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barend

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Reply with quote  #31 
I have been experimenting with third finger meends for the last few weeks and it really works for some stuff. Especially when you combine it with krintans and big stretches. I can do all meends just as well with second or third finger now. Although I still use the conventional technique for most things. I just see it as an extra thing that I can apply whenever I feel it's necessary.

Can it be that some top players (those mentioned in this topic) use third finger meends to have more strength? On guitar you play almost all bends with the third finger (or pinky). Because you have more strength that way by using all three fingers. Might work this way on sitar too.
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barend

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Reply with quote  #32 
Quote:
Originally Posted by trippymonkey@gmail.com
Why not use ALL five then & be done with it ????
Might you be better on a guitar ?!?!?!


Tell that to Kushal Das.
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Blind Lemon Mike

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Reply with quote  #33 
another thing that i notice with Kushal Das is that he sometimes plays 2-part harmony-parts especially during jhala.

i wonder how he conceptualizes them theoretically, since harmony does not exist in indian music. 

regards
Michael
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barend

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Reply with quote  #34 
Quote:
Originally Posted by Blind Lemon Mike
another thing that i notice with Kushal Das is that he sometimes plays 2-part harmony-parts especially during jhala.

i wonder how he conceptualizes them theoretically, since harmony does not exist in indian music. 

regards
Michael


Any example videos of that?
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Blind Lemon Mike

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Reply with quote  #35 
@barend 

listen from 01:02:30 onwards...Thats the very beginning of the jahal-section. I think i have heard Nikhilda do it, but very rarely (not 100% sure though).
Kushal seems to do it at least once for a brief period during a performance...

I cannot think about anyone related to the Imdadkhani-Style doing it. 



regards
Blind Lemon Mike
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Blind Lemon Mike

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Reply with quote  #36 
what are you up to? 

we are just seriously discussing things here... 
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barend

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Reply with quote  #37 
Quote:
Originally Posted by trippymonkey@gmail.com
Deffo a Ravi schooler ?!?!!?!?
Lazy third finger use too ?!?!?!?


You are not very contributing to this topic....[confused]
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barend

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Reply with quote  #38 
Quote:
Originally Posted by Blind Lemon Mike
@barend 

listen from 01:02:30 onwards...Thats the very beginning of the jahal-section. I think i have heard Nikhilda do it, but very rarely (not 100% sure though).
Kushal seems to do it at least once for a brief period during a performance...


Ah I see what you mean. Those double stop sound cool. I like to mess around with those also sometimes. I have heard others like Idrajit Banerjee do this too. Far from traditional but what the hack it sounds nice.
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trippymonkey@gmail.com

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Reply with quote  #39 
Oh dear Ego getting a bit sore, eh.
OK Will remove all my posts & Fuck Off for good.
What a weakling you really are ?!?!!?

Some here know how I play so let's see-HEAR you lot then, eh ?!?!!?!?
And THIS is why the Gayaki, if you like, gharana keeps its quality.

Nick
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David Russell Watson

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Reply with quote  #40 
https://en.wikipedia.org/wiki/Narcissistic_personality_disorder
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trippymonkey@gmail.com

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Reply with quote  #41 
MMM Write this yourself, did you? Assuming you can type anyway. 
Saddos !!!
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barend

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Reply with quote  #42 
I guess some people can't handle change. I welcome all these 'new' things. Keeps things alive and fresh. Has nothing to do with gharana. As said before: “There is no real progress without deviation from the norm", Frank Zappa was right!
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trippymonkey@gmail.com

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Reply with quote  #43 
Suppose it depends WHY one does it in the first place ?!?!

People can do whatever they like as long as they don't make any claims to it ?!!?!?
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Blind Lemon Mike

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Reply with quote  #44 
@barend

all theses things combined Kushal Das is a pretty interesting player, He also does his own little jhala variants at times..

I enjoy listening to him a lot (just as much as I like Shahid Parvez und Budhaditya Mukherjee, but i don't wan't to open this can of worms with the guy disturbing here....)

He seems to do these double-stops mostly in the jhala section. With him i also sometimes have the feeling that he thinks in Triads during alap. He sometimes plays phrases that could be described as triads...

He probably doesn't think of it that way i suppose. I don't know if he has an understanding of western music theory or not. So i would suppose he does not think of those double-stops as "intervals" , like say ,a major third, but as a combination of swaras an there role within the raga-structure...

But i really don't know and would like to know how he conceptualizes it...

My former Teacher actually had lesson from him, but they never discusses this specific thing... 

kind regards
Michael
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trippymonkey@gmail.com

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Reply with quote  #45 
Excellent FINAL answer to this query, eh???
Nick
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