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The Title of the CD: TABLA Vol. 1 [for PC/MAC]
The Companion audio CD: New Generation
Featuring the various roles of tabla, free for a limited time only, with the TABLA Vol. 1
Publisher: AimRec Enterprise, Inc.
Website: http://www.aimrec.com
Indian music in general, and the Tabla and the Sitar in particular, cast
the spell on the West as early as in the early 60's. The tabla is a
two-drum set used as a percussion instrument, for solo playing or for
accompaniement. The Sitar and the Tabla are the most frequently heard
Indian instruments in World music.
The CD: TABLA Vol. 1 is a fully interactive multimedia presentaation
introducing the Tabla. Its presentation is so gripping that you enjoy
learning the basics of the tabla, which usually calls for much patience
and perseverance to learn. You can play your very first song on the
keyboard on the very first day; you can learn to sing a simple song
relatively easily; but you can hardly create a proper sound on the tabla
in a short spell of learning. But once you know the basics, you get
beautiful bol-s and immense joy out of tabla playing. That is where this
interactive CD comes in handy.
The 500-MB of audio-visual material is divided into three main sections:
Introduction, Instructions, and In concert. The introduction starts with
the general history of the tabla -- a 14-screen text which you hear as the
commentary also. It is a useful synopsis of the historical development of
the tabla. The introduction continues into audio-visual supplements to the
six main gharana-s, viz. Ajrada, Benaras, Delhi, Farukhabad, Lucknow and
Punjab.
The second section, Instructions, is the heart of the CD. It comprises,
firstly, explanations of the basic terms and common concepts associated
with tabla playing. It covers about twenty screens along with which we
hear commentary also. The second part of the Instructions is the bol-s --
the alphabets of the tabla sounds. The bol-s are the sounds that the
player produces on the tabla, with either hand or with both the hands.
These mnemonic devices total about 12-15 bol-s. Then we have the
multi-syllabic combinations which number about a dozen. The audio-visual
presentation of these tabla sounds is an excellent collection. This is
followed by stills of the tabla pair, the right-hand bayan, and the
left-hand bayan (or duggi), each with parts clearly marked and named.
Then we have theka-s of twelve taal-s demonstrated as played. However, it
is more useful to first show the counts, using the hands, while counting
the number of beats. This should be followed by the show the counts, using
the hands, while, this time, speaking the theka bol-s. This should be
followed, lastly, by just playing of the avartana twice. The theka playing
should be very simple, without any fillers or flourishes. Also, at least
in the case of the bhajani taal, the written bol-s do not follow the
correctly-played bol-s. The section on the tuning of the dayan and bayan
follows, shown as stills. However, the reference pitch is not mentioned at
all. Further, for the sake of the correct teaching order, the coarse
tuning should come first, followed by fine tuning -- not the other way
round.
This is followed by video demonstration of performance components like
rela, paran etc. Here again, the spoken part should preceed the performed
part.
Lastly, there is the glossary search, where you enter the word and its
definition is displayed. You can click on a button to reach the detailed
commentary on the word you have elected to search. But the student does
not know the technical words. So, what is he expected to enter for a
search? Further, the spellings of the terms in Hindi and other Indian
languages are not standardised for transliteration. Thus, you can enter
"barabar" (how does the student already know this word?), but if you enter
"baraabar", you do not get any result. If you enter "bant", it does not
display any result, except that its nearest term available is "barabar" --
and this is quite misleading. However, the overall usefulness of the
glossary is beyond any doubt, though the entire glossary needs to be
listable.
The next section, In concert, is a collection of vocal and instrumental
audio recordings. It also includes the video recordings of performance
components like rela, paran etc.
The Instructions section can certainly be more 'personalized', more
one-on-one basis, more detailed and slower-paced, the camera alternately
zoomed onto the fingers of the player. There is an option for "1/2 speed",
but it does not serve the purpose it may have been designed for.
The last part is a list of the artists and credits.
The companion CD "The new generation" further reinforces the role of the
tabla in Indian music.
The CD: TABLA Vol. 1 is a very presentable work. It has made the task of
learning to play the tabla interesting -- a very creditable achievement.
This CD, the only of its kind, is highly recommended.
2004/01/31
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