Hi, I wonder if anybody could give me some advice on playing 'TiTaKiReNaKa'? For some reason I find 'TiRaKiTaTaKa' far more easy to play, particularly at higher speed. From this phrase, (KiRaNaGa) its replacing the 'Ta' from the other phrase with the 'Na' which is causing me a problem. Sorry if this is difficult to understand, I'm not very good at trying to explain! Also, can anyone suggest a left hand fingering for the mukhada 'Dhaa TiTa-GiRaNaGa'? At the moment I use my second finger for the first 2 strokes then my index for the last 'Ga'. Is this the best way of doing this? Thanks loads in advance!J
Yes. the in some compositions TiTaKiTaTaKa will played as TiTaKiTaNaKa. This is usually adopted in Ajrada and Farrukaabad Style. But Lucknow style still continues the format of TiTaKiTaTaKa. The Speed doesn't matter in this type of playing. Rather I say it is the way you practice. The most appropriete for speed is The Lucknow style. But The Na using Style will be more ornamental.
As far as the bayan movement is concerned you are following the right thing. Go ahead.
Practice it with heavy strokes in order to make your hands Wajandaar (Resonant Sounding) for the said Bols.
Yes. in some compositions TiTaKiTaTaKa will played as TiTaKiTaNaKa. This is usually adopted in Ajrada and Farrukaabad Style. But Lucknow style still continues the format of TiTaKiTaTaKa. The Speed doesn't matter in this type of playing. Rather I say it is the way you practice. The most appropriete for speed is The Lucknow style. But The Na using Style will be more ornamental.
As far as the bayan movement is concerned you are following the right thing. Go ahead.
Practice it with heavy strokes in order to make your hands Wajandaar (Resonant Sounding) for the said Bols.
In my own experience, I have found that playing such a composition at high speed with the na's sounding crisp, perfectly timed, and resonant, was difficult because of some weakness I wasn't aware of when I play na. Specifically, to get na right, I had to really work on building a lot of strength in playing na with the power coming solely from my wrist and no forearm. I can't really explain what I'm trying to say well but essentially you need to get to the point where you can hit a nice hard na without any forearm adjustment. Then, you'll find that hitting a na mixed in with bols on the shahi is so much easier and better sounding.
Personally, I use the exercise "dhati dhati dhadha tina" and try and focus on playing the dhati's with the movement in the middle finger and the index finger perfectly isolated from the rest of my hand. I also try and make sure that I strike each finger with equal force. I built up a lot of strength by doing this a half hour to an hour every day and then all my na's and ti's improved dramatically.
Thanks a lot for your replies. I agree, I think my difficulty in playing TiTaKiRaNaKa is probably due to too much movement in my forearm, thus causing me to have to reposition the hand to play Na in between the rest of the bols. I also think I simply need to stretch the muscles in my hand to be able to excecute this only using the hand and wrist. I shall use the "dhati dhati dhadha tina" excercise, thanks!J
