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pbercker

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Reply with quote  #1 
Joshua Carro on Tabla Part 1

I've not heard of him before but quite a nice tabla player. For those who like/prefer low pitched tabla, this one seems to be around a low E I think (sounds like a pakhawaj almost!).

Also, about 2 minutes in he plays the dehli kaida (or a vary close variant if not the exact same) that's lately been discussed (but please confirm or correct me, as I have been known to get confused at times!)

He's not superfast (which befits a low pitched tabla anyway) but very musical.

... and on part 2 he recites his compositions... (he must have heard hbajpai's stern admonition!)

.... about 6 minutes into part 2 he does a nice version of the rela "tak dhene ..."

a note about technique: not too long ago someone suggested the following:
Quote:
As I was taught, the TiTe and Tirakita is articulated from the wrist, a side rotation movement like turning a doorknob.
This technique - especially the articulation from the wrist - is quite evident here and put to good effect.


(I frequently find these kinds of tabla videos inspiring because his level of mastery is the kind that seems attainable for normal human beings ... unlike other tabla videos which sometimes makes want to quit in disgust!)





Pascal

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TablaBeatz

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Reply with quote  #2 
This is Excellent!
Beautiful playing and beautiful performance!
Has his own style - nothing super flashy in performance - but I enjoyed it even more than some of the super flashy performances !!!

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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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pbercker

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Reply with quote  #3 
Quote:
Originally Posted by "TablaBeatz"
This is Excellent!
Beautiful playing and beautiful performance!
Has his own style - nothing super flashy in performance - but I enjoyed it even more than some of the super flashy performances !!!
I quite agree. There is sometimes such an exaggerated premium for speed (and I'm guilty of this myself on occasion) that the less flashy slower tempo compositions sometimes get overlooked. I've probably quoted Aloke Dutta on this before, but it bears repeating:
Quote:
Long strings of a few syllables played over and over at lightning speed have the effect of of surprising and exciting an audience, but ultimately, I believe, exhausting it. (Aloke Dutta, Tabla: lessons and practice, page 4)
I don't know how accurate this is, but it's interesting that of the older generation, he cites several key tabla players who may have helped set the stage for this over-emphasis on flashy speed:
Quote:
I often wonder why Samta Prasad, Alla Rakkha, Kanai Dutta, and others chose a flashy style of tabla playing instead of the deep appraoch of players like Thirkwa, and I also wonder why they turned away from solo style? (Aloke Dutta, page 5)
Aloke Dutta actually goes on to answer his own question, and suggests that as the old patronage system of the nawabs and the maharaja was dying out, the new economic reality of having to cater to the tastes of large audiences probably required some adjustment in tabla style and repertoire that might be popular with large audiences.

It's worth noting that Dutta wrote this almost 20 years ago, and I don't know if he thinks this still holds true to the degree that it once did in the "olden" days as it were. My own guess is that modern (western) audiences are actually more sophisticated with regards to ICM generally and tabla in particular in part, I suspect, because of the internet and easy access to once hard to find information.



Pascal

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My opinion given without any warranties, expressed or implied, that it's even relevant. It would be folly to rely on my opinion without seeking more professional tabla advice. If you are suffering from a tabla condition, seek immediate attention.
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Neogeotoo

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Reply with quote  #4 
Any clue of the kaida he's playing? It sounds vaguely familiar....
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hbajpai

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Reply with quote  #5 
Very artistic, traditional structure and a classic selection of pieces.

I don't know anything of or about him, but simply based on this video clip, I can say that he has had the good fortune of learning, playing and demonstrating his tabla skills in a very authentic, professional way.

Excellent clip!
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va4leo

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Reply with quote  #6 
Quote:
Originally Posted by "Neogeotoo"
Any clue of the kaida he's playing? It sounds vaguely familiar....
I believe it is NaDha TiReKiTe. DhaTi DhaGe NaDha TRKT DhaTi DhaGe TinNa KeNa TaTi TaKe NaTa TRKT DhaTi DhaGe DhinNa GeNa.

Also...the tabla is tuned to F! I may be wrong, but those usually measure about 6" across...and he makes it look small....which means...He must be really large!!!

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hbajpai

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Reply with quote  #7 
Quote:
Originally Posted by "va4leo"
I believe it is NaDha TiReKiTe. DhaTi DhaGe NaDha TRKT DhaTi DhaGe TinNa KeNa TaTi TaKe NaTa TRKT DhaTi DhaGe DhinNa GeNa.
Yes!
Starts with about half a dozen TeenTaal 'Kisme' or 'Prakaars' (Variations). First kaida is as stated above. What I like is that he follows a very traditional structure of Kaida, Dohra, Adha Dhra, Vishram's, Adha-Vishram's a couple of Paltas and a Tihai. The Next kaida is DhaTiDhaTira KitTakTirakit DhaTiDhage Tinnakena. A foundation Kaida, which again he plays through the same structure above, but more centered on paltas as opposed to the vishrams and adha vishrams when compared to the previous kaida. Ends with a fixed comp.
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