相會在恆河﹣印度古典音樂家-Waka與Yo-影片及訪談1

印度古典音樂家-Waka與Yo

訪談1
https://www.seelandmonastery.com/mindful/?p=1046
中文 , english

訪談2
https://www.seelandmonastery.com/mindful/?p=1821
中文 , english

=============

相會在恆河﹣印度古典音樂家-Waka與Yo

古老且完整的音樂傳統之一。
它複雜、神秘、多樣化,且自成一格。
本片主要介紹在台灣多年推廣印度古典音樂的兩位日本音樂家–塔布拉鼓 Waka(若池敏弘)與 西塔琴 Yo (金光亮平)老師,
讓我們一同欣賞來自恆河的美妙樂音。

Waka (若池敏弘)老師:

演奏印度Tabla鼓已有二十年經驗。除參與多位歐美的音樂創作者之跨界作品演出外,亦受邀於印度、孟加拉、日本、台灣、泰國、韓國、中國等國際音樂藝術節演出。並擔任國立台南藝術大學、台北藝術大學、台灣大學印度音樂工作坊導師及台灣塔布拉鼓愛好會會長。2011 金曲獎入圍最佳演奏獎。

http://tablawaka.blogspot.com/

http://tablawakasitaryo.blogspot.tw/
https://www.facebook.com/tablataiwan/

金光亮平

Ryohei Kanemitsu”YO” / Sitar西塔琴・Surbahar 特低音西塔琴:

2001年跟隨 大師Dr Sabyasachi sarkhel開始學習Imdadkhani式的演奏風格,現在跟隨世界最偉大之一西塔琴巨匠Ustad Shujaat khan。
2004年進入印度加爾各答Visva-Bharati大學音樂系,主修北印度古典西塔琴演奏。2005年起,開始在印度各地演奏,廣受好評。
2006起巡迴於印度、泰國、孟加拉、日本、韓國、台灣、澳門等地國際音樂藝術節演出。
2010年日本最大印度音樂祭Sangeet Mela演出、
2012年巡迴於愛爾蘭, 波蘭演出,
2013年在國家音樂廳和台北市立國音樂團共演及英國演出,
2014年在國家戲劇院 和人力飛行劇團演出。
現在擔任WakaYo印度音樂聯盟及塔拉那現場藝術音楽総監。所属樂團:塔拉那現場藝術, Coromandel Express, WakaYo印度音樂聯盟

官方部落格: 西塔琴演奏家SitarYO的音樂旅行誌
==========

第1集 訪談全文
(開場白)
世界文明古國–印度,是由多樣化的民族,語言,及宗教所構成。印度音樂,是世界上最古老且完整的音樂傳統之一,它複雜、神秘、多樣化,而且自成一格。
本片主要介紹在台灣多年推廣印度古典音樂的兩位日本音樂家:Waka(若池敏弘)與,Yo,(金光亮平)老師。
讓我們一同欣賞來自恆河的美妙樂音。

問:老師為什麼會選擇塔布拉(tabla)鼓?
答:因為我喜歡塔布拉鼓的聲音,很特別。
這個是高音,這是低音,這樣子的樂器。
問:這是用什麼做的?
答:黃銅、牛皮、山羊皮。在印度樂器的歷史裡面,這個是比較新的樂器,大概應該三百年吧!塔布拉在以前是兩面鼓,以前他們用兩面鼓。
大概三,四百年前,他們把它切(開成兩個鼓),變成現在的塔布拉鼓。

問:綁這個繩子是什麼作用?
答:這個是調音的東西
最近開始學習新的樂器。大概五,六年前,我開始學新的樂器,它好像印度的二胡。

問:它叫做什麼名字?
答:伊斯拉琴(Esraj),這樣子的樂器

印度音樂,樂器固然重要,但是「音樂性」比樂器更重要。也就是「理論」(theory)。

印度樂器,其實全部都可以用人的聲音唸出來。例如這個樂器。
印度音樂,首先最重要的是”Sa”這個音。
相當於(西洋音名)do,re,mi,fa,so的”do”。

(西洋音名的)do,re,mi,fa,so,la,si,在印度音名則是唱Sa,Ri,Ga,Ma,Pa,Dha,Ni,Sa。

Sa,Ri,Ga,Ma,Pa,Dha,Ni,Sa

Sa 這個音,在印度是很重要的音。它是梵(Brahman)的音,宇宙的音。

你知道Upanishads(奧義書)哲學嗎?
(印度教基本教義)梵我一如,(奧義書主要宣揚的觀點)不知道在佛教是否說成是「佛我一如」,大宇宙與小宇宙是同一個(我與梵終究合一)。這是在印度奧義書(所提倡)的哲學,大概在佛教也有類似的想法。

Sa是宇宙之音,在這個大宇宙之音裡面,一切皆從這個Sa開始。然後逐漸的,小小的音出現了,但是 Sa 音依然很重要。

通常演奏者一邊聽著Sa音,雖然現在是 So的音(印度音名Pa),但是Sa音還是作為背景音樂存在著。所以Sa音很重要。

全部都可以出聲唱,學習印度音樂,要先學會如何把它唱出來。例如,Sa,Ni,Dha,Ni,Dha,Ri,Sa。
Dha,Ni,Ri,Sa,Ri,Ga,Ri,Ri,Sa。

像這樣唱出來是很重要的,其實樂器是模仿人聲,就只是copy(拷貝)人聲而已。樂器基本上只是表現自己聲音的工具。雖然印度有很多種樂器,但所有的樂器都是在模仿人的聲音。是一種用來表現人聲的工具。

其實最初是內心的聲音,把內心的聲音,透過樂器表現於外,這就是印度樂器。

塔布拉鼓也是如此。塔布拉鼓的話,我調一下音。

就像這樣,全部都可以用聲音來表現。
印度音樂不使用樂譜,所以用聲音來背誦樂譜是很重要的。

我的第一個老師是比較嚴格的。
我的老師跟我說:「Waka,你不行表演。最少要十年,你不行表演。」所以要看老師。

問:所以後來您就換老師了嗎?
答:十年以後我才換老師。
一開始跟老師學習時,老師通常只教你很簡單的東西。如果你是印度人的話,老師會對你比較嚴格,一開始不教你東西。可是學生會一直去老師家幫忙、買東西,有時候幫老師馬殺雞。
大概過了一年到四年,慢慢的,老師覺得ok這個學生不錯,我教你少少的東西。

問:所以您就一直跟著老師學習,不會想要換老師嗎?

答:因為在印度的傳統裡,常常換老師是不好的。你決定一位老師的話,一定要跟著他

問:您有幾位老師?
答:塔布拉老師只有兩位。可是我離開以前的老師時,有問過老師:「老師,我現在想換老師可以嗎?」一定要這樣問。沒有不講一聲就離開,這樣是不好的。

問:以前您有去過很多國家嗎?
答:有,泰國、緬甸、斯里蘭卡、尼泊爾、孟加拉、巴基斯坦、印度、伊朗、土耳其。

因為我住在Okinawa(沖繩)大概四、五年,那時候我已經開始印度音樂的表演。可是沖繩音樂的市場是很小的,音樂的活動是不容易的,所以我想應該去台灣試試看。
我第一次來到台灣時,沒有人會演奏塔布拉,他們不知道印度音樂是什麼。可是最近愈來愈好,有些學生會表演。所以,我想在台灣介紹印度音樂。

(學生訪談)
學生:我跟Waka老師學塔布拉大概兩年左右,我認識Waka先生其實很久了,大概2008年的時候

問:在哪裡?
答:在街頭藝人。Waka老師剛來台灣的時候,有做過一陣子的街頭藝人,在台大那裡街頭表演。然後慢慢的很多人認識他,覺得他音樂非常棒。然後就慢慢有很多演出的機會,在很短的時間內,可是他有過那一段。
我很有榮幸,在那時就已經認識他了。

waka 老師:
現在我住在南勢角這裡,那邊有土地公廟–烘爐地,我常常去那邊散步。我散步的時候,看到新月,印象很深,所以我作了(濕婆之月)這首曲子。

為什麼是濕婆?因為在印度,新月是濕婆神的symbol(象徵)。有一點點南勢角local(當地,在地)的感覺。

學生:
基本上,我們每一次上課都會有一些基本的練習。老師會彈一些raga(音階)讓我做打鼓的練習,都是比較練習式的。不過,老師的講法是,這樣子的練習是針對表演。所以,其實每次來上課壓力都很大。
前面大概四,五十分鐘,基本上都不間斷。他就一直彈,我就要一直打打打。

印度音樂跟我們一般習慣的音樂,進行方式是完全不一樣的。譬如說,今天老師要彈弦樂器,他就會設定一個raga。
所謂「raga」就是一個「音階」的形式。他就用這個音階去做即興。

另外一個相對的是叫做 「tala」是一個「節奏」的形式。剛開始就設定好,他用什麼raga去演奏,我用什麼tala去彈。

印度音樂基本上都是半即興的。你做什麼raga,我做什麼tala,就噼哩啪啦這樣一直彈到底。一直即興,一直有互動。

waka 老師:練習、練習、練習。有時候你的速度變慢,要小心。我拉的時候,盡量保持一樣的速度,可是你變慢,所以這個要特別小心一下。
因為沒有壓力的話,他不會進步,所以我常常欺負他,加速度,愈來愈快。加一點,加一點。

問:最後那個最快的是幾拍?
答:那應該是16拍。
在北印度我們風格的音樂,16拍是最重要的。

剛來台灣的時候,我幾乎沒有認識的人,沒有任何人際關係就來台灣了。那時暫時住在旅館,就在房間裡練習,但是房東告訴我,會吵到隔壁的房客,所以希望我不要在房間裡練習。
因為沒有地方可以練習,所以就到處去找。剛好台北公館有地下道,那裡的地下道剛好可以作為練習的場所。於是就在那裡每天從早練習到晚。
在練習的過程中,認識到很多人,也擴展了人際關係。
當時有「身聲劇場Sun,Son,Theatre」的伙伴,可以說是把我「撿」了回去,或者說發現了我。
他們告訴我:「你在這種地方練習啊?我們有排練場,你可以去我們那裡練習。如果不介意睡覺地方的話,也可以睡在辦公室的桌子下面。既可以睡覺又有地方可以練習,如果有食物或簡餐,也會給你。所以你來我們這裡吧!」他們這樣對我說。
我就這樣暫時住在了身聲劇場,受到他們的照顧。

當時我是以旅遊簽證來台灣的。所以三個月(到期),不,當時好像是一個月就必須出境,然後再入境到台灣。如此往返,讓我感到很不安定,簽證真的是一個大問題。

結果身聲劇場的伙伴們幫我辦理了工作簽證。他們對我說:「如果有什麼煩惱的事,就交給我們來處理就好。」也幫我爭取演奏的機會,真的給我很大的支持。實在很感謝他們。

另外,我剛來台灣時,生了一場重病,大約是從印度來台灣的時候,得了急性肝炎。嚴重到差點就命危的程度。當時台灣的朋友們,幫助了我。為我舉辦慈善演奏會,或者匿名捐款給我,真的給我很大的援助。

在我所去過的國家中,很少有國家,能像台灣這樣,給我如此大的援助。這讓我十分感動,真的很謝謝你們!所以我想應該是因為這些人的幫助,所以我能住在台灣。

現在已經取得了居住權,這就是我留在台灣的因緣。謝謝你們!

ep1-english

India, historically enriched place,
display diverse tradition of ethnic cultures, languages and religions.
So as to music, theoretically developed from the beginning of the Vedic days.
Complex blend of its mistical culture and diversity, music become one and only.
This video features two Indian Classical Music players, who are from Japan and now based in Taiwan.Mr. Waka and Mr. Yo.
Here introducing emotional music from the holy Ganges river.

Q:Mr. Waka, why did you decide to play tabla?

I did it because I like the drum tone, it is special.
This is high pitch, this is low pitch.
This is the instrument, just look like this
This part is made from brass, cow skin and goat skin.
In indian music history, this is relatively new instrument,of 300 years of history.

Tabla was used to be double-sided barrel drum,played as double-headed drum.
300-400 years ago, splited into 2 single-head drums,
then become tabla as seen today.

Q:What is this? This? This gives tension to the strap,to get tuning.I also play another instrument,
started playing 5,6 years ago, it is like indian Erhu.

Q:Erhu? Yes, Erhu, it is called Esraj.I’ll show you now.Sound like this.

In Indian music theory, though instrument is important,voice melody is much more important, also theory.

all Indian instruments are designed to imitate the human voice.
For example,This is the most important sound “Sa”,
is same as “Do” in solfeggio, do, re, mi, fa, sol

do, re, mi, fa, sol, la, ti, correspond to indian solfeggio, Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa

Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa

This is Sa.
This is really important sound.
Sound of Brahman, sound of universe.
This Sa tone is, Do you know Upanishads?
From the concepts of Advaita(Non-duality), could be called “Attaining of Buddhahood” in buddhism.
The universe(atman), my body, is one of identity.
This is the upanishads, probably Buddhism also have philosophy like this.

Sa is the sound of universe, the sound reflects the universe.Everything begins with Sa,and then melody goes.More melody comes out but Sa is always the key.the player always set Sa as the key

Even I play Sol, the Sa is still ringing behind.
So the Sa is really important.
Singing is the foundation of indian music. To study indian music, you must learn how to sing first.

For example, Sa Ni Dha Ni Dha Ri Sa
Dha Ni Ri Sa Ri Ga Ri Ri Sa

It’s important to sing a melody, and instrument follows.
just copying what I sing.

Basically, instrument is just a tool to copy the voice.
Although there are so many kinds of indian instruments, all of them are copying tools of human voice.
sort of expressing human voice in other way.
the sound in the your heart,
express yourself through the instrument, this is how indian instrument work,

tabla do the same,
talk about tabla, oh, bad tuning,
So I’m able to play with vocal like this,
Indian music don’t use written score.
So it’s important to memorize the song by singing.

My first teacher is tough at teaching.
Teacher told me that I can’t play the show,
unless practice at least 10 years.

Q:So that’s why you search for another teacher, moving to another teacher?

I changed teacher after 10 years of learning.
When you start practicing, usually the teacher only teach you real easy thing.

If you are a Indian, teacher will rather treat you strictly, no teachings at the beginning.
Student always go to teacher’s house, help his family, like shopping.Sometimes, gave him a massage

a few years later, teacher thinks this student might be worth learning some. So teacher starts teaching some.

Q:So you have been learning from this teacher, do you think changing teacher again?

In indian culture, it isn’t good that changing teacher often.Once you have a teacher, have to go with him.

Q:How many teachers have you ever learned from?

Tabla teacher is only two.When I decided to leave the first teacher, I had to talk to teacher.
“Teacher, I think I would go for another teacher”, had to ask like that.
Leave without saying anything, is so rude.

Q:Did you travel other country before?

Yes, Thailand, Burma, Sri Lanka, Nepal,
Bangladesh, Pakistan, India, Iran, Turkey
And then I moved to Okinawa, and lived there for 4,5 years
At this time, I began to play live performance of indian music.
But Okinawa’s music scene is real small.
It’s not a good place to live for, so I thought I would check out Taiwan.

First time I went to Taiwan, no one plays tabla, even no one knows about what the heck indian music is.
Getting better now though.
Some student can play at the show.
So I want to introduce indian music in Taiwan.

(student say:)
I learn tabla from Mr. Waka about 2 years now.
I have been knowing him for a long time, let me think, from 2008.

Q:Where?
When he was street-performing.When Mr. Waka arrived at Taiwan for the first time, he played at street.
Yes, around Taiwan National University. Lots of people listened to his tabla and liked it.
And then, soon, getting some chances to play a show in a venue.He have passed time like that,
I’m proud to have known him from that period of time.

(Mr. Waka)
I’m now living in Nan Shi Jiao.There is a Earth God shrine,called Hong Lu Di.I always go for a walk there.
One day, I saw the thin crescent moon while I was walking.Like this.I felt most deeply.So I made a song deicated for this moon.
Because of Shiva, the crescent moon is the symbol of Shiva.
I add some Nan Shi Jiao flavors to the song.

(student say:)

Basically, every time I practice with Mr. Waka.
I play tabla along with his Raga with Esraj.
It ‘s all about practice.
But his teaching style is like, practical for the show.
So I practice under a lot of pressure.
At first, we play non-stop, for 40-50 minutes
He plays all, then I play back all, it’s simple.
Indian music composition is not like the one with popular music we listened before.
I mean, he will decide a Raga to play today.
Raga is, so called, musical scale,
So he plays improvisationally but using the scale of the day.
In the other hand, Tala is the measures.
When we are ready to play, he starts playing a Raga,
and I fill in with the Tala

Indian music is half improvised and half written music.
You go with this Raga, so I pick this Tala, the show must go on.
Playing from the heart, and pull together.

(Mr. Waka)
Practice, practice, practice.
Sometimes, your tempo got slow, be careful.
When it’s my turn, gotta keep the tempo.
lose a tempo, should be really careful for that.
No pain, no gain. I always force him to play fast
So, he is getting better and better.More and more.

Q:How many beats in the last fast phrase?

16 beats.
In nothern indian music, 16 beats is most important.

When I came Taiwan for the first time, I didn’t have a friend here.Just being stranger in Taiwan.
So I practiced a lot at the guest house I stayed,
But one day, the owner came to me and said, can’t make a noise here, bother other customers.
But I had nowhere else to play tabla, had to find a place.Then I found a place at underground pedestrian walkway in Taipei city.This walkway is really good place to practice.So I sat there and practiced all day long.

While I practiced, so many people talked to me and became friends,and also, meet new people through friends.

One day, I met people from “Sun Son Theatre”,I should say, they found me, or discovered me.
I explained my situation and they said,What if I invite you to come over to our rehearsing room to practice.Even they offered a place to stay in their office.So I stayed at their office and practiced, they even provided me a food.
I stayed at Sun Son Theatre at that time and they helped me a lot.
And at this time, I stay in Taiwan with landing visa,so I could stay in Taiwan only 3 months, maybe one month at that time.I had to leave a country then came back to renew the visa.I was tired of running back and forth and sweating all over, visa status is kind of nosey.

Sun Son Theatre also helped applying working visa for me. They also told me that if any trouble, let them know and they’d take care of that. Also helped me setting a live show, they really supported me a lot.
I really appreciate them.

(Rahu composer : Mr. Waka )

Mr. Waka traveled to western Pakistan, the place called, Balochistan
he came across a solar eclipse
felt connection spiritually, and wrote this song “Rahu”
among the songs he wrote, this is the one of his favorite song.
Rahu is one of Asura warriors in Indian Mythology
swallows sun and moon, causing an eclipse
Several years ago, I had a serious disease.
Around time I came back from indian trip.

(Mr. Waka)
I was diagnosed with a Hepatitis.That critical symptom almost took my life.My taiwanese friends helped me a lot.They set up a charity event to raise money for medical bills, some donated without giving a name.In deed, these supports saved my life.
I have been in Taiwan, even I stayed here for a short period of time yet, they kindly helped me a huge.

Sincerely it touched my heart, and I really appreciate that.I owe Taiwanese friends a lot, so that I am still alive.
I have a residency in Taiwan now, I think the Nidana (cause of existence) made me stay here.
Thank you very much.

================

第2集 訪談全文 (中文)

我跟Waka老師是在印度認識的,之前Waka老師常常來台灣做印度音樂的活動。有一天他找我,問我:「要不要來台灣?」我說:「好啊!」就來台灣了。

問:為什麼想要學西塔琴?
答:因為我的第一個目的是我想要去印度。我的媽媽年輕的時候,一個人去印度旅行兩三年。所以我從小她每天跟我講,印度的文化是什麼樣子,印度吃的東西是什麼樣子。

所以我長大以後,就決定有一天一定要去印度。去印度的時候,我媽媽跟我說:一定要有目的,不是隨便去玩。
那時候我很喜歡玩吉他,大概知道西塔琴的樣子,但是不知道它有多難。我覺得應該還滿容易的。我去印度學之後才發現,根本就不是容易的東西。
可以發出聲音吧!但是至於好聽不好聽,那得練好久。
這是我們在日本表演的時候拍的。

問:後面的畫像是什麼神?
答:是saraswati,(辯才天女)。她是(代表)音樂與學習的女神。
問:她拿的是什麼樂器?
答:叫saraswati,veena(維那琴)。早期的西塔琴。
問:和西塔琴很像嗎?
答:西塔琴是從它來的。
總共有18條弦,上面有6條弦,下面有12條共鳴弦。
看起來很多弦,但是比較常演奏的是上面6條弦。
原來沒有樂譜,都是口傳。但是有時候會忘記。
所以有點像國樂的簡譜一樣。他們用 1,2,3,4 吧!
我們寫,”Sa,,Ri,,Ga,,Ma,,Pa,,Dha,,Ni,,Sa”

比如說,有一個曲子是,Ga,,Ga,,Ga…
我們就寫成,”Ga,Ga,Ga….”
做筆記,寫下來。

但是印度音樂的表演,如果一個小時的話,百分之九十是即興(improvisation)。

一部分是固定的,有旋律,要跟老師學。即興的方式我們也要學。
但是我們在舞台上表演的時候,百分之九十是即興。沒有寫好的東西(樂譜)。

北印度音樂的系統跟爵士樂有一點像。
主題(Main motif),即興( improvisation),副歌(sub motif)。然後即興,然後主題。
大部分的爵士是這樣子的,北印度的音樂也常是這樣子的。

即興的意思是,你一定要跟著音樂的系統。
好像,我們現在講話是用中文吧!可是我們講話的內容是即興,對不對?
你問我,我講話,這樣子。可是我們一定要了解中文,所以音樂也一樣,你不知道音樂的theory(原理,理論),就不會即興。

他是我的第一位老師,名叫Sabyasachi sarkhel。然後,他的家人
在(印度)那邊念書的時候是,早上去上課,下午去他家。一對一(學習)。
前面三、四年,他沒有教我太多,上課就五分鐘,彈彈彈,好!回家練習。
他有點在看(觀察)我,認真或不認真。因為有些外國人來學之後就沒回來。如果覺得他是認真的話,就會教多一點。

所以關係變得愈來愈好。
跟他學五,六年之後,有一天他說:「你是我的兒子,你想學的東西我都給你。」

現在我跟第二位老師(Ustad,Shujaat,khan學西塔琴)他是印度西塔琴我們的派別裡最有名的。最偉大的西塔琴音樂家。
從一開始學西塔琴,我就一直訂他的專輯,有時候去看他的表演。我覺得,有一天一定要跟他學,因為他是我最愛的音樂家,所以我一直在等機會。

三年前吧!他來過台灣,在國家音樂廳表演的時候,我有機會可以跟他見面。我問他:「可不可以跟他學?」他說:「好,來印度學。」現在每年我去印度跟他學。

這是我們的舞樂團,塔拉那。
他也是台灣人,他學北印度的Kathak dance(卡薩克舞)。

問:您覺得Waka老師是怎樣的人
答:有點像我的哥哥一樣。
今年是我們認識剛好十週年。
有時候會因為工作而吵架。
為什麼我現在可以彈西塔琴,繼續做音樂?主要是因為Waka老師教我很多音樂及辦活動的事情。讓我可以繼續學音樂,或者玩音樂。百分之八十是因為有Waka老師。

問:(您覺得Yo老師是怎樣的人)
Waka老師:Yo老師嗎?他好像是我的寶寶。
因為我常常好像是小朋友。他安排的東西是比較精緻的,很好的。比如說表演,或者學生的活動。他的安排很厲害,我不知道怎麼辦。可是他知道活動的理念,所以跟他可以做很多好厲害的東西。

問:行銷嗎?
Waka老師:對,所以,我要謝謝寶寶。
他是很認真的人,,我們現在住在台灣……大概多久了?(亮老師回答:六年)一起住在台灣六年了。他知道,我不知道。

所以他好像是我的哆啦A夢(機器貓小叮噹)
我有問題的時候,我問他:「哆啦A夢,這個是怎麼樣?」所以我好像是”Nobita”。

“Nobita”,叫做什麼?大雄,對!沒有他的話,我們在台灣的活動應該是不容易的。

(亮老師)
我覺得我沒有好多自己的想法,但是Waka老師是idea,box,(有很多點子)。有好多想法,我們要做這個,我們要做那個。
他有好多想法,但是他會忘記。我沒有那麼多想法,但是我會去做。就像兩個互補的拼圖。

ep2 english 第2集 訪談全文 (英文)

I met Mr. waka in India.He already started his music career in Taiwan.One day, he asked me if I come to Taiwan, and I’m like, why not.

Q: Why do you pick up the sitar?

Because I always wanted to go to India since I was a kid.When my mom was young, she traveled india by herself,around 2-3 years.
I grew up listening her stories about India,
about the cultures and foods.
So I thought I would go to India someday, for sure.
I finally got a chance to go to India, my mom told me that,I have to have a reason to go,just can not be there without any reason to stay.

I really liked playing guitar at that time,so I decided to learn sitar, even I don’t know much about this instrument,
just seemed that pretty easy to play.
I moved to India, started learning sitar and found out that,this is not easy at all.

I can make a sound, but just not “real”,
so I need a practice so hard.

This is the picture when we played in Japan.

Q:What is this god at the back?

This is sarasvati.She is goddess of music and knowledge.

Q: What instrument does she have?

It’s called Saraswati Veena,early age sitar.Just look like sitar.Sitar is developed from it.

Sital has 18 strings in total.6 main strings, the rest are the resonance strings underneath.So many strings here, but I only play upper 6 main strings.

Indian don’t use written score, learn music through oral lessons.
But in case forget the melody, there’s a simple notation like western music.
Their notes are 1, 2, 3, 4.
Our notes are, “Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa”
For example, this melody,
Ga, Ga, Ga…
We write down as “Ga Ga Ga….”
We write it down like this.
When we play a show, play an hour-long song,
90% of the play is improvisation.
10% with common written melody, that we have to learn from teacher.
Also have to learn improvisational composition from teacher.
But when we play in live, 90% of our play is improvisation.
There’s no written notation.
North Indian music and Jazz have something in common.
Main motif, improvisation and sub motif,
then improvisation and back to main motif.
Most of the Jazz play like this.
North Indian music also play like this.
To perform an improvisation,
need to know a composition.
It’s like, we speak in Chinese now.
And what we talk now is improvisation, right? You ask, then I answer.
We have to know Chinese to make this communication happens.
Playing an improvisation is the same thing, if you don’t know the music theory,
simply you can’t improvise any.
He is my first teacher,
named, Sabyasachi Sarkhel,
and his family.
Indian style lesson is like, class in the morning and go to teachers house in afternoon,do private lesson.
First 3-4 years, he didn’t teach much things for me.
I played 5 minutes in front of him, then he said, ok, go home and practice.
He gave me a hard time, but I knew he was evaluating my feedback.
Because so many foreigners come to take a lesson and then disappear.
I thought I would need his trust, then he will teach me more.
Our relationship gets better and better as time passing by.After 5-6 years with him, finally I got his attention.He said, you are my son and I teach you all I know.

My second teacher is called, Ustad Shujaat Khan.He is the most famous player in Indian sitar world,most great sitar player.Since I start learning sitar, I bought all his CDs.
When I saw his performance,I thought I must learn from him, he is my favorite player.So I have always been waiting for the chance.
3 years ago, he came to Taiwan,for some national music festival.I had a chance to talk to him,so I asked him to teach me, he said ok,come to India. So I go to India to study from him every year.Go to India for taking his lesson.

This is our theatrical company called, Tarana.
He is taiwanese, he studied northern indian’s Kathak dance.

Q: What do you think about Mr. Waka?

He is like my older brother.It’s been 10 years since we met each other.
Sometimes, we both get angry over music and ideas.
The reason I play sitar and keep playing music,because of him, Mr. Waka, he teach me not only music but so many other things.He let me study music or play music,80% of what is Mr. Waka’s help.

Q: What do you think about Mr. Yo? Mr. Yo?

He is like my baby.Even I’m a kid, anyway.He takes care the all kinds of stuff real good.
For example, play a show, or class activities, he organizes real good, that what I can’t do.He knows what we have to do, so he does amazing job.
(Merchandising? )Yes, so, thank for him
He is nice guy, how long we have been in Taiwan?
We have been in Taiwan for 6 years.
See, he knows, but I don’t know.
So, he is like my Doraemon.
When I got a problem, just ask him help.
It’s like, hey, Doraemon, give me a hand, so I would act like “Nobita”.
What is Nobita called in Chinese? DaXiong, yes.

(Mr.Yo:)
If he is not here, our music activities in Taiwan is definitely not easy.
I think I don’t have my own idea.But Mr. Waka generates new ideas from his idea box.More ideas, gotta do this and gotta do that.But,he got tons of ideas and then forgot in quick.I can not think like him but,
I can make things happen.
So we two, fit into each other, like puzzle pieces.

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欣賞上述影片中表演的美妙音樂(第2集影片 14:17 開始)–gram chara ai ranga mati

孟加拉民謠 gram chara ai ranga mati (科羅曼德樂團)

Gram Chara Oi Ranga Matir Poth | Rabindra Sangeet | Baul Song

孟加拉民謠 gram chara ai ranga mati (泰戈爾作詞作曲)
(英譯歌詞)
The Reddish Soil Road leading from the Village has made my Mind get lost far far away,
Oh! towards whom has my Mind stretched out its hands and then rolls down on the Dust?
Oh! it has made myself go Out of my Home, by holding each Step of my Feet, …
and taking me away forcefully, is leading me to which unknown Place I know not,
Oh! what Treasure will it show me in which Turn, and what Obstacle will it pose in which Place, …
and where will it end, I cannot think it out, I cannot think it out,
The Reddish Soil Road leading from the Village has made my Mind get lost far far away.

引自 : https://greenmesg.org/nature/poems/rabindranath/gramchara_ai_ranga_matir_path.php

 

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