AMS Easy Methods 2007 CD - Teaching and Learning Methods

[sbala]

VK,
I think the title "easy methods" is misleading and could lead people to misinterpet akellaji's method as a method that lacks depth. On the contrary, I think akellaji's approach make one extremely strong in the basics and gives the foundation to tackle the more complex areas. He is not a man to mince words (and if you meet him, he will probably convince you that the problems exist), but let that not distract us, for we will be missing a truly unique and great piece of work.

[vasanthakokilam]

sbala, that is the title of the CD and I will defer any possible name change to akellaji. We can change the title of this thread to "The AMS Method - Teaching and Learning Of Carnatic Music by A.M. Sharma". I will let akellaji comment on this before acting on it. Thanks.

[msakella]

Dear brother-members, sbala & vasanthakokilam, Believe it or not, I am writing this post practically shedding tears from my eyes for the harm made by me to our kids due to my inefficiency as a music-teacher for many years. Having worked in the Govt. Music Institutions for 35 years long years as a music-teacher knowing nothing about teaching but only performing, having successfully shaved (not saved) my poor and innocent kids for nearly 20 years and having struggled to the saturated point in making the process of teaching time-bound and result-oriented to our kids of Karnataka-music in the absolute absence of such knowledge from any corner, at last, even after 12 years of my retirement, now, I feel that I could successfully do something concrete to our kids.

In general, among a batch of 10 or 15 students of any music-teacher, only 3 or 4 or 5 students only come up and all others become stranded at one point or other. But, in this novel system of teaching music the fate of any student will certainly be decided within the first 6 months of his training and the aspirant who continues his studies beyond this period making strenuous practice can certainly become a reliable teacher at the least though not a successful performer.

Unfortunately, in the methods of teaching our Karnataka music, the traditional system has been used everywhere and by everybody. Even though I am successfully stamped as impatient and short tempered (of course, I relish that as I am truly truthful) I cannot but tell that this traditional method of teaching mostly helped the music-teachers to earn more being also lethargic in teaching. Having so many bitter experiences in my life in this respect I am compelled to write this in spite of all the uproar I may have to receive from all the corners. At this fag end of my life I don’t need to remain as a hypocrite. But, at last, even at the fag end of my life, only by the grace of the Almighty, I was able to find a way to serve our kids efficiently, honestly, sincerely and loyally getting far better dividends than any other teacher on earth. That is why I have named them AMS (Advanced Music Systems) Easy Methods which unimaginably made the process of teaching music dead easy, successful and highly reliable.

Last year, when I was invited by Shri K.V.Ramanachary, IAS, the Executive Officer of TTD, Tirupati in connection with upgrading the S.V College of Music & Dance as Deemed University I told him that the music imparted to the aspirant should be flawless and confidence-giving in making him live on music irrespective of any designation of the Institution. I also told him that I am more interested only in conducting periodical workshops on Svarakalpana and Ragalapana to the talented students and other works relating to the up gradation of the Institute will be made by my friends Dr. N.Ramanathan, retired Professor and Head of the Department of Music, Madras University and Vidwan Shri K. Sheshadri, once my colleague and retired Principal of the same College who have very kindly agreed to help me in this project. The EO very kindly agreed and I was able to train six students in Svarakalpana in a period of 3 moths attending for 3 days in every fortnight as a record in the annals of this Music College ( their renderings could be found in the link <http://www.esnips.com/web/AMS-Svarakalpana> along with the names of the students).


Thus, I feel that the reliability of the system is more important than the name of it. However, as, by the grace of the Almighty, this system is truly serving our kids efficiently, I don’t mind even if it is renamed properly by all our forumites. amsharma

[cmlover]

Dear Sarmaji
None of the files in your link
<http://www.esnips.com/web/AMS-Svarakalpana> are currently available...

[msakella]

Hi all, I am not well versed with many of the operations of this computer. However, with great difficulty, I could upload some of the music files and thinking that they are safe there I have furnished those links for reference. But, unfortunately, all those things are simply vanished and I have to redo the same again. In the meantime, by one of my friend’s suggestion I have uploaded two of them to rapidshare (better to call it even stupidshare in my case). In that chaos you can easily find one file is uploaded twice, adding fuel to the fire. Please go through them. However, I am thinking of uploading them to esnips again along with all others. amsharma
http://rapidshare.com/files/234233423/0 ... 4.mp3.html

http://rapidshare.com/files/234238012/0 ... 8.mp3.html

http://rapidshare.com/files/234236239/0 ... -11.18.mp3

[msakella]

Hi all, Today I am able to re-upload all the vanished files to esnips again and the link is http://www.esnips.com/web/AMS-Svarakalpana. Along with them I have also uploaded two audio-files of Chi. J.S.Shriram’s vocal music.
Chi. J.S.Shriram is of 16 years of age. He is the 2nd son of Shri J.S.Eshwara Prasad, a Dance exponent of Bhakti-sankeertana mostly popular in Tamil circles of Tamilnadu, Karnataka and Kerala and abroad with his Nritya-sankeertana concerts and Chi.Sow. Chidroopa Lakshmi, a house-wife and a gold-medalist-post-graduate in Music (Vocal) singing also All India Radio concerts. His elder brother is also an amateur Violinist and a software engineer.

Chi. Shriram came to me in his 13th year while learning Gitas from her mother and I, having found a genius in him, told her mother that I shall give him a plan for learning music on his own and not to interfere unless he commits mistakes in the process. She agreed and as per the plan I have given him my CD, AMS Easy Methods and asked him to get the six Gitas by heart by constantly listening to the respective audio-clippings and following the pdf files containing the notated Gitas. He fulfilled it very quickly within a week’s time. Later, I have asked him to sing the 9 Varnas in the Ragas Natakuranji, Kambhoji, Darbar, Shankarabharana, Kalyani, Begada, Todi, Saveri, Bhairavi and Svarajati in Bhairavi, one after the other in the same manner by constantly listening to the respective audio-clippings of them and following the pdf files containing the Varnas with symbolized notations.

Astoundingly he could finish-off each composition in a single day. Gradually, I have given him all the rhythmical exercises and the easy-jati-muktayis in all the six popular Talas, Rupaka, Khanda-chapu, Mishra-chapu, Adi (medium-tempo), Adi (slow-tempo) and Adi (Trisra-gati) furnished in my book, Sangita Svararaga Sudha. Within a very short time he could efficiently finish all of them. Later, I have explained him the symbolized Gamakas and asked him to proceed further by learning Kritis on his own in the same way in which he did previously. Even from the beginning I was only guiding him properly removing the mistakes but not teaching him regularly. Even from the first Kriti I have initiated him to sing the easy-jati-muktayis in terms of respective svaras.

By regular and knowledgeable practice of more than 6hrs. a day he was able to develop on his own. Later, I have asked him to start singing of Ragas with the help of the respective audio-clippings and symbolized notations provided in my book, Sangita Svararaga Sudha explaining him the relevant intricacies of the different oscillations. In this process he could very efficiently finish the Certificate syllabus of 4 years within a very short period of one-and-half-years only and passed the examination with distinction. To facilitate his regular heavy practice he had also chosen to continue his studies under the National Institute of Open Schooling of the Govt. of India and also started giving music-concerts of 2 hrs. at so many places. Later, even after finishing the syllabus of Diploma examination in Music on his own and in my guidance he already appeared for the final year Intermediate examination and is ready to appear for the Diploma examination in Music. Till now he had given more than 30 music-concerts of admirable standards of which some excerpts are uploaded now and plans are afoot to upload some more of them. amsharma

[sbala]

Akellaji,
I listened to Sriram's clips. He sings really well. Thanks for bring such fine talents to the fore.

[rajeshnat]

Shriram is singing beautifully, his voice has got a lot of azhuttam, great tutoring akella gAru...

[vasanthakokilam]

Thanks akellaji for introducing Shriram's music to us. He sings excellently. The AMS method does indeed pay off.

[msakella]

Dear brother-members, sbala, rajeshnat & vasanthakokilam, Thanks a lot to all of you for your kind appreaciation.

I am also thinking of uploading some of the video-clippings of Chi. Shriram even though there are some constraints in regard to the size and duration of the clippings. However, I shall try to do the needful.

While feeling happy about the successful results of the novel system of teaching music to our kids and also the sincere appreciation of people like you I have my own doubts about the music teachers in implementing this novel system lest they loose much of their income by quickening the process of teaching on one side and, on the other, unless they themselves, irrespective of their Laya instinct, get proper acquaintance of all these rhythmical exercises by regular practice, they cannot teach them to their students. By all this, even though some may openly compromise with these methods, many of them hesitate to follow them. Recently in the meeting of the Board of Studies in Telugu University, when one or two teachers openly spoke supportively others also, having no other way, have followed the suit but declined to teach them to their students in the class. Many of the salaried-teachers working in all these Institutions are not at all interested in teaching them even in the interest of building standards among our kids. Unless the aspirants or their parents become aware of this time-bound and result-oriented system of teaching music and demand for quickening the process of teaching and making the aspirants more knowlegeable in Svarakalpana and Ragalapana it is not possible to get out of this menace. amsharma

[bahudari]

Chi. Shriram's singing is excellent. Sharma Sir thanks for uploading.

Chi. J.S.Shriram is of 16 years of age. He is the 2nd son of Shri J.S.Eshwara Prasad, a Dance exponent of Bhakti-sankeertana mostly popular in Tamil circles of Tamilnadu, Karnataka and Kerala and abroad with his Nritya-sankeertana concerts and Chi.Sow. Chidroopa Lakshmi, a house-wife and a gold-medalist-post-graduate in Music (Vocal) singing also All India Radio concerts.

However, I have observed that most of the successful people in music have it in their blood. Is there any example of a successful musician who did not have a musical lineage?

[manikandan]

there is nothing like music adulterated blood. The environment they are brought up in really counts. I have observed many parents insisting their children to do sadhakam in room while they carry on with their soap watching with couch potatoes. There should be some amount of dedication from the parents too. I think a majority of population frown when you accidentally come across a canatic music program which you like to watch or something you want to listen to in the radio. You can call children in such environment as non music blood unless they get recourse to some musical surroundings or some external catalyst works on them.

[msakella]

Dear brother-member, bahudari, I myself am one among such examples having never been taught properly by anybody and even without any positive environment, My father had learnt 4 or 5 Varnas and very few Kritis on Vocal and Violin but could not play any one of them reasonably. He did not learn but was also able to play a little of Mridangam, Harmonium, Flute and Veena and little of Dance too. He was a professional Astrologer and Ayurvedic-doctor. Among all of them I have chosen Mridangam at my age of 3, Harmonium at the age of 8 and lastly Violin at my age of 17. Even though he wanted to thrust Astrology and Ayurveda also on me he encouraged me a lot as he could not fulfill in music. In spite of umpteen hurdles I could become a successful musician even at this of 70 that too only by the grace of the Almighty. My mother was a house-wife being able to sing some folk songs only. amsharma

[Rasika911]

Dear brother-member, bahudari, I myself am one among such examples having never been taught properly by anybody and even without any positive environment, My father had learnt 4 or 5 Varnas and very few Kritis on Vocal and Violin but could not play any one of them reasonably. He did not learn but was also able to play a little of Mridangam, Harmonium, Flute and Veena and little of Dance too. He was a professional Astrologer and Ayurvedic-doctor. Among all of them I have chosen Mridangam at my age of 3, Harmonium at the age of 8 and lastly Violin at my age of 17. Even though he wanted to thrust Astrology and Ayurveda also on me he encouraged me a lot as he could not fulfill in music. In spite of umpteen hurdles I could become a successful musician even at this of 70 that too only by the grace of the Almighty. My mother was a house-wife being able to sing some folk songs only. amsharma

Congrats for the success of your students! Hopefully there are many more srirams to come and I will continue to check you youtube account for updates. All the best

[prabharavi79]

Shriram has sung very well. The due credit goes to Sharma ji and Shriram's parents for all their support, guidance and love.
Shriram, please practise more & more and you will surely reach the top list one day.

[msakella]

Hi all, At the first instance I would like to thank our brother-members, Rasika911 and prabharavi79 for their kind appreciation.


Today I have uploaded some more video-clippings of my disciple, Chi. J.S.Shriram, Vocal and another disciple Chi. O.Rajashekhar who had accompanied him on Violin to eSnips. The link is http://www.esnips.com/web/AMS-Svarakalpana. Either to esnips or youtube, I am also trying to upload some more videos of small new kids very patiently trained by Chi. Sow, Chidroopa Lakshmi along with her son Chi. Shriram in rendering intricate rhythmical exercises. All these videos of kids are being uploaded only to prove the efficiency of the system in tapping out the latent musical talents of our kids and the patience and dedication of the teachers Chi. Sow. Chidroopa Lakshmi along with her son, Chi. J.S.Shriram in shaping these kids.


Again I shall take this opportunity to bring out some very important points to the notice of the enthusiasts. I categorise the music-aspirants into 4 grades and among them while the aspirant of I-grade practises heavily, regularly and meticulously and capable of learning music even by mostly listening to the pre-recorded music of either cassettes or CDs furnished by me but doesn’t need regular lessons at all from me, the aspirant of II-grade practises on and off and learns like I-grade aspirant, the aspirant of III-grade practises heavily and regularly but needs lessons from me being unable to follow the pre-recorded music well, and the aspirant of IV-grade practises on and off and learns like the III-grade aspirant in other aspects. In general, as I cannot exert myself at this age of 70 years and also intend to make the aspirant work heavily on his own, I am used to entertain the aspirants of I & II-grades only. My disciples, Chi. J.S.Shriram, Chi. O.Rajashekhar and Chi.Vinay Rahul belong to the category of the I-grade and, of course, I feel proud of them. My disciple, Chi. Shriram came to me at the end of his 12th year of age, had less than 30 classes that too only for guidance in the span of first 2 years as he was able to learn everything mostly on his own with the help of notations and audio CDs furnished by me and even Chi. Rajashekhar and Chi. Vinay Rahul had not more than 90 classes of both for lessons and guidance together in a span of first 2 years.

As per my system I shall equip my student with all the needs and initiate him to do things on his own. If a person had to go to an unknown place like Mumbai or Delhi or Calcutta, he should at first be equipped with his needs like clothes, money etc., etc., and, later be initiated to proceed on his own. Then only his brain becomes sharpened in deciding and doing things on his own avoiding any failure. If not, if this person depends upon others for his needs he always become dependent upon others and his brain never develops in doing things on his own. Right from the first day of lesson I am mostly used to initiate my student in doing things on his own and in this process I am always used to teach my student very strictly up to Varnas only shaping him able to proceed on his own even from learning his first Kriti.

People may not believe me and tell that I am exaggerating things being ‘head-strong and thick-skinned’ if I tell that in this process of teaching up to Varnas vigilantly while a vocal aspirant needs maximum number of 90 classes of both for lessons and guidance together a violin-aspirant, as instrumental teaching involves hands and fingers usage also, needs maximum number of 180 classes for both lessons and guidance together. Even this maximum number of classes will be reduced depending upon the hard work of the aspirant and his understanding and assimilative abilities. If the aspirant is below 10 years of age having more than 60% instinct of Laya and regularly works hard preferrably in the morning hours for more than 2 hours while learning upto Gitas, more than 4 hours learning up to Varnas and more than 6 hours learning Kritis etc. the above mentioned number of classes is more than enough to make him a reliable teacher.

As the aspirant spends more time at his residence than at the institution the time spent at his residence must be taken into consideration to make him work more at his residence. Previously, very limited gadgets like tape-recorders were available for recording the music and, being hefty, it was not convenient to carry them along. Nowadays, a number of portable gadgets like iPods and various mp3 players are plentily available to the aspirant to use them at any time and at any place according to his will and pleasure. So, these modern gadgets must properly be availed by the aspirants for their development. amsharma

[msakella]

Dear brother-member, manikandan, As you wrote a majority of the population frown upon classical Karnataka music and the kids learning this music cannot flourish unless their parents encourage them properly and do the needful with dedication towards this art. But, fortunately enough, the parents of my disciple Chi. Shriram, being artists themselves, creates an atmosphere of its own and work along with him in encouraging him to the maximum. In fact, many of the parents are highly interested in shaping their kids only as Doctors or Engineers. But, when Chi. Shriram himself had chosen to continue his general studies through the National Institute of Open Schooling (NOS) and work hard for more than 6 hours a day particularly on music, his parents also, unlike many other parents, encouraged him to do so and ultimately, now, even within a very short span of 4 years, he is able not only to finish off both Certificate and Diploma examinations in music along with the Intermediate examination but also give more than 30 successful concerts of more than 2 hours each and regularly assisting his mother in training the young talent successfully. To tell the truth, I have never seen such parents who truly encourage their kids and work hard accordingly in the true interest of their kids. amsharma

[msakella]

Hi all, I am very happy to know that nobody has any doubts in respect of these novel methods of teaching music even after going through all the mind-boggling material I have posted. Very nice indeed!!! amsharma

[valliRCN]

A.M.S, You seems to be mad till accepting the forum to say yes to your methods. Late Shri BRC Iyengar use to tell us about you and i have recollected it when I saw your postings. Dsgssing attitude.

[msakella]

Dear sister-member, valliRCN, I wrote this post to instigate the people to come out with their doubts, if any, but not for the people having no doubts. Yes, truely I am mad of disgussing the advantages and disadvantages of this new method but not to make the entire forum accept my methods. I am working hard even at this age only for the benefit of our kids but not for any praise from any quarter. More over, these things are not meant for traditionalists at all. amsharma

[valliRCN]

A.m.s , The rasikas.org forum itself is built for the traditionalists like me who keep alive of this culture and music . Without we you are not here.

[cmlover]

dear valliRCN
since you have just newly registered, if your intention is to provoke a controversy please desist. If you wish to counter sarmaji on issues/points by all means go ahead. Thanks.

[vasanthakokilam]

Right on, CML.

Also, valliRCN, I do not know where you get the idea that rasikas.org is built for traditionalists or modernists or any other ists. Just read, participate, enjoy, contribute and take what you can. That is all there is to it. Sri. Akella contributes to the forum in a big way by educating us on various matters related to CM. He is part of the building crew and not an onlooker to an already built structure.

[coolkarni]

..

[ganesh_mourthy]

valli you can disregard sharmaji's posting...

and sharmaji disregarded too.....

simple..

this forum is more of a cafetaria..

Take only what you want....

Good luck.

[msakella]

In general, every individual wants to make easy money or recognition or fame or honors etc., etc., irrespective of his abilities or disabilities. In this process he feels extremely happy if anybody helps him in attaining his aim or feels extremely unhappy if anybody obstructs him or create obstructions in attaining his aim. But, being always truthful, honest, sincere, efficient and loyal, I have always been used to act against any unlawful acts and become the enemy of such selfish persons. Many a time, even though I did not even interfere at all in their acts all such people are damn afraid of me always. Even though none has any guts to face me at any time directly they are always used either to victimise me in one concocted incident or other or to allege me in one way or other with a string of lies only to save their skins which is almost impossible. Even now I have a lot of such great friends all around me working day in and day out against me either directly or indirectly right from the first day of my Govt. service in 1961. But, only by the grace of the Almighty, I have been saved every time miraculously fooling all those honourable gentlemen and in one way these acts always helped me a lot in keeping myself always alert and making me more active, bold and powerful than all my friends put together. Even now, in the same manner, even though some selfish fellows are working against me, by the grace of the Almighty, it is otherwise helps me a lot by creating umpteen activities of music by which I am becoming able to prove my methods fool-proof with audio and video-clippings as evidence.

After my retirement, having experimented a lot on teaching methods and also travelled extensively to all the 13 music colleges in our State holding periodical Lec-dems and workshops on Svarakalpana and Ragalapana I, at last, found many of the teachers are reluctant to continue the same process as it increases their work-load. To tell the fact, they do not have the barest workload at all. But, in the absence of any academic supervision since last 50 years, they are always used to teach as they like, whenever they like, whomsoever they like, at their will and pleasure struggling hard even to fulfill the teaching of the compositions leave along Svarakalpana or Ragalapana. I AM NOT EXAGGERATING THE THINGS AT ALL BUT CAN PROVE EACH AND EVERY LETTER AND WORD I WRITE AT ANY TIME WITH EVIDENCES IF ANY AUTHORITY IS READY TO DO THE NEEDFUL TO CURB THE MENACE IN THE HIGH INTEREST OF KEEPING OUR CULTURE IN TACT. Having experienced many bitter things in my life in regard to the umpteen problems of our kids in these music institutions or music departments in the Universities this has become a heart-burning problem to me as a truthful, honest, sincere, efficient and loyal citizen of this land in the absence of any responsible person in sight to curb the manace For example I shall furnish a very few hereunder.

(1) Once a music-teacher in profession also participated in my workshop at Bangalore to learn the rhythmical intricacies and when, as a test, I asked him to sing the Alankaras both in Chaturashra and Trisra-gatis he was unable to do so and replied that his Guru, a stalwart in music, blatantly refused to teach him Trisra-gati in his tutelage. But, with the help of some exercises I could make him sing all the Alankaras both in Chaturashra and Trisra-gatis then and there. In that way his Guru deceived him and then with which name shall I call his so called stalwart-Guru?

(2) Once two aspirants came to me to learn Violin. Among them one is partially blind. They have already learnt Violin in one of the music colleges in our State for 7 years and passed the Diploma examination. When I asked them to play Violin they could not play even any Varna or any Kriti in order leave alone Svarakalpana or Ragalapana. They could not even sing the Alankaras in Chaturashra and Trisra-gatis. All along for 7 years the teachers in the music college promoted them every year to the next year even without teaching them anything properly and, at last, to get rid of them they made them passed the Diploma examination in connivance with the examiners of the examination as these poor students cannot attend the class if they pass the examinatioin. Then with which name shall I call the respective honourable teachers?

(3) In our State there are two music colleges where hostel facilities are also available to the inmates. Taking this advantage many got admitted into these institutions and among them a few are learning very sincerely remaining in the hostel and working very hard. Once when I had been invited to conduct interviews to nearly 300 old students of them who have successfully passed their music examinations from this college I could select only 30 candidates of them who can sing only bare Kritis alone. This obviously reveals the standards of teaching in this music college and with which name shall I call the teachers of these music colleges?

(4) I know many of our co-teachers in these music colleges who were always greedy enough to earn more money in addition to their regular salaries squeezing money even from their class-students even to teach them in their class-rooms. Even then, while they teach a little to the students who had paid additional amounts they teach very little to the students who did not pay any additioinal amounts. With which name shall I call the teachers of these music colleges? amsharma

[msakella]

Dear brother-member, coolkarni, By the grace of the Almighty everything helps me a lot and I do not have any objection to alter the title if it helps the readers not me. amsharma

[msakella]

Most unfortunately, many of our adamant traditionalists are blindfold for being unable not only to recognise any disadvantages of the present system but also any advantages of any novel system. Me too have unnecessarily wasted nearly 15 years of my serivice as Lecturer in Violin by following the suggestions of a senior Vidwan and a reputed teacher but when I could properly introspect myself and rectify some of my defects the results were overwhelming to my surprise. Later, by the grace of the Almighty, I could evolve some novel methods in teaching basing upon the end-result of the aspirants. Even though my abilities were far lesser at that time if compared with my present knowledge of successful teaching, now, I am satisfied a little for having become a successful teacher making this teaching of music TIME-BOUND AND RESULT-ORIENTED. At the same time I sincerely feel that, at least now, even at the fag end of my life, I am able to serve my people properly, honestly, efficiently and reliably in spite of all odds and ends.

It is very important to note that while in Hindusthani music their main rhythmical instrument, Tabla has since long ago been made part and parcel of their syllabi, most unfortunately, in any of the syllabi of our Karnataka music not even Mridanga-jatis have ever been included. In fact, right from the first day of the lesson, prime importance must be given to compulsorily teach different rhythmical exercises to the aspirants to instill confidence and also to increase their intelligence and brilliance of the aspirant. As a Mridangist in my younger age being aware of the intrinsic value of the rhythmical exercises I always insist upon learning all these rhythmical exercises. Real teacher always strives hard not only to give the regular lesson of the subject but also to give the required lessons to sharpen the mental and physical abilities of the aspirant as needed in making him independent in all aspects. In this process of this novel method of teaching the aspirant must become able to learn things on his own beyond Varnas and any inability of the aspirant in this connection obvioulsy reveals the defective teaching of the teacher. In this manner either the aspirant or the parents can easily and obviously adjudge the ability of the teacher to act accordingly and also to save themselves from the defective teachings of the teacher. By all this, the aspirant becomes able to render the intricate rhythmical Jati-kalpana simultaneously even while learning Varnas and, later gradually, becomes able to sing Svarakalpana on his own. Many are not aware that the yardstick to measure the music knowledge imparted by the teacher should, at the least, enable the aspirant sing @ 4, 6 & 8 units of both Poorvanga and Uttaranga of any Varna he learnt along with rhythmical Svarakalpana and brief Ragalapana.

To tell the truth, in any of the music institutions or the music departments of the Universities no such rhythmical exercises are being taught to any of the aspirants. In fact, all these rhythmical exercises are not at all new to any music-teacher and, more over, any music-teacher having the required level of rhythmical instinct can very easily reproduce all these exercises within no time and teach his aspirants. But, in general, as nobody wants to exert himself much to face all these complicated rhythmical intricacies and, more over, as not only many of these music-teachers, in the absence of the high level rhythmical instinct, cannot possibly reproduce this kind of complicated rhythmical intricacies but also it becomes difficult either to find suitable enthusiastic aspirants to teach them or to make them practice rigorously, every music-teacher hesitates to follow this novel method of teaching music. In general, in the absence of the high level instinct of Laya, even many of the aspirants prefer to learn a number of Kirtanas only which are handy to sing either by Radio or Television or in any competition to win prizes etc., than the complicated rhythmical exercises. When there is a traditional customary escape from teaching either Svarakalpana or Ragalapana and when it is easy to manage by teaching a reasonable number of compositions only in the process of making easy money and fame why should any music-teacher bothers about maintaining standards by teaching such difficult rhythmical intricacies to the aspirants. But, any aspirant rigorously trained by his efficient teacher in all these rhythmical intricacies can easily get over any complex problems of pracitcal music and will, no doubt, make a mark in this field within a very short time.

Here, at Hyderabad, some of the enthusiasts have recently started AMS Foundation and are striving hard to propagate these novel methods of teaching music for the benefit of both the aspirants and their parents. Also plans are afoot to open branches in other places like Bangalore, Mysore, Chennai etc., etc., basing upon the availability of local enthusiasts. In this connection, only to prove the efficiency of this novel system of teaching music to the kids I have already uploaded some of the audio and video-files to both http://www.youtube.com/msakella & http://www.esnips.com/web/AMS-Svarakalpana and again some more will be added in near future.

As no music-teacher is ready to loose his income by quickening the process of teaching and also he doesn’t want to give any guarantee of the end-result of his teaching no music-teacher likes to follow this novel system of teaching. However, in spite of all odds and ends, I heartily welcome the honest and loyal teachers to follow this unique method of teaching music and I shall also be very happy if such music-teachers arrange to upload the relevant audio and video-clippings of their students of Vocal or Violin disciplines to prove their efficiency in teaching. amsharma

[msakella]

In our State of Andhra Pradesh, in music, we have Certificate examination of 4 years, Diploma examination of 2 years in all the Govt. Colleges of Music & Dance and B.A.Music of 3 years and M.A.Music of another 2 years in the music departments of the Universities. Among them the teaching of Kritis is started in the 3rd year of Certificate examination arriving at a total of 35 compositions of Kritis etc.,in 35 Ragas in 3rd & 4th years. In Diploma another set of 35 compositons of Kritis etc., in 35 Ragas are taught with a repetition of nearly 25 Ragas of the Certificate examination by which only 10 new Ragas are covered. Again in B.A. Music of 3 years course 43 compositions are taught and all the 43 Ragas, which are already covered in Certificate and Diploma exaiminations, are again repeated. Again in M.A.Music of 2 years course 52 compositions are taught and among them 32 Ragas, which are already covered previously, are repeated again. In all these syllabi, in total, nearly 70 Ragas are covered and among them nearly 40 Ragas are repeated in compositions and 30 Ragas are repeated in respect of Svarakalpana or Ragalapana. This is the statistics of our music syllabi in our State. Except some difference in the number of compositions to be learnt all are same in all the States in respect of syllabi. All the authorities of all the Universities do not have the required knowledge to supervise the teaching amenities of the music departments and such supervision should only be made by professional teachers (but not professional performers). As, the teachers cannot relish such supervision at all by any other teachers, this kind of supervisory set up did never take place at any time. Unless such supervisory section is formulated at all places and proper action is taken to curb this menace, I am afraid, the production of impotents could never be stopped by these institutions. Many will not appreciate this kind of statements but, I can assure that I can very well prove that qualitative teaching is not made in any of these institutions.

I have travelled many places in Karnataka and few places in Tamilnadu holding Lec-dems and workshops on Svarakalpana and Ragalapana and found the same amenities of quantitative teaching are only available everywhere without any exception. But, while in Tamilnadu and Karnataka, as much of the environment is filled with classical music the aspirants are benefitted abundantly by this environment, in our State in a very little environment of music the kids are unable to become potents. amsharma

[valliRCN]

ganesh, I agree with you.

[msakella]

As I am now 71 years old having much teaching and performing experience I would like to bring all my teaching experiences and observations, who have either direct or indirect influence upon our music field, through these columns that they all, without going waste, should benefit my society. For example, I had to invest more than 40 years of my preciousl life towards the extensive research of the rare topic, Talaprastara, as it has never been brought out fully by any author in any century. Howeever, as per their treatises, it has been proved that there are only two persons in the history who are aware of these latent secrets of this Talaprastara but, most unfortunately (may be for me only), did never care to give these secrets to the posterity and they are 1.Parshvadeva of 13 century who had furnished some Talas along with their specific serial numbers in his Sangita Samayasaara (Sanskrit) and 2. Tacchoor Singaracharya Bros., of 1902 who had furnished another set of Talas along with their specific serial numbers. Either their ignorance or negligence did cost 4 decades of my precious life. Had they taken proper care to furnish the details of these latent secrets of Talaprastara in their treatises for the posterity I would not have wasted 4 decades of my precious life. Taking all these things into consideration, at this age, I do not have any desire at all except acting properly and carefully until my last breath in giving out the knowledge I have earned to the posterity with a hope that, though not all, some interested or knowledgeable people act accordingly in preserving our culture in tact. In this process I request one and all to bear with my inconsistent ‘Tenglish’ and do the needful at your earliest convenience only in the high interest of preserving our great culture in tact.

Unless they have the minimum strength of the students in the department of music in any University the section will be closed. As such closure leads to the removal of the members of Teaching staff concerned the respective teachers always try to manage with that minimum number of admissions every year to ensure their regular salaries. Thus, it is a barest truth that many of the respective teachers are much bothered about their salaries and accrodingly they try to admit as many students as they can, irrespective of their abilities, and make only quantitative teaching by teaching only the items of the syllabus but not in giving their students qualitative teaching which paves way in singing Svarakalpana or Ragalapana extensively. They are always used to teach a number of compositions like Ata-tala-varnas or Shyama-Shastry-svarajatis or Navagraha-kritis or Navaavarana-kritis or Panchalinga-sthala-kritis or different Pancharatna-kritis or Melaraga-kritis etc., etc., but not singing the Varnas in other Gatis or rhythmical Svarakalpana or Ragalapana. These teachers are always used to tell that such things must be acquired by constant listening to stalwarts’ music and by heavy practice and possibly try to escape from the responsibility of teaching them efficiently. More over they are never used even to give a perfect plan of practice in this regard. I have evolved a perfect plan of practice to obtain these things and taught to my students at the end of which they became able to sing Varnas in all the different Gatis, intricate patterns of rhythmical Svarakalpana which, later, lead to natural Svarakalpana and Ragalapana. Even though I, even after my retirement, have extensively travelled to all these 13 music colleges in our State for two years and held workshops on Svarakalpana and Ragalapana for 3 days in every two months for both the students and teachers, very few of the teachers have learnt them and using for themselves and still lesser in number of them are teaching them to their students. The same thing happened in respect of all the music Departments of various Universities also. Unless this system of teaching is fully modified giving more importance to teach basics from the beginning to enable the aspirant sing Manodharma Sangita, I am afraid, mostly, impotents are produced by all these Universities and Music Colleges.



Even while framing the syllabus, in general, the standard of the average student is taken into consideration. But, they apply the same rule even to the methods of teaching by concentrating more on the average student only and teaching the minimum. Even in my case, when I have joined duty as Lecturer in Violin in 1961 a well experienced teacher and stalwart in music told me to concentrate upon the average student only. Most unfortunately, I, being the junior most in teaching, have meticulously followed this suggestion for more than 15 years and successfully shaved many of my poor students. However, very few of them were fortunate enough somehow to escape from me and became successful accompanists only to participate in the junior-concerts until their life time. Later, that too with great introspection, I could evolve a system of teaching to come out of this hell and started getting successful results by mainly concentrating upon the talented students only and giving the average student what he deserves. Any sytem must be adjudged basing upon the end-result and, now, basing upon the successful results I have been getting without any failure at all, I can declare this system of teaching music is far reliable than any other system.

While there are one or other training units even for clerk-posts in our country we do not have any such training units for music-teachers in our country. Even if there is only one such Teachers’-training-unit attached to the Music Academy, Chennai I found the standards are very poor when I have given one Lec-dem in that Institution.

Always it is healthy to appoint a medical Doctor either as Director or Deputy Director or even Assistant Director in the Department of medicine to look after the needs of the Department and if these officers work sincerely and efficiently that Department flourishes well. But, most unfortunately, right from the inception of these music institutions in 1961, even though, such channel has never been arrnaged and no musician has ever been appointed in any of the above posts, many a time the Asst. Directors or Deputy Directors of the Department have been put on additional-chanrge for the post of Principal, Music College which helped only to deteriorate the standards drastically.

In general, in the interviews held for the selection of music teachers, the members of the selection committee are always used to ask the candidates to sing or play the items along with some Svarakalpana and Ragalapana just like in the audition-test of All India Radio which is suicidal to a teachers’ post. Even though, with my vast experience, I have made a list of questions to be asked in such cases and sent to the Head of the Department, those Heads (not Heads but tails), in the absence of any music knowledge at all, have thrown this list into waste basket and conducted interviews successfully selecting many inefficient candidates. More over, the reservation policy adds fuel to the fire.

Once, being as a member on the selection committee to select music-teachers, when we all the members unanimously failed a candidate giving zero marks to that candidate, most surprisingly, this candidate was appointed as a teacher on ‘reservation-basis’ and started shaving all the students in which way I did in the beginning of my service. Unless the appointments of Doctors or Engineers or Lawyers or Teachers are made basing upon their merit only and are exempted from the ‘Reservation-policy’ our country cannot flourish at all.

Unlike in the ancient days, the music and dance have become independent subjects and they need independent institutions either for music or dance. But, the authorities, having no knowledge of these subjects, do not want to separate them but appoint either a musician or a dancer as a Principal by which either of the opposite disciplines suffer without supervision in the absense of even the overall supervision. Presently, in the Colleges of Music & Dance, depending upon the number of various disciplines, while there are mainly 5 disciplines, 1.Vocal 2.Veena 3.Violin 4.Mridangam and 5.Dance, among them 3 disciplines are of music. While these 3 discipines suffer without supervision by the appointment of a dancer as a Principal only one discipline of dance suffers by the appointment of a musician as a Principal.

Once, when I was working as the Principal of the Music college, I met a friend, a music-teacher working in the Education Department and, inquisitively, asked him to giv e me a copy of the syllabus he follows in his school. To my great surprise he told me that he never conducts any music class at all but regularly attends the bill-preparing work entrusted by his Head-master. But, later, after few months, I was shocked when he was declared as the recipient of the Best-teacher-award of that District and again stunned when he was again declared as the recipient of the Best-teacher-award of our State itself. Of course, this is common in our country irrespective of any title or any award or any honour which disourages the sincere and efficient teachers.

In respect of the novel methods in teaching music, it has been proved beyond any doubt, that only one year duration of efficient teaching is more than enough if the vocal-aspirant is of the age between 5 & 10 years and with the needed Laya-instinct, grasping ability and regular hard work of minimum 2 hrs. daily upto Gitas, 4 hrs. upto Varnas and 6 hrs. after Varnas. After learning much of the main techniques the aspirant must continue his practice for 3 to 4 years to become a junior-concert-artist. Now, on these lines, more than 30 aspirants are being trained here in rendering the intricate rhythmical exercises and rhythmical Svarakalpana and their video-clippings are already uploaded to ‘youtube.com/msakella’. Many think that rendering of such rhythmical exercises is very easy but do not know that it is not that easy as they think and this itself paves way to sing natural Svarakalpana, Niraval and Ragalapana. I have accompanied many A-grade and Top-grade musicians who cannot render even Tala to many of these rhythmical patterns of Svarakalpana leave alone singing them on their own. In this novel method of teaching initiating the aspirant to work on his own is very important and the required knowledge will be imparted to the aspirant by the teacher. amsharma

[sadvimarsha]

ms akella sir, Can I take an advice from you about a research topic in Carnatic Music. I felt you are the right person. I have thought of doing a research on Notations in Carnatic Music in comparison with Western and if possible Hindusthani styles too. would this be possible? I wanted to take a practical subject so that I improve my skills along with the research. Please help me.

[msakella]

Dear brother-member, sadvimarsha, Yes, dear. I have already made extensive research on Talaprastara and symbolised notations of our Karnataka music. As two or three persons are already working on Talaprastara for their Ph.Ds., you can take symbolised Karnataka notations for you research and I shall certainly help you in this matter. You can contact my ID <msakella2002> either on Yahoo Messenger or Skype and speak to me in this connection. amsharma

[sadvimarsha]

Thank you so much Akella Sir. May I have your mail ID. Regards

[msakella]

Dear brother-member, sadvimarsha, My email address is msakella2002@yahoo.co.in. amsharma

[msakella]

Hi all, In the 59th post of this thread 20 Nos. of Special Rhythmical Exercises (SRE) are furnished for the benefit of the aspirants. Among them some are also furnished either in the audio-files in my CD, AMS Easy Methods-2007 (EM) or video-files in <youtube.com/msakella> under the playlist of either AMS-Laya exercises (LE) or AMS-Kids’ Svarakalpana (KS) and the details are furnished hereunder. Aspirants can tally the respective audio or video-files as per the abbreviations furnished and properly utilise them for their guidance. Any doubts can be brought out through these posts for any needed help. amsharma
SRE-01 - LE-1 & EM-005 to 011;
SRE-02 - LE-2, KS-17 & EM-124,125 & 126;
SRE-03 - LE-4 & KS-16;
SRE-04 - LE-5;
SRE-07 - LE-3 & EM-127;
SRE-10 - KS-15, EM-128, 129 & 130;
SRE-11 - KS-14;
SRE-13 - LE-6, KS-18 & EM-132 to 138 & 39 to 145;
SRE-16 - EM-146 to 152;
SRE-18 - KS-1 & 13;
SRE-19 - KS-12.

[msakella]

Hi all, In the 59th post of this thread I have furnished 20 Nos. of Special Rhythmical Exercises (SREs) and in 161st post I have also furnished the respective details of the audio or video-files uploaded. But, as usual, I did commit a mistake by forgetting to include three more numbers of the same SREs in that list. In fact, nowadays, many a time I feel to keep mum as I have been committing many mistakes of one kind or other. But, at the same time I again feel that, irrrespective of my disabilities to do things properly, I, as an experienced person, must bring the things to the notice of our aspirants not only to keep them aware of the things but also to make them knolwedgeable. So, now, I furnish hereunder the entire list of 23 Nos. of SREs along with the respective references of the audio or video files. I request the aspirants to go through and tally all of them with the references and also kindly to bring any short-comings to my notice for making further connection as, from the beginning, my life has always become to correct the things already done. If any more audio or video files are needed for definition I shall try to do the needful if any aspirant requires. amsharma
SPECIAL RHYTHMICAL EXERCISES
(EM:AMS Easy Methods-2007; LE:AMS-Laya exercises & KS:AMS-Kids’ Svarakalpana of ‘youtube.com/msakella’ playlists) (k-ki; t-ta; t-tha; k-ka; d-dhi; m-mi; g-gi; n-na)
=========
01.7 Jati-alankaras should be rendered @ 4-units, i.e., k-t-t-k per second rendering k-t for each Talaanga of the right hand followed by t-k with in-between beats of the left hand (EM-005 to 011; LE-1).

02.3 kinds of Trisra (t-k-t of 3), Khanda (t-k-t-k-t of 5) and Mishra (t-k-t-k-t-k-t of 7) breaks should be rendered @ 4-units per second in Adi-tala of Chaturashra-gati rendering the Tala with the right hand and in-between beats with the left hand (EM-124, 125 & 126; LE-2; KS-17).

03.3 kinds of Trisra (3), Khanda (5) and Mishra (7) breaks should be rendered @ 8-units per 2 seconds in Adi-tala of Chaturashra-gati rendering the Tala with the right hand and in-between beats with the left hand (LE-4; KS-16).

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

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

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

07.Rendering of all Chaturashra-jatis in Adi-tala of Chaturashra-gati running @ 4-units per second rendering the Tala with the right hand and in-between beats with the left hand but ending each Avarta with one Khanda-jati thus having a protruded unit every time in the beginning of the next succeeding cycle of Tala (EM-127; LE-3).

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

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

10.3 kinds of Chaturashra (k-t-t-k of 4), Khanda (5) and Mishra (7) breaks should be rendered @ 3-units per second in Adi-tala of Trisra-gati rendering Tala with the right hand only (EM-128, 129 & 130; KS-15).

11. 3 kinds of Chaturashra (4), Khanda (5) and Mishra (7) breaks should be rendered @ 6-units per 2 seconds in Adi-tala of Trisra-gati rendering the Tala with the right hand and in-between beats with the left hand (KS-14).

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

13.Rendering of all Trisra-jatis in Adi-tala of Trisra-gati running @ 3-units per second rendering the Tala with the right hand but ending each Avarta with one Chaturashra-jati thus having a protruded unit every time in the beginning of the next succeeding cycle of Tala.

14.Rendering of all Trisra-jatis in Adi-tala of Trisra-gati running @ 6-units per 2 seconds rendering the Tala with the right hand and in-between beats with the left hand but ending each Avarta with one Chaturashra-jati thus having a protruded unit every time in the beginning of the next succeeding cycle of Tala.

15.Rendering of all Trisra-jatis in Adi-tala of TrIsra-gati running @ 6-units per 2 seconds rendering Tala with the right hand only but ending each Avarta with one Chaturashra-jati thus having a protruded unit every time in the beginning of the next succeeding cycle of Tala.

16.7 Jati-alankaras should be rendered @ 4 & 3-units per second rendering Tala with right hand only (LE-6; KS-18).

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

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

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

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

21.Rendering of only one Jati of 5-units in the 2nd degree of speed in the beginning of Khanda-chapu-tala running @ 4-units per second and all Jatis of 4-units consecutively. Selected muktayis of lower-tempo should be rendered to the odd-number of starting point in the medium-tempo (while Jatis should only be rendered in respect of the candidates pertaining to Dance and Percussion disciplines Swaras should also be sung by the candidates pertaining to Music) (KS-1 & 13).

22.Rendering of only one Jati of 7-units in the 2nd degree of speed in the beginning of Mishra-chapu-tala running @ 4-units per second and all Jatis of 4-units consecutively. Selected muktayis of lower-tempo should be rendered to the odd-number of starting in the medium-tempo (while Jatis should only be rendered in respect of the candidates pertaining to Dance and Percussion disciplines Swaras should also be sung by the candidates pertaining to Music) (KS-12).

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

[eswara prasad]

Jai Sitaram!
I, Eswara Prasad, take pleasure in introducing myself to all fellow rasikas. We are ardent followers of the Music Systems - AMS Easy Methods - being propagated by Shri Akella Mallikarjuna Sharmaji. My son Master J.S.Sriram is the disciple of Shri AMS Sir. Further, it is our experience that children are in a position to learn the nuances early, if taught in this style. Therefore, we have started teaching in this style, and conducted an intensive course in this summer, exactly for 45 days. It was amazing to see Children highly inquisitive and forthcoming to learn things perfectly. The result of this effort was presented to an invited august audience on the 4th June, 2009 at Hyderabad. A detailed report of the programme is placed below. I request the rasikas to bless the children to scale higher heights.
Regards, Yours, J.S.Eswara Prasad, Hyderabad. Jai Sitaram


A wonderful show of Laya by children

Very often we find a group of children, youth or elders of presenting cine songs or light music songs only. But, it was an amazing evening of 'Rhythm' at Sri Thyagaraya Gana Sabha, Hyderabad.

‘An Evening of Swara - Laya Vinayasa’ by Tinytots (between 7 - 13 years of age), was a programme organised by AMS Foundation, a new and upcoming organisation, in coordination with Sri Thyagaraya Gana Sabha, Hyderabad on 4th June, 2009.

AMS Foundation profoundly believes and propagates Karnataka Sangeetha Sadhana basically with Rhythm Orientation right from inception, because ‘Laya’ instills tremendous confidence and sharpens the brilliance & intelligence in the ardant aspirants. This experiment by AMS Foundation, Hyderabad has started bearing fruits.

It was astounding to witness, thirty plus number of students presenting:

i) ‘Jati Alankaras’ @ 4 & 3 Units per second; i.e., Chaturashra & Trisra gatis.
ii) Trisra, Khanda & Mishra Jati Breaks in Adi Tala in Chaturashra Gati
iii) Khanda Break at the end of Adi Tala in Chaturashra gati
iv) 4, 5 & 7 (Chaturashra, Khanda & Mishra Breaks) in Adi Thalam-Trisra gati and also Chaturashra Break at the end of Trisra-gati Adi Thalam
v) Mohana Geetham sung @ 2, 3 & 4 Units per second.

This was all a treat to watch, 30 and odd children performing these difficult exercises in unison without missing rhythm at any part of the exercise.

Simply Exemplary - A rare feat

Then, 16 students presented Natakuranji Varnam @ 4, 6 & 8 Units per second, which is considered to be a tough ask, but ably executed.

It is reported that these children, have not even completed five Varnams; but, have demonstrated another superb show of Presenting Swarakalpana, each one preceded by Jatees, in Rupakam; Khandachapu; Mishrachapu; Trisra Adi and Chaturashra Adi Thalas; and moreso, each one in Khanda-jati, Divya Sankeerna-jati, Mishra-jati and Sankeerna-jati. In essence, all showing up intricate patterns, with keertanas starting from odd places in the Tala cycle, which makes it intensely difficult. This is a scholarly act, scarcely touched even by seasoned artistes; but here performed amazingly by kids.

The programme later concluded with a few famous devotional pieces, viz. ‘Rama Kodandarama’ in Bhairavi of Tyagaraja; ‘Paluke Bangaramayena’ of Ramadasa; a few Annamacharya keerthans and a Bhajan.

The whole programme was conceptualised by renowned musician Sri Akella Mallikarjuna Sharma, Chairman/AMS Foundation; and ably trained and conducted by Smt.Chidrupa Lakshmi Eswara Prasad, supported by Master J.S.Sriram. The master mind behind the programme was Sri J.S.Eswara Prasad, Coordinator/AMS Foundation.

This programme was not drawn with an idea to find a place on the Guinness Book of World Records. However, the rare feat performed by the kids in this programme has not been exhibited at any time and at any place. This is to enlighten society and motivate other children to take to Karnataka Sangeetham and in presenting themselves in stunning colours. This is the only beginning. As connoisseurs of Karnataka Sangeetham, let's all come together to help our children to blossom in their early years itself, to surge ahead in the easy but sure way. Because, we did find that children learn very fast if shown the sure way.

All the items presented above are being uploaded to both "youtube.com/msakella" and "esnips.com/web/AMS-Kid's Svarkalpana", for the benefit and blessings of Sangeetha Rasikas at large, through the following files.


04-06-2009_01._jati-alankaras_@_4 &_3_units_per_second.
04-06-2009_02._3,_5_&_7_breaks_and_ending_each_cycle_with_5_units_in_adi_chaturashra_gathi_eka_kala.
04-06-2009_03._3,_5_&_7_breaks_and_ending_each_cycle_with_5_units_in_adi_chaturashra_gathi_dwi_kala.
04-06-2009_04._4,_5_&_7_breaks_and_ending_each_cycle_with_4_units_in_adi_trisra_gathi_eka_kala.
04-06-2009_05._4,_5_&_7_breaks_and_ending_each_cycle_with_4_units_in_adi_trisra_gathi_dwi_kala.
04-06-2009_06._Mohana_geetham_@_2,_3_&_4_units_per_second.
04-06-2009_07._Natakuranji_varnam_@_4,_6_&_8_units_per_second.
04-06-2009_08._jathi_muktayees_and_swarakalpana_in_Rupakam_for_Siddhivinayakam_at_an_odd_starting_point.
04-06-2009_09._jathi_muktayees_and_swarakalpana_in_Khanda_Chapu_for_Marivere_at_an_odd_starting_point.
04-06-2009_10._jathi_muktayees_and_swarakalpana_in_Mishra_Chapu_for_Prakkala_Nilabadi_at_an_odd_starting_point.
04-06-2009_11._jathi_muktayees_and_swarakalpana_in_Trishra_Adi_for_Birana_Varalicchi_at_an_odd_starting_point.
04-06-2009_12._jathi_muktayees_and_swarakalpana_in_Adi_for_Subrahmanyena_Rakshitoham_at_an_odd_starting_point.

-- Jai Sitaram

[msakella]

In the post 163 dt.14-06-2009 Shri J.S.E.Prasad furnished the details of video-clippings of the Kids’ amazing performance of intricate Jatis and its Svarakalpana took place on 04-06-2009 at Shri Tyagaraya Gana Sabha, Hyderabad which are uploaded to ‘youtube.com/msakella’ and also requested the forumites to bless these kids to scale higher hights but in vain.


When these 30 kids between 7 and 17 years of age have completed three Varnas in Natakuranji, Kambhoji and Darbar and started learning the 4th Varna in Shankarabharana, I have simultaneously started training them in rendering the Special Rhythmical Exercises in November, 2008. As they all are studying in regular schools at that time they are able to practice only one hour daily upto 15th May, 2009 under my guidance and the tutelage of Smt. Chidrupa Lakshmi Eshwara Prasad and her son Chi. Shriram. From then onwards, taking the advantage of the summer vacation of the general schools, Shri J.S.Eshwara Prasad took special interest in all the aspirants and formulating a well-planned time-table both for Juniors and Seniors (furnished hereunder), he pursued them to make all of them work hard daily for more than 6 hours at the end of which they all have successfully rendered all the intricate Jatis and respective rhythmical Svarakalpana under military discipline in the group-concert arranged on 04-06-2009 at Hyderabad. Now, some of them are also heading towards singing brief Ragalapana of Shankarabharana which will later be uploaded to the same website within a short time. By all this it will be proved that, though not adults, the kids could very easily be moulded to enable them render even such intricate rhythmical Svarakalpana along with Ragalapana within a span of hardly 8 months by well-planned training methods. Interested people who can believe this can follow this system and get benefited, the people who cannot believe can test the efficiency of these kids (if they are so efficient to test them) and the people who do not want either to believe it or to support it need not read this post at all.


While many of our musicians are mainly performers and also used to teach the aspirants approached them to earn some money even in their lean period, I am, mainly a teacher and also used to perform to earn money. While a performer is interested only in performing what he can a teacher has to make his student just a replica of him in doing things. There is vast difference between doing things on his own in which way one can and in making others do things just like a replica. That is why even after having given up my entire performing-artist-life long long ago 15 years back, now, I am interested only in training our kids in a time-bound programme yielding good results and, by the grace of the Almighty, I have been getting fantastic results and needed support from many interested people to continue this process successfully. Now, in the past 8 months we have already shaped 30 kids enabling them sing Svarakalpana and Ragalapana and 20 more enthusiastic kids are in queue for training. If anybody feels that I am spoiling all these kids in this process can as well come here, work hard against us and successfully stop this process. At no point I like to enter into any kind of dialogue with insencible people as it is a waste of time and energy. amsharma.

[manjunath]

Akellaji,
I feel it is relavent to refer your student Vinayrahul here. Where is he today? you couldnot bring up a boy who has sacrificd more than a decade of his child hood for learning carnatic music and who has a proven record . Today you are talking about 30 talented other children who spent time in holidays with music. What a joke . Do you think you are a true GURU? Please do not dump on almighty. What do you think , a commitd boy or the holidy spenders do better ? It is again poven that you are a in sensible person. You always thinks you have succeded in life by writing books. That is not the success. Succss is that , when your words and acts gets true with practice. You are begging for the support for the children who just learned for two/ three months . What a shame less act and menatality . If all the teachers in canatic music starts challenging about their methods, where should these kids go and learn? And you feel you are serving the soceity with challengs. The true Guru is the one who accepts the good and weaknss of his disciples and support them by guiding to do the best. And you are not that . You always write or thinks negative about peopleand teachers in your postings. What are you exactly? why you expects answers from public for you and your supporters tom and gery postings?. You will not answere people properly when rquired and you expects people to answere you. Though you are capabl of answering, You are not answering many quiries in the forum except promoting you and your methods. You should also keep in mind , it is not akellas' methods contributed much to carnatic music till date and it is the sacrrifies of the lives of many musuicians in the country with commitment , without ego and expectations. You do not have commitment and you have only ego and expectations towrads your works. Without Akella's methods also carnatic music can live and let the people answer quiries when interested in the topic. It is not compluson , if you are free, we should also make our selves free.You talk negative always about all teachers charging money and you support a family and their kids charging for teaching music by following your methods. Are your suppoteres not charging money for teaching music ? Are they doing it for fee of cost for social cause? Is it ok! Even their children can teach music to others and make money if they follow you. You will not accept other teachers charging money and you agree your supporters children teaching to other kids and making money for their family. Is it not the art of making money? What a committed team Akella ji?

[Nick H]

I wish you would stop your tirade, or take it elsewhere.

It is utterly tedious and boring.

Thanks.

[msakella]

Dear brother-member, nick H, I also wish the same like you. In fact, I truly feel ashamed of being a musician in this particular context. We people are always used to deal with the holy compostions of the Saint-composers but, at the same time, it looks very nasty to quarrel with each other like street dogs. God alone should save the musicians. amsharma

[manjunath]

Akellaji, This is what happening time and again. If you and your team doing honest job , without charging money and it has difference from other teachers just answer. if not explain the difference between other teachers and your team . When you are in a open forum , you must consider both negative and positive discussions equally and answer. If you escape and divert topic, is
not correct. See the challenge you made on the gamkas thread. O.K!, we will accpet that you are right on the topic. Even if you are right , doing these kind of challenges is the gentel man act or ?

your challenge is,
**OK. At this juncture, now, to put a full-stop to all such insencitive gossips, I am compelled to make an open challenge. I shall pay an amount of one Lakh rupees to a mediator and any Karnataka musician, who wants to prove these 60 symbolised Gamakas are not required for the learning of carnatic music, also has to pay only an amount of fifty thousands of rupees to the same mediator. Later, a convenient date will be fixed and in an open meeting on that date to be held at Hyderabad with local Vidwans in our Karnataka music, I shall demonstrate all these 60 facets of oscillations and prove that each one of them is essential for the learning of Karnataka music and the opponent also has to demonstrate all these 60 facets of oscillations and prove that they are not required for the learning of carnatic music. If I fail the opponent gets the entire amount of one Lakh and fifty-thousand rupees from the mediator and if he fails I shall get the entire amount. Any person who is interested in participating in this contest contact me through these columns. amsharma. **---

So you expect now musicians should come on the street and fight like street dogs just to prove that you are right. Now, who is first on the street? Akellaji, Like en number of raagas in music , A musician can imply as many gmakas as he thinks in the process of his performance when he reach to the level of highest maturity. If you start thinking on gamakas and oscillations ,it is not 60 , you get even hundreds and hundreds. You are writing and counting these , and others not. This depends on the capacity of an individuals strength ,knowledge and its utilisation. whether to use it or not also the indivuals intrest. Still, with minimum gamaks and oscillations a matured musician can present himself better.

[srikant1987]

Still, with minimum gamaks and oscillations a matured musician can present himself better.

[vasanthakokilam]

manjunath: Your single minded objective to always say negative things and bait people for a verbal fight with you is quite tiring. Could you please conduct this conversation by email please? Thanks.

[ganesh_mourthy]

i wish the same too.

[ganesh_mourthy]

besides I am too curious . Mr.Manjunath, are you a musician? a violinist? the difference between you and Mr.Akellaji is we all know who he is , the level he has reached in music and not have even an iota of knowledge who you are , the pupose of your allegiance to carnatic music and to this forum.

An identifiable person and one ghost member throwing stones at him at random times not dislosing his credentials.

[manjunath]

The concerned person is not answering and u r diverting the topic. WHY YOU THINK NEGATIVE ALWAYS LIKE AKELLA .Nothing as such u think, and you can write to me on may forum email ID with your contact numbers and will dscs more.

[ganesh_mourthy]

Oh you want me to be your confederate??

I am nothing to do with both Akella sir and you.

so spare me.

I just thought it is unsrupulous to throw stones at a person hiding behind an illusionary name ,that is all.

[Nick H]

Deleted.

If I join in the mud slinging, then I get muddy too.

A lesson I would do well to remember more often before posting on the internet.