BANSURI ALANKARS PDF

Alankars bansuri – Download as Word Doc .doc /.docx), PDF File .pdf), Text File .txt) or read online. Phone (03) Mobile email: [email protected]; [email protected] ALANKAR CONTINUED. 8. SA MA – RE PA – GA DHA – MA. Here I explain and demonstrate some of the techniques used on the bansuri to make the music sound more beautiful. I have included some videos to.

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While tables below provide full articulation, try to think the articulation through based on pattern. The idea here is that it must not sound long like the other notes, it must be very very short – remember just a tap!

By saying Ta only once, twice, three times or ten. Notes in the middle octave are simply represented by the letter itself i.

Basically the difference between khatka and zamzama is that khatka only hits notes, whereas Zamzamas continue up and down the scale. It will do you no good. I then use the same technique between Sa and Re.

alankzrs Tushar Yeolekar 27 December at Can you hear how it separates the note? In many forms of world music, composition and rendering is done by two different persons.

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The idea of tonguing alanoars to make a break in the note you are playing and add texture to your music. Since one of the objectives of playing Alankaars rapidly is to train the brain to think the patterns rapidly, we stop spoon-feeding here and just show bajsuri patterns. Thank you for this daily practice. You will also notice that your thinking in producing these patterns in your mind becomes faster.

Table below provides a few simple Alankaars for practice. This is done in 2 ways; 1.

Relax and once the dizziness gets over, start again. If you skip a days practice too its result will be seen the next day and you personally would feel the difference.

I diligently follow them. You will notice that I struggle a bit to keep a good steady sound. First is Aaroh Ascending and second Avroh descending. However, by using meend, we can make notes join without having a gap.

Practicing Scales –

To do meend from Ni to Sa, play Ni and then slowly move your finger upwards until uncovering it completely. The more you practice the more faster you’ll learn the art. In part 3, I play a small piece which includes some gamak in normal playing. What distinguishes murki is that it is played relatively slowly and softly in comparison to khatka and zamzama which are more forceful, however it will be played faster than the main notes.

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Add to cart Quick View. Keshav Jha 13 March at You can print it after you get your copy. In the video below, I demonstrate this by playing Ni and touch on the periphery of SA. It is difficult to produce and requires a lot of practice.

Practicing Scales

Log In Register Orientation Subscribe. Convention used in this table is to denote notes in lower octave with a comma i. I have included some videos to demonstrate these, although please note that they are not perfect and I am still working very hard on all the techniques myself. Try to play the grace notes in the following Alankaar practice exercises remembering to tap your finger very quickly on the notes in brackets: I play the following using gamak: Another type of tonguing technique which is often used at the end of a composition is: Try it absolutely for free for first 15 day.