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povster

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Reply with quote  #16 
You are studying with Imrat Khan? Fantastic!!! Such a legacy.

As I had posted in another thread, I converted my Hiren #1 to ghandar pancham, but left the pancham bass on to just supply a little below-joditar resolution on sa. But easy even to slip it under the hooks. And yes, since I play rudra vin as my main instrument now, the satisfaction of really deep pancham/kharaj exposition is always there. For me, playing a khraj/pancham sitar would just be a lesser version of the rudra vin.

But hearing that ghandar chikari, and being able to utilize it forward and back, makes a tremendous difference in the feel and in the "playfulness" I cannot really do on the vin and dhrupad.

So now I am playing sitar maybe 30-60 minutes a day (much more than I had been) out of simple joy at being playful.

Note - when I say playful I do not mean disrespectful. I mean less contained, more expansive than is typical with the rudra vin.

And my god! If Imrat Khan is your teacher? I would say talk to him about the surbahar and if he approvesd, get one as soon as you can afford it.

You never know. Surbahar may end up being your true calling. I though nothing could top sitar until the rudra vin got under my skin. The same may be for you.

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...Michael
Dasani - the official bottled water of ICM
Panini - the official bread of ICM
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nicneufeld

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Reply with quote  #17 
I understand on the vin, I haven't listened to terribly too much dhrupad, but one word I'd never use to describe it is playful! One thing I wonder...on GP, what do you do with the ga string on ga-less raags, say, Durga? Drop to Re, or up to Ma? I really do love the extra dimension it adds...basically the built-in tanpura, was how Ustadji described it.

And yes, as soon as I can afford it, which is a very, very open question the answer to which does not seem forthcoming, I intend to seek out a surbahar. I was exposed to Ustad Imrat Khan and surbahar at the same time, so to me, there is no better possible teacher of that instrument. But I'll have to really develop basic sitar technique first. Back to the basics...basically simple da-ra strokes up and down the scale. Here I was on my own -attempting- to do elaborate long range meends and all sorts of other stuff I've heard on records, and my learning just got rebooted back to simple ascent and descent, but that's the key...I didn't have a teacher when I learned the basics, so I have to relearn them now before I go on to try other stuff. Get the foundation right, etc.
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cwroyds

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Reply with quote  #18 
At least you have not been playing long enough for your bad habits to have really solidified.
Now you can focus on correct technique.
It is all good.

I was wondering how your studio/portable sitar held up in your lesson, acoustically.
Is it loud enough without amplification to be OK for lessons?
It would be interesting to know how it faired face to face with a really good traditional sitar in terms of volume.
I really want a travel sitar, but I want to get one that sounds good without amplification.
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nicneufeld

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Reply with quote  #19 
It's loud...plenty loud. Nothing at all like the comparison one might make (and I had expected) of a semi-hollow guitar like an ES-335 to an acoustic guitar, where the semi-hollow is plinky and quiet in comparison. This particular one projects a lot more than I expected. Lars had mentioned that this one in particular had a bit more sound and volume, I think, than the other studio I had previously been ogling, that was bought out from under me (Bashir studio in ebony or rosewood trim...ahh, she was a beauty!).

My recent lesson was over an internet video chat session, and it did fine, and the last time in person it was fine as well. Of course, it sounded pretty amazing when he played it!
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willow

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Reply with quote  #20 
Hi Nic
don't know if you've seen this but came across it today whilst browsing and thought you might like

I know the basics of playing are very important but don't stop tinkering too!
Best wishes
Willow
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