But first, a little exercise.
4s are takadimi, 5s are takatakita, 6s are takitatakita, and 7s are takadimitakita, but when you get in to the weird parts, it's ta ka, ta ka da, ta ki ta ta, or ta ka di mi ta.
I like this one. It focuses on being able to play something on any subdivision of the beat, and that's what I need.
Okay, so, koraippu. I guess the best way to explain it is to give you some examples. But, generally, they start with a decent-sized phrase, say 4 bars or so, and do call and response. It's like a game; the first musician tries to play something too hard to follow, and the second tries to play it back. The phrases are cut in half over time, from 4 bars to 2 to 1 to 2 beats to 1 beat to as small as possible.
The koraippu is usually followed by a riff that both of them know (because they've been playing their whole lives), and then end with a korwai.
This first example is Harishankar on kanjira and Karaikudi Mani on mridangam. The kanjira solo is mostly 5lets and the mridangam solo is mostly triplets, if that makes things any clearer.
I can't tell if the video is off just a little bit, or if some of them aren't very good at counting. But the two playing are excellent.
That's the same dude, Harishankar, on kanjira. I can't find any of the videos that really showed the koraippu.
If I've ever shown you music before on youtube, chances are you've seen this:
But it's a perfect example of the whole trading off and trying to play impossible things to mess each other up concept.
That's all I've got today for S. Indian things.
It's kinda weird around here since half the percussion studio is in Indianapolis. But now I have more practice room time, which means I've almost learned all of that transcription from a couple days ago, and I finished writing my marimba solo piece! Yay! Over two years, took you long enough, inspiration.
But I'm glad I finished it. Once I can play it, it'll be up here.
M
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