sound is quite flat. I remember one of he greatest Tabla Pundits at Ali Akbar told us in a class once that the Bayan sounds better when you let it resonate open and strive for a thunderous sound. It's hard for me to get that open sound with the 6 oclock position. In any case, please continue to teach us. I will try Bayan in different positions and strive to get the best sound for me. Once again thank you !!!
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bhilaj51

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Reply with quote  #22 
Hi rch, happy to hear my videos help you and dont worry about baya position , its down to personal preference but if you want my advice do what your Guru wants in front of him and do what you want otherwise ! I started with the baya at 1 o clock position but over the last 15 years have changed to having it at the back or sometimes at 3 oclock. I prefer the tight clear sound it offers on the finger sound as opposed to the boomy sound when its at the front although that sounds really good when played well but i have found beginners dont sound so good with the boomy sound as the tension is less and the fingering can sound loose or sloppy. I loved the way some benares tabla players sounded with the spot at the rear especially Shampta Prasad and this is a true story , once i was sitting having a 1 - 1 lesson with Alla Rakha and i had the spot at the back of the Tabla which is not his style at all and he said to me and i quote " whats this thats like Shampta Prasad " and i just meekly replied yes its the way i like it , he grumped a little and said his gharana played it the way he does, and gharana and tradition meant so so much to these old masters & i should have known better but he said no more he and always did have me down as a bit of a rebel and did was hard on me at times but i must have had something for him to give me what he did and i will always feel honoured to have had time with him , drive him around London , may he rest in peace
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bhilaj51

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Reply with quote  #23 
For what it is worth i would just like to inform anyone who is interested WI Tabla lesson 10 has just been posted on youtube - enjoy - bhilaj51
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pbercker

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Reply with quote  #24 
Quote:
Originally Posted by "bhilaj51"
For what it is worth i would just like to inform anyone who is interested WI Tabla lesson 10 has just been posted on youtube - enjoy - bhilaj51
I've just started the lesson and it looks terrific! I took the liberty of snapping a picture of the kaida since I'm generally too lazy to write it down myself (I imagine I am not alone in this!).

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Bhagi

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Reply with quote  #25 
Great lesson. I really like the way you demonstrate how to change the way tun ne ke ne is played when increasing the speed.
Plus your playing is very musical.
Please keep going and share the treasure that is Tabla.

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pbercker

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Reply with quote  #26 
here is the first page of the kaida .... see video for the rest ...


http://imageshack.us/a/img826/4025/bhilajkaida.jpg

pascal

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bhilaj51

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Reply with quote  #27 
HI & for those who are interested i have just posted Tabla lesson 12 - a Qaida of the Punjab gharana on youtube - enjoy & endeavour - Bhilaj
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TablaBeatz

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Reply with quote  #28 
Quote:
Originally Posted by "bhilaj51"
HI & for those who are interested i have just posted Tabla lesson 12 - a Qaida of the Punjab gharana on youtube - enjoy & endeavour - Bhilaj
Thanks Bhilaj! I'am still working through some of your other lessons as well - I find that I am re-visiting some of the lessons a few times - or take a couple of sit-ins to get through them (to make sure I get everything you are saying - and also to demo your fantastic playing!). My favourite lessons are the ones where you go through an entire kaida from theme to tihai - as such I am still working through the lesson 10 kaida - which I am enjoying very much (really love the extra lines you added in for musicallity!!).

Your other lessons are also fantastic - however I am struggling with improvisation - and I don't think I am at that level where I can improvise within kaidas on the fly. However I do enjoy all the improvisations you demonstrate!

Thirdly - it is very refreshing to see how you acknowledge the different styles of tabla playing - and give us the option to use fingering/styles that we are used to. Through this - I am able to appreciate and see how different styles of tabla playing work. I am facinated how you play your tirkita's (i.e with index finger first) - and it sounds really good.

So thanks again for everything !
-Tabla Vampire signing out!

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"The beginning of life is rhythm. When you’re in the womb your mother’s heart is beating at (about 90) decibels ... we were born of vibration 13.7 billion years ago with the explosion of the universe."
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bhilaj51

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Reply with quote  #29 
Your welcome Tablabeatz & just to clarify i dont actually play terekete with index finger first but i do tend to play tete with index finger first but not always especially when playing anything half speed, then i tend to play full tete but at speed i play index first as thats how Alla Rakha taught me with his kaida's most of the time. I think the only time you would play terekete index finger first would be if you were playinbg them in succession which is rare. Regarding kaida's , yes its nice to have some that have a bit of content going through a few vistars & ending with a tehai or chakradar, especially if you had to give a solo performance no matter how big or small it may be. I only know a few kaida's complete from Khansahib himself and none are easy all tending to be subdivisions of the likes of 11,7 ,5 , 9 or 9,9,5,9 etc which gives them their swing but man are they a headbuster to hang on to when playing. All kaida's are great technique builders & best to start with the standards like dhati dhage nadha trkt dhati dhage tune kena etc etc I am sure Alla Rakha composed some of the verses on the spot when i sat with him ! I guess you take the head and chop it around however you like if it makes sense. I personally have so many bits of information from over the years but the best is always those taught direct as opposed to seeing something written and playing it. I tend to have loads of bits & pieces and a lot of it impractical such as old pakhawaj chakradars and such which are good if you can play them really well and as part of a solo. In reality how many of us are going to give a serious solo & what is it we want from tabla ? Personally i have always loved the sound and that comes first for me , having a good hand and sound first so that when you sit practising say something like the head of that lesson 12 for instance you start to hear the harmonics of a well tuned tabla starting to sing above the sound of the bols being played , that for me that is sublime. Anyway all we can do is keep practising best we can , it gets tedious , it gets boring at times , we are stumped as to what to practice , we constantly need fresh material but there are certain things we have to keep going and thats kaida's and rela phrases and how to make nice theka of course and play some nice simple kherewa & dadra in case of fusion which most of us westerners are destined to do i reckon, one things for sure its a lonely life with tabla due to the demanding level of technique required to get any notice but way back in my early days i was thrown in to play for a very skilled Kathak dancer who had been let down by her tabla player & she said just play theka , i was petrified but i just played theka but i had a nice theka with a good sound and she said complimented me on it after and said that was all she needed and that i have a nice hand and she heard it immediately and that was more important than anything else and that the bols and knowledge will come in time but without a nice hand they dont matter - Toward the One - bhilaj
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TablaBeatz

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Posts: 342
Reply with quote  #30 
Thanks for sharing your stories and experiences bhilaj - quite facinated by the fact you got to spend time and learn from the great khansahib - you must be truly blessed an he has taught you well

So nice of you to share the teachings with us - my lesson 10 kaida is really coming along and I think it's a great composition
Really gets me working on my Dha tirkit taka tirkit
I noticed when you play it fast - it takes on a completely different shape - !

Keep keeping on and god bless!

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"The beginning of life is rhythm. When you’re in the womb your mother’s heart is beating at (about 90) decibels ... we were born of vibration 13.7 billion years ago with the explosion of the universe."
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