The tabla, a hand drum which originated in India, has become very popular throughout the world. This method covers everything you need to know to learn to play the tabla, including the history and parts of the tabla, tuning and maintenance, positioning, basic exercises, and numerous techniques and patterns. A glossary is included to help the student decipher the many mnemonics and foreign terms which are essential to the tradition of the tabla. the accompanying CD illustrates many of the exercises, so that this book may be used either with or without a teacher.

On Tabla, Indian percussion instrument; also includes musical notations of different beats played on the instrument; a study.

The sitar has been popular since the 1960s. Since that time it has always had a considerable mystique among musicians. It also has an undeserved reputation for being difficult to play. This book/CD set cuts though the mystique and misapprehensions and presents the material in a simple fashion that is easily understood both by Indians and non-Indian musicians alike.Learning the Sitar begins with basic background information, including a discussion of Indian music, the history of the instrument, the parts and other important terms It then moves on to basic exercises and finally finishes with some simple compositions in Bilawal, Kalyan and Kafi. This is covered in a mix of staff notation as well as traditional Indian Sargam notation.

Beginning With The Evolution Of The Tabla, The Book Deals Comprehensively With Tabla Rhythm And Explains The Technique Of Producing The Basic Bols. It Further Describes The Way To Do Reyaz On The Tabla, And Explains The Principal Compositions That Make Up A Standard Tabla Recital. The Cd Accompanying The Book Carries Samples Of The Tabla Of The Major Gharanas.

This book is designed to be useful for guitarists at any skill level. Beginners can use it as an introduction to the foundational concepts of the instrument, intermediate players can use it for training and theoretical work, and advanced players can explore the sections on advanced theory, extended technique and the exhaustive tables of melodic and rhythmic possibilities. It is divided into two parts: pitch and rhythm. Part 1 (pitch) begins with the properties of string, harmonics, and tuning systems. It then moves methodically through pitch information, beginning with locating all versions of a single pitch, building pentatonic, heptatonic, and all possible symmetrical scales. This is followed by a study of intervals, with all possible locations of every two pitches, and a long study that moves through every possible fingering of three pitches, with a series of exercises to master triadic syntax. Part 1 closes with a study of four-pitch structures and complete tables that show all possible pitch sets in circular visual notation. Part 2 (rhythm) begins with a complete course in "Symmetrical Picking," a method based on drum rudiments that builds control in the picking hand through an exhaustive variety of movements. The focus of this section is building a strong rhythmic foundation, with a focus on efficiency, accuracy, speed, dynamics, and groove. It is followed by a study of legato playing, working with ornaments and slides. The study of playing with fingers on multiple strings takes up the remainder of the book. This begins with the study of pulse against pulse, playing two simultaneous tempos. The book concludes with a study of polyrhythm, playing one rhythm against another. Plain English is used as much as possible to describe theoretical concepts, and hundreds of illustrations were made for the book as an aid to those who either don't speak English or prefer to think visually. This approach is designed to be inclusive and to promote creative practice. The main idea of the book is described in this passage (page 154): "Even in this small area there is a lot of material, potentially a lifetime of study. The amount of information can feel overwhelming to students at any level. For this reason, the book is designed for self-directed practice, with an emphasis on what the player "could" do, rather than what the player "should" do. The principle is to develop your own learning process, rather than following someone else's. The ability to make choices is essential in finding a personal approach to the instrument. Pick and choose the studies that seem interesting - there should be enough variety to accommodate a wide range of personalities. If any particular concept or exercise has been useful as the starting point for a new creative direction, then the book has done its job. Its purpose is not to push any dogma, method, or style, but to open the door to options for guitarists of any background that are looking for new perspectives.