Why HM sounds sweeter

Miscellaneous topics on Carnatic music
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kvchellappa
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#1 Why HM sounds sweeter

Post by kvchellappa »


munirao2001
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#2 Re: Why HM sounds sweeter

Post by munirao2001 »

KVC Sir,

Now, I will only comment, very briefly.
In Hindustani Music centrality is for raga and its melody. The technique adopted is note by note delineation. One composition in vilamba and one in dhruth. One light classical composition in tumri, tappa, gajri or tarana and one dhun. Lakshya primacy over lakshana and its complications. The technique of note by note with stay on a note makes the task relatively easy for the performer and the rasika to appreciate. In vocalization, rich/high tone, volume is emphasized (throw/reach of voice). When the fast paced tans, bol tans in particular and sargams, it requires higher practice to keep note purity. Rasikas do not notice the misses, carried away by the contrasting speed when compared to vilambit. Popular artists can afford to limit their concerts but not the popular artists. Popular artists demand and get paid very high fees/sambhavana and the others also get decent fees/sambhavana, when compared to Karnataka Sangeetha practitioners. Sponsors/patrons also support with very high amounts to Hndustani music when compared to Karnataka Sangeetha. Rasikas of HM are also willing to buy/pay higher amount ticketed concerts for popular artists. For all those who have heard great maestros of HM attempting KM, the inadequacy is obvious and glaring. HM practitioners adherence to the sampradaya is higher, with minimal compromises. HM listeners can not appreciate lakshana and its complications in aesthetic of difference. Their requirement for ease and comfort in appreciation,is higher. The change in the trends, least preference for alaap, excitement in layakari, in both vocal and instrumental music has been established, affecting the quality and aesthetic.

In Karnataka Sangeetha, primacy is for raga/melody but equal in importance for both raga and sahithya bhavam. Primacy for lakshya but equal in importance for lakshya and lakshana. The practitioner has to perfect the pure/sudha notes as well as oscillating/kampita notes and gamakams, perfection in gliding note/positions. Delineation are based on phrases, moorchanas, azhuthams and poruthams and pidis (like its counterpart, pakkads).
Thri sthayees and trikalams, also ativilamba in specialized compositions. The training is structured for both for voice culture and presentation techniques. Aesthetics in variety of emotions. Varied experiences with numbers and variety of musical presentations-alapana; varnams-pada, tana;kruthi, short, medium and long;niraval, short and long; svara kalpana, tri/dwi kalam, rarely higher;tana; pallavi;padams, javalis, devotional/light classical, folk and viruthams/slokas. Pitch selection is one high for practice and right level for suitability and comfort. The strength of lakshana knowledge enables and empowers the practitioner to understand, appreciate, learn and even perform any form of music-classical, light classical, devotional, folk, film and alien. Rasikas also have trained listening for all forms of music and appreciation. In practice, it is very rare to find artists,uncompromising on lakshya and lakshana aspects, including the voice culture. With sponsors/patrons tight fisted funding and support, fees poor/very poor, popular-30/40 artists getting opportunities to perform and earn living, sense of insecurity is far higher for the practitioners to make a living. Freebie culture of rasikas, adding fuel to the fire. Values making shift, explained away to the unsuspecting rasikas. The change in the trend, discerning rasikas becoming lesser and lesser in numbers, seekers of excitement values becoming higher and higher, offering support only to the immensely popular artists, restlessness for the longer duration concerts have resulted in practitioners outlook and seriousness in practice. Delivery of pleasure, with ease and great comfort, with compromise with command performances (applause techniques); confidence of managing or getting away with apa sruti and apa sabda; novelty of fusion and cross overs; offering light classical with sheen of deep classical have been successfully put in to practice by the practitioners, with very few exceptions; rasikas,not caring, questioning even justifying the popular artists transgressions are the deficiencies,glossed over. Intent, content in KM is far superior but in delivery, it is inferior, due to compromises both by the practitioners and the rasikas.

I have consciously avoided to go in to the details of lakshya and lakshana aspects of both the forms of music, which gives the impressions of sweeter and harsher, as it would take more words/space.
Statements of this is why HM sounds sweeter, KM sounds harsher, both are in ignorance, misunderstanding and misconceptions of not only the rasikas but also few practitioners.

munirao2001

SrinathK
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#3 Re: Why HM sounds sweeter

Post by SrinathK »

Many of the points raised in that article are very pertinent.

I also concur that a lot of problems occur because the student's shruti is not set correctly at the beginning -- this leads to a compromised range in the lower octave (which cannot be remedied without suitably strengthening the upper octave) -- you see it all the time in kids singing CM. With too low a pitch, even the lung capacity gets reduced. At the other end, too high a pitch is an open invitation to every vocal cord problem out there.

I also think that the basic exercises of covering about 2 octaves are actually insufficient -- if you look at the best voices in CM, they all have more range then what the music demands and so they never have to strain their voices at the limit of it's range. Many incorrect habits come at the very extremes of one's vocal range, whereas usually everyone is comfortable in the middle.

We also do not insist on basic exercises for fine mastery of the gamakas and the microscopic movements in ragas -- to achieve the gamaka shuddam without loss of tone or strain of the voice or wasted muscular energy. And while all other music systems talk about developing tone and things like tonal colours and different types of resonances -- why does CM never talk about it?

In CM, there is also a condescending attitude towards good voices (and those who offer such criticisms aren't known for their voices) which I have heard from many a rasika in private conversations.

There is also this (mostly) bad habit of "vocal support" -- It is most likely that in such cases the student's voice is singing well below it's optimum range (and in some rare cases, higher). Jodi singing is not for everyone. There needs to be a compatibility of voices -- either they have the same optimum range with blendable tones, or their respective voices should be able to compensate for each other's range -- otherwise one voice will be singing well out of it's range.

As for the number of performances, forget it. Sometimes there's no way a CM musician can even afford the luxury of just one concert per day! :lol:

HM as munirao sir pointed out is centered around raga elaboration, hence their musicians can start out where their voices are most comfortable. But one thing is also that those heavy akharas are often no more "in tune" than any CM gamakas (in fact, they are even more forceful oscillations) -- something that's easily missed when you think only about the intense slow shruti laden phrases.

Some of the best examples of good vocal practices in CM are -- ARI, MMI, MSS, Brinda & Mukta, NCV, GNB (on a good day mind you), Maharajapuram Santhanam, KVN, TMK (most of the time), Musiri in his younger days, Chembai at his peak, TVS, R K Shrikantan. I can't immediately recall more, so please feel free to add to the list.

Even with all the above taken care of, all it takes is a badly adjusted mike to ruin the experience for you. :twisted: :mrgreen: :lol:
Last edited by SrinathK on 29 Dec 2015, 23:34, edited 2 times in total.

sureshvv
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#4 Re: Why HM sounds sweeter

Post by sureshvv »

SrinathK wrote: Some of the best examples of good vocal practices in CM are -- ARI, MMI, MSS, Brinda & Mukta, NCV, GNB (on a good day mind you), Maharajapuram Santhanam, KVN, TMK (most of the time). I can't immediately recall more, so please feel free to add to the list.
Savita Narasimhan, Vasudha Ravi

Sweeter than any Hindustani Music I have heard.

Meera
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#5 Re: Why HM sounds sweeter

Post by Meera »

Savita narasimhan is the sweetest I have ever heard in cm so far.

varsha
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#6 Re: Why HM sounds sweeter

Post by varsha »

The best thing I liked about the article
DISCLAIMER : Views expressed above are the author's own.

sureshvv
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#7 Re: Why HM sounds sweeter

Post by sureshvv »

Prasanna Venkataraman, among the male singers, for arpaattam less melodious singing.

varsha
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#8 Re: Why HM sounds sweeter

Post by varsha »

Sweeter than any Hindustani Music I have heard.
It pays to drop in to the HM section , once in a while :lol:

https://archive.org/details/FatehAliKhanMalkauns04

Pyar nahin hai sur se jisko woh moorakh-insaan nahin…
Sur insaan bana deta hai sur Rehman mila deta hai…
Sur ki aag mein jalne wale parwane nadaan nahin…
Pyar nahin hai sur se jisko, woh moorakh-insaan nahin

Pyar nahin hai sur se jisko…

Jag mein agar sangeet na hota koi kisi ka meeth na hota…
Yeh ehsaan hai saath suroon ka ke duniya veeran nahin…
----
The sweetness , or the lack of it , is not in the school or style .. but .....
Well if it could be explained it would not be called an Art .
This article is just some mylapore rambling . Nurtured for decades by the likes of Parveen .

varsha
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#9 Re: Why HM sounds sweeter

Post by varsha »

Translation

He who does not love music is not only a fool, but is not human as well.

Music makes one human,music lets you connect with God.

Those that burn in the fire of music , are not innocent moths.

He who does not love music is not only a fool, but is not human as well he who does not love music…

If there was no music in this world , people would not be able to make friends.

This is the legacy of these seven notes ,they ensure that the world is not bereft of beauty.
---
I ventured to write this much because the original post and the responses did not not recognise the existence of the likes of me (finding both styles sweet and complicated) 8-)
It was always this or that :!:
Last edited by varsha on 30 Dec 2015, 10:35, edited 1 time in total.

arasi
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#10 Re: Why HM sounds sweeter

Post by arasi »

Varsha,
Well said:

jag mEn agar sangIt na hOtA, kOi kisIkA mIt na hOtA
yeh ehsAn hai sAth surOn kA, kE duniyA vIrAn nahI...

shankarank
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#11 Re: Why HM sounds sweeter

Post by shankarank »

munirao2001 wrote: In Hindustani Music centrality is for raga and its melody.
For a naive observer - a frog ( in the well of CM - a naive one there too!) jumping up to take a glimpse into a different world - HM seems to have a laya sense in every intonation and as the composition begins - the tEka by tabla presents a picture of majesty!!!

Too bad the meaning of the word laya has been changed here down south. It means more mathematically conceived patterns than the subtle one that MDR invokes in every aspect of singing. Or somebody like KVN would do to make a Mohanam sound as heavy as Bhairavi.

Do they ( in HM) have saUkya sangeetham and asaUkya sangeetham - and one approach for males and a different one for females?

These categories created by the likes of SSI is why we are paying a heavy price. His own preferred Mridangist left the country and we saw Ghatam and even Mandolin being subservient to tabla as well as Guitar getting digested into two voracious tigers.

SSI's preferred Mridangist who brought toppi back into the paTTanam afterwards - saw much of the audience leave the hall ( in the Mecca of carnatic music) before he started the tani in a Sanjay's oncert ( 2002 season IIRC ) after the audience listened to the numbers as though they listen to some filmy numbers of SPB or Lata Mangeshkar ( they all understood rAga lakshanas by the time they left - yeah rite!) where everybody except the celebrity will be a prop on stage.

Now a great music in the form of a great musician ( SSI's apta siShyan) is making a walk out - calling all these people elitists - and taking the music to root-less art connoisseurs next to art Galleries - to the most elitist setting than you can fathom. He is walking over all of us!

They walked out - now music is trying to walk out. You put any aspect of your culture on garage sale - it will be taken wherever and made a million dollar antique!

It does not matter how many times a rAga changes it's lakshna over the course of time. A sustainable connoisseur-ship should rely on bone input rasikAs gain in lower forms like Bhajans in the form of rhythmic structures and progress upward without bothering with all the dukkrinkaraNEs. Rest of them who try to understand rAga lakshnas are all auditors!

Nick H
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#12 Re: Why HM sounds sweeter

Post by Nick H »

I cannot answer the informed points made above, but I believe that something even more basic is relevant: teaching people to sing.

Voice quality, training, projection and stage craft are mostly left to chance and genetics. The audiences, because of the high intellectual rather than aesthetic aspects in the traditional appreciation of carnatic music, are not very much fussed about the actual sound quality: the whole chain from lungs and vocal cords, through microphone and speakers, to hall acoustics. It is not considered to matter that much, so it is not catered to.

There is a divergence even in the new generation. Some have taken their voices, independent of the music genre they sing, seriously; others... well, take their microphones away and see if you can even hear them! From those people, I want to know: "You call yourself a singer, but you didn't learn to sing?

There are others who are catching up. I was talking to someone recently who told me that they were now taking voice culture seriously, and one reason was that they wanted to still be able to sing when they are seventy-plus... It concerns more than simply delivering good sound today: care of the voice for the whole life ahead is also a factor. Even such people with good, strong voices need to consider this seriously.

arasi
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#13 Re: Why HM sounds sweeter

Post by arasi »

sankark,
If you call yourself a frog in either waters, king frog you certainly are!

For a laya SUnyam like me, in the kaNakku books certainly, you give hope and revive my inner sense of rhythm :)

nanosadagopan
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#14 Re: Why HM sounds sweeter

Post by nanosadagopan »

Most HM female singers' adhara sruti is C or at least A#. They train and sing at a higher sruti to a natural female voice range, something like soprano voice - just to add sweetness, I suppose.

Nick H
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#15 Re: Why HM sounds sweeter

Post by Nick H »

nanosadagopan wrote:They train and sing at a higher sruti to a natural female voice range, something like soprano voice
Perhaps I am reading something into your post that is not there, but is there anything wrong with any singer, male or female, training and singing within their own personally comfortable range?

Sometimes I see people who sing 99% of a cconcert just fine, but have a problem reaching the few highest or lowest notes, and I wonder (I don't know: all my comments are those of an observer, not of someone knowledgeable in the art) if a slight change to their overall pitch might not make the whole thing easier for themselves. Usually, I tell myself that they and their teacher must know best, but... sometimes maybe not?

margazhi
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#16 Re: Why HM sounds sweeter

Post by margazhi »

Wow! Don Quixote resurfaces - again - for a fight. Lets watch the fun !

arasi
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#17 Re: Why HM sounds sweeter

Post by arasi »

Yeah, resurfacing from the deluge he has been in... :(
Something you and I didn't experience pre-season... :roll:

sureshvv
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#18 Re: Why HM sounds sweeter

Post by sureshvv »

Arasi.. better to report these posts rather than respond

munirao2001
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#19 Re: Why HM sounds sweeter

Post by munirao2001 »

Varsha Sir,
Thanks for the beautiful and meaningful couplet on 'Saathsur veeran'.

I recalled the description of SSRao, my father and guru "Sugar cube (HM)and Sugar cane juice (KM)". In tasting sugar cube, it is instantaneous pleasure and in tasting sugar cane juice, waiting, additions (lime, ginger), extraction, a lasting pleasure.

munirao2001

KNV1955
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#20 Re: Why HM sounds sweeter

Post by KNV1955 »

Varsha as I read your comments I said to myself "Well said" & I found the same comments by Arasi as next post. If anyone wants to do research on voice culture they should do on Bhimsen Joshi. So far I must have listened to his Purya Dhansri 100 times..I have listened late night; day time; A.Noon; evening in diffrent ambience. Amazing.He has achieved 100% perfection in every aspect of sound production in classical music. I may end up listnening 1000 times if I live for another 10 years. My recommendation for improving voice culture keep listening to this 1 hr recording of BJ. :lol: No reading theories; no therapy; no workshop. :D

bilahari
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#21 Re: Why HM sounds sweeter

Post by bilahari »

I agree with Nick about how we sometimes neglect the very fundamentals of voice production and modulation in a haste to master the intricacies of CM. I think the same is true for violinists as well - there are so few violinists out there who even hold the bow correctly, let alone produce a listenable sound! And I don't think one has to sacrifice tone for intellectual rigour in CM. In general, I do think that HM vocalists pay more attention to voice culture and that their music, to my untrained ears anyway, sounds less 'busy'. My own bias is for instrumental music over vocal music in either genre by virtue of the greater tonal purity I generally find in the former. The voice naturally seems to obfuscate more than the veena, sitar, and even violin.

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#22 Re: Why HM sounds sweeter

Post by Nick H »

bilahari wrote:And I don't think one has to sacrifice tone for intellectual rigour in CM.
I don't think so either, and nor do I think that all artists do so. There are many that have wonderful voices that are a sheer delight to listen to: singers who could have succeeded in any genre of music. And I don't think it is wrong to be born with a beautiful voice either.

munirao2001
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#23 Re: Why HM sounds sweeter

Post by munirao2001 »

Posting of KNV 1955 Sir, prompted me to share my discussions with Great Maestro Pandit Bhimsen Joshiji, seeking the clarity and understanding on voice culture (when panditji performed in MA
Bhimsen Joshiji frankly informed me that the voice was gift of Paramatma, naturally with tonal volume, vocal strength. His focus was keeping it natural without falsity (nasal). His taleem was on achieving the svara sudhatva, reach of mandhra, madhyam and tara sapthak, observation of his gurus, sheer repetitions of compositions checking on delivery and expression/bhava effects. When the variety of bandishes were learnt with its inherent variety in ragas, sancharis and meands with diligence, its practice and in performing lead to natural voice culture. Even though he was not critical, on techniques of voice culture, he did not accept them as result oriented and proven. Each voice, each manas/mind is unique and it is best served to keep it natural and culture it, naturally and not artificially. He hastened to advise me that it is his purely personal belief, in 'innocence'!

munirao2001

Nick H
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#24 Re: Why HM sounds sweeter

Post by Nick H »

Honestly, I think he is a little "innocent" about this. Perhaps the truly gifted-from-birth have no need to be anything else.

There is nothing "artificial" about learning to use the chest, lungs, vocal cords, better. Not only can you find such stuff in any of the world's drama and music schools. You might even find it at a nearby reputable school of yoga.

munirao2001
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#25 Re: Why HM sounds sweeter

Post by munirao2001 »

Now, the opposite! Two outstanding artists who invented or modified the techniques in voice culture, practiced and achieved success - Vidwan S.Kalyanaraman, inventor and Vidu.Aruna Sairam, the adopter/modifier. Both of them had given talk on voice culture, an event of Brhadhwani-ITC Sangeet Academy(associate) held in MA. SK Sir presented a paper, a classic.

General view and understanding of Indian Classical Musicians with conservative view points is God's gift; natural; sampradaya techniques in teaching is good enough; only riyaz/sadhana, helps; modern (western) technique,mere novelty,showbazi. Neo converts, with exposure and participation in fusion, cross over, film music appreciate the need for voice culture and its training, some wholehearted, some to meet the challenge.

munirao2001

kvchellappa
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#26 Re: Why HM sounds sweeter

Post by kvchellappa »

The latest SK who had voice problem has said that his voice today is the result of sadhaka, not any voice culture. SSI also tried to get over his 'coconut grating on rock' voice only by sadhaka, I read. On the other hand Sasi Kiran is teaches voice culture, I think.

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#27 Re: Why HM sounds sweeter

Post by sureshvv »

Voice culture seems to be anathema to carnatic rasikas. They are yet to cross the "paradigm shift" precipitated by amplification equipment. Attempts to deviate from the open throated chest voice is dismissed as "superficial" & non-classical by many, even here.

varsha
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#28 Re: Why HM sounds sweeter

Post by varsha »

Dabbling in HM had its own rewards . For this Giant .
What would our world be , without his soothing music !!!!!

https://www.youtube.com/watch?v=ndH_0CrJKiw

Nick H
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#29 Re: Why HM sounds sweeter

Post by Nick H »

munirao2001 wrote:Now, the opposite! Two outstanding artists who invented or modified the techniques in voice culture, practiced and achieved success - Vidwan S.Kalyanaraman, inventor and Vidu.Aruna Sairam, the adopter/modifier. Both of them had given talk on voice culture, an event of Brhadhwani-ITC Sangeet Academy(associate) held in MA. SK Sir presented a paper, a classic.
I don't know how two artists can be named as inventing/adapting stuff which has been going on all over the world since forever.

I hope people do not misunderstand that I am talking about the kind of classical voice training that produces opera singers. My personal take on that vibrato style of singing is indeed artificial, especially the female ranges. I don't like it at all.
General view and understanding of Indian Classical Musicians with conservative view points is God's gift; natural; sampradaya techniques in teaching is good enough; only riyaz/sadhana, helps; modern (western) technique,mere novelty,showbazi.


Obvious answer: Well, they would say that, wouldn't they? Especially the ones that can't even be heard without a mic.
sureshvv wrote:Voice culture seems to be anathema to carnatic rasikas.
But not necessarily to the artists.

I have heard two wonderful voices today. I have no idea if either of them have explored these areas. To me personally, no, indeed, it does not matter at all. I am not trying to make it compulsory, but I am also not in favour of the attitude where it seems it should be banned. It is there to help.. It is an option. It may well help people use their natural resources well, and it is unlikely to do any harm: nobody is talking about turning our artists into opera singers. Gods forbid!

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#30 Re: Why HM sounds sweeter

Post by SrinathK »

Let's settle the issue for good. A link to the Nadanamakriya Padam (Paiyyada) of Brinda & Mukta's 1964 MA concert and that Kambhoji Padam (Vadaraka Pove), will leave no more doubts in the mind of any listener as to the melodic capabilities of CM.

As I can't get a link, here's an equally good one -- MS Amma : https://www.youtube.com/watch?v=yRvyHaIGEfE (Recording not complete, but I like the dark echo in the acoustics).

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#31 Re: Why HM sounds sweeter

Post by Nick H »

Actually, my average concert day assures me that CM sounds sweet. Wonderful, in fact. I have no need to go back further in history than this very day :)

All the rest is just talking points.

varsha
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#32 Re: Why HM sounds sweeter

Post by varsha »

from comments ....
Ustad Ali Akbar Khan Sahib told us Rag Malkans, the base male rag, is used for depossession of ghosts of the departed at midnight, wearing white after bathing. "But be careful or they will get you..."
I was not careful perhaps. All the ghosts have been partying with me :lol:
HM OR CM Where is the distinction . They are all the same .
Voletis Entati kuluke , RJ s nee samana , MLVs revathi rupavathi ..., SKs forays in todi shanmukhapriya , MSSs sundaresa suguna brinda dasaratha nandana , RKS s harikambhojis durbars , SBs hiranmayeem , emani-msg"s gnanamosagarada , TRS"s pallavi that went 1234 1234 , dwarams vardhini , bmk's edaree sancharitura , TKRs sarasijanabha sodaree or nilambari
----
Diiku teriyada Kattil ..... And we are all Lost

It is futile to distinguish the styles based on sweetness

KNV1955
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#33 Re: Why HM sounds sweeter

Post by KNV1955 »

Nick wrote
My personal take on that vibrato style of singing is indeed artificial, especially the female ranges. I don't like it at all.
I second it. Always felt it is best suited for Violin where you have to exaggerate to bring out the feel or bhavam in a kriti. I find it is extensively used now by several Carnatic vocalists. Visaka Hari who has an excellent voice is a good example.

SrinathK
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#34 Re: Why HM sounds sweeter

Post by SrinathK »

When we use the term voice culture, what do you mean?

sureshvv
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#35 Re: Why HM sounds sweeter

Post by sureshvv »

Ability to use "head " voice when appropriate and blend it seamlessly with "chest" voice

SrinathK
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#36 Re: Why HM sounds sweeter

Post by SrinathK »

You really don't need the head voice for CM. (for those who don't know, it's that voice you use when you want to sing in a high pitch beyond the point where your voice would break or sound like a flute)

shankarank
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#37 Re: Why HM sounds sweeter

Post by shankarank »

SrinathK wrote:You really don't need the head voice for CM. (for those who don't know, it's that voice you use when you want to sing in a high pitch beyond the point where your voice would break or sound like a flute)
You mean the voice with head held up high towards the sky ? :lol:

Rsachi
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#38 Re: Why HM sounds sweeter

Post by Rsachi »

Image
I agree. This out-of-this world composition by the one and only Dikshitar is a casualty of the current CM average voice quality.
I feel Amrutha Murali and Amrutha Venkatesh have good vocal delivery.
TMK, AR, RKM are my fav. male voices. AND SK TVS is going well even now!

But as KNV said, Bhimsen Joshi had tamed his voice brilliantly. Do you know he used to do riyaz at 5 AM, bathing in the ice-cold Ganga in Benares when he studied under Sawai Gandharva!
Also listen to Venkatesh Kumar!

KNV1955
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#39 Re: Why HM sounds sweeter

Post by KNV1955 »

Sachi who is AR & SK. Trichur Brothers have fantastic voice. But they have to tame their singing style. "High voltage singing,exuberent high-speed neravals or swaras have aesthetic limits.Crossing them could rob the music of its pleasantness" quoting Bala shankar Hindu critic. This applies to lot of musicians in Carnatic Music. IMV a musician should basically stick to one school of music till they perform about 100 concerts before they attempt anything new.

varsha
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#40 Re: Why HM sounds sweeter

Post by varsha »


sureshvv
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#41 Re: Why HM sounds sweeter

Post by sureshvv »

SrinathK wrote:You really don't need the head voice for CM. (for those who don't know, it's that voice you use when you want to sing in a high pitch beyond the point where your voice would break or sound like a flute)
1. Depends on who you mean by "You" above.

2. It (Head voice) can be used as another tool in the toolkit and used judiciously. When done right, the audience can hardly tell the difference.

SrinathK
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#42 Re: Why HM sounds sweeter

Post by SrinathK »

A few recordings would be helpful.

Also one thing is that in all HM concerts, the tanpura is much more beautifully heard and the level of reverb is just right. The quality of CM recordings, most of which are free and recorded in much less favourable circumstances, can be all over the place.

Rsachi
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#43 Re: Why HM sounds sweeter

Post by Rsachi »

KNV,
AR is Abhishek Raghuram.
Sangeeta Kalanidhi TV Sankaranarayan = SK TVS.

KNV1955
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#44 Re: Why HM sounds sweeter

Post by KNV1955 »

Sachi IMO Abishek is straining his voice too much. I don't know how it will impact his voice in the long run. What I felt about Trichur Brothers is also true of Abhishek. I am quite surprised to see Nityashri losing her voice suddenly. I understand even Bhimsen Joshi lost his voice & recovered later. I hope this happens in case of Nitayshri too. What causes the voice to wobble. It has happenned to number of musicians including the great Ariyakudi.

SrinathK
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#45 Re: Why HM sounds sweeter

Post by SrinathK »

When it comes to the use of the voice, ARI was more like a Federer and Abhishek is more like a Nadal.

Let's settle this debate however -- just listen to the shruti shuddam of this recording (surprise number), it's unreal.

https://www.youtube.com/watch?v=dNuU9K3cjo8

arasi
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#46 Re: Why HM sounds sweeter

Post by arasi »

Hats off :)

KNV1955
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#47 Re: Why HM sounds sweeter

Post by KNV1955 »

Ranjani & gayatri on Voice culture

https://www.youtube.com/watch?v=YP8tD2jNZ4k

cienu
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#48 Re: Why HM sounds sweeter

Post by cienu »

With ref to post # 46 of SrinathK
Thank you for the link which I listened to all over once again. :)
https://www.youtube.com/watch?v=dNuU9K3cjo8
In spite of her age and setbacks she still retains a sharp sense of Sruthi and guides her granddaughter when the tamburas are fine tuned. A recent picture below taken at our home at "Suswaralukshmi" in Bengaluru.
Image

vgovindan
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#49 Re: Why HM sounds sweeter

Post by vgovindan »

https://www.facebook.com/ramanathan.iye ... 832392041/

In HM, they will elaborate it for hours - in CM, they will treat it as tukkada.

arasi
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#50 Re: Why HM sounds sweeter

Post by arasi »

And, what a divine piece of tukkaDA :D

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