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obby

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Posts: 11
Reply with quote  #1 
Here's a question : When playing in any particular tala , say for instance, Dadra tal, how much improvising can one perform before the structure becomes unrecognizable as dadra or any particular tala under scrutiny? Perhaps the playing might just sound like "playing in 3 or 6" without refering to what specific bench-marks of the tala? Is it the khali/tali format that keeps things clear and recognizable?
Does this question make any sense????!!!!!
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tintal44

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Reply with quote  #2 
obby

your question is not very clear. perhaps you could be a tad more specific... try asking a single question about a single genre or tala. for instance,

when playing (laggi) in (dadra) should one keep blatant bhari/khali division? is it unusual to (imply 2 over 3, or 4 over 3 (or other layakari) in laggi) at the end of a vocal performance?

when playing (kaida) in (rupaktaal) what are some approaches to bhari/khali? is it possible to play seven beats of each? or should one play the strict way of 3 beats khali, 4 beats bhari?

these are only example sentences. but, just like in my woodshedding, i have found that slowing down and getting very specific is the key to correcting and understanding problems in playing and thinking.

hope this helps!!!!
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