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jaysitar22

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Posts: 70
Reply with quote  #1 
Hi all,

I was curious what is the general opinion on play a reverse tita with 1 and 3 when the tita is followed by a na or dha?
dhadha tita, dhadha tina
----------I 3
dhadha tita tita tita, dhadha tita, dhadha tina
----------12---12--13
On longer strings on tita I found reversing the whole thing using 1 2 and ending on 3, worked well after some practice.
The advantages are, the middle finger is already up and the rh hand is ready to play na. Also the reverse is louder, because the rh has to be lifted to play 1, allowing for a more forceful sound.
Is this kind of interpretation of bols ok to make the phrase easier or is it sacrilege?

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jaysitar22

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Posts: 70
Reply with quote  #2 
Thanks for the advice! For some reason I sometimes want to go against tradition. In my fingering listed before, 2 means 234 as in the purab approach.
Tita is just a standard teta or tete or whichever other letters you are used to using.
The thing that was throwing me off with the traditional fingering is that when the index finger is played at the end of tita, I was told, and have read, that the rest of the hand (234) should be off the dayan. Getting back to na seems like alot of motions, especially in faster speed, (retrieving 234, sliding in position, lifting the 2 finger, and playing na.)
I watched some videos of Delhi gharana players on youtube, and I noticed that in their tita the 3 and 4 finger do not actually leave the drum, at least from what I could tell. It looked like the 2 finger was used, then with the 234 fingers down the hand moved over very slightly to play the 1 finger, then the hand was basically in position for na or dha. One of the videos I watched was Rushi Vakil playing the dhati tadha tita kaida. For tita tita the hand didn't move very much and 34 were kept on the drum, and just fingers 1 & 2 were used. Although for tin or tun 234 were off the drum.

Maybe for the purab style tita the final bol would be played with the whole hand with the 1 finger in center of shayi to eliminate the extra motion of retrieving 234? If the whole hand is used then the motions would be slide in place for na and lift 2 finger, play na. For tita tita tita dha, the whole hand would only be used on the last bol before dha.

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"If a man follows the mind given him and makes it his teacher, then who can be without a teacher?"
“To be truly ignorant, be content with your own knowledge.”
-Chuang Tzu
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hbajpai

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Posts: 892
Reply with quote  #3 
The mechanics of a given bol are specific to a composition as opposed to a rule of thumb. Gharana's are not just limited to execution mechanics, but are bound by aesthetic styles (bol weight & density, amplitude, speed, tone, mood, etc. etc.) hence - given composition. I can think of language as an analogy. Example: English is spoken within the US. However, within the various regions of the US, there are aesthetic nuances like accent, sentence structure/composition, slang, word selections, tone, flow, etc. etc. Besides language, food, clothing, can be other analogies. Each style of a - "good" - composition is appreciated for its various aesthetic attributes. Does this makes sense? In my view, you are free to do whatever you want. Just be sure to do the right thing for the right reason so that you are efficient and effective with your time and effort. That is where a good teacher comes into play.
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