hi all,

i just read the qarshi topic and watched the video performed by faisal zedan... how impressive!

my master Ali Alaoui (Morocco) taught me a different way to play the "kkt" (double ka tek).
i think it is simpler, although it looks harder when written.
actually, it is played with a "tek" before the double ka, like a very fast triolet.

for example, with the moroccan chaabi :
T-t3t-T-D-t-
or with the saidi :
D-T-t3D-D-t3T-t3

here, the "3" means "kk" (double k).
I call it "3" because with the tek it's like a triolet (tkk), but much faster!
you have to play "tek ka ka" in the space of "ka ka" (usual double ka).
playing a "tek" before the double ka helps a lot to "trigger" the double ka, even if you have to play it faster to fit the beat space.
i would call it a "point d'appui" in french, but i can't translate it, sorry ;-)

for qarshi, it would be :
t3t-k-t-
instead of the usual :
kkt-k-t-

by the way, Ali Alaoui taught me the same technique for "rads" (rak) :
rak is played tek ra tek, where "ra" is ring-middle-index.

so every ornementation starts with a soft tek and ends with a plain tek, which is very helpfull to fill simple beats.
well, i think it's easier, because starting everything from a tek seems less awkward to me than with ka.
(but of course, this is theory, and there are many cases where a starting "ka" is preferable)

besides, for the double ka and raks, a starting tek is so beautiful!
the sound is longer than double ka or rak alone, and fills better the "hole" in the rhythm.

BEST OF ALL, "tek ka ka tek" instead of "ka ka tek" is so pleasant to play, because you play ternary beat (one beat divided in 3 parts) among binary ones (like a triolet at light speed), but nobody hears it. I LOVE THAT!!
the feeling is pure dope!

finally, with the starting tek, you can use and write each one the same way.
for example with masmoudi souraier :
simple (tkt)
D---D-tkt-k-t-k-D-tkt-k-t-tkt-k-
tris (tkkt)
D---D-t3t-k-t-k-D-t3t-k-t-t3t-k-
rads (rak)
D---D-tRt-k-t-k-D-tRt-k-t-tRt-k-
rolls (tktkt)
D---D-tWt-k-t-k-D-tWt-k-t-tWt-k-

3 = kk
R = ring-middle-index
W = ktk

well, hope it makes sense... anyone using this technique??

yan
posted by:
takadoum
France
  • hi taka, yeah that is cool. i use it when it feels right, when i want more notes in a space. usually i use the double ka for the speedy tempos. i find your technique more physically demanding - cuz there are more notes, but easier on the brain! : ) i think they all work well together and gives the player many levels of fills in which to choose from.

    so i guess the 'rads/ rak' is 5 notes in the fill? does anyone out there do a 6? and how? ; ) i know a little riff that might work for 6 but i never tried it - cuz i don't have the speed: tktkkt . this allows you to start and end on the t .

    thanks for bringing this up taka. (and for your clearly written examples!)
  • I use both techniques because theyre's technically different. The qarshi double ka that faisal demonstrated beautifully consists basically of 2 grace notes that come before the regular note. What you are mentioning is triplets (triolet in french) where the beat is divided into 3 instead of 2. When playing fast you might not notice the difference between the 2 unless you have a well trained musical ear, but you can easily hear the difference when you're playing slower. In the following video you'll see the triplets first (time marker 0-22) then the grace notes (time marker 23 and obove):
    www.youtube.com/watch
  • Greatings,
    thank you so much for a great post. I admire your knowledge, and Your teacher's knowledge. I would really love it if you kindly post a video demonstration of the method that Ali is using. I might have understood what you talked about and what you notated, how ever I would appreciate if you have the chance to show us some of your teachers work.( I am not so good with reading notated rhythms, I like to see playing happening if possible
    ). There are few movements I did not demonstrate in my video, they are movements related to the Qarshi and the different ways of producing it.
    In the style I play, I am required to be verse in different mechanical movements, I have to be able to start on the right and on the left.
    Different movements require different starts. I look at the movement that you mentioned as a level 2 Qarshi. More advanced. So if I understood your movement correctly!! than that movement is the next step and it develops along with the other Qarshi that I play. I would be happy to post a video of my self demonstrating what I said, and I still like to see your teacher playing, that would be great.
    Thanks to you and thanks to Dromdoc for his explanation.
    All the best to you,
    Faisal
    • hey all,
      thanks for the replies!

      here is Ali playing alone :
      youtube.com/watch
      but there are not "tris" (tek ka ka X) here (just a few triplets).

      here directing MultaqaSalam (some of his students, all french) :
      youtube.com/watch
      youtube.com/watch
      youtube.com/watch

      his knowledge is actually infinite, and i could spend hours writing about him and what he teaches us ;-)
      just have a look at this if you want to see who he is :
      www.dailymotion.com/relevanc...nde_music
      it was captured during a 2 week masterclass last summer (trance and soufi music in morocco).

      as for the "tek ka ka tek", you can see it in his DVD, but i don't have any other video support.
      maybe when i can get a camera i will try to show you... a very low speed qarshi :-)

      anyway, maybe the "tek ka ka" it is not very suitable to qarshi, because of the speed and the right hand start after the right hand last tek...
      but when filling rhythms, the feeling is GREAT because the "tek ka ka" is much more fluent than a simple "ka ka" and much softer than a full roll (tekatekatek).

      Ali told me he also plays "tek ka ka ka" (triple ka), but hey, i can't even hear it!

      yan
      • It would be great if you can ask him to demonstrate those move you talked about. The first video does not have any thing, so if he is willing to show what you posted that would be awesome.
        He is such a great music director and a band leader.
        • hey,

          too bad i have no video recorder...
          but i'm working on it, one of my friend should help me soon.
          maybe i can show you in a few days.
          if not, i will post a mp3 file, you should get it without video.

          as for Ali, i'm working on it too, because he's not very fond of offering free classes...
          old school ;-)
          but he's so a generous being, i guess i can convince him... for the tribe!

          anyway, if you want to practice the "tris", just play triplets, starting slow and increasing speed :
          tek ka ka tek ka ka tek ka ka.........
          tkktkktkktkktkk.......
          you can also play Malfouf at very fast speed, it helps a lot to get the left hand dexterity :
          doum ka ka tek ka ka tek ka
          DkkTkkTk

          then go on with this exercice :
          t3t-k- (with t3t = tkkt in the time space of "tkt")
          or, if notated in ternary pulse :
          1--2--3--
          tkkt--k--

          this one is fun, because when played very fast, it sounds like TERNARY QARSHI!

          if you understand this, you can then replace every "tek ka tek" or "ka ka tek" with "tek ka ka tek", in the same time space.
          and the same for "tek ka doum" : tek ka ka doum
          and so on : DkkD, DkkS, SkkD, DkkT, .........

          try also replacing raks with it, in the same space.

          one other very IMPORTANT exercice to get the "tris", and to improve "ka" generally :
          play three different ways of "ka" in "tek ka ka tek" :
          1. tek ka ka tek with left hand stuck to the drum, just moving fingers (all at the same time, but only ring touching rim)
          2. the same,lifting a bit left hand, hand hitting with more energy (normally, only ring finger hits)
          3. the same, striking full power with the base of palm on the drum (ring finger automatically strikes skin very loud, due to inertia), and moving the hand back, toward body, so that the "ka" sounds very fast, loud and clear

          i know it may sound weird, but i'll show you soon.
          very usefull exercices to improve overall technic and to control "nuances" in playing.

          sorry if you already know all of this, but i think sharing even simple exercices maybe very usefull, because it seems every single player in the world has different habits!

          see you soon for a demo, and sorry for my bad english!
          and just practice!! mmmh, ok, i guess you already know that ;-)
          yan

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