AMS Easy Methods 2007 CD - Teaching and Learning Methods

To teach and learn Indian classical music
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eesha
Posts: 366
Joined: 30 Apr 2009, 23:15

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by eesha »

@suhasm :

The total size of AMS collection is around 1 GB. Trying to download 1 GB at a stretch is prone to failures unless we do it as a torrent download

The solution that I will provide will allow a set of files totaling to say, 50 MB, at a time so that recovery from download failure is easier

On your other query, there may be people who might be regularly downloading all the concerts, though I dont know who they are.

sangeethapriya founder , Srini, has the entire collection and he may send you a copy for a small donation to sangeethapriya plus costs of hard disk + shipping. He can ship within USA & Canada only

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Today two respective videos pertaining to the Purvanga and Uttaranga of Vanajakshi-Kalyani-Adi-Varna sung @ 4, 6 & 8-units per beat by 8 year old Sankeerthana are uploaded to ‘AMS-Kids’ Singing or Playing Varnas’ of ‘http://youtube.com/user/msakella’ for the benefit of the aspirants. amsharma

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Dear all, Previously I have uploaded 3-video-files pertaining to AMS-Kids’Rhythms to ‘youtube.com/user/msakella’. But, later, as evolution takes its own process, it is felt to modify the same for the benefit of our kids in getting more rhythmical abilities even right from their early age. In this process, now, 13-videos pertaining to Khanda-gati, 13-videos pertaining to Divyasankeerna-gati (double-duration of Trisra-gati) and 12-videos pertaining to Mishrasankeerna-gati (double-duration of Chaturashra-gati) are uploaded today to the same site. The respective parents can expose their kids even right from their first years of age to the videos of Mishrasankeerna-gati of 8-units at the first instance and later to the videos of Divyasankeerna-gati and Khanda-gati for better results. The relevant URLs are also furnished hereunder. amsharma

Groups of 5-units pertaining to Khanda-gati:
http://youtu.be/3ebBB3rdhL0
http://youtu.be/0wo4VviUMbQ
http://youtu.be/0nRByk2Jsgs
http://youtu.be/jdAYx3l41gc
http://youtu.be/GslNlVeCIqE
http://youtu.be/GslNlVeCIqE
http://youtu.be/PPkL635oSOU
http://youtu.be/AeANK72QViE
http://youtu.be/Mielzn2aGfg
http://youtu.be/Y6PVm81RNhg
http://youtu.be/fyCOC1xpFXE
http://youtu.be/sJuW3ni3bK0
http://youtu.be/YdLq7tXhT8I

Groups of 6-units pertaining to Divyasankeerna-gati:
http://youtu.be/SwL3Si_EIqs
http://youtu.be/SD8ZPs5JPvo
http://youtu.be/i0CRrLFMW5A
http://youtu.be/TJhwdAQJQRY
http://youtu.be/yLHWml4zG1A
http://youtu.be/Q__oVbk4y2E
http://youtu.be/0dBq1Dd8A0E
http://youtu.be/pNK_pQ072Hs
http://youtu.be/e45glzD6Ylk
http://youtu.be/FM4VS6_x40A
http://youtu.be/H1YcdYnHlR8
http://youtu.be/FP1-QxCXGqM
http://youtu.be/uYDBeaLBOaM

Groups of 8-units pertaining to Mishrasankeerna-gati:
http://youtu.be/j_meazaA0tc
http://youtu.be/7pOxalpioYk
http://youtu.be/zm2flOyY3Bg
http://youtu.be/ANG4jsUEZiM
http://youtu.be/MxzFV1CgWGI
http://youtu.be/Ogzki06Wm1c
http://youtu.be/9XFrMgddyfk
http://youtu.be/JlDbwjzttt4
http://youtu.be/CxufNYTQJM0
http://youtu.be/BvtbXNldbXI
http://youtu.be/rAUFOhQlHX4
http://youtu.be/HVQzzeQzADA

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

The details of the videos of the previous post are furnished hereunder in a tabular form to be helpful to the aspirants. amsharma


Serial-number 5-units 6-units 8-units
01. L - R - R L L - R R - L - R - L - R -
02. R - L - L L R - R L - R - L - R - L -
03. R R L - L L L R L L R L - R - L L R -
04. R L L R - R R L R R L L - R R L L R -
05. L - R L R L R R L R R L L R R L L R -
06. L R L R - L L L R R R L R L R L R L -
07. R R L L - R R R L L L R L L R - L L -
08. L L R R - L R - L R - R R L - L R – L
09. R L L R - R L - R L - L R L R L L R -
10. R R R L - R L - L L - R L R L R R L -
11. L R L L R L R - R R - R R L L R R L -
12. L R L R R L R L R L R L R L R L R L R
13. L R L R L- R L R L R - R L R L R L

While ‘L’ indicates the left-hand beat, ‘R’ indicates the right-hand beat and ‘-‘ indicates the gap of 1-unit.

vasanthakokilam
Posts: 10956
Joined: 03 Feb 2010, 00:01

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by vasanthakokilam »

On behalf of Akellaji, I am posting the above info in a table format.
Image

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Dear brother-member, vasanthakokilam, Thanks a lot. amsharma

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Today two respective videos pertaining to the Purvanga and Uttaranga of Samininne-Shankarabharana-Adi-Varna sung @ 4, 6 & 8-units per beat by 8 year old Sankeerthana are uploaded to ‘AMS-Kids’ Singing or Playing Varnas’ of ‘youtube.com/user/msakella’ for the benefit of the aspirants.

As far as my knowledge goes, I did never find any music-teacher who efficiently initiates his/her disciples sing both the Purvanga and Uttaranga of all the Varnas they have learnt @ 4, 6 & 8-units. In maintaining higher standards even none of our so called stalwarts ever insisted upon following this without any exception or compromise as none of them are not teachers but performers only. Had they did it the entire scenario of our Great Karnataka-music would have been much different. Only after five years after my successful retirement as Lecturer and Principal I could find the importance of it and formulated different rhythmical exercises for the kids to arrive at that destination. Thus, in this modern method of teaching music, now, in our music-institutions being developed in these twin-cities of Hyderabad & Secunderabad each and every student who finishes off learning 9 Varnas (8-Adi-tala- varnas and 1-Ata-tala-varna) becomes able to render both the Purvanga and Uttaranga of each Varna of them sing @ 4, 6 & 8-units successfully and efficiently. amsharma

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

A true teacher always tries to strengthen his disciple both in the Shruti and Laya aspects. Among them as Shruti gives Rakti and Laya gives Shakti to the aspirant Laya is more important in instilling confidence into the aspirant than Shruti.

That is why our ancestors prescribed 5 gatis among which while there is only one even-gati of Chaturashra(4) there are four odd-gatis, Trisra(3), Khanda(5), Mishra(7) and Sankeerana(9), obviously bringing out the importance of the odd-gatis. That is why, along with the single even-gati Chaturashra, it is very important to train the aspirants even in the least odd-gati, Trisra to make him/her able to manage with both the even and odd-gatis. But, as most of these music-teachers themselves are unable to manage with this least odd-gati, Trisra they not only prefer to teach singing either the Alankaras or Varnas in this Trsira-gati to their disciples but also discourage them their level best in doing so. Even in the Music colleges or in the Music Departments of the Universities, being one of the members of the Board of Studies, even though I have insisted upon and included this in the syllabus itself, none of the teachers are teaching them but, some how, are conniving with the Examiners to skip this off in the examinations. That is why, from all these institutions, in the absence of any academic supervision, many of the aspirants are successfully getting only the Certificates of Diploma or BA or MA or M.Phil or Ph.D in music but becoming impotents in managing with the Mridangam. Basically, being a Mridangist, I have realized this only after five years after my retirement and, sincerely, doing the needful in this respect successfully. I very well know that all our music-teachers prefer only to profusely abuse me in respect of bringing out this fact to the notice of one all than following me.

Today I have added three more videos to the playlist ‘AMS-Kids’ Singing or Playing Varnas & Kritis’ of ‘youtube.com/user/msakella’ in which two Kids (Tattva Prakasika) sang both the Purvanga & Uttaranga @ 4-6-8 Kriyas per each Kriya of three Varnas in the Ragas Natakuranji, Kambhoji & Darbar for the benefit of the aspirants. Later other Varnas follow. amsharma

VRV
Posts: 151
Joined: 04 Feb 2010, 19:03

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by VRV »

Akella garu,

My name is Vinod Venkataraman. I would like to get in touch with you. I do not use YIM. Please email me your phone number and email address. You can send email to v.r@mac.com.

Regards,

Vinod

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Dear brother-member, VRV, Today I have sent the required details to your email address. You are welcome to contact me at any time. amsharma

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

In our so called Gurukulas the Gurus were the highly popular performers giving hundreds of their concerts. Mostly they were used to travel more in attending their concerts to different places and, thus, remaining in their home town for a very few days only in a month. In those few days whenever and whatever they sing/play was treated as a music-lesson to the inmates of that Gurukula.

Nearly 50 years back, prior to the invention and introduction of the tape-recorder, the aspirants were compelled to rely upon the teacher or the inmates or the local concerts only either to listen to the music or to correct their lessons learnt. Thus, for more than 10 or 20 or even 30 years the process of learning music was going on and always singing/playing the compositions itself has been treated as teaching music but not defining the technicalities of it. Thus, since many centuries, elongating the process of teaching music by singing/playing all the kinds compositions has become handy to all the music-teachers to squeeze more money from the aspirants and, even now, they all prefer to utilize the modern technology only to spread their tentacles all over the globe by Skype to earn more money but not to find ways in utilizing the same in making the process truthfully ‘time-bound and result-oriented’ to the poor aspirant.

The teacher of driving a motor-cycle must sit on the pillion, make the learner sit in the driver’s seat and initiate him/her to drive the machine explaining the hand or leg operations. In the same manner the mother, sitting in a chair, must initiate her daughter to do things while teaching her the process of cooking. The same thing applies to music also as all these are performance oriented arts. However, the balancing while riding an ordinary cycle or the inter-relation of the accelerator and the clutch in a motor-cycle could never be defined in words but only be felt by the learner. In the same manner, even in music, the teacher must initiate the aspirant sing the lesson on his/her own but the aspirant must himself/herself feel the music.

Even though many of the inefficient music-teachers hesitate to agree with me I, as a Mridangist and teacher of Vocal and Violin, have made umpteen experiments on a number of students and they all ultimately revealed that it requires a particular level of instinctive-rhythm which could be manageable not only with the Chaturashra-gati but also with the Trisra-gati to perform the classical music efficiently. That is why I always initiate all my students to sing/play all the compositions they have learnt up to Varnas @ 4-6-8 notes per each Kriya of the Tala and each and every music-teacher must follow this in the high interests of our kids.

In this novel process of qualitative method of teaching music in which the process is very strictly made ‘time-bound & result-oriented’ while the teacher’s role is less than 10% the aspirant’s role is more than 90%. To make the aspirants work hard on their own even in the absence of the teacher they are initiated to work basing upon the notational documents of the compositions along with the respective audio-files and video-files. Even though the conservatives do not prefer pre-recorded music it has been proved that hard work of the aspirants relying more upon the Casio and respective audio and video files will only help them a lot in their quick progress. In the same manner, another twins, Chis. Havisha and Vihisha, residents of USA are learning music from me since 25-10-2012 by attending the classes twice a week by Skype. Many may not even believe me if I write that I did never sing in any of these classes for more than a couple of minutes. Now, five videos of these twins are uploaded to Youtube and the respective URLs are also furnished hereunder for the benefit of the aspirants. amsharma

02-10-2013: Havisha & Vihisha singing Chalamela-Natakuranji-Adi-Varna @ 4-6-8:
http://youtu.be/IGzU-1qHg80

02-10-2013: Havisha & Vihisha singing Taruni-Kambhoji-Adi-Varna @ 4-6-8:
http://youtu.be/sCdgb8xLOns

11-10-2013: Havisha & Vihisha singing Chalamela-Darbar-Adi-Varna@ 4-6-8:
http://youtu.be/IDZQrK7ZBg0

19-10-2013: Havisha & Vihisha singing Samininne-Shankarabharanam-Adi-Varna @ 4-6-8:
http://youtu.be/yeKBOj85Gfg

27-10-2013: Havisha & Vihisha singing Vanajaakshi-Kalyani-Adi-Varna @ 4-6-8:
http://youtu.be/Zt4kqTwAbH0

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

For the benefit of the aspirants the following videos are uploaded to the respective playlists of ‘youtube.com/user/msakella’. amsharma

AMS-Kids’ rendering Jatis & Svaras:
9 years old Bhavana-Ata-jati-alankara @ 1, 2, 3, 4-units in 1+2+3+4=10 Avartas respectively rendered on 2-5-10 at Bangalore
9 years old Bhavana-Dhruva-Jati alankara @ 1, 2, 3, 4, 6, 8-units rendered on 2-5-10 at Bangalore
6 years old Adithi-Ata-jati-alankara @ 1, 2, 3, 4-units in 1+2+3+4=10 Avartas respectively rendered on 2-5-10 at Bangalore
6 years old Adithi-Dhruva-Jati alankara @ 1, 2, 3, 4, 6, 8-units rendered on 2-5-10 at Bangalore

AMS-Special-laya-exercises:
SLE-01-1-Eka-tala-jati-alankara-Eka-kala with two hands
SLE-01-2-Rupaka-tala-jati-alankara-Eka-kala with two hands
SLE-01-3-Mathya-tala-jati-alankara-Eka-kala with two hands
SLE-01-4-Dhruva-tala-jati-alankara-Eka-kala with two hands
SLE-01-5-Jhampa-tala-jati-alankara-Eka-kala with two hands
SLE-01-6-Ata-tala-jati-alankara-Eka-kala with two hands
SLE-01-7-Triputa-tala-jati-alankara-Eka-kala with two hands

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

The Guru and the Manodharma-sangita are the two very important words which all our musicians always like to harp on.

Guru:
This is a very sacred word which, I feel, nowadays, suits to Adhyaatmika-vidya only but not to any other subjects as the respective teachers of other subjects are used to fulfill their personal gains only but not their duties or responsibilities. But, as our musicians very seriously feel to enjoy this high level of life they are always used to fabricate everything around it.

Having interacted with many Gurus since so many years in music, having even myself acted as a teacher (cheater) for many years working in the Govt. Music institutions of Andhra Pradesh and, at last, having experimented in so many ways, only by the grace of the Almighty, I have found out many incredible facts in the methods in teaching our music. When we have successfully implemented them we have found amazing end-results and thus the process of learning music is quickened to the maximum duration of 5 years. By all this it helped me to have my own logical and rational views in respect of our music-teachers or Gurus which most of these teachers may not agree with me.

In our Indianity while mother naturally occupies the highest place in the universe Adhyaatmika-gurus were also kept at higher level even than the father or mother or even the Almighty. But, in respect of our music, what are the duties and responsibilities of a Guru and to how much extent they are truthfully fulfilled by these so called Gurus is a million-dollar question which no music-teacher comes out to honestly answer.

Anywhere the teachers must strive hard to fulfill the needs of their students and then only they can claim to be honest and sincere teachers. In general, many aspirants are able to reproduce a cine-song very efficiently by merely listening to it many a time from a pre-recorded CD and even without the help of any teacher. This obviously reveals that learning music doesn’t necessarily need a teacher at all. But, the aspirant needs a singer to facilitate him/her listen to the song many a time. The aspirant’s dependency starts from this basic level and the Guru, naturally takes the advantage of exploiting this. Thus, on one hand while the music is the only invisible and independent fine-art in making it very problematic to learn, the Guru has become a must to rely upon for listening to the music on the other. More over, adding fuel to the fire, while selecting a teacher no aspirant or his/her parents have any yardstick either to assess the expertise of a teacher or to assess the level of the lesson taught or even to assess the level of knowledge the aspirant himself/herself attains by learning the lesson. By all this the aspirant is compelled to depend upon the teacher. But, nowadays, due to the plentiful availability of the modern gadgets like ipods or mp3 players etc., the aspirants are able to depend far more on these gadgets than their teacher. Thus, getting the needed help in the form of notated books, pre-recorded CDs or Videos etc., the teacher’s role has already been reduced to a guide even though teachers are not ready to accept this. That is why, every musician possibly discourages the aspirants to use these gadgets and no musician comes forward to even bring out such books with notated compositions along with pre-recorded CDs containing the same compositions sung in the same notation lest the teacher looses his/her grip over the aspirant. In many music-institutions and departments many teachers have even openly expressed that their students may not attend the institutions regularly by supplying such material by which they may have to loose their jobs. That is why, while there are text books for all the subjects in all the educational institutions, no texts books are ever supplied or even prepared either for theory of practicals in any of these music-institutions or departments (that is why I strived very hard and brought out such text books for both theory and practicals in respect of the Certificate & Diploma examinations in our State). Such text books are supplied only in respect of the candidates of ‘distance education in music’ only to earn money. If every teacher strives hard to provide all the items to be taught in the form of a notated book along with CDs it helps a lot to the kids. But, how many teachers are honestly doing it? If they won’t do this how can they claim themselves to be honest and sincere teachers? Here, at Secunderabad, we supply most of the material on the first day of learning the lesson in our institution, Swarabhangima and it is left to the kid’s choice to eat as much and as quickly as he/she can and proceed further.

While purchasing or acquiring something everybody wishes to get the best quality of it at cheaper rate and at the earliest. In the same manner even in respect of giving the music-education to their kids all the parents prefer the best quality of it at cheaper rate and very fast. Even on 21-12-2013, in the discussion held at the Music Academy (http://rasikas.org/forums/viewtopic.php?f=2&t=22740), with the same idea of honestly and sincerely helping the poor kids and their parents, Shri Pappu Venugopalarao also dared to raise this very important and controversial point of reducing the duration of learning music to 3 years. But, even without taking it into congnisance, it was unanimously declared by the so called experts (?) that minimum duration of 15 years is needed for this purpose. Very sadly, in that great gathering there was not even a single person who suggested even to look into this important point even in the interest of our kids and their parents in saving their invaluable time, energy and money. Mostly keeping the loss in their personal gains in their view everybody in that meeting kept mum shamefully.

In the same manner, all our musicians, while openly praise Subbarama Dikshitar, on one hand, for having brought out symbolized notation in his ‘Sampradayapradarshini’, surprisingly, none of them ever provides such notated books along with CDs nor even tries to do something further in respect of symbolized notation for the benefit of our kids and the art.

Always efficiency, honesty and sincerity have their own place irrespective of the time and place. Here, at Secunderabad, several parents residing even at far off places are shifting their residences to nearby places to get admission to their kids into our music-institution, Swarabhangima. Presently, we have around 100 school-going kids and more than 30 of their mothers are also learning music in our institution. We have another 150 school-going kids in our 8 branches in this area. Our other branches also started in different places of our State and even in Chennai and Bangalore. This is the sign of the thumping success of our efficiency, honesty and sincerity and our music-institute is the only place for efficiency, honesty and sincerity. In fact, every honest and sincere teacher must support and follow this in the sole interest of our kids and their parents and the art. If not, this obviously reveals that there is not even a single honest and sincere teacher in entire Chennai.

In this speedy age, while every thing is quickened up by properly utilizing the modern facilities, our so called ‘Gurus’, aiming only in getting their personal gains, prefer only to cling to the age old, elongated and suicidal qualitative method in teaching a number of items only but without much of the needed grammar.

Recently, even web casting of the live concerts also started along with Lec-dems on musical appreciation. In respect of our music, while learning is the first level, the second level is exhibition of the art and the last is the appreciation. But, all our musicians are more interested in the last one only which helps for their self-aggrandisement. I have never even heard of holding any live discussions on the methods in learning music for the benefit of our poor kids.

Very importantly, while there must be only one logical method of teaching in the process of standardization, every music-teacher claims to have his/her own method of teaching and follows his/her own syllabus. Even though all these problems are bare facts no musician can even understand them as he/she is mostly of performer’s perspective. At the same time no music-teacher comes forward even to discuss them even in the interest of the aspirants.

For example, the teacher must initiate the person who is hungry to eat as much as he/she can. But, in this process the teacher also need not all along eat with him/her like our music-teacher who always sings himself/herself and ask the aspirant to follow him/her. In the same manner, even while teaching the driving of a motor-cycle the teacher, himself/herself sitting on the pillion and making the aspirant sit in the driver’s seat, must initiate the aspirant to drive while explaining him/her the application and operation of the constituent parts of the machine. After learning the driving the teacher doesn’t need to go along with him/her to different places. In this kind of performance-oriented subjects the process of teaching or learning also should be made performance-oriented and the teacher must act only as a guide and initiate the aspirant in doing things on his/her own and proceed further. Even though no music-teacher agrees with me, in my serious observation, I ultimately found that the abilities of the aspirant only play the important role in learning things while the teacher’s role is very limited.


Manodharma-sangita:
Since many centuries all our musicians have always been used to create a very high opinion in respect of our Manodharma Sangita and that it should be acquired by the aspirant only by hard work. In my extensive experiments I have found that this could also be learnt very easily and, in this way, they all have been used only to escape from the responsibility of inculcating the respective knowledge in the aspirants.

Having held even a workshop on Svarakalpana and Ragalapana for 6 days (daily from 7 am to 7 pm with one hour recess in-between) in Kerala (http://rasikas.org/forums/viewtopic.php?f=3&t=19085) in 2013 I have expected to listen to a plan to learn them even from the experts participated in the discussion held on Manodharma Sanigita in the Music Academy on 21-12-2013. But, I was utterly disappointed.

To tell the truth, Manodharma is very simply the natural ‘Dharma’ of any individual either in walking or running or talking or teaching or learning or laughing or bathing or drinking or eating or sleeping etc., etc. In respect of Sangita our people are used to call it Manodharma Sangita.

Always the Manodharma is a mixture of instinctive and acquired abilities of any individual in doing things. While we have instinctive abilities right from our birth we acquire some more abilities basing upon our choice and need by understanding and grasping things basing upon our mental and physical abilities learning from others like the teacher or family member or outsider.

In the process of my extensive experiments on several aspirants it was proved that basing upon the efficiency, honesty and sincerity of the teacher and basing upon the understanding, grasping and hard work of the aspirant these abilities may differ from person to person. In my experiments it was also found that the efficiency of the teacher also has much influence upon both the instinctive and acquired abilities of the aspirant.

By all the above it was made clear that the illusion created by all our musicians in respect of this Manodharma Sangita is absolutely incorrect and that it could also be taught and learnt but following an effective plan of an efficient teacher. amsharma
Last edited by msakella on 12 Apr 2014, 07:07, edited 2 times in total.

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Recently, our kids studying in our music-institute, Swarabhangima are invited to give a music concert of 2 ½ hours at Sadguru Sangita Sabha, Vijayawada on 30-11-2013. The respective link to the playlist containing the excerpts of 16 videos sung by our kids is furnished hereunder for the benefit of the aspirants and music lovers. amsharma

https://www.youtube.com/watch?v=trx68OB ... ddDwpAP1bK

01. Jati-alankaras @ 4 & 3.
02. 3-5-7.
03. 4-5-7.
04. 3-5-7 - Swaras.
05. Swara-alankaras @ 1-2-3-4-6-8.
06. Gita in Shuddha Saveri @ 2-3-4.
07. Eranapai-Todi-Adi-Varna @ 4-6-8.
08. Bits & Muktayis in Rupaka.
09. Bits & Muktayis in Khan-chapu.
10. Bits & Muktayis in Mishra-chapu.
11. Bits & Muktayis in Adi.
12. Sarojadalanetri-Shankarabharana-Adi with Kalpanaswaras.
13. Shankari shankuru-Saveri-Adi (Trisra-gati) with Kalpanaswaras.
14. Ammaravamma-Kalyani-Khanda-chapu with Kalpanaswaras.
15. Prakkalanilabadi-Kharaharapriya-Chapu with Kalpanaswaras.
16. Jnanamosagarada-Purvakalyani-Rupaka with Alapana & Kalpanaswaras.

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Today I have made a modification and 3 additions to the playlist of AMS-Special Laya Exercises in ‘youtube.com/user/msakella’ for the benefit of the aspirants as furnished hereunder. amsharma

Replaced SLE-06 (c)-Mishra-jati-groups in Chaturashra-gati-Adi-tala-Dvi-kala with two hands, added 3 videos - SLE-Pre.Ex.-01-4---4 & 3, SLE-Pre.Ex.-02-4---4 & 5 and SLE-Pre.Ex.-03-4---4 & 7.

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

MSAKELLA'S EASIER & FASTER METHODS IN GIVING MUSIC-EDUCATION TO OUR KIDS

Today 10 videos are uploaded to the play list, AMS-Inspiring instrumental music for kids of ‘youtube.com/user/msakella’ for the benefit of the kids to initiate them into music-education right from very early age.

As per Roger Sperry, winner of the Nobel Prize in 1981, among the four parts of the brain of any kid one part responds positively to music even from very early age.

As music is the only universal language of sound and softens the very nature of any person everybody likes to learn music to run a peaceful life. Right from the birth of any kid as the mother is the first teacher her role is far above than anybody else in giving a peaceful life by giving the music-education to her kid. In this process the truly interested mothers can initiate their kids on their own in giving music-education to their kids very easily implementing the instructions given hereunder.

--- Download the videos from the play lists, AMS-Inspiring instrumental music (10 videos), AMS-Rhythms for kids (38 videos), AMS-Rhythmelodies for kids (16 videos) from ‘youtube.com/user/msakella’.

--- In the play list, AMS-Inspiring instrumental music for kids, 5 videos are of Chaturashra-gati and another 5 videos are of Trisra-gati. Even right from the 3rd or 4th month the kid could be exposed to listen to this instrumental music daily two or three times @ 30 mts. or more each time. The Gati of music could also be changed in alternative weeks.

---In the play list, AMS-Rhythms for kids 12 videos (8-01 to 8-12) are of Chaturashra-gati, 13 videos (6-01 to 6-13) are of Trisra-gati and another 13 videos (5-01 to 5-13) are of Khanda-gati. As shown in the videos, two cane sticks and a plastic or wooden stool could be given to the kid and initiated to follow the videos of Chaturashra-gati serially. Basing upon the successful progress the kid could continue later with the videos of Trisra-gati and later with Khanda-gati also.

---In the play list, AMS-Rhythmelodies for kids 8 videos (01-01 to 01-08) are of Chaturashra-gati, 3 videos (2-01 to 2-03) are of Trisra-gati and 5 videos (3-01 to 3-05) are of Khanda-gati. Provide a ‘Casio’ machine having the facility of Metronome for the rhythmical support and Transpose for the selection of Shruti of the kid. At the first instance, the kid may be initiated only to play the Casio machine @ 120 bpm (beats-per-minute) speed of Metronome following the videos of Chaturashra-gati (8 nos.). Later, basing upon the successful progress the kid could be allowed to continue with the videos of Trisra-gati (3 nos.) and even with the videos of Khanda-gati (5 nos.).

--- Basing upon the successful progress the kid may also be initiated even to sing along with the built-in Metronome-speed of 120 bpm (beats-per-minute) and with the Shruti by operating the ‘Transpose’ suitably.

Mostly the parents should try to manage things on their own. If needed, basing upon the availability of the facility of internet they can contact my phone numbers (Land-line: 040-27054232 & Mobile-9908822992) or my Skype-address ‘msakella2002’ for the required guidance.

The videos from the play lists, AMS-Kids” rendering Jatis & Swaras and AMS-Kids” singing or playing Varnas and Kritis should also be downloaded and shown to the kids for their benefit. amsharma

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

To my 55th post in the sub-thread ‘Logical lapse in Manodharma Sangita Lec-dem in MA’ 50 years old Mr.Charles mcnulty from Paris (France) enthusiastically responded in his 56th post (with penname ‘cmcn’) and even spoke to me then and there by phone. Really I was moved by his enthusiasm and offered my guidance, if any. Thus, while attending the Skype-classes twice a week, being a foreigner, naturally, he is struggling to manage with the rhythmical intricacies even to maintain the Chaturashra-gati while rendering the Trisra-group of jatis.

In fact, till now, only such aspirants became my true teachers making me come down to their level in making them understand the things properly. Thus, in making him able to manage with these groups of Trisra (3), Khanda (5) and Mishra (7) in Chaturashra-gati, then and there I have formulated these three exercises (SLE-Pre.Ex.-01-4---4 & 3, SLE-Pre.Ex.-02-4---4 & 5 and SLE-Pre.Ex.-03-4---4 & 7) furnished in 390th post of this sub-thread and also making videos of them uploaded to “AMS-Special-laya-exercises’ of ‘youtube.com/user/msakella’ for his guidance. Due to old age, only lately I have realized that it is necessary to define them here for the benefit of other aspirants also. That is why, now, I am defining them hereunder.

As per the -
1st SLE-Pre.Ex.-01-4---4 & 3 - in the duration of 3-fours rendered with three-finger-counts of the right-hand (3x4=12 - along with the in-between beats of the left-hand) 4-threes (4x3=12) fit in,

the 2nd SLE-Pre.Ex.-02-4---4 & 5 - in the duration of 5-fours rendered with five-finger-counts of the right-hand (5x4=20 - along with the in-between beats of the left-hand) 4-fives (4x5=20) fit in and

the 3rd SLE-Pre.Ex.-03-4---4 & 7 - in the duration of 7-fours rendered with seven-finger-counts of the right-hand (7x4=28 - along with the in-between beats of the left-hand) 4-sevens (4x7=28) fit in. But, at the first instance, it is always desirable to practice them with the alternative beats of both the hands to properly manage with the rhythm. amsharma

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Yesterday, to make the matter in the previous post clearer to my student I have defined it in the following manner also. Interested aspirants can try this also for their benefit. amsharma

4 - 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 ||

7 - 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7 ||

5 - 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 ||

3 - 1 2 3 1 2 3 1 2 3 1 2 3 ||

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

On 20-04-2014, 9 years old kid, Chi. Rishabh Ranganathan (alias Nandikeshwaran) appeared for another competition held in Cleveland, USA and won the first prize in Violin. He also sang a 15 mts. concert and received good response from the audience. The respective URLs of ‘youtube’ are furnished hereunder.

Mamavasadajanani-Kanada-Rupaka at Cleveland competition-2014:
http://youtu.be/CRT9yiIsLe0

Upacharamujesevarunnarani-Bhairavi-Rupaka at Cleveland competition-2014:
http://youtu.be/iO4DuItVWlA

As per the details of his training he had started learning Vocal & Violin also from 14-10-2011, attending the classes weekly twice by Skype. Now, even before the completion of 3 years, on 27-12-2013, he gave a 45 mts. Violin-concert at Shri Parthasarathyswamy Sabha, Chennai and also became the USA Carnatic music idol in Vocal of his age group (visit http://youtu.be/tr2xNVhajVQ and also refer the playlist, AMS-Kids’ singing or playing Varnas & Kritis-41 videos in ‘youtube.com/user/msakella’).

In general, in such cases, the concerned teacher claims his efficiency in teaching for the success of the aspirant. But, in this respect, my umpteen experiments revealed that only the efficiency of the system and the abilities of the aspirant play a very important role in such cases and the teachers’ role as a guide remains at the minimum level only. However, in the Guru-dominated field of our music I don’t think that no music-teacher is ready to agree with this fact.

Thus, in respect of young Rishabh, while the logical and rational based qualitative system helped him in equipping him with the needed intricate rhythmical and technical abilities within a very short period of less than 3 years his intelligence, hard-work along with his parental encouragement paved way for his success. amsharma

vasanthakokilam
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Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by vasanthakokilam »

Congratulations Rishabh, Akellaji and parents! That is a stellar achievement by Rishabh in such a short period of time. Akellaji, these successes by the students of your method should make more people take notice of the method.

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Dear brother-member, vasanthakokilam,

Thank you for your kind appreciation.

In this life, even though I could not justify as a teacher in the beginning of my Government-service, only by the grace of the Almighty I could realize it later and started rectifying my defects gradually. Only after my retirement I am able to do on full scale by the grace of the Almighty. As HE has been making me do all these things I believe in HIM that HE will certainly do the needful and I leave everything to HIM. I am only an instrument in HIS hands and I am fully satisfied (even though I cannot satisfy others) with what I have been able to do to our people and our music. amsharma

vasanthakokilam
Posts: 10956
Joined: 03 Feb 2010, 00:01

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by vasanthakokilam »

>I am fully satisfied .. with what I have been able to do to our people and our music. amsharma

In full agreement, Sir!

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Dear brother-member, vasanthakokilam, I cannot repair others. Only by the grace of the Almighty I could repair myself even at this old age. What more do I need to ask HIM in this life? This is far more than enough. I have also been able to serve our people, though at small level, efficiently, honestly and sincerely even at this old age with the kind help of the noble people like you. I am far more fortunate enough than any other musician on earth. Thanks a lot, dear. amsharma

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

In my previous 392nd & 393rd posts I have given the details of three exercises in Chaturashra-gati which have been uploaded to the playlist ‘AMS-Special laya exercises of ‘youtube’. After doing this job, later, I thought that some of the aspirants may need similar exercises in Trisra-gati also. That is why; just now I have uploaded three more exercises pertaining to Trisra-gati also. Accordingly, the respective table has also been modified incorporating all these exercises and furnished hereunder for the benefit of the aspirants. amsharma

Jatis-4---7-5-3:

4 - 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 ||

7 - 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7 ||

5 - 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 ||

3 - 1 2 3 1 2 3 1 2 3 1 2 3 ||


Jatis-3---7-5-4:

3 - 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 ||

7 - 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7 ||

5 - 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 ||

4 - 1 2 3 4 1 2 3 4 1 2 3 4 ||

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Just like the mother to her kid the duty of the teacher is also to know the needs of the aspirant and to fulfill them for the benefit of the aspirant. But, to tell the fact, as all the music-teachers are basically musicians and far more of performer’s perspective than the teacher’s perspective they themselves are not in a position either to know the needs of the aspirants or even to fulfill them.

Even though all the music-teachers teach the similar items or Talas or Ragas of Carnatic music, funnily, everybody claims to have his/her own methodology in teaching. But, unfortunately, they don’t realize that they all are merely following the illogical and irrational seriatim of items but not the grammar of music. Even those items the aspirants learn them by imitating their teacher while he/she sings but without the grammar.

Even while teaching it is desirable to the teacher to supply all the items to be taught to the aspirants along with the notated books, audio-files and video-files containing the same which facilitates the aspirants to rely upon them even in the absence of the teacher and practice on their own and learn as much and as quickly as they can basing upon their individual abilities. But, basically, as this kind of system is not followed in the quantitative system of teaching only very highly talented aspirants are able to come up.

Always thinking on these lines we have formulated a syllabus strictly basing upon the logical and rational views, brought out notated books, audio-files and video-files of all those lessons and supplied to each and every student even in the beginning. By all this, basing upon their individual abilities and hard work many talented students are able to swallow as much and as quickly as possible and become able to sing even concerts of 1 to 2 hrs learning in this standardized qualitative system of learning.

But, while admitting the aspirants into the class, it becomes very difficult to manage with both the efficients and in-efficients unless they all are efficiently trained to manage with both the even and odd-gatis i.e., Chaturashra and Trisra-gatis. In this respect it is very important to note that the 28-Speacial Laya-xercises are formulated for this purpose only and furnished along with the respective audio and video-files for the free utilization of all the aspirants all over the globe.

Very recently here on 26-04-2014 all our students have given a mini-concert for 2 hrs., bringing out all the items which, ultimately, helped them not only in becoming concert-singers but also efficient teachers.

SAMPRADAYA Sangeetha - Swara-Laya Vinyasa Sapthapadi (Based on AMS Easy Methods)
To exhibit an aspiring Student who has a real aptitude and right attitude - SAPTHAPADI - is the path of 7 Steps - sure ways to enable an aspirant to become a qualitative Carnatic Vocalist within a maximum duration of 5-years.

Step - I: Presentation of Ragam - Keerthana - Neraval - Swarakalpana with intricate arithmetical excellence.

Step - II: To present Step I, the student should be adept at the Varna Kramam, with profound knowledge of Gamakam & Kampitam, as also with the perfect ability to demonstrate the Gamakam & Kampitam of any part of any Varnam. Further, the Poorvangam and Uttarangam of the Varnam must be presented @ 4-6-8-notes per each Kriya.

Step - III: To learn Gamakam and Kampitam thoroughly, the aspirant should be fully familiar with all the Swaragatha-sthanas - for this to happen up to the completion of Geethams one has to be very strong at the flat-note position of all the Swaragatha-sthanas. For this, Geetham presentation also with Trisragati (i.e., 2-3-4 notes per each Kriya) is a must.

Step - IV: On one side, as we could note, while perfection is sought in Swaragatha-sthanas and Shruti; the student should definitely be put to rigorous training in Arithmetics i.e., LAYA intricacies from the inception. Here, the importance of prowess of uttering 1-2-3-4-6-8 syllables per each beat, in all the Sapta Talas is displayed.

Step - V: Student should also be accomplished to utter any Jaathi in both even and odd-gatis. This is shown in this Step called VIRUPULU or breaks. While 3-letters are running per beat in Trisra-gati Adi-talam the student displays the talent of uttering Jaathi containing 4 syllables, 5 syllables & 7 syllables per each Kriya that too in 3 varieties - (i) with individual syllables, (ii) with the combination of longer and shorter syllables and (iii) with first-consonant and rest silent, plus Avarthantha Chaturashra-break. This exercise is called 4-5-7.

Step - VI: Unlike in Step V, here, while 4-letters are running per beat in Chaturashra-gati Adi-talam the student pronounces 3 syllables, 5 syllables and 7 syllables (called 3-5-7), more over in 3-varieties again, with Avarthantha Khanda-break in the ending.

Step - VII: Most important and first step in our AMS Easy Methods - All Alankaras are taught primarily in Jathi-syllables, thereby named as JATI ALANKARAS. These Jathi Alankaras are taught in Chaturashra (4) and Trisra (3) Gatis to energise the student right from the word 'GO'.

The respective URL of the uploads to youtube is furnished hereunder for the benefit of the aspirants.
I shall be extremely happy if the reputed teachers also upload the videos of their talented students who are able to sing like our kids at all the different levels. amsharma

http://www.youtube.com/playlist?list=PL ... OqCZzLWenk

msakella
Posts: 2127
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Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

As per my 399th post I have already uploaded 3 videos pertaining to Trisra-gati. But, as some aspirants may find it difficult to get along with them, just now, I have uploaded 3 more videos, SLE-Pre.Ex-04-3 (1)-3 & 4, SLE-Pre.Ex-05-3 (1)-3 & 5, SLE-Pre.Ex-06-3 (1)-3 & 7 to the playlist, AMS-Special Laya exercises of ‘youtube.com/user/msakella’ to make them easier for the aspirants. amsharma

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

In my serious observation of the learning aspects of music I had to mainly bifurcate the time into two kinds, 1. pre-sound-recording-gadget-period and 2. post-sound-recording-gadget-period.

Long ago, prior to the invention and introduction of these sound-recording-gadgets there was the so called harped on ‘Gurukula-system’ of learning. In this system the aspirant was residing in the house of the ‘Guru’, the teacher along with other co-students and the family members of the teacher. The aspirant was attending to all sorts of the house-hold works of the teacher simultaneously learning music-lessons also when time permits. As the teacher was a highly reputed performing artist he was used to travel much of his time from place to place giving umpteen number of music-concerts. Between the gap of concerts if he returns to his home and stay for a couple of days and if at all he finds some time to teach the disciples God alone knows whether this junior aspirant may get a chance to learn direct from him or not. Or he has to depend upon the senior disciples only and become satisfied with what he had learnt. More over, having professional jealousies, the aspirants are discouraged to listen to the concerts of other teachers or their disciples. By all this, this learning process was elongated for 10 or 15 or 20 years or even more. Many of these ‘Gurus’ are used to teach the students whatever they feel to teach without following any particular syllabus or examinations or certificates to issue. My grand parents and parents were telling interesting stories of many such aspirants studied in ‘Gurukulas’ in those days who ultimately fall prey for all kinds of bad habits only but very little music of no use.

In fact, by constant listening to the same kind of song the aspirants can very easily grasp it and reproduce very successfully basing upon the instinctive level of abilities. In the absence of any sound-recording-gadgets this system was the only way to learn music in those days. Depending upon the repetitive facility of the song by the teacher or the co-students it was taking many years to learn music in this elongated process.

But, pitiably enough, ever after the plentiful availability of the modern-sound-recording-gadgets, these ‘Gurus’ are not willing to make these things easier to the aspirant by properly utilizing them. But some of the kind ’Gurus’ with great heart brought out some books containing notated compositions. Around this time even though Subbarama Dikshitar dared to bring out his Sangita Sampradaya Pradarshini along with symbolized notation every musician came out and praised his action profusely but neither of them did either follow or develop it. Even later, some of these ‘Gurus’ are used to bring out some books with notated compositions but only to earn more money by the sales of them. In the same manner every musician took every care not to bring out any CD containing the compositions sung in the same notation. Nowadays, if any musician brings out a book containing notated compositions only but without any Gamaka-symbols or any CDs, it obviously reveals his ulterior motive only without any doubt.

Since time immemorial, in which way all the musicians have always been used to sing or play in their concerts even while teaching also they have always continued the singing or playing themselves asking their students to follow them by singing or playing. Thus, each and everybody have always been used to believe that this is the only way of teaching or learning music.

In fact, to initiate a hungry kid his/her mother herself eats something a little just to show the kid what and how to eat things. Later on, the kid himself/herself eats on his/her own. In the same manner, even in learning music, the teacher has to initiate the student sing or play much on his/her own relying upon the electronic key-board of Casio to continue the same even in the absence of the teacher. Thus, if all the items to be learnt are supplied to the aspirant even in the beginning and if the aspirant is trained to regularly practice relying upon the gadgets like Casio, Metronome, iPod etc., any talented kid progresses very quickly and a less talented kid progresses slowly. One must invariably understand that this happens mainly basing upon the individual abilities of the aspirant only but not on
the teacher’s abilities at all. But, as no music-teacher is ready either to loose his/her importance as ‘Guru’ or the relevant financial benefits he/she will possibly try to elongate the process for many years by singing partly and partly and making the aspirant also sing or play along without giving any audio or video aids even in this technically advanced era.

Since many years, in the absence of any sound-recording-gadgets, all these musicians have very well succeeded in conveniently escaping from the responsibility of transmitting the knowledge of Manodharma Sangita in the aspirant wantonly creating a very strong illusory opinion that it can neither be taught nor learnt. More over, in the absence of any notating methods brought out by these lethargic ‘Gurus’ the aspirants are compelled to depend upon the teacher or the co-students. Taking advantage of this dependency of the aspirants the ‘Gurus’ were used to go on singing a large number of compositions only very conveniently throwing the responsibility of singing Manodharma Sangita upon the aspirant only which the ignorant aspirant is compelled to bear with.

All the more, each and every musician is always used to openly condemn that it is suicidal to notate Manodharma Sangita. In my umpteen experiments I have ultimately found that notating the Manodharma Sangita is the only way to learn it more quickly and efficiently than ever. Even though no musician agrees with me, umpteen experiments, beyond any doubt, proved that it is dead easy to get proper acquaintance with Manodharma Sangita very quickly within a very short period if the kid is initiated to very regularly practice relying upon some aids and modern-gadgets like Metronome, Casio and mp3 player etc. Thus, basing upon the individual abilities many kids are able to sing even Manodharma Sangita within a varying duration between 1 to 5 years. amsharma

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Yesterday, being Annamacharya Jayanthi, a kids’ music-programme was arranged at Tanuku, East Godavari-District (near Rajahmundry), Andhra Pradesh, in a music-school and the respective videos are uploaded to youtube. These to kids, my great-grand-daughters, Chis. Padmaja (13 yrs.) & Keerthana (9 yrs.) have started learning music from me from 26th Feb., 2014, weekly twice by Skype being the residents of Bangalore. They have given this kids’-mini-concert when they have gone to their grand-parents’ native place for summer vacation. They have completed learning most of all the 28 Special-laya exercises, 8 Saralees, 4 Jantas, 4 Datus, 5 Gitas and one Svarapallavi all @ 1, 2, 3 & 4 –notes per Kriya and the elder started learning even the 1st Varna Natakuranji - all both on Vocal and Casio very strictly along with Metronome hardly within two months. The URLs of the same are furnished hereunder for the benefit of the aspirants. amsharma

https://www.youtube.com/watch?v=ZnmpFwKJ484
https://www.youtube.com/watch?v=L9jRQaUvtH0
https://www.youtube.com/watch?v=ATK_Z3OSjvk

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

In my previous post 403 I have furnished the URLs of the videos in which my great-grand-daughters have rendered some intricate rhythmical exercises and two Gitas @ 1, 2, 3 & 4-notes per each Kriya of Tala.

Since 26th Feb., 2014, learning by Skype for some time and mostly by land-line-phone I have just initiated them to do things mostly relying upon the Metronome and the Transpose of Casio-MA-150. Believe it or not, I did never even sing a single note for even one second while initiating them till now. If the teacher very simply initiates the aspirant properly from the basics up to Varnas in this manner the teacher doesn’t need to teach further. This system amazingly quickens the process of learning along with efficiency. To train the aspirant in cooking the aspirant must only be initiated by the teacher in doing things on his/her own. The teacher should not do anything. Even in learning music also it is the same.

Most unfortunately, all our music-teachers want to maintain the importance of ‘GURU’ and to receive many things accordingly. That is why they always sing or play themselves and ask the aspirants follow them singing or playing. This is our great tradition in teaching/learning music our ancestors have conveniently evolved. Only to earn many things from the ignorant aspirants and their parents this was evolved and nobody is aware that this great system has been evolved only to elongate the process for many years and to very conveniently escape from the responsibilities of transmitting the required musical-knowledge to the aspirants simultaneously making the poor aspirants and their parents scapegoats for the failures. No music-teacher is trying to know how to make the aspirant learn music without singing or playing himself/herself.

All over the globe there are millions of music-teachers, music-institutions and music-departments of several Universities squeezing very heavy amounts from the poor aspirants and their parents very sincerely and efficiently following this useless, worthless and suicidal system in the absence of any proper supervision since many years. Even though I am always ready to prove this lest spilling out his/her own beans no music-teacher is ready to come out and discuss the methods in teaching/learning. That is the pity. amsharma

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

I feel very sad to write that illogicality and irrationality reign the age old traditional and quantitative system of teaching/learning our music. This suicidal system made all these music-teachers, without any exception, absolutely adamant either in properly recognizing or in getting rid of their own illogicality or irrationality in the absence of any sensitive teacher-training or proper supervision. If any person doesn’t agree with me, brings a music-teacher of his/her choice along with his/her meritorious disciple, I shall, then and there, prove it beyond any doubt.

In my vast teaching-experience having worked in a Government-educational-institutional set up for 35 long years as an unsuccessful teacher and, later, in my extensive research made on the methods in learning our music it has, beyond any doubt, been proved that no ‘Guru’ is needed to learn our music. We all are very well aware that even small kids are able to learn even a complicated cine-song successfully merely by listening to it many a time in the form of a CD or DVD and without the help of any ‘Guru’. If any symbolized notation or even a detailed notation is also given along with the CD it certainly quickens the process of learning a lot. Along with this notation, in respect of classical music, some typical grammar is also required to make the aspirant independent in the process of learning. These are the barest requirements to the poor aspirant to work on his/her own independently in learning music. But, among these music-teachers, how many of them are in favour of this symbolized notation and supplying the CD or DVD containing the song with the same notation and in following it honestly and sincerely? Nobody!!!

Many of the reputed music-teachers are interested in holding several workshops at several places inviting the poor aspirants to learn the so called master-pieces of the great Saints of music face to face for a price to earn more and more very greedily. Even though those Saints were not greedy these music-teachers are very greedy in this respect. More over, no musician feels shameful to do this or even finds fault with other musicians as each and everybody does this in his/her own way. At the same time I do not understand why don’t they bring all those master-pieces in symbolized notation or even in detailed notation and supply along with a pre-recorded CD or DVD for a price? They won’t do it as it doesn’t help for their recurring income.

Even in the syllabus of Diploma or Intermediate or B.A. or M.A. etc., they all dump them with a number of such master-pieces repeating the same ragas in each and every course again and again and increasing the number of them illogically. They all always prefer to teach them face to face but not in making the aspirants learn them on their own independently. None of them ever makes plans to make the aspirants learn on their own reducing the role of the teachers. They never do such things in favour of the kids. Here, in our music-institution, Swarabhangima, we all, as a team, do everything in this direction even from the first day of learning. We always fully encourage our kids to do everything on their own.

All our legends, maestros, experts always cry aloud that there are no short-cut methods at all in learning music. But, in my extensive research it was, beyond any doubt, proved that short-cut methods are available at each and every point but highly efficient teachers only can locate them. All our kids can very well learn music on their own very quickly and efficiently basing upon all these short-cut methods.

None of these legends does even have any idea in making the aspirant work on his/her own in the process of learning music. They all know only how to sing or play themselves and make the aspirants also sing or play along with them. And, accordingly, all of their disciples also have become used to believe that only their Gurus are very great teachers ever born and that this is the only way of learning music on the earth. To send my son to Delhi I need not go along with him to Delhi. But, I have to make him aware how to perform any such journey independently and any sensible father does this. The same thing applies to music also.

As all our teachers do not want to loose the importance of ‘Guru’ the aspirant can never become independent but spend many years to realize this. Even after realizing this he/she cannot reveal this truth as it is against the great “Guru’. But, being a victim, I do not hesitate to reveal this in the interests of our kids. That is why I have made it very clear that, in our system, while the teacher’s role is less than 10% the aspirants role is more than 90% and none of the present music-teachers can’t even imagine this leave alone understanding it.

Having successfully learnt on these lines my disciple, Chi. J.S.Shreeram could sing even a 2-hr. concert with 3 yrs. of learning. Now, the URLs of some of the excerpts of his successful concerts are furnished hereunder for the benefit of the aspirants. amsharma

J.S.Shreeram-Vocal, B.U.Ganesh Prasad-Violin, P.S.Phalgun-Mridangam:
https://www.youtube.com/watch?v=AA5_rTJCXVk
https://www.youtube.com/watch?v=-Ipz1fF-r1k

J.S.Shreeram-Vocal, K.Sai Kumar-Violin, S.Arvind-Mridangam:
https://www.youtube.com/watch?v=hfVdcg2z1hk

J.S.Shreeram-Vocal, B.V.Durga Bhavani-Violin, Ramakrishna-Mridangam, Neyveli ji-Kanjira:
https://www.youtube.com/watch?v=tNUVr9ItePo

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

After having faced many failures in my teaching life and after umpteen extensive experiments held in last past 40 years on the modern easy methods in learning our music more quickly and more efficiently I found some unbelievable facts which help a lot to the aspirants in learning our music unlike in the past.

One very important fact of them is that mainly due to the regional egoistic and conservative temperaments of the persons concerned no experiments have ever been held in finding a logical and rational based method in stardardising the methods in learning our music. Even though this fact was also found nearly 15 years back along with some other facts I did not reveal it out as I have become fully and busily engaged in finding a solution in this respect as helping our kids took the foremost preference to attend immediately. Ultimately, only by the grace of the Almighty like in respect of Talaprastara, I was also blessed with a modern qualitative method in learning our music. Since last 5 or 6 years this is being implemented successfully with the help of a team of dedicated workers, teachers, parents and students getting amazing end-results. By the grace of the Almighty, now, I am able to truly and truthfully serve our people even in the small locality of Secunderabad and I am very well satisfied by this having finally arrived at the much desired destination after many kinds of failures.

Even though I need not at all try to convince all others in any manner in respect of these proven facts I shall, however, try to do so only in respect of the music-teachers who come out to serve our people honestly and sincerely basing upon these logical and rational methods in learning our music. amsharma

sastrydevarakonda
Posts: 35
Joined: 20 Jun 2014, 12:19

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by sastrydevarakonda »

Namaste to members of Rasik.org,
I would like to share and put forward the information what I could gather by listening to the AMS easy methods one part of Kampitas and Gamakas, for the benefit and information to my good friends, who would like strengthen their music concepts.
When I heard the audio of “AMS easy methods one part of Kampitas and Gamakas” I felt it is really excellent, for an ambitious learner sitting at home, with a good imagination for the music, one can easily understand, visualize, imagine - the place of different notes, how they have to rendered, how to connect the notes, how to bring the modulations and inter relations between the notes, how to visualize the “Vayyaram” present in the notes is well rendered by the great guru shri Aakella Mallikharjuna Sharma garu, about sixty varieties- thanking a lot to him for the wonderful work done by him for our benefit.
I think- if we can exactly feel and experience the places of the “Dwadasa Swara Sthanams “ and able to connect them with the required modulations, definitely the rendering part of Varnams to the higher stage, one can easily progress.
The other beautiful part is the rendering the “Kaishiki Nishada” in around 27 forms, from Da-2 to Ni-1, then Da-1 to Ni-1, then back the return rendering, and together both the D2 and D1 with Ni-1 is well rendered, definitely both the exercises are of great help for the ambitious music learners and those who wish to make their music concepts strong. Thanks again again to Shri Sarma garu, for the wonderful methods. Sastry

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Dear brother-member, sastrydevarakonda,

In my extensive research running since last more than 40 years on the novel methods of teaching our music and the followers of them I have found that most of the music teachers are mostly of performer’s perspective and partly of the teacher’s perspective. Each and everybody who learns music wishes to prosper as a very high level performer only but due to so many other reasons many of them are compelled to settle as music-teachers only even though none of them has the aptitude. No music teacher can properly understand what I am talking about unless he/she is mostly of teacher’s perspective and partly of performer’s perspective. Till now, I did not come across even a single music-teacher who could understand even the basic definition of my qualitative system of learning our music and follow them except the teachers working in our institution, Swarabhangima at Secunderabad and in other local branches.

For most of the problems in learning our music the sole cause is the illogicality and irrationality of the system and, in turn, the root cause for this sole cause is the dogmatic egoism and conservative temperaments of the individuals which have never allowed to standardize the system in the past. However, some of the legends or maestros or experts are used to claim that they have already standardized the system unlike others. But, in my research, it was proved that this claim is not true at all as neither the dependency of the aspirant upon the teacher has never been minimized nor the process of learning has never been made ‘time-bound or result-oriented’.

Since last 5 or 6 years a novel and qualitative system in learning our music has been evolved and implemented here in our institution, Swarabhangima, at Secunderabad for the first time in the history making the process very strictly ‘time-bound and result-oriented’. By this the talented kids are able to render even intricate mathematical Swarakalpana along with brief Ragalapana hardly within a short span of one year even before learning the first Kriti on their own.

In this system, right from the first day of the music lesson the aspirant is initiated to mostly rely upon the metronome and notes of Casio-MA-150, work hard learning things on his/her own very quickly and efficiently unlike in the past. In this novel system all the items of the syllabus are provided in terms of pdf or audio or video-files and the aspirant is basically initiated to learn the intricacies of rhythm and different oscillations of notes which instill confidence into the aspirant paving way to work hard and proceed further quickly in his/her own pace efficiently.

In this novel system of learning while the teacher’s role is reduced to less than 10% the aspirant’s role is increased to more than 90% unbelievably. In fact, by following this novel system of learning our music the teacher needs to sing or play very little but mostly initiates the aspirant in making him/her do things on his/her own working hard even in the absence the teacher relying mostly upon the rhythm and the note of the Casio-machine, pdf, audio and video aids. In this system basing upon the talent of the aspirant the pace in learning could be made very fast with the help of the different aids of all the items of the syllabus.

In following this novel system we need not be surprised if the teachers working either in the Govt. Music Institutions or music-departments of Universities blatantly refuse to follow on one plea or the other as they have to take the responsibility of vigilantly inculcating the knowledge of Manodharma Sangita in the aspirant through the aids furnished. Freelance teachers also refuse to follow this system as this quickens the process of learning ultimately culminating into financial loss. Only honest and sincere teachers who are more interested in the welfare of the aspirants may follow this system. amsharma

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Dear brother-member, sastrydevarakonda,

To tell the truth, I am not an educated person like many of our brother or sister-members of this forum. I cannot even write a post effectively like them. However, as a well-experienced and truthful teacher, as I know many heart-rending problems of our music aspirants I try to bring them all in my own language to the notice of others in a phased manner. I sincerely hope that even some of the sensible members of our forum discuss things and help our aspirants properly in this respect.

Mainly one of them is that Guru is not needed at all to learn music quickly and efficiently but an efficient, honest, sincere and vigilant guide supported by a flawless and standardized system fully equipped with all the needed aids. The guide must be so efficient that he/she must be able to, then and there, formulate the needed aid to rely upon to the aspirant. Only to equip the aspirant to rely upon even in the absence of the teacher more than 700 videos are already kept in ‘youtube.com/user/msakella’ for free utilisation of the aspirants all over the globe.

My main aim is only to make the aspirant work on his/her own independently. For example, if a father wants to send his son to Mumbai from Hyderabad, if he is intelligent enough, he, even without accompanying him in person, makes a flawless plan to properly equip his son in each and every manner to overcome any kind of obstacles in his journey. By doing so, on one hand, the father need not accompany his son and, on the other, he makes his son independent in all respects in making such journeys in future. This is the basic logic very strictly followed in formulating the novel qualitative method in learning our music which paved way for the thumping success. Only after finding many cases in which even the Guru also has become the hindrance unknowingly slowing down the pace of the talented aspirants in learning music.

In the same manner even in music-journey if the teacher makes proper plans accordingly the aspirant becomes independent even in learning music. In the absence of any sound-recording or reproducing gadgets in the olden days the aspirant was compelled to depend upon the teacher or somebody else to listen to their music. Nowadays such gadgets are available plentifully and logical plans to properly utilize them efficiently certainly make the aspirant independent in all respects. This is very efficiently done in our novel and qualitative methods in learning our music in our music-institution, Swarabhangima at Secunderabad for the first time in the history.

In this process we properly initiate the aspirant work on his/her own mostly relying upon certain audio and visual aids. In this process of learning items like Varnas or Kritis we, at the first instance, initiate the spirant to get proper acquaintance with the intricacies of rhythm and inter-relation of notes depending on the different kinds of oscillations. Only to make this possible the 60 kinds of symbolized oscillations and 27 facets of Kashiki-nishada which you have gone through are brought out. In this kind of approach the aspirant works on his/her own and proceeds very quickly, confidently and independently. amsharma

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Dear brother-member, sastrydevarakonda,

Naturally any evolution takes its own pace to evolve a flawless and standardized process of doing things. In the same manner, even in my case, after more than 40 years of extensive research and experimentation I could arrive at a logical and flawless plan to select Varnas and to properly initiate the aspirants to learn them quickly and efficiently within a very short time. By all this I have arrived at a conclusion that the efficiency in learning these select Varnas only makes the aspirant proceed further in learning Kritis on his/her own. Even after learning these select Varnas if the aspirant is unable to learn Kritis on his/her own or to sing intricate mathematical Swarakalpana along with even brief Ragalapana that obviously reveals the defective initiation of the teacher. But, the great teacher readily throws the defect upon the aspirant only. Thus, a great number of aspirants all over the globe are facing innumerable sufferings due to the illogical and irrational teachings of the great teachers. Each and every teacher on the globe harps on traditional teaching only but not logical or rational teaching.

Many musicians openly curse that practicing muktayis in Swarakalpana and written phrases of Raga is always suicidal to the aspirant. Many a time it has been proved beyond any doubt by many of the aspirants singing their own creative Swarakalpana after regularly practicing intricate muktayis that this statement is absolutely wrong. In the same manner, even in respect of Ragalapana also, it has been proved beyond any doubt that written-raga-phrases always helps the aspirant a lot to sing his/her own creative raga later. Even many professional musicians are used to look down the aspirants singing intricate mathematical muktayis to odd starting points of Kritis. Also each and every musician talks very high of ‘Sarva-laghu-swara’ but mostly sings only ‘Sarva-sama-swara’. No musician is ready to observe that professional speech could only be given after going to the professional level pf study only. As a professional-violin-accompanist many a time I have struggled a lot even with many professional musicians while rendering Tala to my Swara-accompaniment. They can somehow manage to render their Tala while singing some of their muktayis which they have practiced for months together at their residences but they were unable to manage with their Tala even with a single muktayi I render in Chaturashra-gati of the same Tala. This is the state of affairs (as I am already retired long back even from my artistic life I can tell this openly).

Without scaffolding no building could be constructed. Had this basic logic been taken into consideration by our knowledgeable elders our aspirants would have saved many things of their valuable lives. Many are not at all aware that as all our legends, maestros and experts are mostly of teacher’s perspective and only partly of teachers’ perspective and in spite of their life spent as a music-teacher also none of them have the aptitude as a music-teacher. That is why, even though they all claim long list of things, none of them could formulate any standardized system of learning music either in making plans to the aspirant work on his/her own independently or in making the process of learning quick and efficient by proper utilizing the modern gadgets.

More over, all our experts talk very high about Manodharma Sangita and master-pieces sung by stalwarts and start teaching these master-pieces through various special classes and workshops on Manodharma Sangita attracting the poor aspirants. In fact, if the aspirants are properly initiated in their learning process right from the first day of their music lesson relying upon certain written, audio and video aids they themselves can become able to sing Manodharma Sangita efficiently and to learn any master-piece on their own if it is provided with proper notation and respective audio-file. But, as the method of teaching or learning or initiation are not that effective they are compelled to attend these workshops also to learn things for a price. While these workshops are also not fully helpful they are suffering a lot both by not getting the needed information and not being able even to reveal the truth openly. Presently this is the state of affairs of many of the aspirants about which many are not at all aware. Recently a workshop was held by a stalwart on Manodharma Sangita as usual for nearly 3 hours. Ultimately I could enjoy his fluency in English language only and the students didn’t get anything constructive to proceed on their own. amsharma

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Dear brother-member, sastrydevarakonda,

In our Karnataka music, at each and every point, there is every scope for both logicality and illogicality if we carefully analise. But, due to so many reasons, everywhere illogicality is being followed by one and all and many years of time, energy and money are being wasted by the poor and ignorant aspirants and their parents in the process of learning our music.

As any kind of discussion in respect of the methods in teaching may eventually spill out their own beans all these teachers, without entering into any discussions, are used to profusely praise and support each other in any meetings but, without following the methods of others as it may effect their individual image, openly tell that they all have their own individual methods in teaching. Without any exception, as they all are sincerely following the illogical methods only that explanation supports them well. But, logically, there must be only one method and in such ease their explanation certainly becomes deceitful. In this respect, in my extensive research and experimentation I have found that there is only one logical method arriving at the destination of inculcating the knowledge of Manodharma Sangita in the aspirants.

For example, logically, which one is better to start with Saralee-swaras or Janta-swaras? In my experiments I have found that Janta-swaras give good base to the aspirant than Saralee-swaras as only one note is sung in the 1st Saralee-swara, s r g m p d n s - s n d p m g r s, in the 1st Janta-swara each note is sung twice - ss rr gg mm pp dd nn ss - ss nn dd pp mm gg rr ss - giving good scope for heavy practice and sustenance.

This is only a petty but eye-opening example to think seriously if the person is more of teacher’s perspective. In this manner if the true teacher strives hard searching for a logical base there is every scope of getting an easy affective way always and every time.

Only by the grace of the Almighty, I have been able to find umpteen logical easy methods in learning our music unbelievably making the process very strictly ‘time-bound and result-oriented’. Here, at Secunderabad, though in a very limited locality, we all have been able to properly initiate nearly 100 school-going kids in our institute obtaining amazing results. Basing upon this training they themselves develop their abilities in singing advanced Manodharma and master-pieces working hard on their own within a very short time unbelievably.

Only by following this logical path, the 11 year old Chi.Shreenidhi, grand-daughter of Sri S,Nageshwaran, could sing a 45 mts., concert efficiently in 2010 within a span of hardly one-year and 7 year old kid Chi. Rishabh Ranganathan within 3 years’ training could play a Violin-concert in Chennai on 27-12-2013 efficiently in Sri Parthasarathy Swamy Sabha and recently became even Carnatac-Idol in Vocal of his age group in USA at his 9th year. Not only these kids but many other kids also can do the same if they are trained properly in this logical method. amsharma

sastrydevarakonda
Posts: 35
Joined: 20 Jun 2014, 12:19

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by sastrydevarakonda »

Namaste to Members, Rasika.org,
For the aspiring and dedicated music learners, this forum should definitely help in discovering the required answers for which they have been searching, since this forum mainly brings out the dedicated thoughts of the great guru Sri Akella Mallikharjuna Sharma garu, for the benefit of the serious music learners.

I understand the pain of many people, those who are in pursuit of music, but not received the correct teachings from the teachers.

Once you are in some professional occupation and simultaneously working hard for the music, confining to the guideline drawn by the concerned teacher, with the strong belief that you would pick up good music and finally you discover yourself you have not learnt anything other than byhearting few Krithis, by then you would have spent a decade or so.

I know the people those who have been in music for 2 to 3 decades, despite the fact that they started at a very young age, but under the prevailing conditions, they could not reach any point of confidence, which was exactly expressed by Sri Sharma garu.

I also came through the above expressed phases and got awakened by the influence of sri Sharma garu, and for the past one year, I have been able to do some good work and Iam confindant I would progress, with the blessings of the great guru.

I fully agree with what Sri Sharma garu, what he expressed in the above postings, and my sincere wish that all the serious aspirants of the traditional music should awaken themselves for the proper path of music, before it is still late.

My request to sri Sharma garu, how best these dedicated aspirants, who spent long time in music, and looking for help, to repair themselves for their safe landing.
Quite a few even with B-grade not able to progress further, and losing that also after some time due to the official answers, very painful sir. Sastry

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Dear brother-member, sastrydevarakonda,

I cannot tell that I am fully aware of all the problems relating to the music learning/teaching but I can certainly tell that I am very well aware of many problems more than any other person on the earth having worked as a teacher for 35 long years in Govt. Music institutions regularly teaching the kids right from the alphabets and having successfully learnt umpteen affective methods in teaching music from many of my failures in this field.

Many may not appreciate me if I bring out all the facts I came across in respect of teaching/learning our music in my extensive research and experimentation. In this respect many of my true well-wishers have even warned me that such things will certainly affect my image very badly. However, as I never feel that I have an image at all to get affected, I have decided to reveal even some of them keeping the high interests of the aspirants only in view.

One of the barest facts of them is that I hate an inefficient, dishonest and insincere teacher to the maximum as he/she unmindfully contaminates the entire scenario of our music right from the root level. Since many years I have vigorously been searching to find a true ‘Guru’ but in vain. Ultimately, by the grace of the almighty, I could formulate a novel and qualitative method in learning music possibly avoiding the dependency upon the teacher and also making the process very strictly ‘time-bound and result-oriented’ for the first time in the history.

In fact, if we try to see the other side of the coin also of this teaching aspect we arrive at a three-level machinery, 1.well-standardised, flawless. logical and most reliable system of learning music formulated basing upon the successful end-results only making the process very strictly ‘time-bound and result-oriented’ which is very important like the main-power-supply of the electricity 2.the guide or teacher like the cable-wire carrying the power between the power-station and the residence of the consumer 3. the aspirant or like the consumer at the receiving end. By all this we ultimately arrive at the conclusion that the main defect lies only in not having a well-standardised, flawless, logical and reliable system of learning music but not with the teacher. In the absence of such a reliable system, very sadly, the aspirant becomes the scape-goat.

To tell the fact, all over the globe, there are millions of such sufferers in learning our music and it is high time to have an independent institution, a non-profit organization run by the like minded persons striving hard for the noble cause of properly protecting our music in each and every possible manner. All the music-educational-institutions on the globe must give an undertaking that they all very strictly follow the logicality and rationality of their syllabi in their institutions and allow the members of this organization for periodical supervision.

Even though some of their fans may not like it, but in the wake of my post to ‘acharyanet’ under reference http://rasikas.org/forums/viewtopic.php?f=2&t=23726 I, only in safeguarding the interests of the poor and ignorant aspirants and their parents, sincerely feel that it will be nice on the part of the organizers of this website to reveal the logicality of the items of the syllabus mentioned in the above reference. amsharma

sastrydevarakonda
Posts: 35
Joined: 20 Jun 2014, 12:19

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by sastrydevarakonda »

Namaste to members of Rasika.org
Iam back here to express some of my feelings and findings about the learning part of karnatic music - from the learner point of view, that too for the information to my serious music friends, those who have not discovered a good landing in music, despite their good effort for quite long time.

Definitely the AMS easy methods, what I understood is the appropriate for the ambitious learners, to stabilize and put themselves in the proper path of music.
All we need is the good /proper guidance – so that, we can quickly move ahead in the right path of music- in a limited time, since we cannot afford to lose any further, as we have already lost quite a good length of time in the learning process.

The important stage of making our LAYA exercises mainly the 3-4-5 in chaturasra and4-5-7 in thisra gati. Then with the defined muktais by AMS easy methods, we should be able to render the swara kalpana fluently ending with the mukatai swaras. Once we start making the swara avruttas from half to few avruttas, then we get stabilized when combined our Prastara with Krithi rendering.

We all may be good aspirants for the music, but that is not sufficient, once we find a method that is really of great help to put us in proper track and stabilize our music, then definitely the learner’s responsibility increases by many folds.
Our practice for the laya excersises, with a good thinking and good imagination will definitely help us to quickly progress in right path.
Practice and imagination combined with good thinking for our benefit under the guidance of AMS easy methods, sure have safe landing the pursuit of good music.
Thanks to AMS easy methods – for motivating the ambitious music learners.- Sastry Devarakonda

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Dear brother-member, sastrydevarakonda,

As a learner what you honestly and sincerely wrote is absolutely true. But, in this affair as some other aspects are also included they also must be analysed to have a proper understanding of this topic.

No doubt, there are many sincere learners to learn music. But, how many efficient, honest, sincere and reliable teachers are there is the million dollar question as each and every musician thinks himself/herself a great teacher irrespective of the end-result. Even in your case you have spent more than 10 years in learning whatever the teacher taught and ultimately arrived at a point with umpteen unsolved questions and problems. The sole cause for this is only the inefficient and ineffective teaching of the teachers. While every care is taken in well-standardising the methods in teaching the western music, unfortunately such measures have never been taken for the benefit of the learners by our lethargic legends or maestros or experts in the past. But, they won’t agree with me but claim that they did a lot in this respect. On one side, while it was undoubtedly proved that they all are of more performers’ perspective and far less of teacher’s perspective, on the other, each and everybody resorted to teaching openly claiming ‘I have my own method in teaching’. Illogically there may be so many methods but logically there must be only one method to teach Natakuranji-Adi-Varna for example. Thus, the question is between the logicality and the illogicality of the method in teaching but not of the item as it has a specific form with all the required qualities to arrive at the end.

While teaching, all the teachers are used to sing or play themselves and ask the aspirants to follow them singing or playing thinking that this is the only method of teaching. But, surprisingly, no music-teacher did ever think of arranging some thing to the aspirant to rely upon at the time of his/her own practice even in the absence of the teacher. This is one of the main defects of the age-long system which wastefully elongates the process of learning for many years. More over, in this system a number of items are taught serially but no provision is made to stabilize the rhythmical abilities or make the inter-relation of different notes very clear with all the respective oscillations. All these music-teachers are used to think that the aspirant himself/herself learns all such things by learning all these items which is absolutely incorrect. As I elsewhere wrote, due to the egoistic and conservative temperaments and consequent jaundice-eyed-view they are unable to understand the logicality of others even though it is beneficial to the kids but only like the own illogicality even though it is very harmful to the aspirants. Ultimately, by all this, our poor and ignorant kids are put to heavy loss of their time, energy and money due to the foolishness of these teachers.

At this juncture, adding fuel to the fire, lack of proper supervision is still another main defect for the deterioration of the standards in all the music-institutions and music-departments of Universities. Since last more than 50 years there was not even a single academic inspection in our Music colleges in our State and everywhere it is like that. More over, everywhere logicality and rationality is lacking in the methods in teaching music and no music teacher is ready to discuss this problem as no syllabus on the earth is prepared strictly basing upon the logicality and rationality. Many may not believe me if I write that even the great Kalakshetra, Adyar, Chennai is also not an exception in this respect. There is no exaggeration if I write that all these music-teachers are teaching what they know but none of them is teaching what an aspirant needs. Unfortunately, all these music teachers follow only the traditional method even though it helps only to tax the aspirant. None of them is realising that logical and rational thinking in the methods in teaching only helps the aspirant a lot.

For example, in respect of the Alankaras in the seven Talas, by analyzing them logically, I have brought out the Jati-alankaras and modified the seriatim as Eka, Rupaka, Mathya, Dhruva, Jhampa, Ata and Triputa. By properly initiating the kids learn them in a logical manner along with some other vital rhythmical exercises and easy and intricate muktayis brought out by the Mullapudi School of Mridangam they all are becoming able even to manage with both Chaturashra and Trisra-gatis not only rendering each and every Varna @ 4-6-8 notes per each beat very efficiently immediately after learning it.

Even in respect of Gitas, while most of all the teachers are illogically taxing the aspirants by teaching them 20 or even 30 Gitas which, in fact, are not at all allowed even to sing in any concert, we have logically restricted to learn only six numbers of them for the purpose of getting proper acquaintance with all the 12 notes only.

In the same manner, even in respect of Varnas, while most of the teachers are used to illogically start with the Varnas in Mohana, Hamsadhavani (becomes Himsadhvani if it is taught in the beginning), Vasantha and teach 20 or 30 of them we have logically selected only 9 Varnas in the Ragas Natakuranji, Kambhoji, Darbar, Shankarabharana, Kalyani, Begada, Todi, Saveri and Bhairavi giving more importance to the combinations of Kaishiki-nishada with both Chatushruti-dhavata and Shuddha-dhaivata and Sadharana-gandhara with both Chatushruti-rishabha and Shuddha-rishabha
ultimately covering most of the complicated oscillations. By all this, at the end of learning these Varnas, all our kids are becoming able even to learn Kritis on their own and sing even intricate Swarakalpana with muktayis even before learning the first Kriti. Thus, by very strictly following the logical and rational ideas, all our school-going kids are becoming able to sing even mini-concerts of 30 mts., 45 mts., 60 mts., 90 mts., 2 hrs., and 2 ½ hrs., hardly within a span of 3 or 4 years.

Even though I am already stamped as ‘controversial’ I very much relish it as I, unlike all other musicians doing more harm than help to the poor and ignorant aspirants by being un-controversial, am able to help them a lot by being ‘truly controversial’ for the first time in the history. Unfortunately nobody is aware of in which way all these illogical and irrational methods in teaching have become slow-poisonous and gradually suicidal in the long run to our kids. amsharma

sastrydevarakonda
Posts: 35
Joined: 20 Jun 2014, 12:19

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by sastrydevarakonda »

Namaste to members of Rasika.org
Iam back here to express some of my feelings and findings about the learning part of Carnatic music - from the learner point of view, that too for the information to my serious music friends, those who have not discovered a good landing in music, despite their best effort for quite long time.

Here I would like to express some aspects of learning, what I understood, and I think if I share my thoughts can benefit some of the readers/members, those who are also strong aspirants to imbibe carnatic music.

During the good span of time I spent, the teachings from the earlier music institute/teachers, taught me how do I remain dependant on that music school/system – rather than making me, independent in pursuit of music. The final truth is that, I learnt to remain dependant without any progress.
But when I discovered to attach myself with the system provided by AMS easy methods, 2007, the system made me to think more and more about the music and paved way for me - so that how quickly I get to the thinking to music stream, and land in good results.

As far as my understanding- the method mainly focuses on –First part make your LAYA stream strong, starting from Alankaras- rendered in 1,2,3,4,6,8 letter per beat per second.
The Second part says –learn muktais from small version to big version (that is from jati 5 to 10), besides making perfect in 3-5-7 in Chaturasra and 4-5-7 in Thisra gati.
By the time these exercises are well tuned and become handy – we start making small length swara kalpanas closing with good muktai swaras.
During this process, we are making ourselves habituated to render swara kalpana to any TALA (Adi, Thisra, Khanda, Rupaka), and definitely we gain good confidence that – YES we can do something in music.

The other side of the method focuses on the rendering part of the Dwadasa swara Sthanas, with their inter relations and intricacies, so that the inherent/embedded, music vibrations are well understood. The main landing used for this is the rendering of important Adi Tala Varnas ( these are defined in the system).
If we understand properly, think properly and practice properly, associated with heavy home work – definitely the major part of the music will digest into our system.
When all these exercises are executed simultaneously with good imagination for good music, then the krithi part becomes easier.
Thanks to AMS easy method, only thing we have to promise ourselves that we will be able to do hard work for our music progress. sastry

sastrydevarakonda
Posts: 35
Joined: 20 Jun 2014, 12:19

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by sastrydevarakonda »

Namaste to members of Rasika.org
Iam back here to express some of my feelings and findings about the learning part of Carnatic music - from the learner point of view, that too for the information to my serious music friends, those who have not discovered a good landing in music, despite their best effort for quite long time.

Here I would like to express some aspects of learning, what I understood, and I think if I share my thoughts can benefit some of the readers/members, those who are also strong aspirants to imbibe carnatic music.

During the good span of time I spent, the teachings from the earlier music institute/teachers, taught me how do I remain dependant on that music school/system – rather than making me, independent in pursuit of music. The final truth is that, I learnt to remain dependant without any progress.
But when I discovered to attach myself with the system provided by AMS easy methods, 2007, the system made me to think more and more about the music and paved way for me - so that how quickly I get to the thinking to music stream, and land in good results.

As far as my understanding- the method mainly focuses on –First part make your LAYA stream strong, starting from Alankaras- rendered in 1,2,3,4,6,8 letter per beat per second.
The Second part says –learn muktais from small version to big version (that is from jati 5 to 10), besides making perfect in 3-5-7 in Chaturasra and 4-5-7 in Thisra gati.
By the time these exercises are well tuned and become handy – we start making small length swara kalpanas closing with good muktai swaras.
During this process, we are making ourselves habituated to render swara kalpana to any TALA (Adi, Thisra, Khanda, Rupaka), and definitely we gain good confidence that – YES we can do something in music.

The other side of the method focuses on the rendering part of the Dwadasa swara Sthanas, with their inter relations and intricacies, so that the inherent/embedded, music vibrations are well understood. The main landing used for this is the rendering of important Adi Tala Varnas ( these are defined in the system).
If we understand properly, think properly and practice properly, associated with heavy home work – definitely the major part of the music will digest into our system.
When all these exercises are executed simultaneously with good imagination for good music, then the krithi part becomes easier.
Thanks to AMS easy method, only thing we have to promise ourselves that we will be able to do hard work for our music progress. sastry

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Dear brother-member, sastrydevarakonda,

As an inquisitive aspirant what you wrote about the ‘DEPENDENCY OF THE ASPIRANT’ is absolutely true. As a victim of this problem learning music from several years from different teachers you felt it yourself and wrote. However, you are the first person to, particularly; look into this main problem of the poor aspirants and to highlight it boldly. This is the natural draw-back of any aspirant. In many other fields while many professionals have been working hard since many years and finding new ways to possibly minimise this draw-back for the benefit of the aspirants of those fields, most unfortunately, in respect of learning our music, many are claiming long list of items in helping the poor aspirants but no music-teacher had ever thought of this problem and did the needful for their benefit. Had any music-teacher in the past honestly tried for it he/she would have then and there made the process of learning music very strictly ‘time-bound and result-oriented’ for the first time in the history even before I did it now. When many of my disciples could not rise even up to the average level I, only by the grace of the Almighty, could realise and only from then onwards I have made umpteen experiments on the new methods in teaching/learning our music. As this is an evolution in learning our music independently it has been taking its own pace of time to get a full shape of it.

Each and every aspirant inevitably depends upon the teacher ignorantly. Since many centuries taking this as an advantage, the entire community of music-teachers all over the globe has been following the same old quantitative method by which, as you truly wrote, the aspirant learns how to always remain dependent upon the teacher. In this old system no music-teacher honestly plans to instill the mostly needed confidence in the aspirant paving way to the independency.

The main cause of this dependency of the poor aspirant was he/she, in the absence of any modern sound recording/reproducing equipment, had to depend upon others to listen to their music sung or played many a time to grasp it fully and reproduce it efficiently. But, as the person who sings or plays also has his/her own conveniences or inconveniences in singing or playing the items for much number of times, thus, in this process the aspirants were compelled to learn the music for many elongated years of time to fulfill their task. But, even after the invention and introduction of the modern gadgets like CDs, DVDs, ipods, mp3 players etc., our music-teachers are reluctant to bring out notated books along with the pre-recorded CDs for the benefit of the aspirants.

Even while learning the primary exercises the teacher may teach for some time along with the Shruti-box where only Shadja and Panchama are provided but not any other notes. Even after the class of the teacher is over the aspirant is compelled to practice with the same Shruti-box without having any confidence in singing or playing the notes. In my extensive research by thinking all these related negative points I have arrived at the conclusion that relying upon the casio-Ma-150, having the facilities of both Metronome and Transpose, is the only solution for the aspirant to make him/her work hard independently even in the absence of the teacher. Later, when I found that this helped the aspirant in getting bumper results gradually I have proceeded further in producing suitable aids of written or audio or video files also to help the aspirant work hard on his/her own independently. These files have already been uploaded to ‘sangeethamshare’ and ‘youtube’ for the free usage of the aspirants all over the globe for the first time in the history.

In fact, any composition with symbolized notation along with the pre-recorded audio CD for any Vocalist and preferably with the video CD for any Instrumentalist is the first preference for any aspirant in fully helping and making him/her independent in many respects. Even with the general notation but along with a pre-recorded audio or video CD is the 2nd preference. Along with the general notation but without any CD at all is the 3rd preference. Only with the lyric of the composition but without any notation or CD is the 4th last and the least preference. By God’s grace, even though I never feel it proud enough as my body is made by the Almighty to do all these needed things, I feel extremely happy to become the first person on earth to provide the relevant material of this first preference for the free usage of all the aspirants all over the globe for the first time in the history. Even though many modern gadgets for sound recording/reproducing are plentifully available no musician came forward in helping our poor kids following even the 2nd preference and many are very conveniently following the 3rd preference only. In the olden days when no modern gadgets for sound recording/reproducing are available all our lethargic and selfish musicians were used to follow the last preference only elongating the learning process for many years. Each and every musician comes forward to very conveniently elongate the process of teaching/learning for many years. Even the final findings of the panel discussion on Manodharma Sangita held on 21-12-2013 at the Music Academy, Chennai are favourable only to the 15-years’-elongation of the learning process but not to the minimized duration and, very sadly, none of the audience even opposed this wasteful elongation. This obviously reveals the disinterest of the teaching community in quickening the process of learning music to the poor kids.

Even in this modern age and even though we all have umpteen facilities to learn music very quickly and efficiently all our legends or maestros or experts prefer to teach music to the aspirants in the same old method only with all its illogicality or irrationality keeping always the poor and ignorant aspirant as dependent for many years. I do not understand with what name we have to call this suicidal act except ‘cheating’? If they are truly genuine and are not at all cheating the aspirants and their parents they can very well prove their logicality or rationality in teaching and I shall certainly bow down to all those noble men.

The main problem with all our music-teachers is they are always used to go on singing or playing themselves a part of an item and ask the aspirant also follow them doing in the same manner. Since many centuries this is the method followed in teaching and each one of them thinks that this is the only way of teaching/learning music like the father who daily takes his son to his school in the morning and again brings him home back in the evening but never even thinks of to train him to go there and come home on his own. Even in their profession they all are always used to sing or play and even in teaching/learning music also they have been thinking that this is the only way of teaching/learning our music to the aspirants. I also did in the same manner in my Govt. service for 35 years. But, only after 5 years after my retirement and only by the grace of the Almighty, I could realize that this method helps only to make the aspirant dependent upon the teacher and found a unique method which truly makes the aspirant absolutely independent in learning our music very quickly by hard work hardly in less than one or two years only unbelievably. To make the aspirants independent basically the teachers must minimize their singing or playing to less than 5 minutes in any class and properly arrange for their self-practice even in the absence of the teacher. In this process the teacher doesn’t need to sing or play at all for more than a couple of minutes in any class. This is entirely a different concept in learning our music.

For a glaring example, once in my Govt. service, while there are 16 students in my Violin-class, among them, only two have passed the examination with 50 marks and became able to play accompaniment for Harikatha and Dance programmes, 8 have just passed the examination with the minimum of 35 marks but cannot accompany any body and the remaining 6 have successfully failed. In my later analysis, I have found that I could successfully spoil the last 6 students, could partly spoil the next 8 students and the first two students, somehow, got out of my tentacles.

If we properly analyse we shall arrive at an interesting episode behind this keeping of the aspirant dependent perennially. If all the compositions are given in a bulk in the beginning itself along with the notation and the pre-recorded CD to the aspirant it helps to learn them as quickly as possible on their own. But, unfortunately, our noble teachers never prefer to do so but to feed the aspirant partly and partly in many installments to conveniently elongate the process for many years and to squeeze more money from the aspirants and their parents. If the notated compositions along with the pre-recorded CDs are supplied the teachers think that they all will loose not only their importance but also their grip over the aspirants along with the recurring income through the regular classes or periodical exciting work-shops.

By eating only the person feels the taste of it and in the same manner, even in respect of music, by listening or singing or playing only the person feels the taste of it. That is why it is said that music can neither be taught nor learnt but only initiated to learn or listen. In our music, while Shruti is of Rakthi the Laya is of Shakthi and the Shakthi is the vehicle to move on. Unless the vehicle is in proper condition we cannot proceed further. More over, among the five Gatis, Trisra (3), Chaturashra (4), Khanda (5), Mishra (7) and Sankeerna (9) only one, Chaturashra is of even-number and four, Tisra, Khanda, Mishra and Sankeerna are of odd-number, thus, indicating the four-time importance of the odd-gatis. But, all our so called Gurus, are always used to start with Saralee-swaras without stabilizing our rhythmical abilities at the first instance. This is the fundamental blunder of the traditional quantitative system of teaching/learning music which none of the music-teachers ever realize. Unless the rhythmical abilities of the aspirant are properly stabilized by initiating him/her in getting acquaintance both with even and odd-gatis the aspirant cannot proceed on the vehicle which has two wheels, even and odd-gatis. In my umpteen experiments it was proved beyond any doubt that no aspirant can learn music unless the rhythmical abilities are properly stabilized to deal with both Chaturashra and Tisra-gatis. That is why I have formulated Jati-alankaras for the first time in the history and we initiate the kids render them @ 1-2-3-4-6-8-units per each beat at the first instance and stabilize. Thus, only after stabilizing their rhythmical abilities they start with playing and singing the Sarala-swaras (not Saralee-swaras) on Casio efficiently and very quickly on their own under the vigilant supervision of the teacher. Even later, our kids are efficiently initiated by the teacher to play select Varnas and sing along with them @ only one note per each second properly magnifying all the oscillations to learn them efficiently. In our efficient system of learning music we very strongly believe that the teacher as a guide has to initiate the aspirant in learning the rhythmical and musical intricacies which facilitate the aspirant to move further and further on his/her own. Thus, this learning will mostly be fulfilled even before the completion of select Varnas which enables the aspirant move further and further on his/her own. Even before the completion of these select Varnas the aspirant becomes able even to deal with the Swarakalpana and Ragalapana very efficiently and quickly.

In fact, each and every professional musician very well knows that the inter-relation of different notes only makes the difference in Ragas but not the name merely. But, each and every music-teacher goes on teaching a number of items to the aspirants without defining the different oscillations of notes. Even though some of the musicians come out to define the 10 or 15 old Gamakas they cannot bring out the relevancy of them with the present day needs. In the process of helping the poor and ignorant aspirant Subbarama Dikshitar, with great heart, brought out his ‘Sangita Sampradaya Pradarshini’ even around 1900 along with hundreds of compositions with symbolized notation paving way to the symbolised notation. But, all our lethargic and selfish musicians are used to openly praise him but never to follow or develop them for the benefit of the aspirants. Thus, since then, even though all these symbols have been thrown into cold-storage they have very conveniently been utilized even to get some Doctorates. For the benefit of the students community I have worked extensively and developed these symbols up to 60 numbers among which the Kaishiki-nishada itself occupied 27 facets. More over, I have brought out one book with the symbolized notation, three more books with general notation and all these books are supplied with pre-recorded CDs of the compositions unlike any other music-teacher on the globe for the benefit of our aspirants. amsharma

sastrydevarakonda
Posts: 35
Joined: 20 Jun 2014, 12:19

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by sastrydevarakonda »

Namaste to members of Rasika.org
Iam back here to express some of my feelings and findings about the learning part of Carnatic music - from the learner point of view, that too for the information to my serious music friends, those who have not discovered a good landing in music, despite their best effort for quite long time.

First of all I respect the feelings of sri Sharma garu, for his dedicated approach to see how best and how quickly, the strong aspirants of carnatic music, get benefited by his communications, and thanking you very much sir, for your urge to make learners to know the true path and land in quick answers.

From the learner point of view, I would request all the learners, those who are with a strong ambition for music, before much time goes into past, let us awaken ourselves and put us in proper path of learning.

Now I would like to express some aspects of learning, of carnatic VEENA what I understood about this instrument and how should we follow it up to play it will. I think if I share my thoughts can benefit some of the readers/members, those who are also strong aspirants to play VEENA.

Let me pay my respects to this beautiful, true Indian, classical music instrument.

What I understood, is that many of our traditional veena schools start teaching the instrument, without making us to know that - getting the proper knowledge of music into our system is a priority before touching the instrument . Whether we want to learn veena/violin/flute/or any other instrument, the basic requirement is that- we all should be vocalists, though we do not have a good voice on par with a good vocalist.
That means definitely we all should have learnt the vocal part, and when the mind starts guiding us, what should we play, then the hands can follow the path easily. This part is mostly skipped for whatever the reason, the answer is that, only we would have spent time, without picking up anything.
As far as vocal part is concerned, all that required is well described by sri Sharma garu in his earlier postings in this column. If we understand that and follow properly, then definitely, we all will be able do good progress within a short time.

I will be expressing about my thoughts in my further write-ups, about veena learning, but before I conclude here, I would like to express, what we have to play is not that there, what is seen on the bridge, what we have to play is what is hidden in the form of Gamaka.
Thanks to AMS easy methods, as it proved- this method not only meant for the vocalists but also for the instrumentalists.Sastry

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Dear brother-member, sastrydevarakonda, Like your previous post what you wrote again ‘What I understood, is that many of our traditional Veena schools start teaching the instrument, without making us to know that - getting the proper knowledge of music into our system is a priority before touching the instrument . Whether we want to learn Veena/Violin/Flute/or any other instrument, the basic requirement is that- we all should be vocalists, though we do not have a good voice on par with a good vocalist. That means definitely we all should have learnt the vocal part, and when the mind starts guiding us, what should we play, then the hands can follow the path easily. This part is mostly skipped for whatever the reason, the answer is that, only we would have spent time, without picking up anything. As far as vocal part is concerned, all that required is well described by Sri Sharma garu in his earlier postings in this column. If we understand that and follow properly, then definitely, we all will be able do good progress within a short time’ is the absolute truth in music which no musician had ever even observed or followed. Each and every music-teacher has always been thinking that singing or playing himself/herself and making the aspirant also sing or play along with him/her is the only way of teaching which is absolutely a blunder. Had any sensible music-teacher ever tried honestly and sincerely to know the basic needs of the aspirants and worked hard to fulfill them for the benefit of the aspirants he/she could have then and there found this new method of teaching/learning through which the aspirant only has to be initiated in doing things independently, very quickly and efficiently on his/her own. But, as nobody did it, only by the grace of the Almighty I could do it now for the benefit of our kids.

Thus, having found this way out, I have already trained the 11 year old kid, Chi. Shreenidhi, grand daughter of Sri S.Nageshwaran @ two classes per week by Skype in this qualitative system who could sing even a mini-concert of 50 mts., in December, 2010 in Chennai with the intricate Svarakalpana and brief Ragalapana within the span of hardly one year.

Now, again in the same manner, 13 years old kid, Chi. Padmaja, my great-grand-daughter from Bangalore started learning from me from 26-02-2014 attending the classes twice a week by telephone (as I have only to properly initiate her sing but need not sing at all myself) became able to render 3 Varnas in the Ragas, Natakuranji, Kambhoji and Darbar @ 4-6-8 notes per each second efficiently hardly within 6 months (the respective links of the audio-files are furnished below). There may be many lapses in her singing. However, she proved that flawless and reliable system in training certainly helps even kids in getting amazing results within a very short-time.

By personally observing this quick progress of the kids in learning music in this new system many parents are admitting their kids in our music-institute, Svarabhangima and its local branches at Secunderabad. Having been attracted by these amazing and quick results in learning music some of the music-teachers even from Chennai, Bangalore and other cities are also approaching us to follow this qualitative system. amsharma

https://soundcloud.com/msakella-1/natak ... am-akaaram
https://soundcloud.com/msakella-1/natak ... am-akaaram
https://soundcloud.com/msakella-1/kambh ... am-akaaram
https://soundcloud.com/msakella-1/kambh ... am-akaaram
https://soundcloud.com/msakella-1/darba ... am-akaaram
https://soundcloud.com/msakella-1/darba ... am-akaaram

sastrydevarakonda
Posts: 35
Joined: 20 Jun 2014, 12:19

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by sastrydevarakonda »

Namaste to members of Rasika.org
Iam back here to express some of my feelings and findings about the learning part of Carnatic music - from the learner point of view, for the information to my serious music friends, those who have not discovered a good landing in music, despite their best effort for quite long time.
As I started sharing my thoughts about the learning part of VEENA from my previous post, about the points, where the learner has to focus himself/herself to go in proper path, so that one can progress with the instrument, and keep his/her interest alive, and feel the comfort and happiness of playing VEENA in a good defined time.
I think sharing of my thoughts with my experience ( experience- I mean, after spending good time in the learning process, finally understood properly what I should have done for good landing of the subject) can benefit some of the readers/members, those who are also strong aspirants to play VEENA.
Iam sure that, many of our traditional veena schools start teaching the instrument, without making us, know that – what we should play on VEENA, whether we do have any thing in our mind about the music to reproduce on VEENA.
I really feel that playing of the instrument is nothing but re-producing the vocal part of the music in the form of a good sound in good shruti with a balanced laya. So for producing/reproducing a melodious compositions in the form of a sound waves – we definitely have set in our mind that, the full length of that, what we have to play/or produce in the form of sound. Because only mind should guide, what we should play, and the hands should follow what is guided by the mind.
Here the points raises, how the mind will guide us unless we train and store the information in the mind, for this we have to learn the vocal part with as much accuracy as a vocalist learns, the other way, we have to practice still more, because our hands are locked in playing the instrument to guide the laya balance.
So to play the veena, the basic requirement is that- we all should be vocalists, though we do not have a good voice on par with a good vocalist.
That means definitely we all should have learnt the vocal part, and then only the mind starts guiding us, what should we play, then the hands can follow the path easily.
As far as vocal part is concerned, all that required is well described by AMS methods 2007, if we understand that and follow properly, then definitely, we all will be able do good progress within a short time.
What I understood is that Playing of VEENA is not properly explained to us in any school,

On a broad sense of the two parts of the Veena bridge, the two parts are, Poorvangam and Uttarangam, I think only two notes are mostly to be the base lines notes, and those are the depending notes on VEENA, they are PA in Poorvangam and SA in Uttarangam. If we can learn to play “PA” on these notes, that means from SA/R2 to MA-2(prati madhyamam) in poorvangam and “SA*” in uttarangam, from PA to NI-2(kaakali nishadam) this gives the required Bhavam of any note played on the instrument.

That means R1 has to be played in SA, from R2 to M2, the underlying note is 'PA', because if we aim at producing PA in R2 to G1- in the process M1 can be comfortably played, that serves the purpose, but for G2 to M2 , ' PA' sound has to come to provide the required BHAVAM , similarly in Uttarangam- the underlying note is 'SA' , SA is the base line note, that has to produced while plucking the notes from D1 to N2. Thanking all the members, I will post some more experiences in my next postings.
Thanks to AMS easy methods, as it proved- this method not only meant for the vocalists but also for the instrumentalists. Sastry

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Where there is a will there is a way - thus, if we have the needed bent of mind to work hard for the welfare of our kids we shall certainly find a way to solve it removing all the illogicalities and irrationalities of our old system. Thus, I have interest only in solving the problems of the poor and innocent aspirants but not in any other things and this made me do things in a positive approach while analyzing and solving the umpteen problems the aspirants are facing in learning our music? The details of some of them I shall give hereunder to open their eyes of the music-teachers, if at all they have, not for my personal aggrandizement at all but for the benefit of the aspirants and their parents (I very well know that no other music-teacher on earth is ready to come out for any open discussion with me in this respect as it, no doubt, effects his/her own image).

01. If the vehicle is in proper condition then the person can travel without any hitch. Thus, even in music, as the vehicle is ‘Laya’ for music, by stabilising the instinctive rhythmical abilities in dealing with both the Chaturashra and Trisra-gatis and properly instilling self-confidence into the aspirant he/she can be initiated to move further and further quickly and efficiently in the travel of music. As most of the teachers themselves cannot manage with these two Gatis they all mostly teach Chaturashra-gati only conveniently leaving away the Trisra-gati. But, later on, due to the lack of ability in dealing with this Trisra-gati the aspirant has to suffer a lot until his/her life time. I have come across many such A-grade and even Top-rank artists with this kind of defect. In my umpteen experiments upon the aspirants it was proved beyond any doubt that any well-wishing-music-teacher certainly trains his/her aspirants both in Chaturashra and Trisra-gatis. Thus, all our students learning in this novel method in our institute, Svarabhangima at Secunderabad can very well sing both the Chaturashra and Trisra-gatis very efficiently.

02. Even though the teacher remains with the aspirant for half-an-hour or one hour at the most in the regular class, the aspirant remains out of the teacher for nearly 23 hours a day. If proper arrangements are made to the aspirant to rely upon something confidently while practicing on his/her own without going off-track. For this purpose only the Casio having the most reliable facility of metronome and transpose is brought into picture to rely upon and practice even in the absence of the teacher. This made the entire process unbelievably very quick and successful to the aspirant unlike in the past. Right from the pre-Saralee exercises up to Varnas this Casio always keeps the aspirant on track and helps a lot even far more than the teacher.

03. By providing the notated items, respective audio-files and possibly video-files also to refer, see and listen to them many a time of his/her own convenience and swallow how much he/she can at his/her own pace even up to Varnas things moved very fast and the Vocal-aspirants are becoming able to sing even intricate Svarakalpana and brief Ragalapana hardly within a span of one year even before learning the first Kriti on their own. Even the Violin-aspirants are also able to do this hardly within a span of 2 or 3 years unbelievably.

As you are initiated in this novel system you are able to work on your own independently and learn many things on your own very quickly and efficiently even though I, being a Violinist, did not teach you any of the Veena-insturmental-techniques at all. amsharma

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Today I have uploaded 3-Videos of Laya-exercises (SLE-Pre.Ex-10,11 & 12) and 6-Videos of Vocal-exercises (AMS-Vocal-exercises-01 to 06) to ‘youtube.com/user/msakella’ for the benefit of the interested aspirants.

These 12 Laya-exercises are meant for the regular practice of the aspirants and also to test the instinctive abilities of the aspirants at the basic level in managing with both the Chaturashra and Trisra-gatis.

In several experiments held by me in respect of selecting the Vocal-exercises for the kids from the basic level I have found that the Gamaka of the downward-glide occupies the prominent part of our music. However, one must understand that one upward-glide is also included in between two downward-glides and vice versa. As per umpteen experiments as I sincerely feel that the machine, Casio is far more reliable in respect of precise rhythm or note than even the teacher I have videoed four numbers of them playing Casio and singing Akara along @ 60 bpm of Metronome speed and later, two numbers along with only the Shruti of Casio and in two speeds @ 60 and 90 bpm of Metronome speeds respectively. In these last two videos the Arohana & Avarohana of Shankarabharana-raga along with the five Swara-alankaras having short notes only are sung in Akara. Some of the details are furnished hereunder.

01. srsrsrsg rgrgrgrm gmgmgmgp mpmpmpmd pdpdpdpn dndndnd snsnsns
sdndndnd npdpdpdp dmpmpmpm pgmgmgmg mrgrgrgr gsrsrsrs

can be practiced as:
(s)rsrsrs grgrgrgr mgmgmgmg pmpmpmpm dpdpdpdp ndndndnd snsnsnsns
sdndndnd npdpdpdp dmpmpmpm pgmgmgmg mrgrgrgr gsrsrsrs

02. rs grgr mgmg pmpm dpdp ndnd nsnsns
sdnd npdp dmpm pgmg mrgr gsrs

03. sg rm gp md pn ds sd np dm pg mr gs

can be practiced as: (s)gr mg pm dp nds---sd np dm pg mr gs

04. s r g m p d n s – r s n d p m g r ---
each and every note must be brought down from the upper note.

The aspirants can regularly practice these exercises periodically increasing the speed as per their requirement and ability in all the 32 Avivadi-melas to get proper acquaintance with all the 12 notes.

All the points I write in respect of the novel methods in teaching are experimented umpteen times upon the aspirants and are the proven facts which many of the musicians cannot and will not agree with me as they all are more of performer’s perspective and far less of teacher’s perspective. However, I am writing them here for the benefit of the interested aspirants only. amsharma

sastrydevarakonda
Posts: 35
Joined: 20 Jun 2014, 12:19

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by sastrydevarakonda »

Namaste to members of Rasika.org
Iam back here to express some of my feelings and findings about the learning part of Carnatic music - from the learner point of view, for the information to my serious music friends,

As I started sharing my thoughts about the learning part of VEENA from my previous post, about the points, where the learner has to focus himself/herself to go in proper path, so that one can progress with the instrument.
So to play the veena, the basic requirement is that- we all should have learnt the vocal part of music like any other ambitious vocalists, that will help us in having good idea about what we are to going to play on the instrument and
all that required is well described by AMS methods 2007, if we understand that and follow properly, then definitely, we all will be able do good progress within a short time.
As I expressed in my previous post that in poorvangam ‘PA’ is the base note and SA is the base note in Uttarangam, that means, we should at aim at producing PA in poorvangam, starting from R2 to M2,similarly the other side in Uttarangam from D1 to N2, we should look for producing the sound ‘SA’. In the above post, what is described by sri Sharma garu would be very much helpful for any learner.

To reach this point, as AMS method says, we should be thorough in playing the Varnas described by AMS 2007, because by the time we become fluent in playing these varnas, which covers all the 12 notes on the instrument added to this, we learn to play the varnas in good speed, that mean four letters per second that amounts to 120 speed, Iam sure all the veena learners become fluent in handling the instrument and acquire the capability to play any note on Veena. This is what the great Guru shri Akella garu always says. To my understanding and with little of my knowledge, no traditional Veena Schools impart this training for the ambitious veena learner, rather they directly jump on to teaching on veena all the Gitams to Varnams to krithis. We all would have spent good time by then, and we would be sure, we would not have not picked up anything, other than by hearting some krithis.
I do not know why the traditional veena schools do not prefer to teach these important basics.
I think sharing of my thoughts with my experience can benefit some of the readers/members, those who are also strong aspirants to play Thanking the members. Sastry

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

Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Dear brother-member, sastrydevarakonda,

If the teacher truly tries to understand the problems of the aspirant and sincerely arrange to solve them in his/her favour he/she certainly works hard and progresses very quickly and efficiently. Unfortunately, by looking very deep into this aspect with high-level of teacher’s perspective one can very well understand that none of our musicians had ever tried to do so and to make the aspirant learn music working hard on his/her own with minimum dependence upon the teacher. None of them even believes that it is only the true process of learning to progress quickly and efficiently without any kind of hindrance. All these musicians are more of performer’s perspective and far less of teacher’s perspective but, pitiably enough, each one of them thinks himself /herself a very great talented teacher. In my extensive experiments on these methods in teaching/learning I have arrived at the conclusion that the person who efficiently, honestly and sincerely makes proper arrangements for this kind of learning is only the true and truthful teacher. The true music-teacher teaches the minimum but makes the aspirant learn the maximum in the minimum duration.

When I have started my career as Lecturer in Violin in 1961 and when I have taught my students in which way I was taught by all my teachers very few of them learned a little and many failed to learn even that little. This failure made me think seriously about the system of learning. By experimenting many things upon my students gradually I could pick up some new methods in teaching Vocal and Violin techniques. By the time I retired I was recognized as one of the best Violin-teachers in our State. However, only after 5 years after my retirement one incident glaringly brought out the lacuna in my teaching. That made me fully resign from the active artistic field and seriously introspect myself. While the Almighty blessed me with umpteen unbelievable easy methods in teaching from then onwards I have taken the teaching as my mission of my remaining life which I have since been carrying out honestly and sincerely.

In which way the process of getting the ghee out of the milk can very easily be made using hardly half-litre of milk, it was also proved beyond any doubt that not even a single Kriti is needed to learn to ably sing Svarakapana or Ragalapana but the intricacies of rhythm and note. Thus, now, even without singing or playing Violin myself for more than 5% of the class-time I was able to initiate all my students sing or play Violin for more than 90% of the class-time and they all could finish of learning up to select Varnas hardly within a span of only one year for Vocal and 3 years for Violin respectively. However, in which way the person who suffers from money spends it lavishly and the person who suffers for money spends it very sparingly, in the same manner even in learning music, the aspirant who has plenty of time, energy and money can very leisurely learn music for 15 or more years and others like our Andhras living in a desert of music can learn it very quickly in this novel method of learning and finish it in a time-bound process.

(In fact, with a noble thought to give music to all the kids in our State and make them giants in music our leaders of those days (not now) have established 12 Music & Dance Institutions in our State unlike any other State of our country. Having no knowledge of music and being unable to make any difference between the performer and the teacher all the official authorities are used to bring great performers and appoint them as Lecturers or Heads of the Music-departments or Principals or pro-Chancellors or Vice-Chancellors etc., etc., in these educational institutions thinking that they all can very well transform all the kids in our State as giants in performing music. Had they truly had any previous experience of working in any educational institution as true teachers and did the needful with constructive ideas all these public-institutions would have certainly flourished well. Instead, ultimately, they all have gradually deteriorated in many aspects and this State remained only as a desert in music. Having delivered all kinds of duties in all capacities right from the Principal to the menial in these institutions and being the founder President of the Teaching staff Association (registered and recognized by the Government) as I, right from the beginning, being the spectator to all these unhappy things, had to feel very had. More over, having taken one or two of these Principals as my ideals, I too could justify for 60 % only and failed in attaining the other 40 %.)

While sending his son to his school without accompanying him a true father makes plans accordingly and suitably trains his son to go to his school on his own independently without depending upon any other person. In general, all the parents are always used to initiate their kids in this manner in training them in attending their needs. I honestly and very sincerely followed this idea, made plans and initiated my students in learning our music and succeeded. By this each and every student works hard on his/her own independently relying upon the symbolised or detailed notations, audio and video-files up to select Varnas and becomes able to sing intricate mathematical Svarakalpana and brief Ragalapana even before learning the first Kriti unbelievably. This obviously proved that any aspirant needs the required acquaintance with the intricacies of rhythm and note but doesn’t need to learn 25 Varnas or 50 Kritis, at the least, to get the knowledge of Manodharma Sangita as insisted by Sangita Kalanidhi Dr. Shripada Pinakapani in his book Manodharma Sangita which is absolutely incorrect and suicidal.

In this process, at the first instance, I have strived hard in suitably symbolizing our notational system to be understandable and followable even to a common man. Later, I have also formulated umpteen exercises for Vocal or Violin and brought out hundreds of audio and video-files to rely upon and be helpful to the aspirant even in the absence of the teacher. In this novel process of learning while the aspirant’s role increases to more than 90% the teacher’s role decreases to less than 10% and the aspirant learns himself at his/her own pace doing things on his/her own independently.

By very strictly implementing this logical and rational system of learning music I have found that all the hard working aspirants can very well save their invaluable time, energy and money and independently become efficient in singing Manodharma sangita within a very short time unbelievably unlike in the past. With the whole-hearted support of the local music-loving-public and the parents here in the area of Malkajgiri, Secunderabad we, as a team, are able to efficiently run our music-institution, Svarabhangima with far higher standards and amazing results in music.

To tell the fact, I have also visited umpteen music-institutions and music-departments of several universities and, to my utter dismay and disgust, found illogicalities and irrationalities, which are harmful to the poor aspirants, are reigning every where helping to produce degree-holders but impotents. Having myself worked for 35 long years in the Govt. Colleges of Music & Dance of Andhra Pradesh (retired in 1996) and having felt very bad of the situation I, on the request of then Director, Shri Arja Shreekanth, very honestly tried to rectify it by periodically holding Lec-dems and work-shops in all the 12 institutions of the State to both the students and teachers as well from 2005 to 2007. But, ultimately, in the absence of any academic supervision in these institutions since last 50 years, no teacher is following them except one or two of my disciples. Some of the music-teachers have even gone to the extent of lodging complaints against the inclusion of certain Laya-exercises formulated by me in the syllabus as one of the member of the Board of Studies. Even though many of the music-teachers are very well aware of the illogicalities or the irrationalities of the quantitative and monotonous old system of teaching music they are unable either to get out of the addiction of the old system and to follow this new system or to face even any open discussion in this respect as it very badly effects their own image. I very well know that due to so many reasons no music-teacher comes out in favour of this novel system of learning. I sincerely feel that, in this country, in any educational institution, the Governmental interference will certainly deteriorates all the conditions very badly and very rapidly. This is KALIYUGA and it was proved beyond any doubt that it is not possible at all to set them all right. That is why I am striving hard to maintain higher standards in our institution, Svarabhangima at Secunderabad at my own level only.

By the scant participation of our members in the discussions of the main thread ‘Music-school’ of our forum, we can very well understand the least interest most of our members have in solving the problems of our poor aspirants in learning their music. As it is of no use to harp on a deaf ear I also hereafter prefer to cut short my articles unless it is necessary.

Even though the playing of the instruments only differs and as the music remains the same, I was able to properly initiate you, a Veena player in learning the intricacies of our music and you have succeeded in your task in proceeding further. amsharma

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