This is an amazing privilege and a generous upload. We get to sit in one a seminar with the probably greatest technician on the instrument alive today. You get real insight into how he achieved this level of technique and expression. He also shares wisdom that resonates far beyond music alone.
https://www.youtube.com/watch?v=dNofE_MygyM
Debashish Bhattacharya lap guitar workshop video
Moderator: Brad Bechtel
Debashish Bhattacharya lap guitar workshop video
Steel Guitar Books! Website: www.volkmediabooks.com
- Nic Neufeld
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- Joined: 25 Sep 2017 8:10 am
- Location: Kansas City, Missouri
The subtitles over his tuning up made me chuckle a bit, kind of overawed with very typical tuning practices of ICM. Reminds me of a great story about Pandit Ravi Shankar at the 1971 Concert for Bangladesh. Apparently he and (I assume) Alla Rakha were tuning up before the performance and the Western audience broke into a wave of admiring applause. He quipped "If you enjoyed the tuning up that much, I hope you enjoy the music even more...".
His discussion of his practice regimen makes me a bit sad as it reminds me of how I got a bit disenchanted with serious sitar study; I could never devote enough time to study "properly". It's such a demanding music...these people devote their very lives to it. Not that I was trying to compete with professional musicians, but it is not an instrument or musical genre for casual study.
I was actually playing raag Yaman on my tricone yesterday for a bit, and the haunting resonance of the resonator...man, a tricone veena with chikari strings and sympathetic taraf would be really cool!
I would almost slightly disagree with your comment on "greatest on the instrument today" just because I've seen Vishwa Mohan Bhatt do some amazing things (live many years ago at KU in Kansas) and I consider them similar in their mastery, but technically the Mohan Veena and the chaturangui (sic?) are different instruments so you could definitely say he is the greatest on that instrument (he invented it!).
Not helping me quash my desire for one of these instruments!
His discussion of his practice regimen makes me a bit sad as it reminds me of how I got a bit disenchanted with serious sitar study; I could never devote enough time to study "properly". It's such a demanding music...these people devote their very lives to it. Not that I was trying to compete with professional musicians, but it is not an instrument or musical genre for casual study.
I was actually playing raag Yaman on my tricone yesterday for a bit, and the haunting resonance of the resonator...man, a tricone veena with chikari strings and sympathetic taraf would be really cool!
I would almost slightly disagree with your comment on "greatest on the instrument today" just because I've seen Vishwa Mohan Bhatt do some amazing things (live many years ago at KU in Kansas) and I consider them similar in their mastery, but technically the Mohan Veena and the chaturangui (sic?) are different instruments so you could definitely say he is the greatest on that instrument (he invented it!).
Not helping me quash my desire for one of these instruments!
Waikīkī, at night when the shadows are falling
I hear the rolling surf calling
Calling and calling to me
I hear the rolling surf calling
Calling and calling to me
Greatest was a poor choice of words. There are all kinds of techniques and both Debashish and Bhatt are master technicians in their genre but that doesn't mean someone like Doug Jernigan isn't also a master technician on his instrument.
Steel Guitar Books! Website: www.volkmediabooks.com
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I was privileged a few years ago to see Dabbish Batacharia in concert. He has incredible technical abilities. https://www.youtube.com/watch?v=6gMa1k1q9HY
- Dan Koncelik
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Great post!
An enlightening (literally) workshop! If nothing else, it gives some great ideas for practice, maybe without dangling off a crowded fast-moving train with poles whizzing past your head:
1. Scales against drones in different numerical groupings; treating rhythm in a similar way we westerners treat melody (mixing up intervals to create interest).
2. Open strings using the same 'rhythm scale' approach with each finger, including the thumb. Just trying this i noticed a weakness in and a reluctance to use my middle finger (insert joke here
3. Remembering to breathe...
An enlightening (literally) workshop! If nothing else, it gives some great ideas for practice, maybe without dangling off a crowded fast-moving train with poles whizzing past your head:
1. Scales against drones in different numerical groupings; treating rhythm in a similar way we westerners treat melody (mixing up intervals to create interest).
2. Open strings using the same 'rhythm scale' approach with each finger, including the thumb. Just trying this i noticed a weakness in and a reluctance to use my middle finger (insert joke here
3. Remembering to breathe...
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Disclaimer: I study w Debashish. As always, YMMV, but I don't know of anybody out there in the genre with his chops. His "diri" (sort analog to fast flatpicking) for example, is in a class of its own. Craziest part is that he does it alternating thumb and index finger!Andy Volk wrote:Greatest was a poor choice of words. There are all kinds of techniques and both Debashish and Bhatt are master technicians in their genre but that doesn't mean someone like Doug Jernigan isn't also a master technician on his instrument.
He's actually been doing masterclasses on facebook these past few weeks. $40 for 2 and half hours. Well worth checking out.