chapter 4 basic strokes - unina.itwpage.unina.it/agodemar/mridang/drum_manual_chap-4.pdf · chapter...

Chapter 4

Basic strokes

This chapter contains a list of the basic strokes with their techniques. The techniques which

are described here are for right handed people. A left handed person should simply reverse

the drum and exchange the terms left and right.

In fig. 4.1 below are reported again the names of the parts of a treble drumhead, as

they are often referred to in this chapter for the clear illustration of techniques.

Figure 4.1: Treble head chart

4.1 Fundamental one–hand strokes

The following is a description of the fundamental strokes to be played with the right hand

or with the left hand. An important distintion has to be made for strokes performed Khula,

“open”, or with resonance, and strokes performed bandh, “closed”, without resonance.

37

38 Basic strokes

4.1.1 The right hand open stroke Na (na;a)The open stroke Na (pronounced as in “Not”) is a common resonant stroke of the right hand.

It is produced by holding the last two fingers lightly against the syahi and using the index

finger to forcefully hit the rim (chat or kinar) of the treble head. It is important to keep the

middle finger extended so as not to hit the drum.

Figure 4.2: The open right hand stroke Na (na;a)

The correct position may be visualized by an “X” running across the drum. This cross

pattern is not imaginary but is a reflection of actual resonance characteristics. The position

of this cross is determined by the ring finger and little finger. Sliding these fingers around

will cause the position of the cross to vary. Maximum efficiency is produced when one strikes

the chat at the position where the other leg of the cross passes over the rim. Na is a resonant

sound, therefore it is called khula, and is shown in fig. 4.2.

There are several versions of this stroke, also known as Ta. They are differentiated by

the exact place of striking and whether the finger is allowed to rebound or not.

4.1.2 The left hand open stroke Gi (;�a;ga)The open stroke Gi (pronounced as in “Gear”) is a very common resonant stroke of the left

hand. It is also the easiest to execute. One simply strikes the bass head with the flat fingers.

Notice that the tips of the fingers extend inside the area of the bass head so that the striking

hand hits the the rim with the palm. It is a resonant sound, therefore it is called khula, and

is shown in fig. 4.3(a).

MRIDANG DRAFT Ver. 1.0

4.1 Fundamental one–hand strokes 39

4.1.3 The left hand closed stroke Ka (k)

The closed stroke Ka (pronounced as in “Cup”) is a very common nonresonant stroke of the

left hand. It is also easy to execute. One simply strikes the bass head with the flat palm

and fingers. It is a flat slapping sound with no resonance, therefore it is called bandh, and is

shown in fig. 4.3(b).

Sometimes Ka is also calledKa, Ke, Ki or Kı.

(a) The left hand openstroke Gi (;�a;ga) (b) The left hand closed

stroke Ka (k)

Figure 4.3: Left hand fundamental strokes

4.1.4 The right hand closed stroke Te (.tea)

The closed stroke Te (pronounced as in “Test”) is a common stroke of the right hand. There

are at least four ways to play this bol. However only two are common: the Dilli (Delhi) style

and the Purbi style.

The Dilli (Delhi) way is to strike the center of the syahi with the middle finger of the

right hand. This is shown in fig. 4.4(a). The approach known as Purbi is different. One

leads off with the last three fingers of the right hand (i.e. middle, ring, and little fingers).

This technique is shown in fig. 4.4(b). Te is a bandh sound.

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40 Basic strokes

4.1.5 The right hand closed stroke Ti (;�a;ta)The closed stroke Ti (pronounced as in “Tea”) is executed by striking the center of the syahi

with the index finger as in fig. 4.4(c). It is a bandh sound. This stroke may have other

names when played in longer bol combinations. Another common name for this stroke is the

bol Re.

(a) The Dilli (Delhi)style Te (.tea) (b) The Purbi style Te

(.tea) (c) The stroke Ti(;�a;ta)

Figure 4.4: Right hand closed strokes

4.1.6 The bol TiT. a (;�a;taf)

This bol, TiT. a, is made of two closed strokes of the right hand. There are at least five

techniques for executing this stroke, but here only two shall be described. One Dilli (Delhi)

and one Purbi.

The basic Dilli (Delhi) style is simple. Ti is made by striking the center of the syahi with

the middle finger (like the Dilli style Te). This is a non–resonant (bandh) stroke. T. a is made

by striking the center of the syahi with the index finger (like Ti). This too is a non–resonant

(bandh) stroke and should have a sound that is indistinguishable from Ti. This technique is

shown in fig. 4.5.

The sequence of strokes in the execution of this bol may also be reversed like in fig. 4.6.

The bol will be called TiT. a as well, or Reverse TiT. a.

The execution of the bol TiT. a in Purbi style is a little bit different. Ti is executed by


4.1 Fundamental one–hand strokes 41

Figure 4.5: The sequence of strokes in the Dilli (Delhi) style TiT. a(;�a;taf)

Figure 4.6: The sequence of strokes in the Dilli (Delhi) style ReverseTiT. a

striking sharply with the last three fingers of the right hand (i.e. middle, ring, and little

fingers, like in Purbi style Te). T. a is executed by striking the center of the syahi with the

index finger (like Ti).

Figure 4.7: The sequence of strokes in the Purbi style TiT. a


42 Basic strokes

The sequence of strokes in the execution of this bol may also be reversed like in fig. 4.8.

The bol will be called (Purbi style) TiT. a as well, or (Purbi style) Reverse TiT. a.

Figure 4.8: The sequence of strokes in the Purbi style Reverse TiT. a

There are several variations in the bol. It is also common to find this sequence called

TeT. e, TeT. a, TiT. e.

4.1.7 The right hand open stroke Tin (;�a;tMa)

The open stroke Tin (pronounced as in “Tin can”) is a common resonant stroke of the right

hand. Its hand position is very similar to Na, but it is much softer and more delicate. This

stroke is produced by placing the last two fingers of the right hand lightly against the syahi

and striking on the border between the syahi and the maidan. As with Na, the middle finger

is extended and does not strike the drum. Great care must be taken so that the stroke is

resonant. This resonance will only come if it is a light ricochet. The exact striking position

is determined by the construction of the drum but it is usually at the border of the syahi

and maidan. This technique is shown in fig. 4.9.

Beginners often have a difficult time making Tin sound different from Na. There are

two points to keep in mind. First, the stroke must be resonant (khula). Second, it must be

played very softly.


4.2 Combined strokes 43

Figure 4.9: The open right hand stroke Tin (;�a;tMa)

4.1.8 The right hand open stroke Tun (tMua)

The open stroke Tun (pronounced as in “Tune”) is a common resonant stroke of the right

hand. The head is not muted at all but allowed to resonate freely. The head is struck in the

center of the syahi with the index finger of the right hand. This technique is shown in fig.

4.10.

Figure 4.10: The open right hand stroke Tun (tMua)

There are several variations in pronunciation. Some common examples are Tu (as in “Two”),

Thu, Thun, etc.


44 Basic strokes

Figure 4.11: Obtaining a combined stroke striking the drumheadswith both hands together

4.2 Combined strokes

Combined strokes are listed nn the following sections. They are played with both hands

together, see fig. 4.11.

4.2.1 The bol Dha (;Da;a)The bol Dha (pronounced as in “Ad hoc”) is a combination of Na and Gi, see fig. 4.12.

Figure 4.12: The bol Dha (;Da;a) = Na (na;a) + Gi (;�a;ga)

4.2.2 The bol Dhin (;�a;DMa)The bol Dhin (pronounced as in “And hinder”) is a combination of Tin and Gi, see fig. 4.13.


4.2 Combined strokes 45

Figure 4.13: The bol Dhin (;�a;DMa) =Tin (;�a;tMa) + Gi (;�a;ga)

4.2.3 The bol Kha (Ka)The bol Kha (pronounced as in “knock house”) is a combination of Na and Ka, see fig. 4.14.

Figure 4.14: The bol Kha (Ka) = Na (na;a) + Ka (k)

4.2.4 The bol Dhi (;�a;Da)The bol Dhi is a combination of Ti and Gi, see fig. 4.15.

4.2.5 The bol Dhe (;Dea)The bol Dhe is a combination of Te and Gi, see fig. 4.16.

4.2.6 The bol Dhun (;DMua)The bol Dhun is a combination of Tun and Gi, see fig. 4.17.


46 Basic strokes

Figure 4.15: The bol Dhi (;�a;Da) = Ti (;�a;ta) + Gi (;�a;ga)

Figure 4.16: The bol Dhe (;Dea) = Te (.tea) + Gi (;�a;ga)

Figure 4.17: The bol Dhun (;DMua) = Tun (tMua) + Gi (;�a;ga)

4.2.7 The bol Khun (KMua)

The bol Khun is a combination of Tun and Ka, see fig. 4.18.


4.3 Drum notation 47

Figure 4.18: The bol Khun (KMua) = Tun (tMua) + Ka (k)

4.3 Drum notation

Indian music used to be dominated by a strictly oral tradition. Only recently, from the

beginning of the 20th century, notation has risen in importance in both musical pedagogy

and musical scholarship. In India the musical system of notation in use today is known as

the Bhatkhande system, from the name of Vishnu Narayan Bhatkhande (see section 1.2.4)

who introduced it with his work Hindustani Sangit Paddhati in 1932.

From a practical viewpoint, notation is important as well, especially when concepts are

conveyed to people of different cultural and musical backgrounds. In this book Western

musical notation along with Indian rhythmic conventions is used whenever is possible. The

simplicity of Indian rhythmic notation sometimes would be sufficient to illustrate basic or

even more complex patterns, but the illustration also in terms of Western musical notation

seems to stimulate the non Indian readers for a faster assimilation of the rhythmic concepts.

There are serious problems when one attempts to write the Indian names of the strokes

(bols) or of combinations of strokes, in English, unless proper diacritic marks are used in the

transliteration of Devnagri script. Today even in English books on Indian music also the

Devnagri notation is often found.

The most important thing in rhythmic notation is the adopted system to describe the

timing. Here this is hndled by various marks that show the beats, or matras. The single

beat is the foundamental thing in a rhythmic pattern. Therefore:


48 Basic strokes

NaNaNaNa

represents four beats with one Na in each beat. If one whishes to specify double time then

one joins the bols with a bracket. For instance

NaNa︸︷︷︸ NaNa︸︷︷︸ NaNa︸︷︷︸ NaNa︸︷︷︸indicates eight Nas played in four matras. In this manner NaNaNa︸︷︷︸ indicates triple time,

three Nas played in one matra, and NaNaNaNa︸︷︷︸ indicates quadruple time, four Nas played

in one matra.

This system is remarkably simple. In fig. 4.19 are shown some common examples written

in both Indian and Western notation. From this figure one can notice the use of dashes (–),

which indicate rests. Rests may have different time durations. In Western notation this is

specifyed with proper symbols. In the simple rhythmic Indian notation the time duration,

or value, of a rest can be argued by the context in which it is used. For instance, when

the simple notation: “Dha ”, is found the stroke indicates one beat. In cases where a more

articulate phrase of more than one matra like: “Dha−︸︷︷︸ TiT. a︸︷︷︸ ” is found, the rest is used to fill

up, together with the Dha, the first matra. Here “−” has the same time value of Ti or T. a.

The measure is another important component of Indian musical notation. It is called

vibhag and is designated by a vertical bar. In practical terms, when one keeps the time, a

measure is also designated by either a clap or a wave of the hands. In chapter 6 the North

Indian rhytmic system will be presented and these concepts will be introduced in a more

complete way. Here, by looking at fig. 4.19, is sufficient to get familiar with the simple

bol–based Indian rhythmic system.

4.4 Exercices

In this section a number of exercises are suggested for getting familiarity with the fundamen-

tal bols. An attitude to performe different bols in succession has to be developed, together

with the correct technique for each bol, so that the hand movements required to play more

complex patterns can become natural. They are important for strengthening the finger also.


4.4 Exercices 49

The verbal repetition of the bols is very important. It is a way to memorize exercises,

patterns and t.hekas. It also helps rememberig where to put the hands for the correct stroke

execution.

TiT. a

The bol TiT. a can be used as a basic exercise for strenghtening the right hand fingers. As

first pattern practice:

1 2 3 4 5 6 7 8Ti T. a Ti T. a TiT. a TiT. a TiT. a TiT. a

Note that the second half of this pattern is effectively played at twice the speed of

the first: in the first half one bol per beat is played; in the second half two bols per beat

are played. This exercise should be played very slowly in the beginning, keeping the pads

of the fingers pressed firmly on the drum skin between strokes. Then different speeds can

be experimented, starting slowly and keeping the bols very clear sounding. Here play the

standard TiT. a (see fig. 4.7). Actually this bol is spread over two beats in the first half and

played two times (beats 1–2 and beats 3–4). In this case the bol T. a in beats 2 and 4 could

be replaced by the bol (word) T. e (see fig. 4.4(b)). In the second half the TiT. a is considered

as a single bol of two strokes.

Another exercise for practicing with TiT. a is:

1 2 3 4 5 6 7 8TiT. a – TiT. a (rev.) – TiT. a (rev.) – TiT. a –

Note that TiT. a is played first as a standard TiT. a (see fig. 4.7), then as a reverse TiT. a

(see fig. 4.8). The symbol “–” indicates a rest and suggest that the exercise have to be

practiced slowly.

GiTunTunGi and GiTunKaTe

Here are two more pattern one can play with and vary:


50 Basic strokes

1 2 3 4Gi Tun Tun GiGi Tun Ka Te

See fig. 4.3(a) for Gi, and fig. 4.3(b) for Ka.

Developing the Na technique in addition to other bols

Here are some good exercises for the right hand involving Na. The two–stroke exercises are

useful for developing a clear Na technique in conjunction with those particular bols. The

four–stroke exercise are patterns that can be viewed as parts of more complex t.hekas (see

section 6.2.1 for more details).

NaTe

First practice this simple one slowly:

1 2 3 4 5 6 7 8Na – Te – Na – Te –

See fig. 4.2 for Na, and fig. 4.4(b) for Te. Then practice

1 2 3 4 5 6 7 8Na Te Na Te Na Te Na Te

and finally

1 2 3 4 5 6 7 8Na Te Na Te NaTe NaTe NaTe NaTe

NaTun


1 2 3 4 5 6 7 8Na – Tun – Na – Tun –

See fig. 4.10 for Tun. Then practice

1 2 3 4 5 6 7 8Na Tun Na Tun Na Tun Na Tun


4.4 Exercices 51

and finally

1 2 3 4 5 6 7 8Na Tun Na Tun NaTun NaTun NaTun NaTun

This exercise should be played very slowly in the beginning, then experimenting different

speeds, starting slowly and keeping the open bols Na and Tun very clear sounding.

TiT. aTunNa

1 2 3 4 5 6 7 8Ti T. a Tun Na Ti T. a Tun Na

This exercise helps getting the feeling of tangling up the fingers. It should be played very

slowly in the beginning, then experimenting different speeds, starting slowly and keeping the

open bols Na and Tun very clear sounding and looking for the distinction from the closed bol

TiT. a.

Na–TeTun


1 2 3 4 5 6 7 8Te – Tun – Te – Tun –

then

1 2 3 4 5 6 7 8Tun – Na – Tun – Na –

then

1 2 3 4 5 6 7 8Na – Te – Tun – Na –

and finally

1 2 3 4 5 6 7 8Na – Te Tun Na – Te Tun


52 Basic strokes

NaTunNaNa

This exercise can be practiced breaking it down in smaller parts as the previous one. The

full pattern is:

1 2 3 4Na Tun Na Na

NaTinTiT. a


1 2 3 4 5 6 7 8Na – Tin – Na – Tin –

See fig. 4.9 for Tin. Then practice

1 2 3 4 5 6 7 8Tin – TiT. a – Tin – TiT. a –

then

1 2 3 4 5 6 7 8Na – Tin – TiT. a – Na –

and finally

1 2 3 4 5 6 7 8Na Tin TiT. a – Na Tin TiT. a –

Developing the technique for combined strokes

Here are some good exercises for developing the technique for combined strokes.

DhaTunNa


1 2 3 4 5 6 7 8Dha – Tun – Dha – Tun –

then


4.4 Exercices 53

1 2 3 4 5 6 7 8Dha Tun Na – Na Tun Na –

When this pattern has been mastered one can vary it playing

1 2 3 4 5 6 7 8Dha Tun Na – Kha Tun Na –

DhunNaDha


1 2 3 4 5 6 7 8Dhun – Na – Dha – Tun –

then

1 2 3 4 5 6 7 8Dhun Na Dha – Tun Na Dha –

When this pattern has been mastered one can vary it playing

1 2 3 4 5 6 7 8Dhun Na Dha – Khun Na Dha –

DhiT. a


1 2 3 4 5 6 7 8Dhi – T. a – Dhi – T. a –

Here the stroke T. a is part of the standard bol TiT. a. It could also be called T. e. Actually the

right hand plays here the bol TiT. a which is spread over four beats. Then practice

1 2 3 4 5 6 7 8DhiT. a – TiT. a – DhiT. a – TiT. a –

Here the right hand plays the bol TiT. a in beat 1, 3, 5 and 7. Finally play

1 2 3 4 5 6 7 8Dhi T. a Dhi T. a DhiT. a TiT. a DhiT. a TiT. a


54 Basic strokes

G 44

Dha–––

;Da;a–––

1,2,3,4

(a) 1 bol in 4 matras

G 44

Dha–

;Da;a–

1,2

�Dha–

;Da;a–

3,4

�

(b) 2 bols in 4 matras

G 44

Dha

;Da;a

1

�Dha

;Da;a

2

�Dha

;Da;a

3

�Dha

;Da;a

4

�

(c) 4 bols in 4 matras (single time)

G 44

DhaDha︸︷︷︸;Da;a ;Da;a

1

� �DhaDha︸︷︷︸;Da;a ;Da;a

2


3


4

� �

(d) 8 bols in 4 matras (double time)

G 44

DhaDhaDhaDha︸︷︷︸;Da;a ;Da;a ;Da;a ;Da;a

1

� � � �DhaDhaDhaDha︸︷︷︸;Da;a ;Da;a ;Da;a ;Da;a

2


3


4

� � � �

(e) 16 bols in 4 matras (quadruple time)

Figure 4.19: Rhythmic notations


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