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luis_tabla

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Reply with quote  #1 
Hi everyone!
I have a couple of questions here, but first i
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evening84

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Reply with quote  #2 
The dohra/half-dohra/vishram/half-vishram and then the paltas is a fairly common, traditional approach for qaida development. (A vast majority of the qaidas in Pt Mulagonkar's books follow this template, for example)

A tihaii at the end of each set of paltas (based on the idea or phrase that has been explored in the paltas) may be fine in theory or when you practice on your own but would appear out of place in a performance as a listener would assume that the qaida has ended as one is expecting the tihaai to do just that. Again, it is a personal opinion - I say if that makes sense to you and perhaps helps you memorize and structure the qaida as such, by all means go ahead and do that.

Another thing to keep in mind is that one may develop lots and lots of variations but would typically play only a few at a given time so the qaida would appear to have a form that is different from the dohra/half-dohra/vishram/half-vishram/palta template.

Personally, I really like the basic template as is for a couple of reasons : given a theme, I can do these variations more or less right off the bat and then for a while (days, weeks, months as the case may be) I can just build clarity before I get a chance to 'defile' it with my 'creativity' ;-)

On the other hand, the few times that I have come up with my own variations, I have had a much easier time remembering them. They may even be bad, non-traditional and not particularly attractive but they are mine and that sometimes may be reason enough to love them and continue to play with them. (or so said the lonely kid with tiny rubik's cubes for testicles :-))

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hbajpai

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Reply with quote  #3 
Hi everyone!
I have a couple of questions here, but first i
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hbajpai

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Posts: 892
Reply with quote  #4 
Now let me try and comment to my own comment. :-)

I am doing this to separate out the response to Luis-Tabla's questions from my thoughts.
Quote:
Originally Posted by "hbajpai"
The traditional sequence that I have been taught is as follows.
Main Theme
Dohra -
Adha-Dohra
Vishram
Adha-Vishram
Paltas
Tihai
Let me try to expand and define these terms in my own words including what they mean to me. If you need a formal definitions, please drop me a PM and I will send you page # from various books by various authors that define these terms.

Once again, the statements below are all internalized by me. They should not be interpreted as teachings. I am shielding the great Guru's from my mistakes by saying this. ;-)

Main Theme - Pretty obvious. The Kaida! My own definition of a Kaida based on my research is - a Kiada is similar to raag. Where a few phrases are stitched together under certain parameters of rules and grammar. The Ajrada folks beautifully, deviate from these rules and grammar, but that is a topic of its own. In some Gharana's, Kaidas were not so popular in performances while in others a performance without Kaida's was not considered a performance. The purpose of a Kiada is to focus on a few phrase groups and be able to polish them.

Dohra - This is an extended main-theme. In a given Kaida, generally the first part is the novelty. It is this novelty that is repeated twice and makes the kaida twice as long. I always say, practice the Dohra to get the double the practice of the kaida. Demonstrating the Dohra, demonstrates ones command over the novelty of a respective kaida.

Adha-Dohra or Half Dohra. The first part of the Kaida or the novelty as I call it, is cut in half to demonstrate the finer aesthetics of the novelty. I always say, play this with passion and really show off certain finer syllables. Good for clarity over the novelty.

Vishram - this one skips one or two full beats. This shows ones understanding of the matras given a kaida. In other words the timing of a respective Kaida.

Adha-Vishram - this skips .5 or 1.5 beats from the kaida to show an off-beat circumstance. This further demonstrates the finer understanding of the timing of a given Kaida.

Now the Paltas begin. As I said earlier, some show the possible directions they can take a given kaida. They do this by providing various themes of paltas and may be play a variation or two for each one of the palta theme. Other select a palta theme or two and go deep. To demonstrate their control and command over a certain phrase group. The selection process of the palta themes is obviously personal to the individual. Some go for speed and they hence their selection represents that. While other go for finer aesthetics at a medium tempo.

Tihai - pretty standard. Simple Tihai's complex Tihai, short Tihai, Long Tihai, bedam tihai (without pauses), Damdaar Tihai (With Pauses).

I know I rambled on for long, but hope some of this makes sense.
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luis_tabla

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Reply with quote  #5 
evening84: thank you so much for your point of view i sometimes have those too, that came out of my hands i don
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