I supose you mean ne like in "geneDha" bols, then it is with little and ring fingers together in the same place you put them in na, beating there before to play the na.
I have seen other people that just play Te.
I supose you mean ne like in "geneDha" bols, then it is with little and ring fingers together in the same place you put them in na, beating there before to play the na.
I have seen other people that just play Te.
I believe "Ne" is "Na" which is also called "Ta". The stroke is played with an index finger on the Kinaar of the Tabla with the ring finger on Syaahi. The sound should be resonant(Open)
In my knowledge there is also a closed(non-resonant) version of Taa but I do not know how to play it!!
rahul, how do you play for example the famous Ajrara gharana's Kaida:
Dha-Dha-Dha- GeneDha-Gene DhatrakaDhikite Genatunagena DhatrakaDhikite GeneDha-Gene DhatrakaDhikite GenatunaGena (+Khali) :-)
In such circumstances i think it is crazy to play ne as Ta (na).
(maybe in other circumstances, or another bols of different styles it could be as you said)
Sorry, I don't know much of Punjab gharana, my explanations of "ne" above is what I have learned from my teacher (mainly Delhi, but also some Ajrara and Farukhabad styles).
In fact I have a few questions about Punjab style, I have been told that they play "gerenaga" and "DhiraDhira" in a special different way, Is it true? How do you play those bols?
I think that Pedro has the right idea here. To further complicate matters, I'm studying the Benares gharana. .
I have learned compositions that make the distinction between NA and Na. (Unfortunately, I can't do the proper accents through text here. . When I write NA, I mean Na, but with a horizontal line over the a. So let us take A to mean a with a line over it). When spoken, NA sounds like Naaaaaaa and Na sounds like Ne.
So, NA is the resonant sound of tabla that we use all the time. And Na is similar to Te; a non-resonant stroke.
I would say that Ne and Na are the same; just different pronunciations, as is common between varying gharanas. Na, not NA!
I agree, in fact, I think that's exactly the point why it's important to study under the guidance of a guru or ustad who can teach you such subtleties, and show you different posibilities from different styles. when you learn from a book, it's hard to catch those differences.
I agree completely. Books are great resources at times, such as David's books. . he goes into great detail about history, construction, and theoretical matters. I always reccomend them to anyone who is interested in getting more information about the tabla. But, to learn the actual art of PLAYING, nothing beats a good teacher.
I also agree about the importance of a guru especially to get your hands right (and don't wait to long or you'll have a hell of a time fixing them!), but I think for these purposes and since we're translating anyway that it's best in most cases to think of 'ne' as the stroke played with the ring finger (as Pedro said). This in my mind accomplishes 2 things: 1) it makes reading and sharing bol easier. 2) To my ears it's more onomonopoetic (it sounds more like the real thing. ie ahhh is resonant, eh is not) I agree that sometimes the artist may want to substitute the stroke played on the kinar (na) for the stroke played on the gub (ne), but that, in my mind is usually a personal artistic decision, and you still need to be able to distinguish. Rahul, you're answer seems to have muddied these waters.
Now, having said (written) this I realize that you (rahul) never did say how you play the ring finger stroke Pedro and I call 'ne'. You may call it something else that's even closer to the actual sound we hear when we play it--I'd be sincerely curious to find out. Obviously this is a useful exchange, because we'd all like to be able to interpret bols from other Gharanas. I know there are a ton of great Punjab bols and I intend to go home tonight and try substituting some na's for ne's! At the same time, and the reason I started this monolog, as much as I love learning the intracacies of tabla I think sometimes (often) we get too caught up in talking about the intracacies of tabla, especially to beginning students. Sometimes it does make sense to play a 'ne' as a 'na', but I bet for most bols it was originally meant to be played as Pedro said, and it's a heck of a lot less confusing to someone trying to interpret these bols. Surely, Dhine-dhina is an example of this (try playing dhina-dhina repeatedly at speed! and don't forget to keep your hands on the drums!). So this is a question, and a plea--keep it simple folks--this art is a gift and it's our responsibility to teach it, not make it unapproachable or convoluted.
My apologies if I confused many!!
OK, in the following discussion, I will make use of 2 phrases to avoid confusion.
1) Naa -> Kinar Stroke( Also called Taa ).
2) Na -> I belive this is what you have been calling "Ne".
Stroke (1) as we all agree are played on Kinar with an index finger.
Stroke (2) "ne"( your bol), "na"( mine) played with a ring finger on the edge of the syahi.
In some of the Punjab style references, the bol "ne"/"na" is also called as "Da"( as in Donut).
For example: A phrase "KDa" is played using:
1) Ka on Bayan
2)1/2 beat pause: Da using an right hand ring finger on the edge of the Syahi with a little pressure to produce a closed sound.
Another phrase "KaTaaNa" is played as:
1) Ka on Bayan(Base drum)
2) Taa on Kinar of Tabla.
3) Na( your ne or my "Da") played using right hand ring finger on edge of the Tabla with a gentle stroke (hit and lift immediately) to produce an Open bol.
So this is more or less a problem with Tabla bols from different gharanas being ambiguously named. Some strokes have two/more names in the same Gharana as well as different names in different gharanas causing more confusion for learners.
Ne is alot of times an indication that youre deal ing with a pakhavaj composition (i.e. phrases like gadighene). in that case it is like Te (three fingers middle, ring, and pinky) but alittle more subdued. did the ne you are all speaking of come from this context?
Ne i saw in a tabla book i got from j.a.s music in london. .it was written by . .ram atveer singh. thanks for replys i was always puzzled by ne . .valuable to know it can be open or closed. trakra is ring middle index. .middle ring. .strange ' similiar stroke on egyptian tabla 3 2 1 . .2 1 or 321 . .[32].together or 321. .3. [3 = ring 2 mid. .ect]. .are there any other types of finger rolls used on tabla ?
