Hi,
Somebody please give me small bols or kaidas (for warm-up). Particularly for my right hand middle finger (I saw some tabla players while playing the right hand index finger and middle finger both has equal clarity, while new beginners like me has a lack in clarity) and for playing GEGE (BAYAN). Since my hands are very rigid while playing fast tempo.
1. Is there any hard & fast rules for playing GEGE by left hand middle finger and index finger combination (while playing kaidas-classical or even light music style)? If so, it is universally accepted or depending upon the individual who play the tabla?
sibi (Jan 24, 2004 02:27 a.m.):
Hi,
Somebody please give me small bols or kaidas (for warm-up). Particularly for my right hand middle finger (I saw some tabla players while playing the right hand index finger and middle finger both has equal clarity, while new beginners like me has a lack in clarity) and for playing GEGE (BAYAN). Since my hands are very rigid while playing fast tempo.
1. Is there any hard & fast rules for playing GEGE by left hand middle finger and index finger combination (while playing kaidas-classical or even light music style)? If so, it is universally accepted or depending upon the individual who play the tabla?
Sibi,
For warmup I often begin by playing simple Delhi kaida in slow tempo. There is more than one reason why this particular composition is given to beginners and is still so popular with professionals. However you must be patient and be willing to play this kaida at a VERY (begin one beat per second for the first 15 minutes) slow tempo for VERY long periods of time to: 1. understand it, 2. gain clarity of it, and 3. be completely relaxed while playing it - ALL of these things.
For left hand bayan strength you can introduce a variation of Delhi kaida with bayan (khuli) on each bol - i.e.: Dha Dhit Dhet Dha, Dhit Dhet Dha Dha, Dhit Dhet Dha Ghe, Thun Dha Ghe Dha - same with mudi (Ka - closed).
I was taught that baya is always played with alternating index and middle finger no matter what the composition or where in the composition you begin. You should have equal strength in both fingers. Common for warm up is something like - GheGhe TeTE GheGhe NaNa KeKe TeTe KeKe NaNa alternating with something like GheGhe TeTE GheGhe GheNa KeKe TeTe KeKe GheNa
Practice these at slow tempo for an hour or more - very boring to be sure - but the fastest way to becoming a professional.
I was just listening to a new tape of the great Ustad Nizamuddin Khansaheb (Swar Shodh / Virgin label 2002) playing Delhi kaida - Ahmedjan Thirakawa, Afaq Hussain Khansaheb, Habibuddin Khansaheb - they never tired of this composition even to last days of their lives. What's amazing is that they could always make it sound so unique!
One important caveat however; please ask your teacher if this type of practice is ok - he or she may suggest something more refined or better suited to strengthen your particular weaknesses. I truly hope you are making as much effort in finding a teacher as you are with your daily practice, as my advice and anyone else's suggestions are pretty much worthless without the proper guidance.
Sincerely,
A.
Aanaddha. Where did you buy, that Nizamuddin cd? If you don't have Nizamuddin's live performance video buy it as soon as possible from Khazana. That is something unbelievable. I have watched it for hundreds of times without ever getting bored. He is one of the greatest players ever!!
Jake (Jan 24, 2004 12:58 p.m.):
Aanaddha. Where did you buy, that Nizamuddin cd? If you don't have Nizamuddin's live performance video buy it as soon as possible from Khazana. That is something unbelievable. I have watched it for hundreds of times without ever getting bored. He is one of the greatest players ever!!
Jake,
A friend of mine brought the cassette tape back from India. He got it from a store called "Planet M" ?
Label of the cassette is "Swar Shodh" -Nizamuddin Khan - pub. Virgin Records (India) Pvt. Ltd. 2002
Liner notes : "Private recording held in Delhi on July 13, 1986." (which is exactly one year and a half later than the video concert).
"The consultant for this series is Shubha Mudgal."
I have the Nizamuddin video and there's nothing else like it. It's a shame that for all of the CD's that everyone seems to be making this is the only commercial full tabla solo concert in VHS not to mention DVD.
I agree with you. There may be a change for that. Chakradar will probably be releasing some tabla concerts held in England in DVD. Surely I can say that they are publishing two books from Shankar Ghosh.
It's a shame that Nizamuddin's recording sounds too hard to get. I have to at least try to get it. It must be a great recording. .
Jake (Jan 24, 2004 07:20 p.m.):
I agree with you. There may be a change for that. Chakradar will probably be releasing some tabla concerts held in England in DVD. Surely I can say that they are publishing two books from Shankar Ghosh.
It's a shame that Nizamuddin's recording sounds too hard to get. I have to at least try to get it. It must be a great recording. .
Jake
Jake,
Write to me at Aanaddha@cox.net You're in Sweden, correct? I need to get some information from you.
A.
Hi anadhaa!
Will you please explain me the right hand fingering (dayan) for the particular Delhi kayda given by you?
Because I don't understand the difference between DHIT and DHET, please explain.
Please explain which finger of left hand (bayan) generally used for playing GEGE (either middle or index finger).
In general which finger (bayan) should be used for playing close (bund) GHE and open GHE (kula bol)
sibi (Jan 28, 2004 01:46 a.m.):
Hi anadhaa!
Will you please explain me the right hand fingering (dayan) for the particular Delhi kayda given by you?
Because I don't understand the difference between DHIT and DHET, please explain.
Please explain which finger of left hand (bayan) generally used for playing GEGE (either middle or index finger).
In general which finger (bayan) should be used for playing close (bund) GHE and open GHE (kula bol)
Sibi,
Please note these are my notations and are not intended to be universal:
Basically, the idea is to play Delhi Kaida the way you were taught. (if you haven't learned Delhi Kaida yet, find someone to show you how to play it correctly first.) The practice variation here (all khuli or kula) is simply played with every stroke (like 'Dha', Ghe with Na ) in combination with Ghe (open bayan) except 'Thun' and 'Ghe' which is each an open stroke by itself. Hence:
'Dhit' - combination stroke of Ghe and Ti ( right hand, middle finger ). 'Dhet' - combination of Ghe and Te ( right hand, index finger ) :
Dha Dhit Dhet Dha, Dhit Dhet Dha Dha. .
Dhit Dhet Dha Ghe, Thun Dha Ghe Dha.
I'm sorry, I don't know what you mean by "playing close (bund) GHE and open GHE (kula bol)" ??
To me, closed (bund, mudi) baya stroke is 'Ke' or 'Ka' or 'Kat'. If you're talking about using meend strokes with your baya - don't wory about it. Play Delhi Kaida with bayan as you normally would using alternating index and middle fingers of your left hand in addtion to each stroke, then play mudi as you normally would.
I am not going to give any more notation than that precisely because it tends to cause even more confusion. Ask your teacher. It could be that you're making this more comlicated than it is or you're not ready for this. It may be you simply have to hear someone play it.
Sincerely,
Aanaddha
