Members,
I have been learning Mridangam for about 10 years. My main problem is that I leave out on Taala.. I have no problems in Keeping the taala for Sarva Laghus but i miss out when some one plays kanakkus..
Especially i leave out on complicated korvais, Gathis and edam korvais create a lot of problem..
Please advice and help me out..
V M Kannan
How to keep a firm Taala???
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Nick H
- Posts: 9383
- Joined: 03 Feb 2010, 02:03
Re: How to keep a firm Taala???
As they say, "tell me about it!"... It is a matter of wonder to me that professional musicians not only keep the beat accurately but also know where they are in the talam, especially those whose instrument does not leave a free hand for practice. I have nothing to offer but sympathy.
As a mridangam student, you will already know the lessons for practice of tala with off-beat composition. The korvais, of course, are such lessons in themselves.
As a mridangam student, you will already know the lessons for practice of tala with off-beat composition. The korvais, of course, are such lessons in themselves.
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cmlover
- Posts: 11498
- Joined: 02 Feb 2010, 22:36
Re: How to keep a firm Taala???
This is a very interesting topic.
Let us hear from our taala experts so that we may also learn the secrets!
Let us hear from our taala experts so that we may also learn the secrets!
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msakella
- Posts: 2127
- Joined: 30 Sep 2006, 21:16
Re: How to keep a firm Taala???
Yes, as our brother-member, cmlover, puts it there are secrets in this regard. Even though many of even the professionals are not at all aware of them even the very few having proper control over rhythm do not want to part with all the secrets as per my experience. In general, even the professional-main-artists can manage even without this knowledge, the music-teachers, as their duty always is to fully equip the aspirant, they are compelled to acquired this knowledge to impart their students. Even though nobody taught me all these intricacies I was compelled to collect many of such secrets to equip my students as a duty-minded, responsible teacher. In this process I have experimented upon a number of students and formulated number of exercises. Even though I am always ready to give out whatever I know, now, I cannot bring out all those varieties of exercises as they all have to be formulated then and there basing upon the instinctive level of rhythm of any aspirant. However, I shall bring out the barest minimum exercises used in general to all the aspirants.
In which way every male wants to marry, irrespective of his abilities, in general, every aspirant of music, irrespective of his age, abilities of grasping or assimilating and regular practice, is very anxious to have the perfect rhythmical knowledge. But, though many may not agree with me, my umpteen experiments upon a number of aspirants of various levels obviously revealed that only the tender age of not more than 12 years, having a clean-slate of mind, helps the aspirant a lot in grasping and assimilating the intricacies of rhythm if he/she is properly initiated by an efficient, honest and sincere teacher. The ability of grasping and assimilating such intricate subject gradually decreases after this age in multiplying speed.
01. It is always desirable to rely upon the Tala-machine called ‘Metronome’ without any hesitation.
02. It is always desirable to start with Chaturashra-gati i.e., 4-units per each second, at the Metronome-speed of 120-beats per minute, with the right-hand beat carrying 2-units followed by another 2-units of the left-hand. In general, nowhere music teachers are used to teach this exercise with both the hands. But, by umpteen experiments I came to know that this is a must which helps the aspirant stabilize his rhythmical abilities.
03. Later, the 3 varieties of the breaks of 3, 5 & 7-units i.e., Trisra, Khanda and Mishra-breaks must be practised in Chaturashra-gati in the above manner rendering beats with both the hands @ 4-units per second with both the hands @ 2-units of each hand following the renderings in the audio files 124th, 125th & 126th of the mp3, AMS Easy Methods-2007 available from http://www.sangeethamshare.org/chandra/ ... hods-2007/.
04. Later, the same should be practised @ 8-units per 2 seconds with both the hands @ 4-units of each hand and still later @ 8-units per 2 second but with the right-hand only.
05. Later, the 3 varieties of the breaks of 4, 5 & 7-units must be practiced in Trisra-gati @3-units per second and at the Metronome-speed of 60 beats per minute, rendering beat with the right hand only following the renderings in the audio files 128th, 129th & 130th of the above mp3 CD.
06. Later, the above Trisra-gati-varieties must be practised @ 6-units per 2 seconds with both the hands @ 3-units of each hand and still later @ 6-units per 2 seconds but with the right hand only.
Any doubts in this respect could be clarified by contacting to my ID, ‘msakella2002’ on Skype and speaking to me in person but not by email at all. amsharma
In which way every male wants to marry, irrespective of his abilities, in general, every aspirant of music, irrespective of his age, abilities of grasping or assimilating and regular practice, is very anxious to have the perfect rhythmical knowledge. But, though many may not agree with me, my umpteen experiments upon a number of aspirants of various levels obviously revealed that only the tender age of not more than 12 years, having a clean-slate of mind, helps the aspirant a lot in grasping and assimilating the intricacies of rhythm if he/she is properly initiated by an efficient, honest and sincere teacher. The ability of grasping and assimilating such intricate subject gradually decreases after this age in multiplying speed.
01. It is always desirable to rely upon the Tala-machine called ‘Metronome’ without any hesitation.
02. It is always desirable to start with Chaturashra-gati i.e., 4-units per each second, at the Metronome-speed of 120-beats per minute, with the right-hand beat carrying 2-units followed by another 2-units of the left-hand. In general, nowhere music teachers are used to teach this exercise with both the hands. But, by umpteen experiments I came to know that this is a must which helps the aspirant stabilize his rhythmical abilities.
03. Later, the 3 varieties of the breaks of 3, 5 & 7-units i.e., Trisra, Khanda and Mishra-breaks must be practised in Chaturashra-gati in the above manner rendering beats with both the hands @ 4-units per second with both the hands @ 2-units of each hand following the renderings in the audio files 124th, 125th & 126th of the mp3, AMS Easy Methods-2007 available from http://www.sangeethamshare.org/chandra/ ... hods-2007/.
04. Later, the same should be practised @ 8-units per 2 seconds with both the hands @ 4-units of each hand and still later @ 8-units per 2 second but with the right-hand only.
05. Later, the 3 varieties of the breaks of 4, 5 & 7-units must be practiced in Trisra-gati @3-units per second and at the Metronome-speed of 60 beats per minute, rendering beat with the right hand only following the renderings in the audio files 128th, 129th & 130th of the above mp3 CD.
06. Later, the above Trisra-gati-varieties must be practised @ 6-units per 2 seconds with both the hands @ 3-units of each hand and still later @ 6-units per 2 seconds but with the right hand only.
Any doubts in this respect could be clarified by contacting to my ID, ‘msakella2002’ on Skype and speaking to me in person but not by email at all. amsharma