You know, I have been practicing those bol combinations you listed, but I have doubts about whether I interpretted the ti's and dhi's correctly. Could you possibly clarify these for me (or just give me a general principle)? Like. . just tell me which ones were actually tins and dhins.
Hello, Devi,
So I've written everything correctly, written as pronounced as played. Take care if you learn Varanasi, they treat dhi and dhin differently, I think. Wait, I check that posting . . yes, there are no dhin-s or tin-s (sur stroke) at all in it! Dhi or ti is a deeper sound (minor seventh below basic, written also as tu). There was an exception: tetekatagadigine: di isn't dhi, it comes from pakhawaj and is played with all four fingers, resonantly, so that your middle finger tip is above the center. Think of a conga open tone. But I beg you to go for a tape and look at this thing, for example. Maybe I can describe it to you on a full A4 page but there is still a chance we misunderstand each other. What I can also do is take photos and mail them. OK? Where to post them?
Heh heh, pictures, wow! Thanks for the offer, but I think I get it. The problem is, I've learned that "ti" can be:
a) ti as in ti ta (played bandh with either middle finger or last 3 fingers on the syahi)
b) tii, which can mean either ti, as above, or tin
c) and now, tun, which I did not realize it could commonly mean, adding to my confusion :-)
So, if I understand you, all of the ti's and dhi's in those exercises are actually tun (khula sound of middle finger on syahi) with the exception you pointed out, which is also a khula tone but played with all four fingers,. . right?
Hello,
Tu (ti, dhi) is also played with your first finger (index)! Otherwise it's correct. In order to avoid confusion a bit, some wite TI or tii for kula tones. Your ti ta (te te) stays ti. Some others invent all kinds of symbols. And others suggest to use devanagari. My opinion is that so far it's still uncomplete. Spoken bols and some instructions can be marked like that but there are much more properties related to a composition than that. Me personally, I want to know the author, the submitter, the related compositions, the gharana, the age, the actual method of playing the bols, and so on. There can be so big differences that I couldn't imagine not so long ago. Then I heard Alla Rakha played the famous Delhi kaida dhate tedha tete dhadha . . with reversed tete! Once I was shown a rela that was played 4 different ways within the same family! It's all I can add to the subject of confusion. It's an art and as such, not an exact science. All the best.
