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World Percussion Magazine

995105706_ed9dba65f2_m.jpgThis online 'magazine' is a vehicle for displaying a large quantity of information in contextual groups.

Each independent issue provides a useful theme and context. These themes are based on the main categories plus the main patterns and search queries based on you using my drum sites over the past 10 years - and there is more to come.

Hopefully this new format will be useful and relevant, please let us know how we can improve your experience.

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Udu or Ghatam - Pot Drum
Not at all a membranophone but rather part idiophone, part percussion aerophone, The udu drum has been around for centuries, tempting subtle rhythms from the master drummers of Nigeria and modern day percussionists alike. Udu quite udu.jpg (41903 bytes)simply means ‘pot in the language of the Ibo tribe of Nigeria, and a pot it literally is. Pots and percussion seem to go together rather well.

Pop down to the garden centre and see for yourself. Tap a few and you will soon hear how some of them resonate. You’II probably get a few odd looks, maybe even get thrown out  but what the hell, if it’s all part of the educational experience of life then it must be of benefit.

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Teentaal

Teentaal

©Peyman Nasehpour

The King of Indian Taal-s

Teentaal Theka, Kaida-s and Tihai-s

Introduction

Indian musicians believe that teentaal is the King of taal-s (rhythms) and because of this I give here some compositions in this taal.

Teental is the most common rhythm used in Indian Classical music (vocal, instrumental and dance music) with all different laya-s (tempos). There are so many versions in different gharana-s (stylistic schools of music in India). I give the one who has written in the great book, Tabla -- Lessons and Practice 2nd Edition, by Pandit Aloke Dutta.

Teentaal is in16 matra-s (beats) divided into 4+4+4+4.

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Tabla Tals

A Brief Introduction to Tabla and Indian Tals

Peyman Nasehpour © 2002

Introduction

"Good King Bahram Gour of Persia was moved by the laments of his most impoverished subjects. They called foe music, and wished to celebrate like the rich. Bahram Gour asked his father-in-law, King Shankel of Kanauj, who lived in the high valley of the Ganges, to send twelve thousand musicians. When they arrived, the king provided them with a means of living off the fact of land, giving each a donkey, a cow and a thousand bushels of wheat. After a year had passed, they appeared before him, starving. They had simply eaten the cows and the wheat. Annoyed, the king advised them to fit their instruments with strings of silk, mount their donkeys and take to the road - and henceforth earn their living from their music."

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Tabla

Notes by Pete Lockett © 2001 - www.petelockett.com

The Drums

The Tabla originates from North India and consists of a set of two drums, treble and bass.  They are distinct from most other drums in the world, in that each drum is played with a different hand.  Very seldom do you see both hands playing on one drum.  The drums have a regal history dating back centuries to the time of Princes and their Kingdoms whereall Palaces had their own set of full time musicians, including Tabla players.pete lockett

The performer sits on the floor with the drums in front of him, which are nestled in two supporting rings called ‘Adharas’.  The high pitched drum is cylindrical in shape and stands about 10 inches high.  It is made from wood, usually shisham or nim, and is hollowed out from the top like a big cup, remaining sealed at the bottom.  The drum has only one skin, generally about 5 inches in diameter. The shell is wider at the bottom than the top by about 1 and a half inches. 

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