AMS Easy Methods 2007 CD - Teaching and Learning Methods

msakella · Post by **msakella** » 27 Jun 2009, 04:29

Dear brother-member, manjunath, As you wrote all the members of rasikas.org., are highly intellectuals, musicians, learners and are sharing music knowledge , systems, various cultures of people etc.. and are enjoying the association with fun and happiness and everybody is aware of it, But, very few people like you being anonymous and afraid of coming out open and fight direct, are spoiling the entire dish. People having guts fight face to face but only people without guts do their illegal jobs from behind the curtain.

You wrote "He said his book is better than the book wrote by Shashikiran"

srikant1987 · Post by **srikant1987** » 27 Jun 2009, 06:16

I find that my two posts go without any response.

Rasika911 · Post by **Rasika911** » 27 Jun 2009, 06:25

arunk wrote:Compositions do play a role in CM - but couldn't that just be an indication of its legacy? Does it imply that the only way to master the raga is through compositions? Now I can understand that based on our knowledge today, it is hard for us to imagine how CM can be without them. But take HM. It is a prime example of a system which is as much or if not more improvisatory than CM - but does not have the same tradition of compositions. How does a HM practitioner master the main HM ragas? I could like to know that.

Notating every subtle aspect of CM is indeed laborious - perhaps counter productive. . Note also that notating WM compositions is also extremely laborious and these composers are imagining multiple melodies for various sections. And also depending on style, not everything is notated as in there is some room for interpretation. Of course it is much much less compared to CM, but then CM's notation scheme (i.e. as done by most) is quite rudimentary. We haven't even standardized the simplest of the concepts. Take a stock phrase in a arbitrary raga - say nATakurinji's gmpgrs. There are subtle gamakas here. Technically it shouldn't be hard to standardize this and similar things. But this has not been standardized, none of the standard books even attempt it.

The "we never needed it before, why need now" or "whatever needs to be done, has been established already", "who are you to change what great souls have said" etc. etc. is IMO simply a resistance to change that is inherent in all of us, but has a strong presence in anything tied to religion (and thus tradition). IMO, it is a cage that holds us. We simply are most comfortable with something we are already familiar with - so any deviation is a ripple. You hear the following from many musicians in tamizh: periyavA ellam paNNittu poiTTa => "the respected elders have done what is needed and gone (and thus all we should do is follow)". While respect to great works (irrespective of who do it) is one thing, it is also a shackle particularly when it is mandated. It puts a muzzle to our instincts - making us be subservient to tradition just because we have been told so. It also is the the biggest hurdle of progress and improvement. But, ironically, in the end, it NEVER can prevent change. A quick read of the classical texts on music over centuries speak volumes on this. The best this resistance does is to simply just slows it to the speed of a glacier, so that each generation can be (somewhat foolishly) secure in the false comfort that traditions never really change or that whatever that has changed was for the better, but at any point no more change is required (what a logic!).

Arun

The system in place now has produced many great vidwans.
Please do not compare CM to WM in relation to notation, wm does not use gamakams thus making notation significantly easier.
There is no such rule that you must learn the ragam through knowledge of compositions, if another method works for you by al means go for it, good luck. But let me say that what i have learnt from my gurus and by listening to lec-dems by senior vidwans such as Prof.SRJ, Nenduruni Krishnamoorthy is that the compositions in cm have great value. If you take thodi as an example all of Thyagaraja krithis emphasise a different aspect of the ragam. Other compositions such as gadjavadana literally teach you the many different ways you can approach the gandharam in a simple chittaiswaram. When we have such gems avalible to us why do we go looking for silly methods? If HM had the wealth of compositions we have would they have adopted the same approach?

Msakella sir, what manjunath was saying is that in that thread you indirectly said that the book is not worth buying and even mentioned that an a4 ruled book is of better value. You mentioned that it only had 4 symbols of gamakams and that yours had 60 and is avalible for free. You also mocked the poster by mentioning that you purchased the book after reading the detailed review.

Also please do not defame your students on a public forum. Thats is disgraceful. Making statements like "Chi.Vinay Rahul, without knowing any of the details, successfully misinterpreted everything and spoiled his career far more than his ignorant father", is not apporpriate for a guru and brings to the fore some of the problems with your methods. I dont blame a student for misinterpreting a book with 60 symbols for gamakams.

ganesh_mourthy · Post by **ganesh_mourthy** » 27 Jun 2009, 07:20

Manjunath if you are really concerned about carnatic music identify yourself. Otherwise it looks like your sole purpose of existense is to slander someone.

vasanthakokilam · Post by **vasanthakokilam** » 27 Jun 2009, 07:30

When we have such gems avalible to us why do we go looking for silly methods?

"silly"? :rolleyes:

msakella · Post by **msakella** » 27 Jun 2009, 11:41

I donÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢t need any kind of explanation from any proxy representing the original person in any respect. The original person has to take the challenge I made and act accordingly. In any case, if he/she is afraid of coming out open but wants to maintain his/her anonimity can as well make an open apology through these columns and disperse. ThatÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢s all. amsharma

manjunath · Post by **manjunath** » 27 Jun 2009, 11:58

Akellaji,You always lose your tongue and try to protect it saying you have not said or written. This is what you have written " Going through your extensive post and believing it a reliable book for writing notation I have ordered for it expecting to learn something from it but to my utter disappointment therein found only five symbols for all our various Gamakas ( I have already brought out 60 symbolised Gamakas in my CD, AMS Easy Methods-2007 which is available from
http://sangeethamshare.org/chandra/AMS- "¦ hods-2007/),
a detailed list of compositions occupying nearly 30 pages and nearly 130 pages of Tala-wise-columns all for Rs.250/-. An A4 ruled book is far cheaper and convenient to write the compositions than this book. Amsharma"

ganesh_mourthy · Post by **ganesh_mourthy** » 27 Jun 2009, 12:36

manjunath you have transitioned from a gross imbecile to a mere clown for this site. what you say could be utterly right only when you come out of your mask. looks like the purpose of your existence is only to defame akella and nothing more. If what you say is really true what is the deal in coming out with your identity. if you are really concerned about music and what you say is true just come out . the more you hide, directly goes your words to trash. well now that I have said something you could focus on me and cast aspersions on me for a change if this is your way of whiling time.

srikant1987 · Post by **srikant1987** » 27 Jun 2009, 13:17

Is Manjunath not Vinay Rahul's father? If he is, we sort of know who is, right?

ganesh_mourthy · Post by **ganesh_mourthy** » 27 Jun 2009, 13:23

mr. manjunath could confirm that. I assure he would never come out with his identity.

msakella · Post by **msakella** » 27 Jun 2009, 15:49

Dear brother-member, manjunath, In your post No.167 your wording is "He said his book is better than the book wrote by Shashikiran"

manjunath · Post by **manjunath** » 27 Jun 2009, 18:15

I heard from a senior musician , saying " WHERE THERE IS AKELLA THERE IS A WAR AND NO PEACE"

Rasika911 · Post by **Rasika911** » 27 Jun 2009, 18:24

msakella wrote: But, very few people like you being anonymous and afraid of coming out open and fight direct, are spoiling the entire dish. People having guts fight face to face but only people without guts do their illegal jobs from behind the curtain.

Nobody wants to fight saaarr. Just healthy musical discussion. If i wanted to fight i would hire a boxing ring. Music guru inthamathri ellam peshalama?

Everybody was jumping around when Sri. T.M.Krishna wrote an article with alot of sense relating to annonomity but when msakella says it, nobody takes notice of it.

ganesh_mourthy · Post by **ganesh_mourthy** » 27 Jun 2009, 20:03

Manjunath, i am no magnet and i dont slander anyone. i find your guerilla warfare funny. probably you are vaali. you have become a total comedy to this forum by now and that is how you would remain as long as you substantiate your allegations.

vasanthakokilam · Post by **vasanthakokilam** » 27 Jun 2009, 20:42

Rasika911: I think the confusion is some of us perceive that you are tag-teaming with manjunath. Manjunath, for whever reason, is attacking msakella with every strawman he can find. You are picking at straws here and there on the musical side and personal side in spite of the fact we are all trying to engage in strictly musical discussion on specific points about msakella's method.

So there it is. If you really want to engage msakella and others in the main topic of the thread, be direct about that and come to the discussion with a curiosity to learn about this method and not pass drive-by judgements. This Jekyll and Hyde approach is not helping ( again, my perception, apologies if that is completely misplaced ). On one hand, you want to talk about musical learning methods and on the other hand you are critical of msakella on sundry issues even before any meaningful discussions on his method is conducted. I thought hard before writing this because I have the other choice completely disengaging from you on this thread ( as I have decided to do with manjunath ). But I still sense that there is a chance that you are serious about learning about this method.

Rasika911 · Post by **Rasika911** » 27 Jun 2009, 21:15

vasanthakokilam wrote:Rasika911: I think the confusion is some of us perceive that you are tag-teaming with manjunath. Manjunath, for whever reason, is attacking msakella with every strawman he can find. You are picking at straws here and there on the musical side and personal side in spite of the fact we are all trying to engage in strictly musical discussion on specific points about msakella's method.

So there it is. If you really want to engage msakella and others in the main topic of the thread, be direct about that and come to the discussion with a curiosity to learn about this method and not pass drive-by judgements. This Jekyll and Hyde approach is not helping ( again, my perception, apologies if that is completely misplaced ). On one hand, you want to talk about musical learning methods and on the other hand you are critical of msakella on sundry issues even before any meaningful discussions on his method is conducted. I thought hard before writing this because I have the other choice completely disengaging from you on this thread ( as I have decided to do with manjunath ). But I still sense that there is a chance that you are serious about learning about this method.

I am not tag teaming with anyone, nor am I here to personally attack any member. I am not instigating any forum violence.
If you would like me to stop posting in this thread I can do so.

msakella · Post by **msakella** » 27 Jun 2009, 21:18

Dear brother-member, manjunath, We both are elders and we both, being musicians, should serve our kids in respect of our music. But, instead, we are quarelling each other like street dogs loosing our sense. At the first instance we both should pray for the pardon of one and all of our forum for all this.nonsense. Now I am doing this and I feel happy if you also do the same.

Hi all brother & sister-members of the forum. I truthfully feel ashamed of this senseless fight running in this thread and hereby beg pardon of one and all of our forum in this connection and also promise to put an end for all this from my side. Sorry for the inconvenience caused in this connection.

Dear brother-member, manjunath, I am not talking about any of our mistakes or any other things. Leave them alone. Let bygones be bygones. In every respect we should work together honestly and sincerely in serving our kids. In a place where we have to discuss about the methods to teach music to in turn serve our communityÃƒâ€šÃ‚Â¸ how it is justifiable to quarel? We should not quarel here in this forum but behave like true elders. In fact, today morning I have decided to continue this fight till the end. But, as one of my honest and sincere friends put it, there is no use of it but very badly affects our service to music loosing our pease of mind and also contaminating the entire atmosphere. At this juncture, we need not be surprised even if our kids blatantly refuse to be served by us after having experienced our senseless fight. So now, we shall put an end for it.

Even now, if you are so particular to continue the same, we can continue this through our personal emails. amsharma

vasanthakokilam · Post by **vasanthakokilam** » 27 Jun 2009, 21:28

>Even now, if you are so particular to continue the same, we can continue this through our personal emails. amsharma

I seriously urge manjunath to take up this offer from msakella to pursue this through personal email and completely discontinue bringing up such discussions on this or other threads.

vasanthakokilam · Post by **vasanthakokilam** » 27 Jun 2009, 21:31

Rasika911, My previous comment was related to why your comments in the context of wars with manjunath got muddled and misinterpreted.

You can always post in this thread on the topic of this thread.

My only advise ( which you do not have to listen to or follow ) is to approach this topic with the respect it deserves, given its scholarly nature.
How do you show respect to the material? Same way you will show respect to any other scholarly material: Study it, understand it and then come to a conclusion.

ganesh_mourthy · Post by **ganesh_mourthy** » 27 Jun 2009, 21:33

All that Vasanthakokilam wants you is your pursuit of musical wisdom and not to sully someone's reputation.We dont want any personal attacks and this is not a place for mudslinging campaigns akin to what manjunath doing. sorry I am not comparing you with manjunath but please dont take his side.

Nick H · Post by **Nick H** » 27 Jun 2009, 22:28

I would advise everybody to having nothing more to do with this thread.

I would particularly advise msakella to do so, and to give no further response. These internet situations are not rational, and can seldom be brought to a conclusion simply by conversation. In the end, each person will believe who and what they want to believe and it is better to walk away, or, at least, just to ignore the irritant

msakella · Post by **msakella** » 28 Jun 2009, 06:45

Dear brother-member, nick H, In this Kaliyuga every thing contributes to worsen the situation but not for the betterment at all. Unless the Almighty blesses us with necessary wisdom we end up in hell only but not in heaven. As you wrote, in this context, I must particularly be advised to give no further response and just to ignore the irritant being the elder even than our brother, manjunath. I shall sincerely follow it and thank you dear for the same. amsharma

srikant1987 · Post by **srikant1987** » 28 Jun 2009, 08:01

sorry I am not comparing you with manjunath but please dont take his side.

srikant1987 · Post by **srikant1987** » 28 Jun 2009, 08:10

How else will you know what kalyani is? Okay if the guru notates an alapana they have learn 5-10 mins worth of kalyani sangathis so is that all they are good for as a musician?

No, I suppose they will create phrases using the moorchana and apply gamakams from the 60 notated ones to various notes and arrange them to form the alapanai. IS THAT RIGHT?

Rasika911 · Post by **Rasika911** » 28 Jun 2009, 10:54

Be happy that harimau hasnt posted in this thread

Srikant1987, i wont respond to that.

srikant1987 · Post by **srikant1987** » 28 Jun 2009, 11:04

It was not for you to answer any way. I'm confirming with msakella and vasanthakokilam and ganesh_mourthy.

msakella · Post by **msakella** » 28 Jun 2009, 13:17

Dear brother-member, srikant1987, Without knowing the details how can I confirm dear. amsharma

manjunath · Post by **manjunath** » 28 Jun 2009, 14:51

As challenged by Akella ,except 5 to 10 members ,other 6990 rasikas.org members with me and they understood akella. He is not able to understand this. I advise him not to defame/disrespect other musicians work at least from now and share the knowledge with the members. Use this association for better cause and not just for self.

Nick H · Post by **Nick H** » 28 Jun 2009, 15:33

,other 6990 rasikas.org members with me

Be happy in your delusion.

Just let the rest of us be happy too by keeping your garbage in your own house, rather than polluting this forum.

That's it from me.

ganesh_mourthy · Post by **ganesh_mourthy** » 28 Jun 2009, 15:33

hi manjunath y dont you say something different of him like akella's association with osama bin laden , or his embezzlement from swiss bank , his traffcking drugs to foreign nations
yours is too boring and you are running dry of ideas. take a break and comeback . your hackneyed comedy phrases are total a drag now.

Rasika911 · Post by **Rasika911** » 28 Jun 2009, 19:00

I think mods should clean up this thread, deleting the posts which are not musically orientated. The above post is a fine example

srikant1987 · Post by **srikant1987** » 28 Jun 2009, 19:51

Akella ji,

I am asking about how an alapanai is constructed by a student in your method of teaching only; do they go by the moorchana and then apply from the sixty gamakas you have notated?

ganesh_mourthy · Post by **ganesh_mourthy** » 28 Jun 2009, 20:44

oops, I think rasikas911 was very delighted when manjunath wrote volumes and volumes almost like a harry potter story which was non musical but a tirade and a 3 liner from me makes him to send resentment waves. I observe that any sarcastic quip on manjunath sensitizes rasikas 911. Again we request dont do any team play . it was you and manjunath constantly polluting this thread which was exclusively for teaching Akellaji systematic methods

msakella · Post by **msakella** » 28 Jun 2009, 21:31

Dear brother-member, srikanth1987, In my book ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“Sangita Svararaga SudhaÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢ which is supplied along with an album of 9 pre-recorded cassettes or a mp3 CD there are two parts in it and they are 1.Svarasudha in which easy rhythmical Svarakalpana is furnished for 6 popular Talas along with 3 kinds of varieties in each Tala and 2.Ragasudha in which Ragalapanas of 36 Ragas are funished along with notations and with symbolised Gamakas. Either in the pre-recorded cassettes or in the mp3 CD audio-files of some of the Jati-muktayis along with relevant Svara-muktayis and Ragalapanas of the 36 Ragas sung by me are furnished. Each and every Raga, basing upon it content, has been divided into segments and each and every segment is furnished in an independent audio-file to facilitate any number of required repitions to the aspirant. In general, in the absence of knowledge of any such symbolised Gamakas and in the illusion that all the 60 kinds of symbolised Gamakas have to be used in each and every Raga people are used to talk against the 60 kinds of Gamakas. But, in fact, basing upon the combination of different notes, the knowledge of around 30 kinds of symbolised Gamakas is enough to deal with any Raga. But, by reasonable acquaintance of these symbols only one can notate any Ragalapana efficiently and follow easily. amsharma

ganesh_mourthy · Post by **ganesh_mourthy** » 29 Jun 2009, 06:36

to whom was that above post for? to srikanth or manjunath???

msakella · Post by **msakella** » 29 Jun 2009, 06:54

Dear brother-member, ganesh_mourthy, Recently our b & s-members, manujunath, Rasika911 and valliRCN have become more affectionate and closer and having become used to write many posts addressing either of them I have, by mistake according to my old age, addressed the more closer manjunath instead of srikanth1987. Thanks a lot for the correction. I shall try to edit it. amsharma

vasanthakokilam · Post by **vasanthakokilam** » 29 Jun 2009, 07:51

I am sure we can smooth things over with msakella's sense of humor

msakella · Post by **msakella** » 29 Jun 2009, 09:25

Dear brother-member, vasanthakokilam, Thanks a lot dear. We all are brothers and sisters of Karnataka music and we all are together only. There may be some difference of opinions occassionally but we can certainly settle them very amicably as we are brothers and sisters but not enemies at all. No doubt. Am I not true dear manjunath, Rasika911 and valli RCN? Tell me to this elder brother. amsharma

Rasika911 · Post by **Rasika911** » 29 Jun 2009, 15:45

We are close 'dear'

Im going to learn your rythmical exercises with the hope that they will help my ability with kanaku swarams. I will get back to you and tell you how they go.

ganesh_mourthy · Post by **ganesh_mourthy** » 29 Jun 2009, 17:30

Rasikas 911 , that is the spirit.

Whatever be the mood or health of akellaji I have observed that "ask him anything about music and he jumps back to a vibrant state to answer the question.Rarest thing to see these days.

About his unflinching denouncing on our music system at times, I think that is the way he is. It is not just this msuic system but happens even in my firm where we have to disregard many of the flyblown acts just because of the hierarchal set up .

I could dump the job if only I can land on my feet easily . but not a good idea during this recession time. But akellaji is different . He calls a spade a spade. I woudl do that too sometimes as an outburst of repression . The difference is he does it for passion for music. His allegations are only a drop in the bucket and people witness many other shortcomings in our system. But I rather dont take the pain pointing at them as I dont have that real passion.

Rasikas911 once again . All the best with your learning

msakella · Post by **msakella** » 29 Jun 2009, 17:39

Dear brother-member, Rasika911, Thank you dear. I am always ready to help you in any manner. We all shall work together for the betterment of our kids in respect of our Karnataka music. Always this should be and will be our aim. amsharma

msakella · Post by **msakella** » 03 Jul 2009, 07:06

Quantitave-teaching & Qualitative-teaching:

Many people are not at all aware that there are two kinds of methods in teaching music to the aspirants and they are 1.quantitative-teaching and 2.qualitative-teaching. Even after my retirement I strived hard to formulate an easy, effective and innovative method in teaching music, particularly Svarakalpana and Ragalapana, making the process time-bound and result-oriented. I have also visited many of the music institutions and music departments of various Universities either giving Lecture-demonstrations or conducting work-shops on these novel methods of teaching and, successfully, found many of the defects of these institutions which are not known even to many of our musicians. Among these defects the main and foremost defect is of the quantitative-teaching followed by the teachers. So, keeping all these things in view, now, I would like to define both of them hereunder for the benefit of all to follow the better one in the interest of our kids learning music.

Irrespective of either the standards or the items of the syllabus followed, barely teaching only the items of the syllabus comes under the quantitative-teaching which, in general, all the teachers working in any music institution or music department of any University do. While doing so, they are mostly bothered about fulfilling the teaching of the items in the stipulated time according to the prescribed syllabus. In this process some of the students may become able to render the learned items well and some may not but all the more all the items prescribed are taught to the students in the stipulated time. Most unfortunately, even while doing so, many of the teachers are unable even to cover the items of the syllabus leave alone Svarakalpana or Ragalapana in the absence of proper supervision of the higher authorities who are non-musicians since the inception of these institutions.

In general, even while formulating the syllabus, it is always suggested to keep the average student only in view. Even though it is desirable to do so not to over burden the average student, at the same time, in maintaining the standards, it is not at all desirable to keep only the average student in view even while teaching the items to the students. But, most unfortunately, in the guise of traditional method, this is being done by most of all the teachers working in all these institutions and in this regard not only the aspirants or the parents but also even many of the teachers themselves are not at all aware of it as all the teachers are, in general, used to follow the same traditional method of teaching music. In this traditional method of teaching the items, Saralee-svaras, Janta-svaras, Datu-svaras, Upper-octave-svaras, Lower-octave-svaras, Alankaras, Geetas, Svarapallavis, Svarajatis, Varnas, Kritis, Keetanas, Ragamalikas, Padas, Javalis, Tillanas, Tarangas, Ashtapadis, Darus, Namavalis etc., etc., are taught to the aspirants.Ultimately, by all this, at the end of the course, the syllabus is covered but not knowledge at all in which way the students get the Certificates but not music. In general, in all the syllabi, the Raga, Tana, Pallavi, Niraval, Svarakalpana, the items of Manodharma-sangita are kept at last and, traditionally, as it has already been declared traditionally by one and all that these items have to be acquired by the student only by constant listening to the music of stalwarts and by heavy regular practice of the art, the teachers pay scant attention while teaching them to the students and conveniently escape from the responsibility of making the students efficient in rendering them. Even among them, as the teaching of Pallavi is just like teaching a line of a composition they teach a couple of Pallavis and run away to get their salaries. Finding one method or the other, If they work hard and successfully train the students even in Manodharma-sangita also everybody appreciates their talents.

In our Manodharma-sangita, while the rhythm is insignificant in Ragalapana, it becomes significant in Tana and it has been metered efficiently in Pallavi, Niraval and Svarakapana. Thus, while the rhythm is indispensable in our music, our ancestors did not even care to incorporate even any of the graded rhythmical exercises in teaching music to the aspirants while our counterparts of Hindusthani music have directly included all the Bols of Tabla in their music and made them indispensable even in syllabus. Recently, as one of the member of the Board of Studies, when I have included some of these intricate rhythmical exercises in the syllabus itself, some of the teachers have lodged complaints against me for this inclusion, made futile attempts to remove all of them and, at last, failed successfully. By experience, I have found that none of these teachers are not at all ready to agree with any kind of modification of the syllabus for the betterment of the standards.

In our Indian music the Manodharma-sangita is the ultimate and every item of any syllabus is supposed to act as a supplement in paving way to Manodharma-sangita. Unless qualitative-teaching is made in the process of teaching to the aspirant it takes much longer time to acquire Manodharma-sangita in the usual traditional method of teaching. Recently many experiments have been made and finally a novel, easy, effective and innovative method in teaching has been evolved to make the process time-bound and result-oriented and also to make the aspirant sing Svarakalpana on his own which later paves way for singing Ragalapana on his own. In acquiring efficiency in Manodharma-sangita ability in writing the song in notation and ability to sing any notated song are very important. So, at the first instance, the aspirant must possibly be initiated in writing notation to arrive at the destination of acquiring Manodharma-sangita. Even in Manodharma-sangita the first and last divisions, Ragalapana and Svarakalpana are very important to acquire.

In these novel easy methods of teaching music the teacher has to initiate the student more than direct teaching right from the first day of the lesson. By this the student has to work more on his own than relying upon his teacher. In this process, unlike in the traditional method of teaching, the aspirant has to start with different rhythmical exercises from the first day of his lesson. Later, the student has to rely upon more on the ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€¹Ã…â€œCasio-MA-150ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢ in which, along with the ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€¹Ã…â€œMetronomeÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢, the provision of ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€¹Ã…â€œtransposeÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢ is also available helping the aspirant select his own ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€¹Ã…â€œShrutiÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢ and start working on his own but with the bare guidance of the teacher. While doing so he has to play the instrument and also sing along with it along with the required rhythm of Metronome. All the preliminary exercises and Gitas have to be played and the Svara, Akara and the lyric for any composition have to be learnt in the same order. Later, only 9 select Varnas and one Svarajati are taught in the same manner along with the detailed demonstration of all oscillations at the end of which the student becomes knowledgeable to go through the notation and the CD of the Kritis on his own. At the end of these Varnas, if the student is not able to go through the Kritis on his own, it should be presumed that the required knowledge of Gamakas has not been imparted properly to the student to enable him proceed further. Even before the completion of Varnas, simultaneously, the student should become able to render all the 23 Special Rhythmical Exercises efficiently paving way to sing easy-jati-mukatayis and respective Svara-muktayis. In the same manner the 30 kids shown in the video-clippings recently put in youtube are trained to sing these easy-jati-muktayis and respective Svara-muktayis even before the completion of the 4th Varna and successfully sang them efficiently in the concert arranged on 04-06-2009 at Hyderabad. In general, the musicians are always used to harp on Sarva-laghu-svarakalpana but none of them are aware that such Sarva-laghu svarakalpana is possible only by practicing through such Special Rhythmical Exercises efficiently.

In general, all the music teachers are used to tell their students to constantly listen to the concerts of stalwarts and practice regularly and heavily to become able to sing Svarakalpana and Ragalapana. But, in this connection, umpteen experiments are made upon a number of students and an easy and effective system has been evolved to enable them sing Svarakalpana and Ragalapana on their own even before the completion of Varnas. As per this method, while the Svarkalpana should also be practised by singing its Akara also, the Ragalapana should also be practised by singing its Svara. As per this system, they are trained to sing all the 23 Special Rhythmical Exercises efficiently. The specialty of these rhythmical exercises is the inclusion of the usage of the left-hand along with right-hand. Later, by regular practice of the Jati-muktayis and their respective Svara-muktayis along with Svara and Akara, within a short time, they become able to sing creative Svarakalpana on their own even avoiding the Svara-muktayis. This is a short-cut method to sing creative Svarakalpana on their own as shown in the video of my disciple Chi. Shriram. Even after singing creative Svarakalpana, within a period of six months, the aspirant becomes able to sing notated Ragalapana which later paves way even to sing creative Ragalapana on his own. But, even after observing the videos in youtube people are unable to believe it and follow this system. This is one of the very sad state of affairs of our Karnataka music.

Our music-teachers, instead of teaching a number of Ragalapanas, they are used to teach a number of compositions to the aspirants thus somehow escaping the responsibility of teaching the Ragalapanas. More over, in many of the syllabi pertaining to music, most unfortunately, many of the Ragas are repeated in every syllabus and a number of compositions are prescribed to learn than insisting upon learning either Svarakalpana or Alapana in many of our Ragas. Every music-teacher insists upon learning as much number of Kritis as an aspirant can in the same Raga to know all the facets of a Raga as per the tradition. Mostly the tradition means nothing else than the end-result of many more in-disciplined habits put together than disciplined habits. The person, going to celebrate his sonÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢s marriage, doesnÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢t find time to list out the names of his 500 and odd friends and relatives, but, at last, became unable to cover all of them in giving invitations but gave invitations repeatedly to some of them and stood embarrassed before the missed. In the same manner, in our case also, our ancestors did never care to make a list of all possible oscillations and find a suitable system of writing all our different compositions in effective notation to bring out all the facets of a particular raga but harp on learning as much number of compositions as the aspirant can. More over, even if Thyagaraja composed his Kriti in a single notation all these artists are singing in different individual notations. Evolution will not be made by overnight. It takes years or even centuries to successfully evolve a system. Unless any one of us make a start in this direction even now nothing could ever be evolved. Experiencing the deplorable state of affairs, as a responsible teacher, when I, with extensive hard work for many years, have bought out some symbolised Gamakas to be helpful in writing notation people are ready to make insensible hue and cry but not to verify the varacity of it thoroughly like our brother-member, vasanthakokilam. And, if I write some thing against these irresponsible selfish elders in this manner, people are ready to make insensible hue and cry against me but not against them for not having done anything in the right direction. The elders must always behave like elders taking the responsibility of working hard for the development of our kids. In the same manner if I find an easy way out to enable our kids sing Svarakalpana and Ragalapana they cry out of their hat in protest against the so called tradition that Svarakalpana and Ragalapana should never be written in notation at all like maintaining a bank account even without any details at all. In fact, basing upon the different shapes of the face, nose, eyes, mouth and ears any person could be differentiated and recognized but, merely, not by name only. For example if we meet 10 persons of the same name we are compelled to recognize our person basing upon the facial differences only. In our music, even if we have the same Arohana and Avarohana for both Arabhi and Devagandhari we have to differentiate and recognize them basing upon the treatment of notes only. Such differentiation needs an effective system of notation.

Though not acceptable to the adamant traditionalists, through all the video-clippings I have uploaded to the ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€¹Ã…â€œyoutube.com/msakellaÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢ I have successfully proved the greatness of this system of teaching music and, with the help of the like-minded people, I am able to establish AMS Foundation to successfully propagate this system, presently, at Hyderabad and later spreading to all other important places of our Karnataka music. amsharma

cmlover · Post by **cmlover** » 03 Jul 2009, 07:22

Sarmaji
That is an excellent thought-provoking post on the philosophy of manodharma in CM!
Thanks.

Rasika911 · Post by **Rasika911** » 03 Jul 2009, 08:14

Excellent post sharmaji.

I think rhythmical exercises are something that has been left out in our system and as a result most teachers are not giving students the necessary skills in this area. This is something that definitely needs to be addressed and you have done a great service to music by providing some aspects of this online free of charge.

I still however think that krithis and varnams play an important role in our system and a large repertoire is essential to become a well-rounded concert musician. For teaching approach, I think we should still teach the kids sarlee, jantai, dhattu, geetham"Â¦ swarapallavy ect. ect. But here we need to include intricate rhythmical exercises.
Whilst teaching geethams and swarapallavis the student should be made to sing all the previous exercises in akaram in a variety of ragams e.g. shankarabharnam, kalyani, karaharapriya, panthuvarali, thodi ect. They should also be made to sing in different nadais. Thiram to start with.
Whilst the student is learning varnams and krithis they should practice the swara-mukthaiys you have created. Once they acquire around 10 varnams and 30 krithis then we should make them sing small swarams in ragams like panthuvarali, kalyani for kritis is roopaka talam. They should do this on their own. For example, they can easily produce pmgr-bhajana seyave. The swara-mukthays would have given them confidence and grip over laya.

Regarding raga alapana im not sure how you teach them with notation. Nothing is avalible online. May I request you to post a sample with the notation?
Whilst laya is not that important in raga alapana the kalapramanam is and here some beginners can miss the mark by a long way.
Also, what approach do you use to teach neraval?

Thanks.

msakella · Post by **msakella** » 03 Jul 2009, 16:36

cmlover: Thank you for your kind appreciation.

Rasika911: I am not at all against the teaching of all the usual items like saralees, jantas etc.,etc., but, as you wrote, all these things must be taught simultaneously giving rhythmical importance also by which the aspirant becomes confident enough to face the Mridangist at any time.

In general, the main artists like Vocalist, Veena-player, Flautist or even Violin-solo-artist require to learn as many compositions as they can to sing or play different compositions in their concerts. If they learn a little number of compositions and repeat the same in all their concerts they may be branded as impotent artists. Just to avoid this all these artists insist upon learning as many number of compositions as they can. Even without learning so many number of compositions in each and every raga if I, as a Violin-accompanist, am able to successfully accompany any main artist and play nicely on my individual part also why should I need to learn so many compositions? This is not necessary for a Violin-accompanist as per my own experience. In this connection I have already given an example in my previous post. If you can successfully make a list of invitees to be invited to your sonÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢s marriage and arrange to deliver them personally with an acknowledgement you need not worry at all about the distribution of the invitations. In the same manner if there is a provision to efficiently list out all the sangathis of a particular raga along with properly symbolized oscillations nobody needs to learn a number of compositions. That is what I did while notating 36 ragas with symbolized Gamakas and furnishing along with audio-files in my book, Sangita svararaga Sudha which is supplied along with a mp3 CD. If you want you can go through it.

As you wrote ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€¹Ã…â€œWhilst teaching geethams and swarapallavis the student should be made to sing all the previous exercises in akaram in a variety of ragams e.g. shankarabharnam, kalyani, karaharapriya, panthuvarali, thodi etc. They should also be made to sing in different nadaisÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢ all
these items should be taught giving proper importance to rhythmical intricacies to instill confidence among the aspirants and by all this only we can build up standards.

Right from the beginning, if the aspirants are insisted upon singing all the compositions with Svara, Akara and the lyric along with ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€¹Ã…â€œMetronomeÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢ gradually increasing the speed of singing them periodically the Svara-singing will become useful in singing Svarakalpana, the Akara-singing will become useful in singing Tana and Niraval.

In our music while the Tambura has been provided to scale the sound i.e., Shruti, most unfortunately, no provision like ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€¹Ã…â€œMetronomeÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢ has ever been provided to scale our rhythm which lead to the indiscriminate usage of Laya as per the artistsÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢ choice. Only after the invention of ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€¹Ã…â€œMetronomeÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢ the speed of our music compositions etc., could precisely be scaled. Even though no music teacher recommends his student to practice along with the ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€¹Ã…â€œMetronomeÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢ any person who recognizes the importance of ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€¹Ã…â€œMetronomeÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢ and utilizes it in his regular practice can certainly makes his own mark in the field of music. amsharma

msakella · Post by **msakella** » 04 Jul 2009, 08:27

Rasika911: In a hurry to attend to some other work I forgot to give you some more very important details in this connection.

In general, in respect of singing the Svarakalpana on their own, all our music teachers, in the absence of the knowledge of properly utilizing the very important and most reliable ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“Electronic MetronomeÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢, insist on regular and heavy practice of Svarakalpana arriving at the ultimate of singing Sarvalaghu-svara. In fact, it is not that easy even to stalwarts to sing a well-disciplined Sarvalaghu-svara in which, very strictly, only shorter notes without any longer notes at all and no janta-svaras should be sung. They also suggest practicing notes in groups of threes such as srg-rgm-gmp etc., fours such as srgm-rgmp-gmpd etc., fives such as srgmp-rgmpd-gmpdn etc., sixs such as srgmpd-rgmpdn-gmpdns etc., sevens such as srgmpdn-rgmpdns-gmpdnsr etc., etc., but, most unfortunately, none of them are aware of any other method. By years of research, observation and analysis I have found an easy, effective and reliable method of practice through easy-muktayis which I have furnished all the details in the first chapter, Svara Sudha of my book, Sangita Svararaga Sudha. Even though this indicates the usage of muktayis the mathematical element of muktayis has been reduced to the minimum and any person, with the required instinct of rhythm, can very easily handle them with structural understanding. According to this method, at the first instance, one must make a regular drill of practising all the 23 kinds of Special Rhythmical Exercises furnished elsewhere in these posts until he becomes able to sing an easy flow of Svaras along with the required rhythm. But, funnily, people perform the drill only for two days and see whether they are able to emit Svaras on the third day itself just like the lady, who is highly interested in having kids and has been suggested to perform ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“PradakshinasÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢ to the temple, made only two rounds to a temple but observed her stomach at the third round itself. Is it so easy to get the things done?

Even in respect of Ragalapana, all our music teachers are always used to insist upon listening to various stalwarts (including themselves, of course) and practice ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“Akara-sadhanaÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢ heavily and regularly. But, very sadly, none of them gives any plan for this practice. In fact there is perfect plan for this practice of ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“Akara-sadhanaÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢ to do very strictly along with Metronome only which is furnished hereunder.

01.Take out the first six Saralee-svaras (without longer-notes) furnished in the CD, AMS Easy Methods-2007.

02.Take out the first three Janta-svaras of the same CD. In plain Janta-svara the second note should always be stressed and in Gamaka-janta-svara each and every note should be brought down from the upper note.

03.Take out the five-svara-alankaras of Eka, Rupaka, Mathya, Dhruva and Triputa-talas (avoiding the Alankaras having longer-notes) of the same CD (you can include Panchama also for your practice).

04.Along with the above you can add 1. Sphurita - rss,-grr,-mgg,-pmm, and so on 2.Vareeka - s,rs-s,rs-s,rs-s,rs - r,gr-r,gr-r,gr-r,gr - g,mg-g,mg-g,mg-g,mg and so on etc., etc.

All these above should, at the first instance, be practised along with plain-notes and then with the required Gamakas.

The aspirant must always select a speed of the Metronome which is a little bit difficult for his ability and try for it for a short period of one week or two weeks and must increase the speed further. In this manner by increasing the speed periodically for every 2 weeks or 3 weeks he must try to increase his ability in singing them.

In our 72 Melas, if we avoid the 6-melas of the 1st, 6th, 7th & 12th (4-Chakras) and the first and last Mela of each of the remaining 8-Chakras being the Vivadi-melas, we arrive at the 16 Shuddha-madhyama-melas and the corresponding 16 Prati-madhyama-melas making a total of 32 Melas. At the first instance, everybody must practice all the above exercises in all these 32 Melas in all the different speeds and later in Janya-ragas consisting of 5 or 6 notes. All these above are for physical-vocal exercises and the mental-cum-physical exercises are furnished hereunder.

For this, we have to select 3 or 4 compositions of high standards and do the needful. For example, in my book, Sangita Svararaga Sudha, in the 2nd chapter of Raga-sudha, I have furnished the details in which I have chosen 4 compositions of Bhairavi-raga, 1.Ata-tala-varna 2.Shyama ShastryÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢s Svarajati 3.Upachaaramujesevarunnaarani-Rupaka of Thyagaraja
4.Upachaaramulanujekonavaiah-Adi (Chaukam) of Thyagaraja and analysed all the Raga-sangathis categorically to make a list of all the available sangathis.

If the aspirants work hard doing things in this process they will certainly become able to sing Svarakalpana and Ragalapana on their own like my disciples rendered in the video-clippings kept in ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“youtube.com/msakellaÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢. In case of any help anybody is welcome to speak to me contacting to my ID, ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“msakella2002ÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢ either on Yahoo Messenger or Skype (no chat please). amsharma

msakella · Post by **msakella** » 06 Jul 2009, 06:58

Dear brother-members, vasanthakokilam, sr_iyer, cmlover and all like-minded others, I am profusely thankful to you all for going through all my posts in this thread and bearing with my sharp pen.

Till now I have already covered much of the topic and very little may be remaining to bring out. At this juncture, I heartily invite questions in this regard from all of you as they may help me in sharpening my knowledge which in turn helps our kids only. amsharma

msakella · Post by **msakella** » 10 Jul 2009, 13:03

In the main thread ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“General discussionsÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢, under the sub-thread ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“Concerts in HyderabadÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢ our brother-member revanthv552 wrote ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“Well I do not know if it would be wise to mention it here but its a fact that we hardly find proper gurus here in hyderabadÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢. I too admit that, nowadays, itÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢s difficult to find proper Gurus but in this connection I would like to bring the following facts also.

In fact, the duty of a Guru always is to feel the responsibility of making his student independent in all aspects and, in this process, notation-writing, notation-singing, the very important divisions Svarakalpana and Ragalapana of Manodharma Sangita which come under the qualitative teaching are the only ultimate to attain, though the traditionlist teachers refuse to agree with me. That is why it is very difficult to find teachers of even one or two percent who make qualitative teaching to their students. Of course, it is very difficult to maintain standards by making qualitative teaching for the private-music-teachers as they always have to run in their struggle for their survival. But, unfortunately, even the salary-paid-teachers working in the music institutions or the music departments of the Universities also are always bothered about the viability of their salararies teaching as many number of Varnas or Kritis as they can but will not take the responsibility of enabling their students sing either Svarakalpana or Ragalapana. In general, unanimously, all the teachers are always used to conveniently and traditionally throw this responsibility upon the students only and they fight for it. Even though I have proved through my recent video-clippings uploaded to ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“youtube.com/msakellaÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢ that even kids can make intricate Svarakalpana with Jati & Svara-muktayis no music-teacher will come out even to verify the veracity of my statement and, by all this, it is obvious no music-teacher is ready to follow this method of qualitative teaching. Even though I have recently suggested the Director, Kalakshetra, Chennai to produce such talented students like my students who sang in these video-clippings within 3 months and to upload the same to the same website there was no response at all from that side. All this obviously shows that the things are all the same at all the places irrespective of Andhra Pradesh or Tamilnadu or Karnataka but due to nice musical environment maintained by the local people the aspirants either in Tamilnadu or Karnataka are not affected much like in Andhra Pradesh. Entire credit must go to the local music lovers only. Adding fuel to the fire, in Andhra Pradesh, the recent inclusion or intrusion of ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“KalaparichayamÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢ made by the non-music-authorities of the Department of Culture where even the highly inexperienced students are also allowed to teach music to the freshers had its own affects.
While, in Tamilnadu, the artists of all levels get chances to exhibit their talents through the concerts, in Andhra Pradesh, the artists pertaining to the reasonably-paid-top-rank or the lowest-paid-lowest-rank will only get chances, though rarely, and the others have to starve without chances due to the unawareness of classical music in most of the public. Of course, I am the only person to bring out all such facts having been retired long long ago from the active music field and being a person working hard to serve the cause of music even at this old age even without expecting any thing from any corner. amsharma

msakella · Post by **msakella** » 12 Jul 2009, 08:50

Dear brother-member, sreevin25, The word ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“bibleÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢ you have used in your post initiated me to think many facets of some of which I furnish hereunder for the benefit of the aspirants.
The ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“BibleÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢ for Chrianity and ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“BhagavadgitaÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢ for Indianity are the ultimate and, in fact, everybody must follow them truly. At this jucture theÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢beliefÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢ comes in. Any person must, at the first instance, believe in the thing and then follow. But, a person who believes in Bhagavadgita and regularly chants it is of no use to this society and another person who believes in it, understands its meanings and truly follows it in his general life becomes an asset to the society. That means not only belief but also making it use in the daily life in true sense is also highly necessary. While doing so, the person must think of in which way the things must be put into use for the benefit of the people.
In the same way, the items like saralee-svaras, janta-svaras etc., to be imparted to the aspirants must be put in use to benefit them in every possible way. For example, among the preliminary exercises, we also have Alankars in 7 different Talas and, as per the seriatm of the Shloka we all are used to start them teaching the poor aspirants with one of the longest and most confusive Dhruva-tala in which many great composers did not even dare to compose even a single composition in their life time. But, to give excellent resistence power to our kids we have to expose them to all kinds of climates and in the same manner to energise the aspirants in Laya aspect we have to teach them different kinds of Talas and teach this Dhruva-tala also along with others. In the same manner me too taught this Dhruva-tala first to all my students for more than 40 years upto the date of my retirement. But, after my retirement, when I have introspected myself I found that I did great injustice to all my sutdents by starting these Alankaras with this trouble some Dhruva-tala for all these 40 years. Had I thought to make the process of teaching these Alankaras starting with the easiest Eka-tala and continue further basing upon the gradually increasing number of Kriyas i.e., 4, 6, 7, 10 & 14 in each Avarta all my students would have done it very easily. Being a fool I did not do it then but, like better late than never, I could do it only after my retirement. This kind of attitude is essential to any teacher in making the matters much easier to his students. Even after that, in the next higher step, I have made the first group of them with Eka, Rupaka, Mathya and Dhruva having only shorter-units and the second group with Jhampa, Ata and Triputa having longer-units and odd-number of Kriyas in an avarta. To complete the cycle of an Alankara we must sing 5 cycles in the ascending order and another 5 cycles in the decending order arriving at a total of 10 Avartas by which we are compelled to repeat some of them to fulfil the 3 degree of speed. But, by any chance, if we can make each Alankara of having 8 Avartas only such repetition can very conveniently and easily be avoided. So, thinking all this, in the next step, I made it to sing only in Panchamavarja-ragas of either Lalitha of Mayamalavagaulites or Hamsavinodini for Shankarabharanites by which each Alankara could be finished with 8 Avartas only making it more easy even in 3 degrees of speed. Being a Mridangist in my younger age, still in the next step in making the matters still easier to the poor aspirants, for the first time in the annals of our Karnataka music, I have introduced Jati-alankaras in terms of Jatis only by which each and every Alankara could be learnt with beats and Mridanga-jatis thus avoiding even the rendering of Talangas and notes. By all this I am extremely happy for having become an instrument in the deeds of the Almighty in making the matters easier to our kids.
In the same manner, even in respect of making the process of singing Svarakalpana and Ragalapana also easier to the aspirants I could do something in the following manner, When I found some easy Muktayis in the Mullapudi School of Mridangam in Vizianagaram which can very easily be followed with less mathematics and barely with structural understanding I have formulated some symbols to all of them and taught to some of my students who reproduced them with great enthusiasm and ease. Later, this paved way to instill self-confidence into the aspirants and helped a lot to their easy flow of natural Svarakalpana.
For example, if we happen to go to the houses of 10 or 12 friends and find some useful electronic-gadgets in their houses we must try to find the places where these gadgets are available for sale and purchase them. But, in the process of getting these gadgets we need not bring all these friends and keep them stay at our home. But, in singing good Ragalapana, all our stalwarts are always used to harp on learning as many number of Kritis in a Raga as we can. This is just like bringing all our friends and keep them staying at our home in the process of having the different electronic-gadgets. How foolish it is? In respect of any Raga, the music-greatness of a particular Kriti in that Raga lies in the greatness of a particular phrase of music but not in the lyric of the Kriti at all. If we are properly equipped to accurately notate all such important music-phrases of that Raga and sing them together very efficiently we need not learn all the number of Kritis in that Raga. In such process only, I have brought out 27 facets of Kashiki-nishada and the 60 symbolised Gamakas and furnished them in my CD, AMS Easy Methods-2007 and in my book, Sangita Svararaga Sudha for the benefit of the aspirants.
By all the above, we all can understand in which way the ÃƒÂ¢Ã¢â€šÂ¬Ã‹Å“bibleÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢ can truly be used for the benefit of the society. For the benefit of the aspirants I am posting the above in both the threads, Basic svara lessons in carnatic music and AMS Easy Methods-2007 - Teaching & Learning Methods by A.M.Sharma. amsharma

msakella · Post by **msakella** » 13 Jul 2009, 07:53

Coolji: Even now, in the institutionalised system of music, for example in the music departments of many Universities the Gurus are choosing their students. Unless they have a minimum number of students on their rolls their departments will be closed and they will not get their salaries. To lure the candidates they minimise the qualifications for admissions. As a policy the syllbus also has already been minimised keeping the average student only in view. Now, even while teaching, all the teachers make only quantitative-teaching teaching only the compositions, throw the responsibility of acquiring knowledge of Svarakalpana and Ragalapana on the student himself and, ultimately, pass many of the students with the help of the examiners even with minimum knowledge of Svarakalpana and Ragalapana and get rid of them. This is one kind of routine business in music.
johnlovescm: You have lamented that, being Kaliyuga, the sishya after learning from his guru will comment on the abilities of the guru or the worthinessÃƒÂ¢Ã¢â€šÂ¬Ã¢â€žÂ¢. Though there may be some such cases I believe they are genuine. In the absence of any yardstick either to assess the knowledge of the teacher or to assess the value of the material imparted by him or to assess his own standards acquired in the process of learning the art the heart-burning aspirants may resort to do so.
I believe one should never demand respect but command and the same applies to music-teachers also. But, nowadays, as everybody is compelled to earn something in the struggle of his survival, every musician of the name is compelled to teach whatever little material he knows in the process of his earnings. This a very important and an intrigued question like which one is the first among the tree or its seed. Even though there is a lot to discuss in this connection, I tell the teachers are responsible for either of the upgradation or of the degradation of standards in any field and music is not an exception.
In my view, a true teacher, with much less teaching , mostly and efficiently initiates the student to work on his own. Depending upon the variable abilities of the aspirants, I am always used mostly to iniate my student while teaching them either Vocal or Violin. Even though I mostly initiate my student to work on his own at all levels, mostly my process of teaching ends with teaching of 9 Varnas and one Svarajati. While teaching I sing or play very little but initiate my student work on his own with the help of my audio and video CDs even in my absence. Thus I give him all the techniques of music and basing upon them he has to cultivate music on his own. In this process I shall make him exert much than myself. In general, people think I am exaggerating things without teaching much to my students. But, in this method, ultimately, the material I give him is far more than the material all other teachers give their students. I have very eagerly been searching to find another teacher like me to discuss and learning things from him but in vain.
For the benefit of the aspirants I am also posting the above in the sub-thread, AMS Easy Methods-2007 - Teaching & Learning Methods by A.M.Sharma under the main thread Sangitakalalaya. amsharma