Thursday, September 29, 2011
Monday, September 26, 2011
Saturday, September 17, 2011
Thursday, September 8, 2011
Google Tabla Gadget
Tabla Widget by TablaRadio helps to add tabla videos on your website. It is an online application which can added with igoogle, website or blog. Once added, it recieves all the updates to your desktop or website.
To add Google Tabla Gadget you can go to Google Gadget
http://tablaradio.com/Google-gadget/Google-gadget-samples/Tabla-gadget.html
Adding Tabla Widget to sites and Blog
Tabla Widget helps to listen tabla on desktop. The xml coding helps to add this online application with website, blog and other services.
To add Tabla Widget, Google Gadget to your website you can use this link.http://tablaradio.com/Google-gadget/Google-gadget-samples/Tabla-gadget.html
Wednesday, September 7, 2011
Delhi Recorded Earth Quake Tremors - 07 September 2011
Tuesday, August 30, 2011
Tabla
Tabla
Introduction
The instrument Tabla consists of a pair of hand drums of contrasting sizes and timbres. The term 'tabla is derived from an Arabicword, tabl, which simply means "drum." [1]
Playing technique involves extensive use of the fingers and palms in various configurations to create a wide variety of different sounds, reflected in the mnemonic syllables (bol).
It was invented in India but still the history of this instrument is uncertain, and has been the subject of sometimes heated debate. Rebecca Stewart[2] suggested it was most likely a hybrid resulting from the experiments with existing drums such as pakhawaj, dholak and naqqara.
Nomenclature and construction
The smaller drum, played with the dominant hand, is sometimes called dayan (literally "right"), dāhina, siddha or chattū, but is correctly called the "tabla." It is made from a conical piece of mostly teak and rosewood hollowed out to approximately half of its total depth. The drum is tuned to a specific note, usually either the tonic, dominant or subdominant of the soloist's key and thus complements the melody.Tabla Notations
Hindustani Classical Music has two standard notation systems as Pt. Bhatkhande and Pt. Paluskar notation system. The same notation system is used for notating Tabla.
Gharānā — tabla tradition
The term gharānā is used to specify a lineage of teaching and repertoire in Indian classical music. Most performers and scholars recognize two styles of tabla gharana: Dilli Baj and Purbi Baj. Dilli (or Delhi) baj comes from the style that developed in Delhi, and Purbi (meaning eastern) baj developed in the area east of Delhi. Delhi Baj is also known as Chati baj (Chati is a part of Tabla from where special tone can be produced).
Jori / Jodi and Dhama Style Tabla
Next to the contemporary common style of tabla, there exist older styles in which the bayan (called Dhama or Dhamma) is often made out of wood. Instead of having a thin dry syahi, this style of tabla uses a wet wheat dough on the bass drum's skin. The dough is applied shortly before playing. These types of (Jori) tabla are used by Qawwali ensembles (notably Dildar Hussain), Sikh, Pakhawaj inspired Tabla Gharanas(Punjabi Dhrupad), Gurbani Kirtan and Afghan traditional folk music.
(Source Courtsey Wikipedia)
(Source Courtsey Wikipedia)
Download Tabla
Download Tabla
Download Taalmaala Software
Free Tabla and Taanpura Software
Tabla Bols Software
(Free Download)
Download Tabla Solo
Download Taalmaala Software
Free Tabla and Taanpura Software
Tabla Bols Software
(Free Download)
Download Tabla Solo
Tabla Loops
Tabla Loops
Introduction
Tabla Loops are useful for practice and composing new music. Some programs come with sample sound files with bols (the talas) scripts or notations. They add variety to the artist.
How to make music with Tabla Loops
Loops come in wav or mp3 format. They can be easily imported into audacity software and more tracks (can be added). Audacity is an open source software easily available on web. You can find audacity from here.
How to practice tabla with Tabla Loops
Tabla Loops come with their bols scripts. You can find a similar software from here Tabla Bols 2.1. This software has a basic collection of popular rhythms and their bols.
Details of Tabla Bols 2.1
Description
Introduction
Tabla Loops are useful for practice and composing new music. Some programs come with sample sound files with bols (the talas) scripts or notations. They add variety to the artist.
How to make music with Tabla Loops
Loops come in wav or mp3 format. They can be easily imported into audacity software and more tracks (can be added). Audacity is an open source software easily available on web. You can find audacity from here.
How to practice tabla with Tabla Loops
Tabla Loops come with their bols scripts. You can find a similar software from here Tabla Bols 2.1. This software has a basic collection of popular rhythms and their bols.
Details of Tabla Bols 2.1
Description
- 10 Popular Tabla Rhythms with Sound Files
- 1 Text file with Bols (Script, Notations, Taals)
Download Fromat
One dot zip file with wav and text files.
Compatibility
All major softwares and operating systems.
(PC, Mac & XP, Win 7, Win Vista)
Purchase Tabla Bols ($5)
You can download Tabla Bols 2.1 from here.
About Tabla
Tabla
The tabla (or tabl, tabla) (Hindi: तबला, Marathi: तबला, Kannada: ತಬಲ, Telugu: తబల, Tamil:தபேலா, Bengali: তবলা, Nepali: तबला, Urdu: طبلہ, Arabic: طبل، طبلة) is a popular Indianpercussion instrument (of the membranophone family) used in Hindustani classical musicand in popular and devotional music of the Indian subcontinent. The instrument consists of a pair of hand drums of contrasting sizes and timbres. The term 'tabla is derived from an Arabicword, tabl, which simply means "drum." [1]
The smaller drum, played with the dominant hand, is sometimes called dayan (literally "right"), dāhina, siddha or chattū, but is correctly called the "tabla."
The larger drum, played with the other hand, is called bāyāñ (literally "left") or sometimes dagga, duggī or dhāmā.
Tabla Notations
Hindustani Classical Music has two standard notation systems as Pt. Bhatkhande and Pt. Paluskar notation system. The same notation system is used for notating Tabla.
For more information about Tabla Notations visit TablaRadio.Com
http://tablaradio.com/tablabols2.1/application-info.html
Basic Bols (Strokes)
- Ta: (on dayan) striking sharply with the index finger against the rim
- Ga: (on bayan) holding wrist down and arching the fingers over the syahi, the middle and ring-fingers then strike the maidan (resonant)
- Tin: (on dayan) placing the last two fingers of the right hand lightly against the syahi and striking on the border between the syahi and the maidan (resonant)
- Dha: combination of Ta and Ga
- Dhin: combination of Tin and Ga
- Ka: (on bayan) striking with the flat palm and fingers (non resonant)
- Na: (on dayan) striking the edge of the syahi with the last two fingers of the right hand (non resonant)
- Ti: (on dayan) striking the center of the syahi with the middle finger
- Tu: (on dayan) striking the center of the syahi with the index finger (resonant)
Tabla Radio
Tabla Radio is a leading resource online for Tabla Bols, Lessons and CDs. You can find more information from here.
Further reading
- The Major Traditions of North Indian Tabla Drumming: A Survey Presentation Based on Performances by India's Leading Artists, by Robert S. Gottlieb. Pub. Musikverlag E. Katzbichler, 1977. ISBN 387397300.
- The tabla of Lucknow: a cultural analysis of a musical tradition, by James Kippen. Cambridge University Press, 1988. ISBN 0521335280.
- Solo Tabla Drumming of North India: Text & commentary, by Robert S. Gottlieb, Motilal Banarsidass Publ., 1993. ISBN 8120810937.
- Fundamentals of Tabla, (Volume 1) by David R. Courtney. Pub. Sur Sangeet Services, 1995. ISBN 096344476X.
- Advanced Theory of Tabla, (Volume 2) by David R. Courtney. Pub. Sur Sangeet Services, 2000. ISBN 0963444794.
- Manufacture and Repair of Tabla, (Volume 3) by David R. Courtney. Pub. Sur Sangeet Services, 2001. ISBN 1893644022.
- Focus on the Kaidas of Tabla, (Volume 4) by David R. Courtney. Pub. Sur Sangeet Services, 2002. ISBN 1893644030.
- Theory and practice of tabla, by Sadanand Naimpalli. Popular Prakashan, 2005. ISBN 8179911497.
Learn Tabla - CD & DVDs - Tabla Lessons
Here are the list of Learn Tabla - CDs and DVDs
Learn The Art of Playing Tabla Starring Tarsem Kalyan
In Concert (Part 1) Ashwin Batish-Sitar, Zakir Hussain-Tabla (DVD) Starring Ashwin Batish; Zakir Hussain
Tabla Tutor #2 - Production of Tabla Bols (DVD) Starring Ashwin Batish
Introduction To Tabla DVD - Part 1& 2 by Mid-East
Learn The Art of Playing Tabla Starring Tarsem Kalyan
In Concert (Part 1) Ashwin Batish-Sitar, Zakir Hussain-Tabla (DVD) Starring Ashwin Batish; Zakir Hussain
Tabla Tutor #2 - Production of Tabla Bols (DVD) Starring Ashwin Batish
Introduction To Tabla DVD - Part 1& 2 by Mid-East
Friday, August 26, 2011
Thursday, August 25, 2011
Tuesday, August 16, 2011
Internet celebrates its 42nd anniversary !
This year the Internet is completing it 42 years. Here are the stats...
Blogs in India
4125 - Personal
2660 - Technology
830 - Poetry
1009 - Travel
903 - Movies
1004 - Music
913 - Photography
1000 - Politics
13,766 - others
Innovations In Scientific Pursuits
Innovation in Science Pursuit for Inspired Research National Level Exhibition & Project Competition 2011 from 14-16 August 2011 at Hall 14 & 15 from 11.00 am to 5.00 pm, ITPO, Pragati Maidan, New Delhi.
Balanced and Lyrical Photographs of Smitha Khorana
The images on Indian Muslims and syncretism taken by full bright scholar Smitha Khorana between 2005 and 2009 are being exhibited in India International Center Delhi Lucknow Udaipur
Fly high with the kites
The unique kite flying compettion that also aims to send a message against corruption. The visitors will get a chance to fly a kite with the picture of their favorite politician.
It's an eco-friendly festival, where for flying kites, people are only allowed to use saddi (white thread without usage of glass with paste).
Swatantrata Celebrations at Select citywalk in Saket
NGOs will present various performances to mark the Independence Day Celebration.
A special 30 feet by 20 feet structure has been built as a mark of respect to martyrs by environment friendly such as jute and fiber.
The performance by The Ability Unlimited Foundation, the world's first professional dance theatre to trance persons with disabilities in Indian classical dance on wheel chairs.
Maati Srijan, an exclusive pottery exhibition was organized in Saket.
Sunday, August 7, 2011
Thursday, June 9, 2011
Prominent Indian Artist, M F Hussain Passes away in London
Famous for controversy over painting hindu goddesses, prominent Indian Artist M F Hussain died thursday. He was 95. Starting his journey as a poster artist he led to the status of a wealthy Indian elite. His most controversial painting which was showing a nude woman on her knees which was critically opposed by hard-line Hindu groups. Hussain never wore anything on his feet. He took his last breath at the Royal Brompton Hospital in London.
Thursday, June 2, 2011
Tabla News (Tablaradio.Com) - Folk Fest sells out weekend passes, Honoring Hazel and rallying for the mountains, Blue plaque honours morris dance legend, Entertainment Calendar June 2, 2011
| Folk Fest sells out weekend passes Edmonton Journal Four-day passes to this year's Edmonton Folk Music Festival sold out in two hours Wednesday, despite some early technical difficulties. Folk Fest producer Terry Wickham said demand for tickets "crashed" the festival office's phone lines for 90 minutes ... See all stories on this topic » | ||
| Fundraiser to feature folk music Santa Ynez Valley News The event will feature live folk music from Rebecca Troon, Cinder Jean, Rob Thomas, Bruce Goldish and others. The giant train barbecue of Los Olivos, fashioned by Frank Palmer and artist John Cody, will be on hand to deliver a barbecue and ambiance to ... See all stories on this topic » | ||
| Honoring Hazel and rallying for the mountains Charleston Gazette Considered a pioneer in bluegrass and folk music, Dickens planned to attend Sunday's concert, but died in April, just shy of her 76th birthday on June 1. By Bill Lynch CHARLESTON, W.Va. -- Hazel Dickens never gave up raising hell and speaking out. ... See all stories on this topic » | ||
| Music museum Village News Online But now, however, from the efforts of members of the Virginia Folk Music Association (VFMA), Chesterfield County will become the host site of the museum beginning Saturday, June 11,developing a place to preserve fo lk music memorabilia and memories ... See all stories on this topic » | ||
| Blue plaque honours morris dance legend Witney Gazette By Liam Sloan » A MORRIS dancer whose chance encounter with the godfather of British folk musictriggered the revival of the tradition across the country has been honoured. The descendents of William Kimber were among 200 people who gathered in St ... See all stories on this topic » | ||
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| Music and dance provide fun for Preston Hall festival Gazette Live by Mike Blackburn, Evening Gazette A THOUSAND folk fans flocked to Preston Hall in Stockton for a fun-packed festival over the Bank Holiday Weekend. The annual folk festival celebrated traditionalfolk music and dance, with a programme including ... See all stories on this topic » | ||
| Contemporary folk stars to play in Areley Kings Kidderminster Shuttle NEW stars of British contemporary folk music will play an intimate concert at Areley Kings Village Hall on Friday, June 10 at 7.30pm as part of their nationwide Village Halls of Britain Tour. Blackheart features the lemon and honey voice of Chrissy ... See all stories on this topic » | ||
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| Entertainment Calendar June 2, 2011 Pomerado Newspaper Group Celebrate folk music and the area's folk heritage at the Sam Hinton Folk Heritage Festival from 10:30 am to 5:30 pm Saturday, June 4 in Old Poway Park, 14134 Midland Road. The day will include acoustic and folk music, contra dancing, open mike stage ... See all stories on this topic » |
Monday, April 4, 2011
Pasic organizes the biggest percussive event featuring 120 concerts
PASIC The Percussive Art Society International Convention organises the biggest percussive event featuring over 120 concerts. Artists are invited to present and perform in the event. The event is held annually with more than 120 exhibitors to showcase intruments, gears, publications and services. To become an exhibitor at PASIC you can visit to PASIC
Monday, March 21, 2011
Playing technique
The tabla (or tabl, tabla) (Hindi: तबला, Marathi: तबला, Kannada: ತಬಲ, Telugu: తబల, Tamil:தபேலா, Malayalam: തബല, Bengali: তবলা, Nepali: तबला, Urdu: طبلہ, Arabic: طبل، طبلة) is a popular Indian percussion instrument (of the membranophone family) used in Hindustani classical music and in popular and devotional music of the Indian subcontinent. The instrument consists of a pair of hand drums of contrasting sizes and timbres. The term ‘tabla is derived from an Arabic word, tabl, which simply means “drum.”[1]
Playing technique involves extensive use of the fingers and palms in various configurations to create a wide variety of different sounds, reflected in the mnemonic syllables (bol). The heel of the hand is used to apply pressure or in a sliding motion on the larger drum so that thepitch is changed during the sound’s decay.
Nomenclature and construction
The smaller drum, played with the dominant hand, is sometimes called dayan (lit. “right”; a.k.a. dāhina, siddha, chattū) but is correctly called the “tabla.” It is made from a conical piece of mostly teak and rosewood hollowed out to approximately half of its total depth. The drum is tuned to a specific note, usually either the tonic, dominant or sub-dominant of the soloist’s key and thus complements the melody. The tuning range is limited although different dāyāñ-s are produced in different sizes, each with a different range. Cylindrical wood blocks, known as ghatta, are inserted between the strap and the shell allowing tension to be adjusted by their vertical positioning. Fine tuning is achieved while striking vertically on the braided portion of the head using a small hammer.
The larger drum, played with the other hand, is called bāyāñ (lit. “left”; a.k.a. dagga, duggī, dhāmā). The bāyāñ has a much deeper basstone, much like its distant cousin, the kettle drum. The bāyāñ may be made of any of a number of materials. Brass is the most common,copper is more expensive, but generally held to be the best, while aluminum and steel are often found in inexpensive models. One sometimes finds that wood is used, especially in old bāyāñs from the Punjab. Clay is also used, although not favored for durability; these are generally found in the North-East region of Bengal.
Both drum shells are covered with a head (or puri) constructed from goat or cow skin. An outer ring of skin (keenar) is overlaid on the main skin and serves to suppress some of the natural overtones. These two skins are bound together with a complex woven braid that gives the assembly enough strength to be tensioned on the shell. The head is affixed to the drum shell with a single cow or camel hide strap laced between the braid of the head assembly and another ring (made from the same strap material) placed on the bottom of the drum.
The head of each drum has a central area called the Syahi (lit. “ink”; a.k.a. shāī or gāb). This is constructed using multiple layers of a paste made from starch (rice or wheat) mixed with a black powder of various origins. The precise construction and shaping of this area is responsible for modification of the drum’s natural overtones, resulting in the clarity of pitch and variety of tonal possibilities unique to this instrument. The skill required for the proper construction of this area is highly refined and is the main differentiating factor in the quality of a particular instrument. For stability while playing, each drum is positioned on a toroidal bundle called chutta or guddi, consisting of plant fiber or another malleable material wrapped in cloth.
Gharānā — tabla tradition
The term gharānā is used to specify a lineage of teaching and repertoire in Indian classical music. Most performers and scholars recognize two styles of tabla gharana: Dilli Baj and Purbi Baj. Dilli (or Delhi) baj comes from the style that developed in Delhi, and Purbi (meaning eastern) baj developed in the area east of Delhi. Delhi Baj is also known as Chati baj (Chati is a part of Tabla from where special tone can be produced).
Musicians then recognize six gharānās – schools or traditions – of tabla. These traditions appeared or evolved in presumably[citation needed]the following order:
- Delhi gharānā
- Lucknow gharānā
- Ajrara gharānā, later followed by
- Farukhabad gharānā
- Benares gharānā
- Punjab gharānā
Other tabla performers have identified further derivations of the above traditions, but these are subjective claims not universally recognized.[citation needed] Some traditions indeed have sub-lineages and sub-styles that meet the criteria to warrant a separate gharānā name, but such socio-musical identities have not taken hold in the public discourse of Hindustani art music, such as the Qasur lineage of tabla players of the Punjab region.
Each gharānā is traditionally set apart from the others by unique aspects of the compositional and playing styles of its exponents. For instance, some gharānās have different tabla positioning and bol techniques. In the days of court patronage the preservation of these distinctions was important in order to maintain the prestige of the sponsoring court. Gharānā secrets were closely guarded and often only passed along family lines. Being born into or marrying into a lineage holding family was often the only way to gain access to this knowledge.
Today many of these gharānā distinctions have been blurred as information has been more freely shared and newer generations of players have learned and combined aspects from multiple gharānās to form their own styles. There is much debate as to whether the concept of gharānā even still applies to modern players. Some think the era of gharānā has effectively come to an end as the unique aspects of each gharānā have been mostly lost through the mixing of styles and the socio-economic difficulties of maintaining lineage purity through rigorous training.
Nonetheless the greatness of each gharānā can still be observed through study of its traditional material and, when accessible, recordings of its great players. The current generation of traditionally trained masters still hold vast amounts of traditional compositional knowledge and expertise.
This body of compositional knowledge and the intricate theoretical basis which informs it is still actively being transmitted from teacher to student all over the world. In addition to the instrument itself, the term tablais often used in reference to this knowledge and the process of its transmission.
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