Learning the Tabla Vol 1 - Kaida 1, 2, 3, and 4

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Yohon
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Joined: Wed Aug 12, 2015 2:20 am
Location: Hamilton, Ontario, Canada

Learning the Tabla Vol 1 - Kaida 1, 2, 3, and 4

Post by Yohon » Wed Aug 12, 2015 2:45 am

Hello All,

This is my first post on the forum.

Firstly - Thanks to David for setting up this fantastic community. I bought both of your "Learning the Tabla" books to add to what I was learning from my tabla teacher.

My question for the forum vets is regarding my confusion with the sound of the bol 'dhin' in the first four kaidas in volume one of David Courtney's Learning the Tabla book. (I guess this means you'll need to have the book and CD to hear what I'm referring to here.)

On the CD audio, track 53 we hear Kaida #1. In this recording I hear the bol "dhin" played differently as follows:
Theka - Dhin sounds like Ga + (Tin played very softly)
Kaida Introducation - Dhin sounds like Ga + (Tin played very softly)
Full speed and all variations afterward - Dhin sounds like Ga + Too

This continues in Kaida 2 to 4. At the beginning, the Theka portion and Kaida Intros play Dhin with Ga+Tin (as defined in the book). But then throughout the full speed of the Kaida and the variations, Dhin is heard as Ga + Too.

Is this just how Dhin will always expected to be played - varying between Ga+Tin and Ga+Too? Is this just the player's interpretation in the variations? Should the person reading the kaida expect that Dhin can be played as Ga+Tin or Ga+Too?

Thanks in advance for anyone who can shed some light on this for me.

Yohon

david
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Re: Learning the Tabla Vol 1 - Kaida 1, 2, 3, and 4

Post by david » Wed Aug 12, 2015 3:41 am

I generally stay away from posting because I know that others will always answer the questions. I always feel that if I jump in, it will displace someone else's activity. In this case I think that I should respond.


You are spot on in terms of listening to the compositions. We must remember that Dhin, like most of the bols of tabla, represents a concept rather than a a concrete technique. As such it may be executed in a surprising number of ways. The variations may be dictated, by gharana, or baj. Sometimes they may be dictated by the compositional form. But in many cases it is determined purely according to the mood of the artist.

In this case, it is useful to look at the term "Kaida". The term literally implies a set of rules or formulae for handling a theme-and-variation. This should not be interpreted to mean: "You must play it like this!" You should instead see the rules as defining a fairly broad area in which you have scope for artistic interpretation. To do otherwise reduces the kaida to a mere technical exercise.

Peace

David Courtney

Yohon
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Joined: Wed Aug 12, 2015 2:20 am
Location: Hamilton, Ontario, Canada

Re: Learning the Tabla Vol 1 - Kaida 1, 2, 3, and 4

Post by Yohon » Thu Aug 13, 2015 1:06 am

Thank you David. Your explanation has cleared up my confusion and was very helpful!

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