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joel

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Reply with quote  #1 
So since I started listening to Sitar I've flipped from favouring one part of the Raga over the other, at first the Jhala pulled me in - especially when I was watching my Guru play with his Tabla students and pushing them further and further towards exaustion!

See I love heavy metal, so the raw energy of the Jhala bewitched me.

But then the beauty of the Alap took me by the proverbials as I got more and more into learning to meand....

Now - well depends on who's playing!

Has anyone got a definate favourite? Anyone think Alap's are just plain boring or Jahla's are the equivilent to a Joe Satriani album?? :roll:

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princessjesusbopeep

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Reply with quote  #2 
I like vilambit gat and ulta jhala
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anju831

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Reply with quote  #3 
I love the alap. With the alap, you can truly get to know both the raag and artist playing it; personality flows. Its slow, and for those that are not patient and dont understand, it can be boring. But for me, its beauty is absolutely breathtaking.

I love the gat next. Its a superficial, rehearsed piece of the performance, but it shows the creativity of the artist and can be quite snazzy too with its rhythm trapped in your head for days.

To be quite honest, Im not so much a fan of jhalla. Its basically the raag saying goodbye and its a constant reminder of how much more i need to practice haha
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CheesecakeTomek

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Reply with quote  #4 
Quote:
Originally Posted by "joel"
Has anyone got a definate favourite? Anyone think Alap's are just plain boring or Jahla's are the equivilent to a Joe Satriani album?? :roll:
I could personally never imagine alap being boring. At least from a player's perspective, alap should engage every nano-ounce (I SWEAR it's a real term :roll: ) of musicianship in you. As anju said, this is where the depth of the musician is exposed. It's fascinating to see/hear where the individual will go.

As far as jhalas go, while it seems to be common practice to bring it to an exciting climax that generally shows the musicians' technical abilities in full flair (and there's no question to how effective it can be, the natural upward slope of the raga from alap to jhala), I personally love hearing that occasional simple jhala that seems to just tie a nice bow around the raga and say 'well, there, wasn't that nice?,' and lets the rasa hang in a moment of silence before the musician lowers the instrument and allows us to break in applause.

So beautiful, it's ALL BEAUTIFUL!

My two groszy 8)

Cheers,
Tomek
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joel

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Reply with quote  #5 
I don't think the Alap should ever be boring to the player... I guess that can happen when pulling any accurate meands are a real problem ... I still wince so hard listening back to home recordings when I'm trying new meands... and even after 7 years I would say the only two transitions I can really lose my self in are low Ni / Sa and Ma tivre / Ga komal (becaus Mudhu vanti was the first real composition I learned.... and still my fav )
Quote:
Originally Posted by "CheesecakeTomek"
personally love hearing that occasional simple jhala that seems to just tie a nice bow around the raga
That's such an interesting comment... and not something I've ever really considered or processed .. I'm going to try that :!:

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11 Sep 2009         The Asylum! @ The Victoria- Lincoln
15 Oct 2009         The Queen Elizabeth Hall - The Front Room
13 Nov 2009         The Cafe de Paris, Pic Circ London
11 Dec 2009         The Portland Arms - 209 Radio Benefit , Cambs
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povster

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Reply with quote  #6 
Alap has always been my favorite thing to listen to. Perhaps it is part of what is driving me to rudra vin. But a good jhalla is also a favorite thing. I think the jhallas I have liked the most are some of Vilayat Khan's. He really played with the jhalla, mixing in a lot of counterpoint, taan and jor-like techniques. His jhalla could be filled with tremendous emotion and lyricism. While he could be very very very fast, his strokes were clean and his chicaris did not get lost in the speed. They were loud and clear. And he would sometimes take a break into great simplicity as if to give the audience a chance to catch their breath...then off again to bring the audience into even wilder territory. You can hear a couple of good examples in the Darbari and the Multani I have posted. Both are full alaps with good duration of some amazing jhalla.

http://www.esnips.com/web/OlderRagaRecordings

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CheesecakeTomek

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Reply with quote  #7 
Yesss, Povster you speak the truth! That darbari jhalla is absolutely breath-taking (the multani is another fav of mine). I had not actively listened to that recording in quite some time, but your post inspired me to take the time this evening. What perfection!!!! That is definitely a top example of what i was referring to as a 'simple' jhalla (though it is far from simple, but you all know what I mean!). I'm going to have to go ahead and disagree with you re: those pauses he throws in, in those last few minutes?- they took my breath AWAY!!! (as did that last passage wayyy up high) hahaha, I almost forgot what it's like to have my mind blown (haven't been doing enough listening the last coupla months ops: ). Anyways, bit of a rant there, but yeah, everyone should listen to that. Thanks again, friend.

Cheers,
Tomek
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joel

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Posts: 18
Reply with quote  #8 
Yea I'm really enjoying the recordings right now!

Thanks!

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gigs
11 Sep 2009         The Asylum! @ The Victoria- Lincoln
15 Oct 2009         The Queen Elizabeth Hall - The Front Room
13 Nov 2009         The Cafe de Paris, Pic Circ London
11 Dec 2009         The Portland Arms - 209 Radio Benefit , Cambs
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trippy monkey

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Reply with quote  #9 
Joel
Put it this way...
If the alap is boring then the problem lies with the player NOT the music per se!!!

Same with ANY part of the performance!!!

Nick
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sitariya

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Posts: 70
Reply with quote  #10 
"If the alap is boring then the problem lies with the player NOT the music per se!!!"

Well said Nick. As my guru used to say, aalap is heart and soul of raga. Jhala and other stuff like layakari are mere ornaments. If you donot get your aalap right, playing jhala after that is like decorating a dead body.
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joel

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Posts: 18
Reply with quote  #11 
"decorating a dead body."

Nice term

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http://www.myspace.com/sundaydriverinuk
gigs
11 Sep 2009         The Asylum! @ The Victoria- Lincoln
15 Oct 2009         The Queen Elizabeth Hall - The Front Room
13 Nov 2009         The Cafe de Paris, Pic Circ London
11 Dec 2009         The Portland Arms - 209 Radio Benefit , Cambs
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goljawari

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Reply with quote  #12 
To my ears, the various 'parts' or movements of a performance only come into full being relative to what came before it and what is to follow. In other words, a vilambit gat can have a very different effect if it performed after a short alap, or after an extended alap, or after no alap at all. Perhaps this is getting to thoughtful, but I do believe that the same alap, or jhala, or gat, etc., can sound very different and ultimately shape the music in different ways in context of what came before and what will come after. On the other hand, I enjoy almost ANYTHING that a GOOD musician is capable of doing, whether it's alap, jhala, tuning, giving a look to the audience, etc
GJW
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CheesecakeTomek

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Reply with quote  #13 
Quote:
Originally Posted by "goljawari"
giving a look to the audience
GJW
pure magic sometimes!!!
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