Manual Nikas Secret

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Nikos office Won't let me click on the monitor? Tesla coil Stuck at the beginning with the power grid! Repairing both coils, unlocking control booth and supply cabinet, etc. Not sure what to do.. Ryan needs to fix card player. Bonus Edition Easter Egg lock box The very end! Thus, there are tals with 3, 4, 5, 6, 7, 8, 9, 10, … matras.

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There is mention of some tals comprising fractional beats too in Sangeet Ratnakar, an exhaustive work of music by Sharnga dev written around A. The major 7 tals of South Indian music are dhruva, mantha, roopak, triputa, adda and ekatali. Though the mridangam of South India and pakhawaj of North India are counterparts of each other but tabla has become a rage and craze among the youngsters due to the meteoric rise of maestro Zakir Hussain and his panoramic success. All the hide covered rhythm instruments follow the bare rules of tempo and the simple requirements of the tals in general.

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Tabla and its Bols A set of tabla is the invention of late medieval musicians. It consists of two drums of which one is tuned to higher pitch treble drum-normally on sa or tar sa called tabla or dayan and the other is tuned to low pitch base drum- normally on mandra sa called dagga or bayan. Each of this tabla or dagga is associated with specific bols syllables that are played on it.

There are many tabla players, who consider that there are seven principal syllables in tabla playing similar to seven notes of vocal music.

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These bols are combined, uttered and played to obtain innumerable strings of syllables. This sort of change and others are done for the sake of nikas, the means of better sound production and ease of execution. Moreover, sounds of exactly same nature produced on tabla are expressed by different syllables.

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  • Ultimately, it creates no confusion for a player after a fair amount of taleem or training. What and How of Tabla playing and Accompaniment The tabla teachers mostly teach their pupil how to render a solo recital and scarcely the art of accompanying a vocalist, instrumentalist or dancer.

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    To do this, the accompanist should have a thorough knowledge of the art. The sound of both the drums should be so much loud and clear, that it is distinctly audible to the main artiste. An accompanist should remember the fact that the instrument being close to him he can hear minute sounds too.

    It is not the case for the main artiste. When the main artiste if he or she is a vocalist performs, he hears less of the tabla sound due to the music he creates, the other accompanying instruments and the surrounding noise. Therefore, a tabla accompanist must try to play with bold strokes without spoiling the aesthetics of total music.

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    Neither the tabla repertoire nor the sound must overpower to the discomfort of the main artiste. Tabla player should be competent enough to maintain a uniform lai and should be able to change whenever required. He should play softly, when a soft, fine and subtle music is being presented by the main artiste and would remain always ready to show the best of his expertise, whenever he is given a chance. The tabla accompanist must not play for many cycles cycles at a time in Madhya or drut lai altogether while accompanying a vocalist, as it is of no good taste, moreover, singing the same mukhda will appear boring to him or her.

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    • It hampers the creative thinking of the principal artiste too. For sitar, sarod, flute, santoor and guitar many cycles of tabla playing rather enhances a further beauty of the whole music ensemble. One can definitely play 2 to 3 cycles with a vocalist at a time. He should pay attention to the fact, whatever tukda, the rhythm piece he plays that makes an impact and impressive statement.