AMS Easy Methods 2007 CD - Teaching and Learning Methods

To teach and learn Indian classical music
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vasanthakokilam
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Post by vasanthakokilam »


nadhasudha
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Post by nadhasudha »

Respected amsharma ji,
I have been following the posts on this thread and I have recently purchased your book "Sangita Swararaga Sudha" along with the tapes. Both me and my son are students of music and we are looking forward to learning as much as we can. Can you recommend a starting point for us when we cover the material in your book - Also is it easier to cover the raga alapana portion first and then the swarakalpana? Frankly the tala excersises appear daunting but we want to learn no matter how long it takes.

msakella
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Post by msakella »

Dear b/s-member, nadhasudha, There is nothing wrong in trying your best and I am always here to guide you in every possible manner. But, in this task, your instinctive rhythmical abitlities, your concentrative ability, your regular and hard practice and the teacher’s vigilance over the aspirant counts much. Among all of them, your instinctive rhythmical abilities are the base and they should be put to test. For this you do as I say here. This is to put yourself to test your rhythmical instinct. The same applies to all who are interested in getting this done.
If you have aready down loaded the mp3 CD ‘AMS-Easy Methods’ from the web site http://sangeethamshare.org/chandra/AMS- ... thods-2007 and you are having it with you OK. If not, you do it now and get it. In my book, Sangita Svararaga Sudha (English), in page 7 Eka-tala-jati-alankara is furnished in detail. In the duration of one-second 2 beats consisting of 2 syllables each i.e., ki-ta with the right hand at first followed by ta-ka with the left hand have to be rendered following the book. Find the thread, ‘Teaching/Learning Karnataka
Violin’ under the 2nd topic, Sangeeta Kalalaya of the index, go to the 24th post, click the 1st video clipping of Youtube and follow it. Or, go to the web site ‘Youtube.com’, (either as a guest or as a registered user) type ‘karanataka violin lessons’ in the space provided for ‘search’, open up the AMS-Laya-exercises-1, follow the 1st exercise, tally it with the material furnished in the book, the same ‘ki-ta-ta-ka’ and practice it for 1 or 2 hrs. Then, you have to contact me by Yahoo messenger to enable me listen to your renderings and assess your rhythmical instinct. I do not know in which country you are residing and the relevant local timings. If you give me these details I shall try to find out some time which is convenient to both of us to contact by Yahoo messenger. My e-mail address is msakella2002@yahoo.co.in and Yahoo messenger or Skype ID is ‘msakella2002’.
Even though many of the commercial-music-teachers will not agree with me at all, I, with all my experience, tell that the rhythmical instinct of the aspirant only decides the future of the aspirant and successful Svarakalpana paves way to Ragalapana. With best wishes, amsharma.

vasanthakokilam
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Post by vasanthakokilam »

AMS-Easy-Methods-2007 has been uploaded as requested by Sri. Sharma. You can find it here.

http://sangeethamshare.org/chandra/AMS- ... thods-2007

This is a significantly expanded edition with 481 audio files and 15 PDF files. There are new sections on gamaka and kampita and the songs are
notated using the exhaustive list of gamaka and kampita notations that Sharmaji has devised.

The readme file at the above link provides further details.

The PDF files are in English and Telugu. There is an effort underway to translate them into Kannada, Malayalam and Tamil. They will be uploaded once they are available.

Sharmaji is out of town and once he gets back, he will provide further commentary on this new edition. He asked me to upload and annouce it here in the interest of making the material available to rasikas, students and teachers at the earliest.

( The previous edition will be deleted soon from sangeethapriya ).

msakella
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Post by msakella »

This mp3 CD containing ‘AMS Easy Methods-2007’ is the newly and finally modified and developed version to cater the needs of the aspirant learning Karnataka music without depending upon the teachers. This has been experimented upon some of the efficient and hard working students and as the results are extremely encouraging our friends have uploaded this to make it easily accessible to each and every aspirant on the globe. In this CD, for the first time in the history, nearly 60 varieties of Kampitas and Gamakas of our Karnataka music have, at length, been defined with the help of symbols and respective audio clippings, 27 facets of Kaishiki-nishada are also furnished along with the same symbols and respective audio clippings and some of the Varnas are also furnished along with the same symbols and respective audio clippings for the benefit of the aspirants.

In general, people are more interested in discussing things and getting the correct information than working hard. In which way every person on earth, though ugliest, wants to marry a beautiful lady every person wants to sing music efficiently. But many are not ready to go through all the hardships of rigorous practice, single-minded devotion and dedication towards music. In the same manner, when I came out and explained in detail, very few have really come forward to sincerely learn either Tala-prastara or the Easy-muktayis etc. Of course, I am always optimistic and very well know that, at the least, one in thousands will definitely avail this opportunity properly to become a true knowledgeable person in our music.

In case of any doubts anybody can contact my e-mail address msakella2002@yahoo.co.in or ID <msakella2002> either on Yahoo Messenger or Skype or my Telephone Nos. 040-27054232 (land-line) or 09908822992 (mobile). amsharma.
Last edited by msakella on 31 May 2008, 01:35, edited 1 time in total.

vg_
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Post by vg_ »

Looks like the link (http://sangeethamshare.org/chandra/AMS- ... thods-2007) is not accessible.

Any other sites where this CD can be downloaded?

-- VG

vasanthakokilam
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Post by vasanthakokilam »

sangeethapriya is currently down and is in the process of being revived. http://www.rasikas.org/forums/viewtopic.php?id=6649

msakella
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Post by msakella »

Hi all.
Today 6 Nos. of video-clippings containing some intricate patterns of Jatis and Svaras for 6 Talas (1.Adi-Chaturashra-gati-3, 5 & 7 breaks and 5-break in the end of each Avarta 2.Adi-trisra-gati-4, 5 & 7 breaks and 4-break in the end of each Avarta 3.Jati & Svara-muktayis in Rupaka-tala 4.Jati & Svara-muktayis in Mishra-chapu-tala 5.Jati & Svara-muktayis in Adi-tala-trisra-gati 6.Jati & Svara-muktayis in Khanda-chapu with the refrain in the end) rendered by a group of around 15 students of below 16 years of age of AMS Foundation are uploaded to <youtube.com/msakella> for the benefit of the aspirants learning music. Recently, on 11th November, 2008, I have started a Sunday-work-shop (2 to 5 or 6 pm)at Hyderabad, a crash-course to train the junior-aspirants still learning Varnas in singing Svarakalpana within 3 months and senior-aspirants who have completed learning Varnas in Ragalapana in next 3 months. Nearly 50 candidates appeared for the rhythmical tests and nearly 30 candidates are found suitable and admitted as junior-aspirants. This is working under my direction and supervision, the co-ordination of Shri J.S.Eshwara Prasad, a reputed dancer of Nritya-Sankeertana which forms part of Sampradaya-bhajana-paddhati and the able training of Chi.Sow. Chidroopalakshmi Prasad (M.A., gold-medalist in music and the wife of the coordinator) and her son and child prodigy Chi. J.Satya Shreeram. Among them nearly 15 candidates below the age group of 16 years are able to follow, understand, grasp, practise and reproduce the complex patterns very quickly. This obviously reveals that the young aspirants, if they are trained in a rational and disciplined manner, can very quickly and easily become able to sing even complex Svarakalpana within a very short time even before the completion of Varnas. This could be made possible only by following the easy, effective, innovative and qualitative methods in teaching music. amsharma

sureshjm
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Joined: 12 Sep 2007, 13:43

Post by sureshjm »

Dear Mr. Akella sir,

I am collecting some books on carnatic for educative purposes. I was told that there is a raga alapana book by you with cassette recordings and and kirthana book by you also with cassettes which is for educative purposes.. Do I get them in any of the book stores and how much does it cost? i want to buy a few nos for a music school.

msakella
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Post by msakella »

Dear brother-member, sureshjm, Presently I am on tour in Karnataka. After my return to Hyderabad on 24th I shall give you the required details. amsharma

sureshjm
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Joined: 12 Sep 2007, 13:43

Post by sureshjm »

thank you Mr. Akella . I can hold on.

sureshjm
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Post by sureshjm »

but why is that these days the sentences are blocked unable to read. mods did you notice this .?

sureshjm
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Post by sureshjm »

akella sir,

I am waiting for the reply.

vasanthakokilam
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Post by vasanthakokilam »

sureshjm, If a post is cut off in the middle, it is due to corruption. Please post a reference to those in this thread: http://rasikas.org/forums/viewtopic.php? ... reads.html

The admin srkris will try his best to fix them. Thanks for your patience.

Nick H
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Post by Nick H »

If a post is cut off in the middle, it is due to corruption.
I am very sorry to hear that such practices as bribery have reached our haloed forum.

;) :lol:

vasanthakokilam
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Post by vasanthakokilam »

:lol:

data corruption, it should read.

bilahari
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Post by bilahari »

Nick, LOL!

Nick H
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Post by Nick H »

When I was a Computer systems manager, my first word association for "corruption" would have been "data".

Ah! Those were the days of innocence ;)


...But yes, I do recall that this problem arose with the recent Rasika's upgrade...

sureshjm
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Post by sureshjm »

Akella sir is perhaps not reading this thread!!!!!! Sir I am waiting for the reply. like the pricing and where in the bookstores are they available

msakella
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Joined: 30 Sep 2006, 21:16

Post by msakella »

Dear brother-member, sureshjm, Among the 7 books I wrote 4 are on Talaprastara, 1. Talaprastara Ratnakara (Telugu) - Rs.300/-, 2. Indian Genius in Talaprastara (English version of the 1st book) - Rs.300/-, 2. Talaprastara of Nisshanka Sharngadeva’s Sangita ratnakara-with a critical interpretation (English) - Rs.250/-, 4.Systematisation of Prastara Details of Deshi Talas (English) - Rs.150/- and 3 books on Pratical music, 5.Sangita Svararaga Sudha (Telugu) on Svarakalpana and Ragalapana supplied along with 9 pre-recorded cassetes or 4 mp3 CDs - Rs.600/-, 6. Sangita Svararaga Sudha (English) on Svarakalpana and Ragalapana supplied along with 9 pre-recorded casstees or 4 mp3 CDs - Rs.600/-, 7.Sangita Vidyabodhini (all the items of Certificate and Diploma Examinations are furnished along with notation) supplied along with 3 mp3 CDs containing nearly 70 Kirtanas of the syllabus sung folowing the same notation of the book (Telugu) - Rs.300/-. Except the last book all other books are available in the Carnatic Music book Centre, Chennai. Some of them are also available in US and Australia. If you tell me where you reside I shall be able to give you the nearest point to get them. amsharma

saramati
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Joined: 28 Aug 2008, 13:29

Post by saramati »

respected sharmaji,

namasthe. I require kalpanaswarams for panthuvarali ragam. I would be grateful if you could help me. thank you very much.

coolkarni
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Post by coolkarni »

..
Last edited by coolkarni on 29 Nov 2009, 10:02, edited 1 time in total.

msakella
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Post by msakella »

Dear b/s-member, saramati, Certainly I shall help you. There are many problems in typing them on the computer and sending them to you. If you have internet facility and come online either by Yahoo Messenger or Skype to sing and speak to me to my ID ‘msakella2002’ I shall be able to give you many varieties. But, at first, I must ascertain the level of your rhythmical ability and give you the needful. For all these things you better contact my ID given above around 8 am or 8 pm (IST) on any day. As I have to go out-station please contact me before 2nd or after 5th March. amsharma
Last edited by msakella on 28 Feb 2009, 14:21, edited 1 time in total.

saramati
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Post by saramati »

thank you very much sharmaji sir. alternatively, if you could give me any link site, from where i could listen to the same, i shall be very grateful. sorry for the trouble.

msakella
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Joined: 30 Sep 2006, 21:16

Post by msakella »

Dear b/s-member, saramati, You can visit http://sangeethamshare.org/chandra/AMS- ... thods-2007, download the Jati-muktayis from the 153rd audio-track & the corresponding Svara-muktayis from the 154th audio-track pertaining to the Sama-graha of Rupaka-tala from my CD, AMS Easy Methods-2007. If you want to tally the same you can also go through the chapter 6.1.2 in my book, Sangita Svararaga Sudha (Telugu/English). amsharma

saramati
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Joined: 28 Aug 2008, 13:29

Post by saramati »

sharmaji, many thanks. I found it useful.

Rasika911
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Post by Rasika911 »

Sir can u please upload the sahithiyam for the varnams as well please.

Thanks :)

msakella
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Post by msakella »

Dear brother-member, Rasika911, In general, I teach my student the popular 9 Varnas of Natakuranji, Kambhoji, Darbar, Sharnkarabharana, Kalyani, Begada, Todi, Saveri of Adi-tala and Bhairavi of Ata-tala along with Bhairavi-Svarajati and you can get either the Svaram or Sahithyam of them everywhere. But, before starting the first Varna I demonstrate in detail the inter-relation of all the 60 kinds of Kampitas and Gamakas along with their respective symbols to my students which have already been furnished in a separate pdf file of this CD and later only I demonstrate each Varna in detail @ one note per each second before it is taught which is not done by any music teacher. As I take every care in initiating them to sing every detail of any Kampita or Gamaka of all these Varnas they can proceed through the Kritis on their own even without my direct teaching. For this purpose the relevant pdf files of the 9 Varnas and 1 Svarajati are already furnished in English and Telugu versions along with symbols in the CD of ‘AMS Easy Methods-2007’ which you can download them from ‘Sangeethamshare.com’. If not, if you send me your email address I shall send the required pdf files to you. amsharma

msakella
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Post by msakella »

In fact, even though my old age is not allowing me to concentrate much on the topic and also to properly narrate it in my ‘Tenglish’, I, some how, had started and prepared the following.

"In the profession of teaching, as the primary duty of any teacher is to make the aspirant independent in all aspects he has to make efficient plans in each and every respect to make the student work on his own either by direct or indirect methods of teaching. The criteria of any syllabus in music followed by any teacher should pave way to enable the aspirant (1) sing a notated composition efficiently on his own, (2) write the music sung in detailed notation efficiently on his own, (3) sing the intricate mathematical Svarakalpana efficiently on his own and (4) sing the Ragalapana efficiently on his own. But, I feel that, in all the music-departments of any University or in all the Music Institutions in South India I have visited after my retirement in 1996, everywhere I have found all the teachers are trying their level best only to fulfill the items prescribed in the syllabi which comes under quantitative teaching but not qualitative teaching at all. Unless the qualitative teaching is developed and made by all these teachers impotents only will be produced without having much proficiency in the subject. More over, very sadly, even in many of the music-workshops held at many places only several compositions are being taught but with less importance to any of the above four vital topics and, still more sadly, even many of the aspirants are mostly inclined to learn different compositions than ‘Manodharma’. Keeping all these serious things in view I have made umpteen experiments upon a number of students and, ultimately, an easy, effective and innovative method of teaching developing the qualitative teaching has been evolved to improve the self-confidence and proficiency of the aspirant also making its process strictly time-bound and result-oriented. However, many of the aspirants may not prefer this system of teaching as they may not be able to practice regularly for more than 2 or 3 hours daily and, in the same manner, many of the teachers also will not prefer to follow this new system of teaching as they, on one hand, have to loose much of their regular income by possibly shortening the span of lesson and, on the other, themselves have to practice all the different Laya-exercises, irrespective of their ability or dis-ability in Laya, and various symbolized Gamakas.

In music, while the ‘Laya’ is the ‘Shakti’ or ability which develops the brilliance and intelligence of the aspirant and instills confidence into the aspirant the ‘Shruti’ is the ‘Rakti’ which gives pleasure to the listener. Among them the level of ‘instinctive Laya or Shakti or ability’ must properly be assessed by the able teacher and be increased and stabilized by suitable efforts to improve his confidence day by day. In singing music there are two different kinds of techniques, 1. singing (physical) techniques and 2. musical (mental) techniques, are to be followed among which while the former could be acquired within some months time by regular and strenuous practice the later takes many years to acquire by gradually ripening the knowledge. But, only an efficient teacher could lay flawless base in the beginning for both of them.

As far as the age is concerned, as this finest of the fine arts is part of Samaveda and also an invisible art, the tender age of the aspirant is more preferable for heavy concentration and high grasping ability and the regular and very well planned strenuous practice, that too preferably in the morning hours of the day, play an indispensable role in getting proficiency in the art. More over, the aspirants who can complete the three-fourths of the process of learning and practice of the art even before the precious age of 15 years can only make a mark in the field. Now, in our South India, to carry on this process of learning and practice of this art, some of the aspirants have started continuing the general education through private study in the ‘National Institute of Open Schooling’ of Central Govt., in which they can very easily and simultaneously carry on both their regular and vigorous practice of the art in the morning hours and also the general studies in other timings being at their residences and appear for the respective examinations."

cmlover
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Joined: 02 Feb 2010, 22:36

Post by cmlover »

Dear Sarmaji
You should not be put off by dissenting statements or ascribing motives from folks who exercise their
'Freedom of Speech'.
KarmaNyEva adhikAras tE, mA khaNDanEShu kadAcana
(your job is to continue your work unmindful of criticism)
Do continue your mission please....

vasanthakokilam
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Joined: 03 Feb 2010, 00:01

Post by vasanthakokilam »

Yes, especially given the consenting opinion is an overwhelming majority, even if many are silent. Please take strength in that. It is our collective shortcoming not to have stood up for you and your methods in that other thread.

msakella
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Joined: 30 Sep 2006, 21:16

Post by msakella »

Thanks a lot dear brother-members, cmlover & vasanthakokilam, for the enormous strength you have given me through your posts.

By the grace of the Almighty I am not going to stop my mission at any cost as I have been very much encouraged by a group of people here at Hyderabad who are untiringly working with devotion and dedication to propagate this system of teaching and getting fantastic results within a very short time. On seeing that apswara-post I, somehow, got relief and thought it is very much easier to proceed on and on my mission on my own than toiling myself in writing all these details in my ‘Tenglish’ and stopped. But, on seeing your energising posts, I have again decided to continue and do the needful. Thanks a lot again. amsharma

msakella
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Joined: 30 Sep 2006, 21:16

Post by msakella »

(At this old age I am used to forget things to write or do systematically. So, to facilitate further editions or deletions of the matter later, I shall give serial numbers to the items in the beginning and later, if needed to continue the same topic, indicate another serial number along with the first serial number like 1.1, 1.2, 1.3, 1.4 and so on and later all the items having number ‘1’ in the beginning can be put together to bring out a total picture. In my previous post I have furnished 3 paragraphs and thus they can be allotted one number each serially i.e., 1, 2 & 3. Kindly bear with my incapacities at this old age.

It is important to note that these methods should not be implemented on each and every aspirant as they tend to differ from person to person basing upon so many aspects like the instinctive talents, mental abilities of concentration, understanding and assimilation and physical abilities of strenuous and most regular practice of the aspirant.)

2.1.In music, while the ‘Laya’ is the ‘Shakti’ or ability which develops the brilliance and intelligence of the aspirant and also instills confidence into the aspirant the ‘Shruti’ is the ‘Rakti’ which gives pleasure to the listener. Among them, at the first instance, the level of ‘instinctive Laya or Shakti or ability’ of the aspirant must properly be assessed by the able teacher and be increased by suitable efforts to improve his abilities and confidence day by day. In which way the music is a universal language, the Laya or the mathematics is also the universal subject which is more precise and wothout deviation irrespective of the place or the language or the country. Whoever gets through the mathematics can easily get through all other subjects. Among all the subjects, mathematics is the only subject which increases the brilliance and intelligence of the aspirant. I have made umpteen experiments upon a number of aspirants in this regard and found that the aspirant who is well off both in Chaturashra and Trisra-gatis or Nadais can easily proceed very fast in learning music and the aspirant who is badly off in Trisra-gati is unfit even to start learning Violin. That is why for this purpose, with my little acquaintance with the Mridangam in my younger days, I have formulated Jati-alankaras for this purpose which should be used even from the first day of the lesson and I am the first person to formulate and introduce these Jati-alankaras in our Karnataka music which quickens the process of teaching music to the aspirants in their own way.
I have brought out the CD, AMS Easy Methods-2007 along with all the material required from the basic level which is available from http://sangeethamshare.org/chandra/AMS- "¦ hods-2007/ to facilitate any aspirant, residing far away from his motherland and unable to find a suitable teacher in music, to proceed on his own.
It is also very important to note that it is always better to rely upon the Electronic Keyboard ‘Casio -MA-150’ to learn music starting from the preliminary exercises even though many of our traditionalists oppose.

When any aspirant approaches the music teacher to learn music he, at the first instance, has to test the level of his ‘instinctive-laya’ by playing either the Instrumental-music in Chaturashra-gati in the 001 track or the Metronome-beats of 120 bpm (beats-per-minute) furnished in the 003 track of the above CD or the 120 bpm of the Metronome of the Casio and initiating the aspirant render beats along with them. While the aspirant follows rendering even-beats along with them the teacher should render different-odd-beats of them to disturb the flow of the aspirant. If the aspirant is able to render the even-beats without being disturbed by the teacher’s different-odd-beats that aspirant can be declared having the required ‘instinctive-laya’ to learn music and if not, he should be suggested to practice the same at his residence for some time and to re-appear for this test later. The successful aspirant can later be tested in ‘Shruti’. For this purpose the button ‘Transpose’ of the Casio-MA-150 should be pressed each time while selecting suitable Shruti to the aspirant. This facility provides to increase or decrease the Shruti and also to play only the white-keys irrespective of any Shruti producing the notes of Shankarabharana. While playing the keys the basic note of the lower octave can be used as drone and the different respective keys of the upper octave can be played and the aspirant be initiated to sing along with each note. The successful aspirant should only be entertained to teach music. amsharma

msakella
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Post by msakella »

2.2. While testing the ‘instintive-laya’ of the aspirant he can also be given two thin-wooden-stick-pieces and asked to hold them with both the hands and beat on a table making rhythmical sounds tallying with the Instrumental-music or Metronome-beats of either the CD or Casio accordingly. Even in Casio-MA-150, in 50 Song Bank of Instrumental-music Nos. 00, 02, 03, 07, 10, 14, 15, 18, 23, 27, 31, 41 & 49 can be used for Chaturashra-gati and Nos. 05, 08, 13, 17, 25, 30, 36, 44, 45 & 46 can be used for Trisra-gati while initiating the aspirant to render beats along with. Even exposing the small kids to this Casio-instrumental-music helps a lot in the long run to inculcate music sense among them.

4.While starting the first lesson the seven Jati-alankaras furnished in the audio-tracks from 005 to 011 of the CD with reference to the same available in the respective pdf file of ‘Primary lessons’ furnished in the same CD should be taught in the same order along with the video-clipping No.1 of the Playlist, AMS-Laya-exercises available from ‘youtube.com/msakella’ simultaneously spelling out ‘ki-ta’ and rendering one beat with the right-hand on his right-thigh in a half of the second followed by another spelling out of ‘ta-ka’ and rendering another beat with the left-hand on this left-thighy in the next half of the second which in total becomes two beats carrying out ‘ki-ta-ta-ka’ of 4-units per second which, in fact is the 3rd degree of speed and which is called ‘Matra-kaala’ (it is very important to note that, without taxing the kid by teaching the various finger counts or waving-hands of Talangas or telling him that it is the 3rd degree of speed, they can simply be asked to render only beats with both the hands to make the process of learning easier while singing from Saralee-svaras to Gitas to avoid handling two tasks at a time). He should also become able to render the same along with the Metronome-120 bpm (the default speed) and also of 60 bpm of Casio.

The aspirant having the required level of ‘intinctive-laya’ can certainly become able to reproduce all these seven-jati-alankaras in Chaturashra-gati successfully within 3 days maximum and only to such aspirant the primary music lessons, 8 Saralee-svaras, furnished in the audio-tracks from 034 to 041 in Shankarabharana with reference to the corresponding pdf files of the same CD should be taught in the same order in the following manner.

In Casio-MA-150, in 50 Tones Church Organ No.11 can be used for playing and singing by the aspirant. In it, in total, there are 29 white-keys and 20 black-keys. Among them, from 1 to 7 white-keys and the upper 5 black-keys belong to the lower-octave or 1st Mandra-sthayi, 8 to 14 white-keys and the upper 5 black-keys belong to the middle-octave or 2nd Madhya-sthayi, 15 to 21 white-keys and the upper 5 black-keys belong to the 1st upper-octave or 3rd Taara-sthayi and 22 to 28 white-keys and including the 29th white-key belong to the 2nd upper-octave or 4th Ati-taara-sthayi. All these white-keys produce the notes of the Raga Shankarabharana only. Even if we change the Shruti pressing the button ‘Transpose’ each time to increase or decrease the Shruti to make it suitable to the aspirant all the white-keys produce the notes of the Raga Shankarabharana only as the primary lessons even in the Western music are used to start in their Raga which corresponds to our Shankarabharana. Thus, after choosing the suitable Shruti to our aspirant, fix stickers indicating numbers and their respective notes on all the white-keys of all the four octaves i.e., 1S, 2R, 3G, 4M, 5P, 6D, 7N of 1st Mandra-sthayi - 1S, 2R, 3G, 4M, 5P, 6D, 7N of 2nd Madhya-sthayi - 1S, 2R, 3G, 4M, 5P, 6D, 7N of 3rd Taara-sthayi, 1S, 2R, 3G, 4M, 5P, 6D, 7N of 4th Ati-taara-sthayi and 1S of Ati-ati-taara-sthayi. Then press the 1S white-key of the 1st Mandra-sthayi and put an adhesive-tape linking it with the base not to let it go up and also to use its sound as basic ‘Shruti’ while playing the corresponding white-keys of the 2nd Madhya-sthayi and singing along with them. As a choice you can also press the 1S white-key of the 2nd Madhya-sthayi and put an adhesive-tape linking it with the base not to let it go up and also to use its sound as basic ‘Shruti’ while playing the corresponding white-keys of the 3rd Taara-sthayi and singing along with them. While doing so, the aspirant should play and sing only one note per two beats in the speed of 120 bpm (the default speed) or only one note per each beat in the speed of 60 bpm which can be obtained by decreasing the tempo of the Metronome. In the same manner the aspirant should play and sing all the 8 Saralee-svaras @ one note per each beat in 60 bpm or @ one note per two beats in 120 bpm in which case both are same ultimately. After practicing them well in the above speed the aspirant should become able to play and sing them @ two notes per each beat in 60 bpm or @ two notes per two beats of 120 bpm (the default speed).

Later, the four Janta-svaras furnished in the audio-tracks from 042 to 045 should be played and sung @ two notes per each beat in 60 bpm or @ two notes per two beats in 120 bpm (the default speed). It is very important to note that while singing these Janta-svaras of 2 notes or 3 notes or 4 notes or even more than them except the first note all the remaining notes should always be sung with a stress.

Later, the three Datu-svaras furnished in the audio-tracks from 046 to 048 should be played and sung @ two notes per each beat in 60 bpm or @ two notes per two beats in 120 bpm (the default speed).

Nearly 20-Special Rhythmical Exercises (SRE) are furnished hereunder to be helpful to stabilize the rhythmical abilities of any aspirant and, while practicing the above primary Svara-exercises, the 2nd SRE also has to be taught to the aspirant for his regular practice. amsharma

SPECIAL RHYTHMICAL EXERCISES
(k-ki; t-ta; t-tha; k-ka; d-dhi; m-mi; g-gi; n-na)

01.7 Jati-alankaras should be rendered @ 4-units, i.e., k-t-t-k per second rendering k-t for each Talaanga of the right hand followed by t-k with in-between beats of the left hand.

02.3 kinds of Trisra (t-k-t of 3), Khanda (t-k-t-k-t of 5) and Mishra (t-k-t-k-t-k-t of 7) breaks should be rendered @ 4-units per second in Adi-tala of Chaturashra-gati rendering the Tala with the right hand and in-between beats with the left hand.

03.3 kinds of Trisra (3), Khanda (5) and Mishra (7) breaks should be rendered @ 8-units per 2 seconds in Adi-tala of Chaturashra-gati rendering the Tala with the right hand and in-between beats with the left hand.

04.3 kinds of Trisra (3), Khanda (5) and Mishra (7) breaks should be rendered @ 8-units per 2 seconds in Adi-tala of Chaturashra-gati rendering the Tala with the right hand only.

05.7 Jati-alankaras should be rendered @ 8-units per 2 seconds rendering Tala with the right hand and in-between beats with the left hand.

06.7 Jati-alankaras should be rendered @ 8-units per 2 seconds rendering Tala with right hand only.

07.Rendering of all Chaturashra-jatis in Adi-tala of Chaturashra-gati running @ 4-units per second rendering the Tala with the right hand and in-between beats with the left hand but ending each Avarta with one Khanda-jati thus having a protruded unit every time in the beginning of the next succeeding cycle of Tala.

08.Rendering of all Chaturashra-jatis in Adi-tala of Chaturashra-gati running @ 8-units per 2 seconds rendering the Tala with the right hand and in-between beats with the left hand but ending each Avarta with one Khanda-jati thus having a protruded unit every time in the beginning of the next succeeding cycle of Tala.

09.Rendering of all Chaturashra-jatis in Adi-tala of Chaturashra-gati running @ 8-units per 2 seconds rendering Tala with the right hand only but ending each Avarta with one Khanda-jati thus having a protruded unit every in the beginning of the next succeeding cycle of Tala.

10.3 kinds of Chaturashra (k-t-t-k of 4), Khanda (5) and Mishra (7) breaks should be rendered @ 3-units per second in Adi-tala of Trisra-gati rendering Tala with the right hand only.

11. 3 kinds of Chaturashra (4), Khanda (5) and Mishra (7) breaks should be rendered @ 6-units per 2 seconds in Adi-tala of Trisra-gati rendering the Tala with the right hand and in-between beats with the left hand.

12.3 kinds of Chaturashra (4), Khanda (5) and Mishra (7) breaks should be rendered @ 6-units per 2 seconds in Adi-tala of Trisra-gati rendering the Tala with the right hand only.

13.7 Jati-alankaras should be rendered @ 4 & 3-units per second rendering Tala with right hand only.

14.7 Jati-alankaras should be rendered @ 8 & 6-units per 2 seconds rendering Tala with the right hand and in-between beats with the left hand.

15.7 Jati-alankaras should be rendered @ 8 & 6-units per 2 seconds rendering Tala with the right hand only.

16.7 Jati-alankaras should be rendered @ 1, 2, 3, 4, 6 & 8-units per Kriya running @ 4-units per second.

17.7 Jati-alankaras should be rendered @ 1, 2, 3, 4, 6 & 8-units per Kriya running @ 8-units per second.

18.Rendering of only one Jati of 5-units in the 2nd degree of speed in the beginning of Khanda-chapu-tala running @ 4-units per second and all Jatis of 4-units consecutively. Selected muktayis of lower-tempo should be rendered to the odd-number of starting point in the medium-tempo (while Jatis should only be rendered in respect of the candidates pertaining to Dance and Percussion disciplines Swaras should also be sung by the candidates pertaining to Music).

19.Rendering of only one Jati of 7-units in the 2nd degree of speed in the beginning of Mishra-chapu-tala running @ 4-units per second and all Jatis of 4-units consecutively. Selected muktayis of lower-tempo should be rendered to the odd-number of starting in the medium-tempo (while Jatis should only be rendered in respect of the candidates pertaining to Dance and Percussion disciplines Swaras should also be sung by the candidates pertaining to Music).

20.Rendering of easy muktayis both in terms of Jatis and respective Svaras for the Kritis in Rupaka, Khanda-chapu, Chapu, Adi (medium-tempo), Adi (slow-tempo) and Adi (Trisra-gati).

The practice of all the above exercises in terms of Jati, Svara and Akaara in all the 32 non-vivadi Melas, periodically and gradually increasing the speed along with Metronome, certainly makes the aspirant able to manage with many of the things of our Manodharma Sangeeta.
amsharma

msakella
Posts: 2127
Joined: 30 Sep 2006, 21:16

Post by msakella »

5. We have a composition called Gita and many of the music teachers are used to teach more than 15 or 20 Gitas that too in the Ragas like Bhairavi, Todi, Begada, Saveri, Arabhi etc., etc., which are required to be taught with many intricate Kampitas or Gamakas even though they are of no use either for regular and strenuous practice or to exhibit them in any concert. Moreover, in which way it is suicidal to teach running to a small kid just trying to stand on his own legs it is equally suicidal to teach any kind of oscillations in Gitas to the kids just started learning music. It is better if the traditionalists realize to teach up to Gitas even without any kind of oscillations. But, as we already have it in the list of our compositions, this can properly be utilized only to give acquaintance of all the 12 notes to the aspirant. That is why, in the syllabus of our Certificate Examination in music in Andhra Pradesh, we have prescribed only 6 Gitas (1.Shankarabharana, 2.Mohana, 3.Shuddhasaveri, 4.Kalyani, 5. Malahari (Shrigananaadha only) and 6.Shriranjani (Lakshana-gita). It is very important to note that it is always preferable to initiate the aspirant play the Casio and sing along with Svara, Akaara and Saahitya on his own along with Metronome beats not only all the preliminary exercises but also all these Gitas in the same order which helps a lot in paving way to get good Manodharma. While practicing all these Gitas the aspirant has to practice all the prelliminary exercises also with the notes they have learnt the Gitas along with the remaining SREs simultaneously.

6. We also have another composition called Svarapallavi or Jatisvara having no Saahitya. This composition is also not sung in music concerts. That is why only one composition of it is enough to be taught to the aspirant. There are some Svarapallavis with very high rhythmical intricacies composed by the composers of Vizianagaram which help the aspirant for rhythmical stabilization.

msakella
Posts: 2127
Joined: 30 Sep 2006, 21:16

Post by msakella »

7. After Svarapallavi or Jatisvara we have the composition called Svarajati having not much importance like Gita. But after the advent of Shyama Shastry’s famous Svarajatis in the Ragas Bhairavi, Todi and Yadukulakambhoji its importance has gone up. So, mostly I am used to teach the Svarajati in Bhairavi-raga taking its complex treatment of notes.

8. Now we enter into the most crucial part of learning the most important composition ‘Varna’ which gives enormous knowledge of either physical-techniques or oscillative-techniques of notes to the aspirant if taught properly. How much care an efficient, knowledgeable, sincere, loyal and committed teacher takes while teaching this composition to his student that much proficient he becomes in music. In my view, mostly the teachers’ inefficiency, insincerity and negligence act much in shaping a student but not the inefficiency of the student at all. But, most pitiably, the students suffer a lot for the mistakes committed by the teachers. I sincerely feel that, in the process of teaching, while the responsibility of the teacher is more than 85% the student’s responsibility is less than 15%.

I feel that there are two kinds of important techniques, 1. physical-techniques pertaining to voice or fingers and 2. notes-oscillative-techniques in bringing out the required music. For this purpose, while the singing techniques of voice or the different finger-techniques have to be made familiar to the aspirant, the different oscillative-techniques of all the notes have to be made familiar to the aspirant for his quick pace and all-round development of the art.

In our music all the different Ragas have different shapes basing upon the different facets of oscillations of the notes. So, the responsibility lies upon the respective teacher to find ways and means in making the aspirant familiar with all these different facets of oscillations of the notes leading to the shapes of these different Ragas. If the aspirant is properly, efficiently and sensitively trained in such a manner that he becomes able to recognize and reproduce on his own even a very slight oscillation of any note he can learn any composition on his own. That is why I have formulated certain intricate and novel finger-techniques in Violin with bow and also even without bow for Violin-aspirants which, most surprisingly and most efficiently, paved way to the aspirant to play most of the Varnas on Violin on his own. Very regular and strenuous practice of these novel finger-techniques even made my disciples play some of the Varnas mostly on a single string on the Violin.
Before starting the first Varna I am always used to enlighten the aspirant with the full details of Kampitas and Gamakas furnished in the 2nd chapter, Raagasudha of my book, Sangita Svararaga Sudha (Telugu & English) or in my CD, AMS Easy Methods-2007. For this purpose, for the first time in the history, I have categorized and defined most of all the Kampitas and Gamakas and symbolized them to be used even by a common man. Thus, in total, till now, 60 varieties of Kampitas and Gamakas are brought out and also symbolized basing upon the travel of sound of the note.

In our Karnataka music, among the 12 notes, three notes, 1.Sadharana-gandhara, 2.Shuddha-madhyama and 3.Kashiki-nishada are very important as their radius of Gamaka is far more than any other note. If the aspirant gets reasonable acquaintance with these 3 notes he can easily follow the Gamakas of all other notes very easily. So, in this process, the popular Natakuranji-Adi-Varna has to be taught in the beginning to make his familiar with the Gamaka of Kaishiki-nishada, later Kambhoji-Adi-Varna to make him familiar with the Gamaka of Shuddha-madhyama also and later Darbar-Adi-Varna to make him familiar with all these 3 important notes. Later, serially, the Adi-tala Varnas in the Ragas Shankarabharana, Kalyani, Begada, Todi, Saveri, Ata-tala Varna and Svarajati in Bhairavi have to be taught gradually increasing the Gamaka techniques of the relevant notes at the end of which the aspirant must become able to learn the first Kriti on his own and with minimum guidance of his teacher.
At the end of these Varnas I am used to give Kritis with notation along with a pre-recorded CD in which I myself sang all these Kritis in the same notation. Basing upon them they are able to learn all the Kritis on their own as, by that time, they got good acquaintance with all the intricate oscillations of notes and relevant finger-techniques. amsharma

msakella
Posts: 2127
Joined: 30 Sep 2006, 21:16

Post by msakella »

8.1. While teaching the most crucial composition, Varna, it is most important to note that each and every Varna has to be demonstrated compulsorily both in respect of physical-techniques (of voice-techniques or finger-techniques in respect of instrumentalists) and musical-techniques (of various Kampitas and Gamakas) very slowly and strictly @ only 1-unit or note per each second to magnify every aspect of these techniques and also to make the aspirant aware of all these minute details.
IN THE VERY HIGH INTEREST OF THE ASPIRANT WHOEVER DOESN’T DEMONSTRATE AND TEACH EACH AND EVERY VARNA CAN NEVER BE CALLED A MUSIC TEACHER AT ALL.
In fact, in my CD, AMS Easy Methods-2007, I sang all the Varnas @ 2-notes per each second and also in the pdf files pertaining to both the ‘index’ or ’Readme’, in the note, in respect of these Varnas, I have also mentioned to follow @ 2-notes per each second lest the aspirants simply refuse to take this CD. But, either the demonstration or teaching or learning of all the Varnas should compulsorily be made only @ a single note per each second which helps the aspirant a lot in quickening the process of learning music and also in making him efficient in so many aspects of music. And, while practicing them, the aspirants must strictly observe to gradually and periodically increase their speed strictly basing upon the Metronome bpm (beat per minute) in increasing their abilities day by day. Whichever aspirant doesn’t strictly and sincerely do this has to remain as an impotent musician. As a very highly experienced and critical teacher in music, in the very high interest of our young aspirants and also in keeping our great culture in tact I write this. That’s all. amsharma

msakella
Posts: 2127
Joined: 30 Sep 2006, 21:16

Post by msakella »

8.2. Always it is desirable to start teaching Varnas to the aspirants in the Ragas having heavily oscillative complex notes of either Sadharana-gandhara or Kaishiki-nishada and it is always suicidal to start teaching Varnas to the aspirants in the Ragas Mohana or Hamsadhvani which is, in general, made by all the music teachers to avoid handling of complex Gamakas.

8.3. After learning these 9 Varnas and one Svarajati if the aspirant becomes able to learn a Kriti, given in notation along with a pre-recorded cassette or CD, on his own that music-teacher must immensely be honoured for his efficiency, sincerity and commitment in teaching. amsharma

msakella
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Joined: 30 Sep 2006, 21:16

Post by msakella »

9. As all are aware, unlike in any other system of music in the world we have Manodharma Sangita which is created spontaneously by the artist basing upon his own creative talents. and the 5 divisions of it are 1.Raga, 2.Tana, 3.Pallavi, 4.Niraval and 5.Svarakalpana. Among them while the rhythm or Laya is indistinctive in Raga where Sangathis of different speeds are sung together, it becomes distinctive in Tana where rhythm of a particular variety is rendered at a time without deviation but without a meter and in Pallavi, Niraval and Svarakalpana the rhythm is made more distinctive along with a precisive meter. All this obviously indicates the indispensable role of rhythm or Laya in music and all the divisions of Manodharma Sangita become easily accessible to the person who gives proper importance to the rhythmical exercises or formulas and regularly practices all of them sincerely. That is why I always harp on learning and practicing all the needed rhythmical exercises regularly in a graded manner as it sharpens the brain, increases the brilliance and intelligence of the aspirant and also keeps him alert always. For this purpose I have brought out 20 Special Rhythmical Exercises (SREs) which are already furnished above and among them the 18th & 19th SREs top the list leading to a successful failure irrespective of their proficiency of even many professionals. Any person who can meticulously and successfully render all these 20 SREs can certainly become an efficient teacher and, fortunately enough, if he also has the good qualities of receptivity, honesty, sincerity, loyalty and impartiality such person can serve the society efficiently and be called a ‘TRUE TEACHER’.

Among all these 5 divisions of Manodharma Sangita the first division, Ragalapana and the last division, Svarakalpana are mostly needed to learn and when I have enquired many musicians about any easy methods in teaching them each and every musician told me that there are no easy methods at all in teaching them to the aspirants and they should only be acquired in course of time by constant listening and heavy practice. But, in my extensive research made upon many of my students, I have successfully found that there are some specific easy methods through which Svarakalpana could be made easy and through this kind of Svarakalpana Ragalapana also could be made within a short time successfully making the process of learning music TIME-BOUND and RESULT-ORIENTED though many of the music-teachers will not appreciate.

For this purpose, some muktayis lessening the calculative element have been brought out by Late Mullapudi Lakshmana Rao, the great Mridangam Artist of Vizianagaram and his son Chi. Mullapudi Shreerama Murthy, the recently retired Top-grade-staff-artist of All India radio, Vishakhapatnam is also well versed with all of them. Most unfortunately, many of the music-teachers or musicians, in the absence of the knowledge of these easy muktayis, their intricacies and importance in Svarakalpana and also not having even the ability to render many of such muktayis, talk against these muktayis and also discourage the aspirants learning and singing them. But, as per my experience I can very well declare that this is the well proven method in getting the ability to sing Svarakalpana within a very short time that too even before completion of 3 or 4 Varnas and even without learning a single Kriti. Anybody can visit <youtube.com/msakella> to find the relevant video-clippings in the Playlist of ‘Kids’ Svarakalpana’ in which way even small kids between 5 and 15 years of age, who have just completed the 4th Varna but not learnt even a single Kriti, are able to spell out the intricate jati-muktayis and also the respective Svara-muktayis in their Svarakalpana. It is also very important to note that all these 3 kinds of easy-muktayis furnished in my book Sangita Svararaga Sudha in all the six popular Talas must be practised along with Jati, Svara and also Akaara. In the process of making Svarakalpana, as Svarakalpana is always full of mathematics, mathematical Svarakalpana should only be taught to the aspirants at the first instance which gradually and very efficiently paves way to Svarakalpana avoiding muktayis.

Even in respect of Ragalapana, many of the music-teachers tell that Ragalapana should never be given in notation. In fact, in such case, it must be presumed that either that particular teacher is incapable of bringing out the proper picture of a particular Raga or he is unable to write the Raga in proper notation or he somehow wants to elongate the process of teaching to earn more money. Writing proper notation of any Raga gives you enormous knowledge of both the Raga and writing the notation. Many knowledgeable stalwarts like Sangita Kalanidhi Dr. Shripada Pinakapani, my Guruji Sangita Kalanidhi Shri Nedunuri Krishna Murthy, great veteran Late Oleti Venkateshwarlu are used to write not only Kritis but many of the ragas also in notation. In which way the listing out the names of all the invitees, writing all their names on the invitations and arranging all of them in a particular sequence for easy and quick distribution for any marriage celebration efficiently saves the time, energy and expenditure writing any Raga in notation and also getting it by heart helps the aspirant in so many ways. That is why, in the 2nd chapter ‘Ragasudha’ of my book, Sangita Svararaga Sudha, I have furnished 36 popular Ragas in symbolized notation and in different tracks of segments and this book is also supplied along with a pre-recorded mp3 CD in which I myself sang all these Ragas to make it helpful to all our aspirants.

Even for becoming able to render all the Sangathis in Ragalapana, the aspirants must practice all the Saralee-svaras, Plain-janta-svaras (of 2-notes, 3-notes, 4-notes and so on), Gamaka-janta-svaras, Daatu-svaras, Vareeka-svaras, Sphurita-svaras and Alankaras, all avoiding the longer-notes, in all the 32-non-vivadi Melas, Krama-sampoorna-ragas, Shadava-ragas and Audava-ragas that too in 2 octaves between Mandra-panchama and Taara-panchama and also in different speeds of Metronome, gradually and periodically increasing their speed in a phased manner.

While teaching only the prescribed items of the syllabus comes under quantitative teaching, all the above comes under qualitative teaching. After my retirement in 1996, I have found all these successful novel methods in teaching and given either Lecture-demonstrations of 3 to 4 hrs or work-shops of 2 to 3 days in all the 14 Govt. Music Colleges in our State and nearly in 10 to 15 music-departments of various Universities like Madras, Bangalore, Mysore, Madurai, Hyderabad etc., only to find that more than 90% of the respective teachers are not willing even to learn them or continue to teach them to their students and only 5% of the teachers are using themselves but not teaching them to their students. So, now I have decided, possibly not to conduct either Lecture-demonstrations or workshops hereafter in any of these Music institutions or music-departments, unless the respective teachers give it in writing that they will propagate them by regularly teaching them to their students and also allow me for periodical supervision. Due to this quantitative teaching in all these institutions all the students of them are getting only number of certificates but not the quality of art at all by which many of them are afraid to take this music-teaching as profession and the candidates left without any other alternative are facing a lot due to their incapacities successfully thrust upon them by their teachers. Even the plight of the aspirants who are compelled to learn from freelance teachers
who are squeezing huge amounts and wantonly elongating the process of quantitative-teaching by teaching only a number of Varnas or compositions of different composers but not of the qualitative-teaching of Svarakalpana or Ragalapana of Manodharma at all, cannot be described in the absence of any yardstick either to assess the level of teaching of the teacher or to assess the level of the art the aspirant acquired in course of learning from him. There is no guarantee even the direct disciple or a close relative of a veteran musician ensures efficient teaching of Svarakalpana or Ragalapana within a short span of 2 or 3 years. If the teacher is efficient enough to honestly and sincerely teach the aspirant without elongating the process of teaching he must be able to finish all the above 9 Varnas and one Svarajati within a maximum duration of only one year enabling the aspirant proceed with Kritis mostly on his own. Who ever does not do so obviously proves himself an inefficient and money squeezing teacher.

Any questions from the readers are welcome and I am always open to any rational discussion in this respect. amsharma

manjunath
Posts: 30
Joined: 10 Nov 2007, 13:13

Post by manjunath »

Akellaji,

You seems to be financially well off. Classical Musicians are struggling for thier life without proper support from people and recognition from governments. Those who are trying to sacrifice their life for music and culture are today begging for better life . I suggest, not to disrespect the teachers. from your postings i notice always, you disrespect teachers and try to tell the world that you are the only good teacher available in music. If you really want to serve the music,you better fight with the govenments and get reasonable respect and recognition for Teachers so that they can happily teach and encourage children. Meet the teachers and find out their problem instead of writing bad about teachers. People can talk or write anything easily but no one will come at risk. If wealthy Teachers like you are not enough patient to bring up talented kids like Vinayrahul. Poor teachers what they can do? Please try to encourage children and develop respect and interest in children towards classical forms of arts so that it can be priserved for future generations. If teachers start discuraging the students with individual rules and methods , i do not think many will opt for classical arts. Call all the top musicians in the country and ask them to approve only your books and methods for carnatic music. so that all teachers will follow your books and methods and teach. What is the use of a knowledgeable teacher if he cant bring up patiently one talented kid and show the world what a talent means? please do not write or talk about teachers. you can tell every one that this method is good and I wrote it.

msakella
Posts: 2127
Joined: 30 Sep 2006, 21:16

Post by msakella »

Dear brother-member, manjunath, At the outset I am very highly grateful and thankful for having posted 11 points coming out open lovingly crticising my writings upon teachers and their teachings. I always appreciate this kind of open-ness and rational criticism for the betterment of our bahaviour and standards. I shall again thank you heartily and hope you will give me oppurtunity to justify my actions hererunder in detail point by point.

>01. "You seem to be financially well off."

I am not a poor man and at the same time I am also not a wealthy man. I hope I am of the lower middle class. I welcome anybody to verify my bank accounts and very little assets and declare my stand. In fact, only by the grace of the Almighty I am content and my needs are very less. I do not have even the habit of taking either coffee or tea at any time. I do not go to hotel even once in a year except in journeys. I do not go to see a picure in cinema-hall even once in a year. Last picture I saw in a cinema-hall was nearly more than 20 years back. I can’t attend to any new paper or any TV programme for more than 10 mts., as, I feel, that there always is much more than what I already did to the common aspirant of music.

Even at this age of 70, I daily get up around 2 am if I have heavy work to attend or at 4-30 am with an alarm to start my day. Except a little milk I don’t take any breakfast but lunch around 9-30 am. Later I rest for not more than half-an-hour but not sleep. Take little snacks around 3 pm and supper before 7-30 pm. Mostly remain working for music or teaching music or listening to music and go to bed before 9 pm. But, I am well satisfied with what I have been blessed by him and I can very well tell that I have been blessed by him with far more than what I deserve.

>02. "Classical Musicians are struggling for their life without proper support from people and recognition from governments. Those who are trying to sacrifice their life for music and culture are today begging for better life."

I cannot fully agree with you in this respect. Struggling for their life depends both upon their fate and deeds. Of course, we cannot see the Fate and modify. But, we can self-govern our deeds minimising our needs. Any honest and sincere person will get every support and recognition from the people though not from the Government as it is full of indisciplined fanatics and lunatics. But, you will become embarassed if you expect recognition with a Gajaarohanam (/Ajaarohanam) or Kanakaabhishekam (/Shunakaabhishekam) or Padmashree etc., or Sangitakalanidhi or Top-grade or Bharataratna or a Nobel-prize or a series of your concerts everywhere offering you huge amounts to enable you purchase a house or a car etc.

But, the teachers who are well off getting their salaries regularly from their departments are only teaching the items of the syllabus to these psople under quantitative-teaching but not the mostly needed Svarakalpana or Ragalapana under qualitative-teaching. To educate all the teachers in all the 13 Govt. Music Colleges in our State in this qualitative-teaching I have visited every institution once in every 2 months and for 2 years conducting 2-day workshops every time to all the students and teachers without expecting even a single-pie as remuneration. Also I did the same in the music departments of the Universities in Hyderabad, Vishakhapatnam, Madras, Kalakshetra, Madurai, Bangalore, Mysore etc. But, many of those teachers are not ready even to attend the classes even by an office-oder or not willing to learn anything new to pass on to their students even for their betterment in the absence of any supervison.

Insincere, dishonest, unloyal, inefficient people naturally struggle for life for their deeds. But the teachers or artists getting their regular salaries or the so called stalwarts earning a lot from the public must feel more dutiful and serve the society properly, honestly and sincerely than others who are struggling for life. How many of them are doing so, how many of them are ready to do so and how many of them openly delare and give it in writing to do so?

>03. "I suggest, not to disrespect the teachers. from your postings I notice always, you disrespect teachers and try to tell the world that you are the only good teacher available in music."

Being my-self a teacher I never want to disrespect any honest and sincere teacher. How can I do that??? But, at the same time I can never spare any dishonest or insincere teacher as the teaching profession itself is the only noblest among all. I never want to tell the world that I am the only good teacher. Public are not fools not to differenciate the bad or good. And, more over, I don’t expect anything in turn from the society except its well being. Long long ago I openly declared not to honour me with any award or title or money or anything and blankly refused even to be honoured with thousands of Rupees. I work self-less only for the society and condemn any bad at any time.

>04. "If you really want to serve the music, you better fight with the govenments and get reasonable respect and recognition for Teachers so that they can happily teach and encourage children."

Anybody can visit Hyderabad and practically see in which way I have extensively been working hard day and night, at this age of 70, to serve our young aspirants and music even without expecting any monetory benefit at all. While almost all the salaried teachers or the professional musicians are eagerly ready to receive any award or honour from the Government or even a class IV organisation without sincerely working for the young generation or music, shall I fight alone with the Governments filled with most highly indisciplined fanatics and lunatics to get reasonable respect and recognition for all these insincere, dishonest and most selfish teachers so that they can very very happily continue their usual quantitative-teaching and highly encourage our children by teaching them only a number of Varnas and compositions but not any Svarakalpana or Ragalapana.

>05. "Meet the teachers and find out their problem instead of writing bad about teachers. People can talk or write anything easily but no one will come at risk."

All the selfish-teachers getting their regular salaries and the selfish-professionals working only for their fame and money are the sole cause for all these problems now our aspirants are facing. There is no one among them to strive hard for these young aspirants. Please go and visit <youtube.com/msakella> not to find my greatness but to find the talent of our small kids efficiently rendering many intricacies of Svarakalpana and young Violinists playing difficult techniques on their instruments and please name some teachers who efficiently and successfully tapped out such talent and produced such able aspirants. How many teachers are giving qualitative-teaching? None. More over, nobody is ready even to know about them or follow but they always expect people honour them irrespective of their inabilties.

Only by God’s grace, as I am self-less, I am able to speak out all these irregularities and indisciplines. For example, is ever there any Sabha or Association of artists or teachers where the methods of teaching music are discussed for the betterment of our kids in keeping our great art and culture in tact. Mostly there are only bad teachers following only the quantitative-teaching by teaching a number of Varnas or compositioins like Pancharatnas or Panchalingasthala-kritis or Navaratna-kritis or Navaavarana-kritis or Navagraha-kritis etc., etc., etc., to their aspirants but not a little Svarakalpana or Ragalapana to sing on their own. Even then shall I have to call them good teachers?!!! Having experienced the fantastic results in the talented students very few are learning and following these novel methods. How many other teachers are ready to do the same even after finding the successful results? In turn many are ready only to oppose.

>06. "If wealthy Teachers like you are not enough patient to bring up talented kids like Vinay Rahul. Poor teachers what they can do? "

At the first instance, I am not that wealthy like you think. In the name of the Almighty, in which way I ever do all the things sincerely, honestly and self-lessly, I did the maximum in his respect also which can never be done by any other musician upon earth as no other can neither do the things like me nor properly understands me. Moreover, I am answerable only to the Almighty but not to anybody else. I never want to blame the poor teachers who have been struggling hard for their survival with the very little art they received from the so-called and well-established professionals or teachers or stalwarts. I always talk about this well-established professionals or teachers or stalwarts who have become para-sites of the society.

>07. "Please try to encourage children and develop respect and interest in children towards classical forms of arts so that it can be preserved for future generations. "

This is what for I have extensively been working along with my sincere friends and art-lovers. For this purpose only some of friends are working in the process of establishing AMS Foundation’ but not to earn fame or money or recognition.

>08. "If teachers start discouraging the students with individual rules and methods, I do not think many will opt for classical arts. "

The rules or methods which really benefit the talented should only be called true rules or methods but not others. Only basing upon the results everybody will opt for but not on the individuals fame.

>09. "Call all the top musicians in the country and ask them to approve only your books and methods for Carnatic music. So that all teachers will follow your books and methods and teach."

I did never write even a single word of my books with any selfish motive at all. I am a ‘Varaprasaadi’ and HE Himself had given me everything what I have and HE Himself spread my name all over the globe like in "Daasharadhee Nee Runamu Deerpa Naataramaa"

Sathej
Posts: 586
Joined: 03 Feb 2010, 00:23

Post by Sathej »

msakella wrote: All the top brass of our music are very busily engaged in their selfish-acts but not to serve the cause of music without any selfish motive
While the intent behind this series of posts is highly praiseworthy, statements like these could perhaps be avoided. To me, they seem like sweeping generalizations without sufficient credentials.

Sathej
Last edited by Sathej on 05 May 2009, 12:13, edited 1 time in total.

srikant1987
Posts: 2246
Joined: 10 Jun 2007, 12:23

Post by srikant1987 »

Absolutely!

While it may be easy to say "all the top brass" are so and so, few will have the nerve to name one top brass and say they're that way.

And ironically, it's more "politically correct" to not name too.

msakella
Posts: 2127
Joined: 30 Sep 2006, 21:16

Post by msakella »

I have been driven to write all those things in that manner and I too feel very bad for the same. There is nothing wrong in earning money until the ethics are strictly maintained by the person. In our Indian culture the husband or Guru are held up very high even more than parents. Taking that advantage and also in the absence of any yardstick to assess the teaching abilities of any teacher or to assess the value of the music lesson being imparted to the aspirant or to assess the standard the aspirant is acquiring while learning it, I feel very bad to take something either from the aspirant or his parents unless I am able to deliver the goods proportionately and properly. That is why I never charge anything not only from my disciples who learn from me regularly but also even from others who approach me occassionally to learn something from me. Of course, I do not refuse if they give me something for my service as I am not wealthy enough but I do never charge even tens of rupees per sitting or standing or lying or running.
Moreover, I have enjoyed the music-field enough either as a music teacher or a professional Violinist or a non-professional Vocalist. After having enjoyed enough should I not make a gracefull exit putting an end to all this enjoyment and earning, become content with the pension I regularly get, and gratefully serve the society from which I have acquired everything what I presently have. Only by the grace of the Almighty I was able to think on these lines and also to practically do things accordingly by giving away the concert-life of All India Radio, Television and private organisations and undertaking the teaching as a mission of my remaining life. The Alimighty had blessed me with such bent of mental ability, physical ability, fanancial ability and scope to properly and efficiently serve our society.
In fact, I am far more junior and very little than many of our senior stalwarts. But, how many of them are doing like me even though they are very great than me in many aspects. As I am practically out of the concert-field on my own without expecting anything from any other person and also as I am truthfully serving the cause of music I am able to bring all these trade-secrets out and people are bearing with my sharp-pen though arrogant. Of course, I have all my evidences in generalising these truths though bitter.
Bygones are bygones, it seems there are no questions to ask me about these easy methods????? amsharma

rajeshnat
Posts: 9906
Joined: 03 Feb 2010, 08:04

Post by rajeshnat »

msakella
All your posts especially long ones require empty lines or blank spaces so that it is easy for reading . While reading your post #66, without paragraph empty spaces it was very difficult to read sir, could you please correct it sir.

msakella
Posts: 2127
Joined: 30 Sep 2006, 21:16

Post by msakella »

Dear brother-member, rajeshnat, I am a little musician (of course, not a magician). Very little educated. Not acquainted with many things like many of you highly intellectual elite. In 1998, when I had been to Singapore to act as a Music examiner for the Singapore Indian Fine Arts Society they asked me for a detailed report. Being also a typist I have asked them to provide a typye-machine to enable me type that report. They told me that all the type-writing machines in their country have been replaced with computers and provided a person along with a computer to type. It was over. They have also asked me to work as the Principal of that Music College and, in principle, me too agreed. If I have to work there I must learn computer to put the things right. That’s why I was compelled to learn this computer later. Later, they did not ask me again as it has been destined to make me write 5 monumental books on music of its own kind with the help of this computer. This is the episode with my computer-wife with which I am unable to become well versed at this old age forgetting many things at a time. While typing these posts, even though I do the needful punctuation etc., this machine is not co-operating with me like an adament wife. What can I do? More over, adding fuel to the fire, even in the ‘Edit’ mode, even this forum’s system is not allowing me to make any modifications in spite of my complaints. Just in which way I am compelled to come across one apswara or the other from a ‘suswara’ not only myself but others also like you have to bear with this. However, I shall try to do the needful. Thank you for your kind observation and to keep me cautious. amsharma

<mod note: In post #66, We have inserted blank lines between points and in a few other places and changed formatting a little bit for readability purposes>

manjunath
Posts: 30
Joined: 10 Nov 2007, 13:13

Post by manjunath »

Akellaji,

Do not generalise the teachers. Every musician or teacher has his one fate. Every musiican has his personal life and habits and that is not the answere I was expecting. Whether these poor teachers charge more or less they are trying to teach and encourage the children upto some extent. In hundres atleast two or three children will become seriouse musicicans and rest wiil get some interest in classical forms so that music will continue to live on this earth. If intrest is lost who will come and enjoy the music. Without music lovers/rasikas there is no life for muisc. These sincere musicians will preserve the music through support of rasikas . Tell me one single post from all of yours , where not spoken negative about the teacheres. Anyway let god only see your acts. But please leave the teachers.

msakella
Posts: 2127
Joined: 30 Sep 2006, 21:16

Post by msakella »

Dear brother-member, manjunath, I never talk and even nobody should talk about the poor teachers who have been taught very little by quantitative-teaching of their respective teachers and who have been struggling for survival earning very little and are unable to increase their earnings as there is no scope of making qualitative-teaching and improve the standards of their students to demand more. I always talk about the musicians getting regular salaries or incomes as Teachers, Lecturers, Professors, Head of the departments, Staff-artists and A / Top-grade artists etc., etc., but regularly teaching many students by quantitative-teaching only but not by qualitative-teaching at all to maintain standards in the absence of any yardstick to assess the standard of the teacher or to assess the standard of the lesson imparted by the teacher or the standard acquired by the aspirant in music. As I am very well aware of the ins and outs of this music-teaching more than many of the musicians or commoners and also as a person striving hard to inculcate good standards in music among the kids even without any selfish motive, I always harp on qualitative-teaching by imparting music with high standards and expect the same from all these musicians as we are acquiring everything from this society and, in turn, I feel, it is our responsibility to gratefully, sincerely and honestly serve the society. If any music-teacher treats my acts positively, transforms himself as an efficient music-teacher and serve the society sincerely and honestly the society will be benefitted or if negatively, he becomes able to add some more fuel to the fire as is being done now by many of the musicians. I always feel that the Almighty is making me do things and I am not doing as I am nowhere and HE is everywhere. amsharma

Rasika911
Posts: 521
Joined: 09 Mar 2009, 06:11

Post by Rasika911 »

Stop being so arrogant, you have contributed via the world wide web and i dont think anybody doubts that but stop being so bitter. Your teaching methods are highly controversial and while they might be effective i doubt people will embrace it also, some people like to learn music the old fashioned way.
PLEASEEEEEEEEEEEEEEEE DEAR BROTHER-MEMBER, MSAKELLA, DONT START EVERY POST LIKE THIS.

msakella
Posts: 2127
Joined: 30 Sep 2006, 21:16

Post by msakella »

Dear brother-member, Rasika911, Any novel method than the usual is always controversial and many people may not like it to follow in the beginning having many doubts about it. OK, the people who like to learn music only in the old fashioned way can very well learn a number of Varnas and Kritis for many years but not any Svarakalpana or Ragalapana in the elongated process of quantitative-teaching wasting much of their time, money and energy. In which way some people may not like my novel methods in music, in the same way some people may also relish my bitter truth and relevant arrogancy pertaining to the facts and figures. Why not?
I always want to be courteous enough unless I have been driven to become bitter and arrogant by biased and insensible people.

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