Forum Replies Created
-
AuthorPosts
-
Yep and if the room is paying attention the detour becomes part of the lesson
otherwise it is just a missed turnThe voice can be a trap too if it is too pretty. I have seen that…
Voice, then raga for me and maybe the tala after that
If the singer can bend time a bit without breaking it, that is the good stuffGood test. Strip away the support and the singer either stands there or wobbles like a folding chair
Right and the bandish is the route card not the prison wall. You can wander, just dont pretend every alley is a shortcut
I hear the rhythmic return first when the singer is any good. If the tala is alive you notice the trip home, not the furniture along the way
Room pressure does that. You can feel everybody lean forward when the cycle is being held just enough not to break it
A garden is about right. One wrong turn and suddenly you are a landscape architect by accident.
I have seen that in training too, same drill different injury.That is sensible advice. Notes on the pakad save a lot of arguing later and fewer heroic claims too
That sounds right to me. I once watched a singer hang one note so long the room stopped fidgeting and then everybody behaved like the note had trained them. The raga was still there though, sitting in the corner like a patient old dog.
That map analogy is decent until somebody takes a detour and calls it a new road.
Then everyone nods like it was planned.
Three people is the right number for me. One person can have a bad read, two can lock into the same mood, three at least forces a conversation.
That tracks with my experience. The useful part is that you wrote down what stayed fixed, so somebody else can actually test it.
please continue, this is exactly the kind of nonsense i like reading while my own tea oversteeps
I support this experiment mainly because it does not require buying another shiny cylinder.
-
AuthorPosts