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Lesson 19: Accompaniment (IV): The Bol “Tin” and Incomplete “Gin”

 

While the title of this lesson may lead one to believe that this was meant to be a Unit 1 topic, not everyone is able to play these bols. All Unit 1 bols and the “da” bol introduced in Unit 3 are sufficient for a good mridanga player. However the two bols that are to be presented here are unique and have their own style of difficulty.

 

Why at the end of such a course does one need to learn these? The reason is that in pure classical kirtans, most of the “ti” bol and the “gha” bols sound too dull. Therefore, “tin” and the “incomplete gin” come in handy.

 

 

TIN

 

Tin is a semi-resonant bol. This bol produces a sound that has resonance with a distinct sound, but the potential of a optimal resonance is hindered. Tabla bols have many such sounds.

 

The method of producing this is by placing the ring and pinky fingers flat on the kinnar, maidan, and a bit of the syahi. The middle finger will float in the air. This position is known as the mute position. Once in the mute position, the index finger will strike the kinnar, by using the mute position as a pivot. The way this is produced is by having the index finger strike the kinnar due to the rotation of the wrist towards the drum, not the sole action of the index finger striking the kinnar!

 

Practice this bol several times. This bol can be used for most “ti” bols. However, do NOT use “tin” as a replacement for “ti” when “ti” is used in “tirakiti” or “tira.”

 

Also note that “gha + tin = dhin.” The same “dhin” that was studied in Lesson 4 has this other variation. As a matter of fact, the dfhin

 

INCOMPLETE GIN

 

 

 

This photo should look quite familiar. This is the “gin” bol from Lesson 3. The gin bol has the wrist sliding all the way to the end of the puri. This is the “complete” gin.

 

 

This diagram shows three ways of playing “gin” to produce different sounds. The brown oval represents the wrist and the arrow’s length shows how approximately how far the wrist has to go.

 

The first one is the highest pitch producer, as the wrist is deep into the head.

 

The second picture does not have the wrist going as far into the head, therefore, producing a sound not as high pitched as the first “gin.”

 

The third picture shows the wrist not before the center of the syahi. Its sound will be slightly higher pitched than “ga” or “gha” but it will not be very high pitched.

 

The second and third pictures has the wrist not passing the center point of the syahi, therefore they are examples of incomplete gin bols.

 

AUDIO CLIP 19.1 (Comparison of Gin Bols)

 

 

RETRACTABLE GIN

 

When playing successive the succession of “gin ga gin ga gin ga”, it is difficult to go between the bols as taught. Therefore, a retractable gin technique is useful.

 

 

 

After gin is played, then one strikes the syahi or maidan with index finger or middle and ring fingers. At the same time, one slides the wrist back to the base of the kinnar. With the retractable gin’s ending point at the base of the kinnar, one can play “gin” is needed.

 

This retractable “gin” is actually a variation of “ga.”