presents
tabla for all
tabla para todos
Tabla for All is a complete learning method for Indian Tabla Percussion set. It's been developed by World Percussionist and Singer Ricardo Hambra, who's interest in the Tabla science expands 2 decades of study, research, recordings and live performances.
Modern approach to the ancient Tabla tradition
Tabla for All has been published by Advance music, Germany; a leading music education book publishers. To go online for more information, click here.
To purchase Tabla for All with a promotional 10 % discount, please send a message here, subject: Tabla for All.
a great gift for the upcoming holidays, Tabla for All!
100 pages plenty of definitions, graphics, images, technique explanation in easy to understand vocabulary, 70 audio examples in 2 CDs, and an excellent binding, published by Advance music, Germany,
super promo includes shipping and a free class, how many u want?
and please support independent musicians!!!
Tabla for All includes:
how to play the basic strokes or Bols (Ta, Ti, Tin, Tite, Dha, Dhin, etc.), development of rhythms or Talas (Tin Tal, Dadra, etc.), and how to read, play and write fixed compositions like Kaidas, Variations, Tihai, etc.
All explained and analyzed in a simple way for everyone to understand, featuring Vocal Percussion as a traditional oral form of learning by recitation of strokes, rhythmic cycles, compositions and improvisation.
Here is an example of a basic stroke or Bol called TA as it appears on the book:
Ta or Na: For this Bol or stroke, rest the fingertip of your
ring finger on the middle circle – Sur – of the drumhead (see picture 1), while striking the external circle – Kinar – with your index finger (picture 2). The ring finger acts as a pivot, in contact with the drumhead. Your little finger can also remain on the Kinar, as reinforcement for the ring finger. The Ta Bol is the main stroke of the Dayan drum and is often used to tune the high-pitched instrument. The Bol produces a resonant, expanded sound. Example 1: Ta or Na | Ta o Na: Para producir este Bol se apoya la yema del
dedo anular sobre el círculo medio – Sur – del parche (imagen 1), mientras se golpea con el dedo índice el círculo externo – Kinar (imagen 2). El anular actúa como pivote manteniéndose en contacto con el parche; también puede utilizarse el dedo meñique sobre el Kinar acompañando al anular en su función. Este golpe produce el sonido principal del Dayan, y también se utiliza mucho para afinar el tambor. El Ta es un Bol resonante de sonido abierto. Ejemplo 1: Ta o Na |
Tabla for All is a great workbook, which invites to explore the amazing art of India’s rhythms and sounds, providing you with examples that clearly explain each topic.
Tabla for All will help you to understand and enjoy India’s sophisticated Industani music system, and for those who already know about the Tabla, it has several new Talas or rhythmic cycles and compositions to learn and practice.
Below is an audio and graphic example featuring one of the most popular rhythmic cycles in Indian music, the Tin Tala:
It also includes 13 new original Kaida compositions, all written in different time signature Talas or rhythmic cycles, like the 16 beats rhythmic cycle called Tin Tal (4/4),
and other rhythms in:
8 beats Kherwa (4/4)
6 beats Dadra Tal (3/4),
7 beats Roopak Tal (7/4),
10 beats Jhup Tal, (5/4),
11 beats Char Tal Ki Sawari, (11/4), etc.
Tabla for All is published by Advance music, Germany; a leading music education book publishers. To go online for more information, click here.
To purchase Tabla for All with a promotional 10 % discount, please send a message here, subject: Tabla for All.
Below is a Tabla Solo video recorded live, which applies all the techniques described in Tabla for All, composed and performed by Ricardo Hambra, enjoy:
About the Author, Ricardo Hambra:
.
I am basically a Music fan. I’ve listened to lots of beautiful music from everywhere. Having said that, my musical studies and professional experience as a musician, percussionist and singer, have taken me to many parts of the world, bringing me into contact with a rich variety of cultures and musical currents.
I've been studying and doing research about Ethnic and Modern music for more than 15 years, through under- graduate studies, workshops, masterclasses, traveling around the world, and learning from teachers and local artists in their towns.
India, Africa, Middle East, Eastern and Western Europe, North, Central and South America, Australia, Asia. It is an invaluable experience what is possible to learn and also share through music and
the different cultures of the world. Maybe I should describe my musical influences by stages:
I started to play music at 7 with the Bombo Legüero, an ethnic Argentinean Percussion instrument; then at 13 one of my uncles made me a present of a Drum set, which was a big push for a further career as a percussionist.
Soon after came my first Rock and Blues high school band. After that, Symphonic Rock, Jazz Rock, Jazz Fusion, Funk, Pop and Reggae music came to my attention.
Then I discovered India, which was definitely a decisive influence in both my music career and personal life. It is because of this influence that I am able to achieve the production of this method, and I am very grateful for it.
Nevertheless, I kept my original empathy for world music styles. I have traveled around Argentina, Brazil, Uruguay, Chile, Mexico and USA, learning different styles like: Tango, Samba, Bossa, Latin Salsa, Afro Cuban and Andean music, plus Jazz, Blues, Country, etc. All of this was of great influence.
Later I started to do more research about Eastern Europe and Mediterranean music, and I worked playing Middle-eastern, Greek, Rumanian, Bulgarian, Sefardi, Celtic and especially Spanish Flamenco music, touring with several music and Dance groups for many years during my time in Madrid.
By the time of the conclusion of Tabla for All, I spend most of the time in Los Angeles, USA as a performing musician, producer and teacher, and also leading my own music productions company, called Ethnic Fusion Sound.
www.ethnicfusionsound.com
