AMS Easy Methods 2007 CD - Teaching and Learning Methods

To teach and learn Indian classical music
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msakella
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#451 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella » 13 Jan 2015, 03:19

IMPORTANT FACTS:

-----In general, after heavy hard work only an intelligent individual gradually develops as a maestro or legend or expert in music. More over, as he/she always aspires only to perform well he/she always develops the performer’s perspective only. By all, after becoming a maestro, to always remain in the lime-light of the music-field, strives hard to regularly practice heavily and perform exceedingly well. In this process he/she will become exceedingly busy both with the regular practice and concerts. At the same time, many aspirants prefer to learn music from this maestro as no common man make a difference between a successful performer or a successful teacher.

Thus, a number of aspirants flock together to learn music from this maestro. As this maestro also needs to make money even in his/her lean time through teaching music to the aspirants all these maestros unanimously formulated an effective double-edged system which facilitates for their regular practice and concerts on one side and always keeps the aspirants also dependents upon them perennially. Besides, not to exert themselves in writing all the compositions in the the laborious notation on one side and also to keep the aspirants away from the knowledge of notation on the other they have totally prohibited writing the items or compositions or Swarakalpana or Ragalapana in notation. With this ulterior motive only none of these performer-teachers did ever follow or develop the very highly useful symbolized notation even though Subbarama Dikshitar, long back even in 1900, had brought out his monumental work Sangita Sampradaya Pradarshini along with hundreds of composition with symbolised notation for the first time in the history to be highly helpful to the poor aspirants. Even later, after the introduction of the modern audio gadgets they have wantonly created hatred also towards listening to the recorded music to keep them away from the recorded music which is very easily available and accessible to the aspirants nowadays.

-----In the olden days when either sound recording or replaying facilities are not available or accessible to a common man, the poor aspirant was ignorantly compelled to depend upon others. Besides, either to listen to all the different Sangathis of the compositions or even to retain all of them the aspirant is compelled to listen to others many a time depending upon their mercy to sing. More over, as these music-teachers are always used to modify their Sangathis in their regular creation in the absence of any fixed notation it was becoming more and more difficult either to follow them or to understand or to retain them properly. In this entire un-standardised and dependable situation the learning process of this invisible art was made bad to worse by all these performer-teachers. Very sadly, even after the invention and introduction of such audio and video facilities the situation did never change at all by these adamant performer-teachers wantonly making the poor aspirants dependents.

Even in all the educational institutions, while not only the text books but reference books are also supplied plentifully for each and every subject, unfortunately, for music, except few reference books, no text books either for theory or practical have ever been supplied to the poor aspirants except in respect of Distance-courses. Even in respect of these music books, many authors have brought out many books along with hundreds of notated compositions but without any pre-recorded CDs containing the same compositions sung in the same notation. This itself stands as the testimony of their ulterior motive in keeping the poor aspirants always dependents upon these music-teachers.

Many are not at all aware that their teacher is the main cause of the inefficiencies of the aspirants in many cases. If proper plans are made to fully utilize the present modern audio and video gadgets to help the poor aspirants they can do things independently and progress very quickly and efficiently. Unlike in any other music-institution on the globe, since last 5 or 6 years, this is what we all have been striving hard to do for the all-round progress of our kids in the system of AMS Easy Methods in learning our music.

-----Very sadly, these performer-teachers never made any provision to any aspirant to learn music quickly or efficiently. That is why like only the three disciples, the son Ashwatthama, the indirect disciple Ekalavya and the direct disciple Arjuna among all the 100+ disciples of Dronacharya of Mahabharata, the disciples on finger-counts only could become successful performers. All the remaining unsuccessful performers are compelled to lead their lives as teachers only, though they are not successful even as teachers.

In general, people think that a great maestro also teaches extremely well and makes each one of his/her disciples a great maestro. But, here, Dronacharya’s incident proves that irrespective of the teacher’s abilities the intelligent disciples only come up and outshine all others with their individual talent and hard work. If not, all the 100+ disciples of Dronacharya would have become stalwarts like these three most famous disciples. Even in respect of our music also, in all the respective cases, the same thing happened and only a very few disciples of the great Gurus have become successful performers leaving others as teachers. amsharma
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msakella
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#452 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella » 18 Jan 2015, 05:21

IMPORTANT FACTS:

EVEN WITHOUT RECOGNIZING THE PRIMARY IMPORTANCE OF THE ASPIRANT AND TAKING PROPER ACTION IN REMOVING HIS/HER PROBLEMS IN INDEPENDENTLY LEARNING THIS ART IT IS ABSOLUTELY FOOLISH TO EXPECT ANY KIND OF DEVELOPMENT OF THIS ART, MUSIC.

Since a very long time, by following this un-standardised system of teaching/learning which is filled with illogicalities and irrationalities and in which a number of items of primary exercises and compositions are taught but not the needed grammar, ultimately, qualified impotents are being produced by all these music-institutions or music-departments. But, as nobody is aware of this irreparable loss no proper action has ever been taken to rectify it at any time.

Being the performance oriented art, music, each and every aspirant whoever aspires to learn music naturally prefers to mostly perform the art at a very high level and to earn many thins accordingly. That is why even in Chennai, the seat of music, either the demand or the competition are extremely high keeping all the Chennaites always more of performer’s perspective and far less of teacher’s perspective. By this, we can arrive at the conclusion that, like the two shores of a river and the person nearer to one shore is naturally remains far way to the other shore, even in our music, any person more of performer’s perspective naturally remains far away of the teacher’s perspective. In this respect, as usual, many of the readers may or may not like to enter into any discussion with me or may or may not even agree with me, but this is my ultimate finding in this respect. But, unfortunately, since a very long time, a different kind of attitude or aptitude has always been kept by all our maestros or legends or experts or title-holders far away from looking into or from finding proper solutions of the umpteen problems of our poor aspirants and their enthusiastic parents. That is why, even though all our musicians have been used to profusely and overtly praise Subbarama Dikshsitar for having brought out his monumental work, Sangita Sampradaya Pradarshini along with hundreds of compositions with symbolized notation none of them did covertly follow or develop writing this symbolized-notation for the benefit of the aspirants.

By this time, by going through all my posts, I hope that the readers must have understood that these lethargic and selfish performer-teachers have always preferred to keep the poor and ignorant aspirant far away from the knowledge of writing the items or compositions or Swarakalpana or Ragalapana in notation along with the listening to recorded music which are most essential to the aspirant to work independently and learn this invisible art, music. As these performers themselves, under the guise of the music-teachers, have formulated all these syllabi of all the different courses in music mostly a number of items or compositions are dumped in these syllabi making the aspirant more dependent on the compositions than the needed grammar in our music. Having much of my life acquainted with umpteen music-institutions and music-departments and their activities I am well aware of many bitter facts of them which have all along been used only to hinder than help the poor aspirants in the absence of any academic supervision since last 50 years or more. Thus, ultimately, the bitter fact is that each and everywhere the poor and ignorant aspirant is kept in a hopeless and un-questionable situation in learning music and only the highly intelligent and hard working aspirant is able to overcome all these hurdles and become knowledgeable in this music in this wantonly and wastefully elongated period of 10 years or even more. By all this, when a flawless logical plan is formulated for the first time in the history rightly exposing the aspirant to simultaneously work hard independently on his/her own and learn things even many average aspirants are able to learn music very quickly and efficiently hardly within a span of only one year or even less.

In these performance-oriented subjects the process of learning must also be made performance- oriented. While learning either the driving of a motor-cycle or cooking the items the respective teacher, without doing things himself/herself, must only initiate the aspirant learn the art while making the process on his/her own. The same thing absolutely applies even to music and the more the aspirant relies upon a machine like Casio for precise rhythm and note to work hard with confidence on his/her own the more quickly and efficiently he/she can learn the art. A good teacher has been defined as the one who makes himself progressively unnecessary.

The main aim of this unique method of learning music is only to properly initiate the aspirant work on his/her own, get proper acquaintance with the intricacies of rhythm and notes and become able to manage with writing notation, Swarakalpana and Ragalapana within the duration of not more than one year but not merely learning a number of items or compositions for years.

At the first instance, the vehicle must be kept in proper condition and under the control of the rider to move fast and, in the same manner, the rhythmical abilities of the aspirant must properly be stabilized before initiating him/her to deal with the rhythm and note.

While the above episode is running on one side, on the other side, may be by God’s will, all the failures in my teaching-life have compelled me to look into all these problems of the poor aspirants and their parents even after my retirement at this old age. Thus, ultimately, not only in respect of the only unsolved topic, Talaparastara, but also in respect of this unique method in learning our music, the Almighty had very kindly blessed me fully for the benefit of our aspirants’ community at large for the first time in the history. Accordingly and unbelievably, unlike all other music-teachers, I, holding the music class only twice a week and very rarely singing in any of the music-classes for not more than one minute, am able to properly initiate all my aspirants in doing things on their own and work hard for 2 to 3 hours daily even in my absence and become able to deal with the notation or Swarakalpana or Ragalapana within the duration of only one year. I shall extremely be happy if any of these maestros or legends or experts or title-holders does the same for the benefit of our kids.

To tell the fact, almost in the fag end of my Govt. service only I could arrive at the correct way of playing any Varna on Violin. But, only after 10 years after my retirement, I could find in which way I can properly initiate my students to sing the maximum duration in each class even without singing myself for more than one minute in any of the classes. amsharma
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msakella
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#453 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella » 18 Jan 2015, 16:09

Even a useless fool is well aware that it is not at all possible to build the floors of a building without scaffolding. Even without the knowledge of figures or their implication the kids are compelled to get the mathematical-tables by heart by which the process of learning the arithmetical calculations is made easy later. All the kids are used to observe the movements of the elders in doing things and, later, to imitate them in doing things thus proving that imitation is the primary level of learning.

While each and every sensible person is fully aware of all these above facts and sincerely and honestly encourages the kids in doing things on their own independently I do not understand why our performer-teachers do not follow this in initiating the kids learning music right from the first day of their music-lesson. Why, without any exception, they all prefer to follow the wastefully elongated process of teaching/learning music? While even a small kid is able not only to sing both Purvanga and Uttaranga of 9 Varnas @ 4-6-8-notes per Kriya very efficiently but also able to proceed further in learning Kritis and singing intricate mathematical Swarakalpana on her own hardly within the duration of one year I do not understand why all these performer-teachers prefer the wastefully elongated process to teach the poor aspirants thus criminally wasting their invaluable time, energy and money.

Hereunder the url of the audio-file of the Kriti, Samajavaragamana-Hindola-Adi, sung by my great-grand-daughter, Chi. Padmaja (find the details in the post No.446), a 10 months old baby in learning music, is furnished for the benefit of the aspirants and their parents. amsharma

https://soundcloud.com/saraswathi-vvs/2 ... iti-samaja
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msakella
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#454 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella » 20 Jan 2015, 14:03

As written by late T.V.Subbarao in the Journal of the Music academy ‘There is nothing like the Varna to furnish an authoritative basis for Ragalakshana and Sanchara. The Kirtana may change by Sangathis. The Svaras of the Varna are fixed unalterably’ it is absolutely true. But, as most of our music-teachers, under the guise of teaching, sing or play the Varnas themselves ritualistically but not in a manner to make the aspirant learn the intricacies properly, very sadly, the learning of Varnas is not serving the truly intended purpose at all. More over, to manage with the Varnas efficiently the aspirant, at the first instance, must become able to manage with all the Alankaras in singing them @ 1-2-3-4-6-8-notes per each beat. Most of our music-teachers themselves cannot manage with this kind of singing and, that is why, none of them even tries to make the aspirant also sing them in this manner. This is the fundamental defect of each and every music-teacher. No music-teacher on earth appreciates me if I write this but this is the bitter truth.

To tell the fact, while learning music, each and every item has its own specific and logical purpose in learning. But, unfortunately, under the guise of teaching, in this kind of ritualistic and traditional way of singing or playing which is filled with umpteen illogicalities and irrationalities, no item is serving the purpose of learning or making the aspirant truly knowledgeable to work hard independently with confidence and proceed further and further in his/her task. Giving the true knowledge to the aspirant must be the criteria of any honest teacher. But, very sadly, as singing a number of items in a ritualistic manner, under the guise of teaching, has become the criteria, ultimately, the purpose of learning itself is lost in the quantitative method in teaching our music which many are not even aware of .

To tell the truth, if all these illogicalities and irrationalities of the methods in teaching music are removed it certainly quickens the process. As all our music-teachers have all along been used to this old system, except going on singing all the items one after the other and making the aspirant also sing along they need not abide by any other duties or responsibilities like inculcating the knowledge of Manodharma Sangita etc., as they can go on squeezing money from the poor and ignorant aspirants for many prolonged years and as they all can very well manage with all their harmful acts towards the aspirants and their parents they always prefer to follow the old system only. None of them ever comes out even to discuss these methods of teaching as such things will certainly spill out their own beans.

However, since a long time, we, as a team, in this very limited area at Secunderabad, are able to save our kids from all these harmful acts and give them music with very high standards, unbelievably. Unless the parents become aware of all these facts and unless they all demand the respective music-teachers of their kids to quicken the process of teaching music with high-standards this problem will never be solved by these lethargic and selfish music-teachers.

Only by the grace of the Almighty all such lacunae of the old system could be found and by taking each and every care in rectifying them, now, the process of learning itself has very successfully been made ‘time-bound and result-oriented’ for the first time in the history. Thus, in this logical and qualitative system of learning (not singing/teaching), right from the first day of learning the music-lesson the aspirant is properly initiated to work hard and learn things on her//her own. In this process the aspirant will become fully equipped by learning up to Varnas to perform the journey ahead efficiently and successfully. Even then if the aspirant, at the completion of learning these Varnas, is unable to manage with the learning of Kritis, Swarakalpana and Ragalapana, no doubt, it obviously reveals the defective and irresponsible guidance of the teacher.

Some more urls of the respective audio-files very recently sung by my disciples successfully are furnished hereunder for the benefit of the aspirants. Please enjoy. amsharma

The urls of the audio-files of 13 years old Chi. Pradyumna from USA started from 01-08-2014, attending the class twice a week on Skype and regularly practicing for 2 hours daily are furnished hereunder. Within these 6 months he was able to finish of learning all the select 9 Varnas and Swarajati, able to learn Kritis on his own basing upon the notated pdf file and audio-file and to sing Swarakalpana on his own.

https://soundcloud.com/pradyumn-2/sets/ams-lessons
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sastrydevarakonda
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#455 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by sastrydevarakonda » 22 Jan 2015, 22:16

Namaste to members of Rasika.org
Iam here to express some of my feelings about the learning part of Carnatic music.
My main interest is to perfect myself about playing veena, as I had spent good time in learning of Veena, and all my efforts have along been in that pursuit.
As Sri Sarma garu expressed, “while learning music, each and every item has its own specific and logical purpose in learning”, so the need for the aspirant is that he/she is guided properly, then only the aspirant will be able build on his/her own the required capabilities to become a true/perfect musician.

As sri Sarma garu says, EVERY ITEM in the learning process has its own influence to become a good artist, even for any instrumentalist, playing of Varnas as defined by AMS 2007 easy methods, is very much necessary at 120 speed.
As I was talking to my music friend today, describing about,
1. The fluency over the instrument- that means, for any tough notation- the hand should be able to play without any preparation, even before one notices, the Sangati should have come out smoothly.
2. The other aspect, the laya part of 3-5-7 and 4-5-7 in chaturasra and thisra gatis, as this paves way for building the required Swara flow and build the laya balance within the system.
This is not acquired with simple saying or few days practice, this has to go into the body/system, and the practice has to be done to that extent. Thinking also improves as one keeps thinking and practicing, thinking and practicing
Definitely, quite a good progress one can see after doing the above exercises. Thanks to AMS2007 easy methods. Sastry
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msakella
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#456 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella » 25 Jan 2015, 20:00

In continuation of my 453rd post I hereunder furnish the url of another Kriti learnt on her own and sung by my 14 years old great-grand-daughter, Chi. Padmaja along with intricate Kalpanaswaras for the benefit of the aspirants.

https://soundcloud.com/saraswathi-vvs/2 ... mmaravamma

As her instinctive abilities in rhythm have properly been stabilized even in the beginning itself she could very ably manage with the intricacies of the Kalpanaswaras. However, as she is only a10 months old baby in music she requires some more time to get more acquaintance with different notes and get them stabilized. amsharma
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msakella
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#457 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella » 29 Jan 2015, 17:03

Dear brother-member, sastrydevarakonda,

Nowadays many persons live on false pride, hypocrisy, indiscipline etc., etc., and in the same manner most of our music-teachers also live on illogicalities and irrationalities in teaching music. Even though they are also aware of this they cannot avoid them as they are more benefited by this harmful acts only and the poor aspirants are not at all aware of them or even able to question about them.. That is why, even in respect of the symbolized notation brought out by Subbarama Dikshitar in his monumental work, Sangita Sampradaya Pradarshini, all our musicians became tight-lipped doing nothing to follow it or develop it though these aspirants are truly benefited by this system of notation. In fact, had this system of writing the compositions, Kalpanasvaras and Ragalapanas in symbolized notation, been properly developed with a provision to utilize the modern audio gadgets also it would have helped a lot in many ways to the aspirants to independently work on their own and learn music themselves very quickly and efficiently. Like getting the mathematical-tables by heart by the kids even without the knowledge of the implications, it was proved in many experiments that even Kalpanasvaras and Ragalapanas, properly written in notation help a lot more to the aspirant in getting the respective knowledge very quickly and efficiently than even the teacher.

In this process, while an efficient, honest and reliable teacher properly initiates the aspirants in learning the intricacies of rhythms and intricacies of the oscillations of notes which make the aspirant able to proceed further and further in learning music, other teachers teach only a number of items or compositions illogically either in the class or in any workshop or in any Lec-dem nothing but to squeeze more money from the aspirants like a deceitful tailor who always supply the already stitched pants or shirts but never gives out the technique of taking the physical measurements of the person or properly cutting the cloth without waste.

Once, my very intelligent Advocate-friend who was urgently in need of some money, abruptly arranged a function in connection with the birth-day of one of his four sons, distributed invitations to one and all including his clients and through the collected money received in the form of gifts he could manage his financial crisis. Even another intelligent Doctor-friend also did the same thing when he was in need of money. I think they all have got this idea from their respective music-teachers who have always been used to arrange work-shops or Lec-dems on Ata-tala-varnas or Pancharatnas or 72-Melaragamalika or compositions of famous composers etc., etc., only to squeeze money but not to honestly or sincerely make the aspirants truly knowledgeable in music. This kind of people are also used to publish music-books with simple notation but without any pre-recorded CD which helps the aspirants a lot more than the teacher. As our maestros or legends or experts are never used to do such helpful acts very intelligent and hard working aspirants only are able to come up and the remaining are compelled to settle as inefficient teachers, in turn, producing umpteen impotent aspirants like them.

That is why, while many of our greedy musicians are used to attract the aspirants by arranging periodical workshops or Lec-dems on Svarakalpana or Raganana etc., and , at the same time, to earn more money on recursive basis, I have made division-wise audio and video files of all the Varnas and only audio files for many of the compositions and uploaded them to ‘sangeethamshare’ and ‘youtube’ for free utilization of the aspirants all over the globe. In the same manner I have brought out my book, Sangita Swararaga Sudha also with notated Kalpanaswaras in all the six popular Talas and Alapanas of 36 Ragas which could be obtained in one-time investment along with a pre-recorded CD. amsharma
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msakella
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#458 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella » 08 Feb 2015, 19:57

In continuation to the previous 456th post pertaining to the music-learning of my great-grand-daughter, Chi. Padmaja from Bangalore, a school-going kid of 14 years of age (started on 26-02-2014), now, I hereunder furnish the respective URL in which she had learnt on her own and sung ‘Brochevarevare-Shreeranjani-Adi’ along with intricate mathematical Kalpanaswaras hardly within the span of only one year. In any of the classes I did never sing even Sa or Pa.

https://soundcloud.com/saraswathi-vvs/2 ... sriranjani

In this process of learning as this kid is properly initiated to sing the Varnas @ 4-6-8 notes per Kriya it became very easy to learn the Kriti on her own and sing the intricate Swarakapana very quickly and efficiently within one year.

But, like the tailor-teacher who makes the aspirant stitch a number of pants or shirts but doesn’t give the aspirant the knowledge of taking the physical measurements of the person or properly cutting the cloth without making it waste, all our music-teachers go on singing a number of items only and make the aspirant also sing along with them but do not make them equipped with the needed grammar.

Even if any person like me brings out the logical way of learning music or questions about the illogicalities or irrationalities of the present methods in teaching all these music-teachers become tight-lipped, keep quiet and conveniently turn a deaf ear instead of honestly and truthfully striving hard for the betterment of our kids. amsharma
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sastrydevarakonda
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#459 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by sastrydevarakonda » 11 Feb 2015, 16:06

Namaste to members of rasika.org,
The two important aspects of Music, whether it is vocal or instrumental, are Ragalaapana and Swarakalpana
Each component has its own importance and significance in music, and similarly the effort required also is very much different.
In Ragalaapana the inter relations of the notes is well explained and rendered, protecting the Bhavam of the ragam, where as the mathematical phenomena of notes with laya and also protecting the Raga Bhavam.
To my understanding, if one gets a proper breakthrough in these two components, I think, one can comfortably sail through music innings without any difficulty.
Always it is an important aspect that logical thinking is the very much necessity for the ambitious learner to progress in music. We have to be sure about, what we should learn, and how should we progress.
AMS easy methods, 2007, which is the synthesized output from his vast experience of the great guru, Sri Akella Mallikharjuna Sarma garu, provides very good answer for the ambitious learner.
The defined Varnas in this method have to be thoroughly practiced, paying attention towards, the Laya, speed @120/beat, protecting the bhavam whether at 1-note/beat or 8-notes/beat.
Th Raga Vayyarams/required gamakas specific for the ragam, which one can learn by listening to the audio files of the varnas provided in this method, and for any instrumentalist, the extra effort is that, they have to look for the technique to bring out the required Bhavam, that can be picked, by listening to the experienced good hands playing the instrument.
I think this part forms an important constituent in the learning process, because, depending upon the individual grasping capabilities, and how many time a varnam to be practiced to reach the fluency with melody, the answer lies in – when one gets the feel for the ragam. That much practice is required that too for an instrumentalist.
My sincere wish all the ambitious learners follow this method and become a sincere musician. sastry
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msakella
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#460 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella » 13 Feb 2015, 05:31

Among the umpteen illogicalities and irrationalities of the present methods in teaching our music one major illogicality is to mercilessly keep the aspirant always dependent upon the teacher without making any provision to work hard independently. Very sadly, I also have learnt in the same manner and, in turn, also taught in the same harmful way to my students in my Govt. service for 35 long years as a regular teacher. But, only after five years after my retirement I could realize this blunder and the present music-teachers may not believe me even if I honestly write that this itself has become the very first stepping-stone to the success in my teaching life (I have already been writing and also I am always ready to reveal out all such vital details of these novel system of learning music for the sole benefit of the poor and ignorant aspirants. But, as this eventually leads contrarily to the self-interests of all these music-teachers they all are afraid to come out either to listen to these details or follow or even to discuss them in the open).

Long long ago, only to suit their needs, the old maestros or legends or experts have formulated and implemented this present suicidal method in teaching music in which a number of items only are regularly sung by the teacher and the aspirants are also supposed to follow the teacher in singing. In this process nothing is supplied with notation and only after learning a large number of items for a long time the aspirant must become able to sing Ragalapana and Swarakalpana on his/her own accord. This is just like the maths-teacher teaching multiplication to the kids even without giving him/her the mathematical tables. How insensitive, irresponsible and cruel our music-teachers are in making our kids dependents and impotents in this way? Very sadly, nobody is ready either to agree or remove these most harmful illogicalities even in the interest of our own kids. That is the pity.

Later, in my extensive methods in learning music I, ultimately, found that the aspirant will certainly and abundantly be benefited by independent hard-work in this process of learning. In general, all our musicians hate key-board as it doesn’t allow to bring out our Gamakas as they are and I also was thinking on the same lines for much of my life. But, when I looked deep into it whether our kids could independently utilize it even up to some extent I have found a way out as along with pure notes even the upper-note and the lower-note of a Gamaka could precisely be played but without the continuity of sound like in Vocal. If this is properly understood and planned even this machine helps us a lot. Thus, in my later experiments I have later found that invariably relying upon the machine, key-board having the provision of Metronome and Transpose, helps the aspirant a lot than even the human teacher. When I have practically implemented this upon my students the end-results are very astounding. That is why, in our institution, Swarabhangima at Secunderabad each and every kid of 90+ kids regularly practice mostly relying upon the key-board. There is no exaggeration if I write that relying upon the key-board itself is the key for our thumping success in the novel methods in learning music very quickly and efficiently unlike in the past.

Just by properly initiating the kid to work hard on his/her own he/she himself/herself learns the knowledge of singing and writing the notation paving way to sing Swarakalpana and Ragalapana even before learning the first Kriti on his/her own hardly within the span of only one year. In this process, unbelievably and very rarely I need to sing even Sa or Pa in any of the classes.

Today, I have uploaded to ‘youtube’ 9 select Varnas played on the key-board @ 1 nps (note-per-second) by one of my students, Chi. Pradyumna, 13 years old resident of USA learning since last 7 months (started on 23-07-2014).

The respective URL-link is furnished hereunder for the benefit of the interested aspirants. amsharma

https://www.youtube.com/playlist?list=P ... 3MQQDjweVI
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msakella
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#461 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella » 19 Feb 2015, 07:38

In continuation to the 458th post above, now, I hereunder furnish the respective url in which my great-grand-daughter, Chi. Padmaja (started learning from 26-02-2014) herself had learnt on her own and sang ‘Evarura-Mohana-Chapu-Kriti’ along with Kalpanaswaras No.1, 2 & 3. amsharma

https://soundcloud.com/saraswathi-vvs/2 ... hapu-kriti
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vvssaraswathi
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#462 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by vvssaraswathi » 08 Mar 2015, 21:05

Namaste to all members of Rasikas.org. I am new to this forum and felt to share some thoughts.

My daughter Padmaja started music from my grand father Sri Akella Mallikarjuna Sarma garu from March 2014.

Even though I was very interested in music, I could not learn because of lack of facilities in my town.We wished my children to learn music, but my daughters were never interested. We tried all means, but all our efforts were in vain. Their sruti was very bad and there was absolutely no music background at our home.

When my elder daughter spoke to my grand father in end of Feb 2014, he shared some Laya exercises and asked her to practice. It changed her perspective towards music. Surprisingly, she started liking it and completed Laya exercises and started to practise regularly.
He taught her on phone for 2 days per week and guided her to learn on her own. Within 1 year, she completed 9 varnams in 4 6 8 and started kritis.
She was able to sing swarakalpana on her own.

Exactly 1 year back, her singing was always in our dreams. Now, we are seeing her singing which make our family very happy. We are thankful to Sri AMS garu for his guidance and support.

Thank you.
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msakella
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#463 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella » 10 Mar 2015, 08:18

vvssaraswathi:

Any sensible person, in general, prefers to get the best in respect of the quality, get it cheap by incurring the minimum in respect of the expenditure and to make it fast in respect of spending time. This is but logical in respect of any sensible person. If any person does things contrarily and incurs heavy loss of quality or money or invaluable time he/she is called insensible and illogical fool. But, in general, very few intelligent persons only can become aware of this, follow the logical way, get benefited in every respect and aspect of their lives and stand ideal to all others,

Even though I too was insensible and illogical for much of my teaching life, ultimately, I could realize all my blunders and very strictly following the logical way I could not only rectify my own defects but also became able to recognize the defects of others and serve our society truly, truthfully and efficiently. Particularly, in respect of the basic methods in learning our music, due to the lethargic, conservative and egoistic temperaments, each and every music-teacher became jaundice-eyed and unable either to recognize his/her own defects or rectify them or even to serve the society truly or truthfully.

Even in my locality, Malkajgiri, at Secunderabad, very few persons like you could become realized and truly benefited. Even if we try to make things clear by bringing our experiences through these posts very few sensible persons only realize and do the needful. But, by the scant or nil response we receive in this process, we should not become discouraged or stop doing things which help a lot to the society in our own way.

Almost all the performers are more of performer’s perspective only. They cannot reform the society properly. Even in the past, they did never do it. But many of them claim that they did a lot to the society. Had they did a lot why our Violin aspirants are not in a position to have even a single video of our so called Violin legends taken for educational purpose to go through and learn things from it?

It is the duty and responsibility of the efficient and honest teacher only to reform the society. A performer always strives hard only to make others enjoy his music in one form or the other. In this process he/she can manage his/her entire life dealing with Chaturashra-gati only. But, the teacher’s duty and responsibility is to fully equip the aspirant along with both the Chaturashra and Trisra-gatis. That is why, in our institution, Swarabhangima at Secunderabad, each and every kid of our 90+ kids is able to deal with these two Gatis singing all the 9 select Varnas @ 4-6-8 notes per beat very efficiently.

The deceitful tailor-teacher always makes the aspirant stitch a number of pants or shirts but never gives him/her the knowledge of getting the physical measurements of the person or cutting the cloth without making any waste. In the same manner, since a very long time, all our music-teachers are taught to sing themselves and make the aspirant also sing along with them but not to make the aspirant sing and learn things like its grammar on his/her own. Unfortunately, while neither the aspirants or the parents or even the teachers themselves are able to realize, this is a daylight cheating but not at all teaching.

This suicidal method of teaching our music was formulated long ago by some maestros or legends or experts who are of lethargic, conservative and egoistic temperaments to facilitate their performance-oriented life escaping from holding any responsibility of inculcating the knowledge of the grammar of music in the aspirants and elongating the process for many years. As this has become more convenient to run away from fulfilling the duties and responsibilities all other teachers also blindly followed them. Even in the discussions held in the Music Academy in 2013 and 2014, even if the Secretary, Dr. Pappu, with a dutiful mind, brought out my controversial reference in respect of quickening the learning process of our music none of participants could dare suggesting to invite me then and there for discussions in this respect.

All are well aware that each and everybody has his/her own method of ‘Manodharma’ in doing things like talking or walking or eating or sleeping etc., etc. But our great musicians have wantonly created the illusion of this Manodharma in respect of our music only, in particular. More over, while the aspirant could very easily get into this Manodharma by working hard on his/her own and learning things on his/her own they have created false restrictions in singing or writing the compositions or Kalpanaswaras or Ragalapana in notation and made the poor aspirant fully dependent upon these music-teachers which helped only to elongate the process for many years. If they all are truly harmful to the aspirant why even Sangitakalanidhi Dr. Shripada Pinakapani himself wrote a book itself on this Manodharma Sangita with notation?

Your daughter, Chi. Padmaja, a regularly school-going kid of 14 years of age studying 10th class, started learning music around 1st March, 2014. Now, just after one year on 1st March, 2015, in these 52 weeks of this year, attending only two classes each week and regularly practicing for two hours daily and one or two hours more in the week ends, she herself could learn all the lessons till now on her own and became able to sing all the Varnas @ 4-6-8 notes per beat, 5 or 6 Kritis with intricate mathematical Swarakalpana on her own. Nobody believes me if I write that I did never sing Sa or Pa even for once in any of these classes. This is the unparalleled greatness of these qualitative methods in learning our music. amsharma
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rajeshnat
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#464 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by rajeshnat » 10 Mar 2015, 11:41

msakella gAru,
Lovely post with right spacing between paragraphs. I understand the teachers that you are talking - i have tasted one of them long back when I learnt cm for few years. I suggest some one in hyderabad/chennai area to have an exclusive akandham with say only your 5 students each of varying degrees of learning perform a concert each for 2 to 2 1/2 hours. No talk there we will only circulate few print outs of what you have stated.

While we have lost LGJ and MSG fingering , am i not right to assume that you had touches of MSG and many of this gen indeed have significant touches of LGJ/TNK and MSG etc. May be I am right in assuming there was no awareness and extra lethargy in recording accompanist of that era . Perhaps we have to start with your fingering which has lot of MSG touches - bygones are bygones.
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msakella
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#465 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella » 10 Mar 2015, 17:32

Dear brother-member, rajeshanat, I am compelled to struggle with this unfamiliar language while bringing out all my feelings and I have my own doubts in my success. However, I thank you four kind compliments.

As you have suggested Shri J.S.Eshwaraprasad, our dynamic Administrative Officer of our music-institute, Swarabhangima at Secunderabad will certainly arrange these concerts by our students. In this respect I request you to kindly put forth your suggestion to him writing to his email address [email protected] and I shall request him to do the needful.

Merely than simple touches there is a lot more to learn from these Violin-legends which we all have lost already. However, thinking on these lines only I, as an individual, have tried at my own level to pass on very few of their unique finger-techniques in Violin-play by making videos of some select Varnas and uploading them to ‘youtube.com/user/msakella’ for the benefit of the Violin aspirants all over the globe. More than that, as an individual, what can I do at this old age? amsharma
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vvssaraswathi
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#466 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by vvssaraswathi » 10 Mar 2015, 20:16

Dear Sri rajeshanat,

The institute Swarabhangima is a place where Children are learning in AMS methods. I took my daughter to Hyderabad in Oct 2014 to show her the institute and was surprised the way small children are singing. It is delightful to see 6 to 8 year old children singing Varnams in 4-6-8. Many small children are singing swarakalpana and Ragalapana. It is amazing, inspiring and very happy to see Children singing at that age. It is unbelievable that many of them are learning only from last 1-2 years. It is a great service to children.

Even though my daughter is learning from Sri AMS garu on phone, I have never heard him singing for last 1 year. And the class will be only for 15 to 20 minutes, not beyond that.

The stability in Children using AMS methods is only because of the quantitative and qualitative system, more than children's capability. I never believed in March 2014 that if a person has Laya, Sruti can be picked up. My daughter's voice was terribly bad when she started with Sri AMS garu and none in our family knows music. None of us expected that she can sing Sa Pa Sa in Sruti. He kept on giving confidence that Sruti can be picked up. There is a drastic change within 1 year.
- Saraswathi.
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msakella
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#467 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella » 12 Mar 2015, 10:42

vvssaraswathi:

The sole cause behind the thumping success of your daughter, Chi. Padmaja lies in her instinctive rhythmical ability, hard work and the unstinting encouragement you, the parents, have been giving. By God’s grace she has some instinctive rhythmical ability and after assessing it could be increased to the required level by some exercises and stabilized to enable her proceed further and further on her own in her task.

If you train your kid in driving a motor-cycle and provide him with a motor-cycle he, without remaining at home, always prefers to run away on this machine. In the same manner, if the rhythmical instinctive rhythmical ability of the aspirant is properly stabilized along with the Metronome and a suitable keyboard is provided to rely upon and work independently even in the absence of the teacher to proceed further and further each and every aspirant prefers to remain with this keyboard and do something or the other. As the keyboard is a most reliable machine even than a human teacher any aspirant progresses very rapidly, efficiently and independently.

More over, in general, if an upcoming aspirant comes into the lime light and gets heavy demand each and everybody gives more credit to his/her teacher only as per our tradition. But, in my extensive experiments in this respect it was proved that in such cases 60% of the credit must go to the aspirant, 30% to the system if it truly helps in his/her progress and only 10% to the teacher/guide. But, in our country, if the aspirant becomes famous his/her teacher becomes more famous and many aspirants flock together to learn from this teacher aspiring to become famous artists. If they fail in their task they feel bad of their bad-luck but, fortunately to the teacher, nobody blames the teacher as it is not our tradition at all to blame the teacher or the husband. In such cases nobody realizes that the sole cause for the aspirant’s fame is his/her intelligence and hard work but not of the teacher’s ability. No teacher may agree with me in this respect but this is the bitter truth.

To tell the truth, in my extensive experiments in this respect, I have found that while around 10% of the aspirants only are becoming knowledgeable musicians learning music under the present illogical, irrational and old system more than 60% of the aspirants are becoming knowledgeable musicians learning under the logical, rational and qualitative system I have brought out. amsharma
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msakella
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#468 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella » 17 Mar 2015, 02:07

Now I hereunder furnish the url of the audio-recording of my great-grand-daughter, Chi. Padmaja from Bangalore in which she had herself learnt the Kriti Prakkalanilabadi-Kharaharapriya-Chapu on her own and absolutely without my personal help. In fact, it is not fit to furnish here as there are many lapses of Shruti. While Shruti must be acquired gradually over long time the rhythm is instinctive and could be stabilized by an efficient teacher (not cheater, however) even in the beginning. Thus, her instinctive abilities have properly been stabilized and she could render without any lapses of rhythm. Only to show this this url is furnished here for the benefit of the aspirants. amsharma

https://soundcloud.com/saraswathi-vvs/2 ... hapu-kriti
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sastrydevarakonda
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#469 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by sastrydevarakonda » 17 Mar 2015, 12:05

17.3.2015
Namaste to members of Rasika.org
Iam here to express some of my feelings about the learning part of Carnatic music.
Iam very happy to see new postings in this column and good responses for the untiring effort of Sri AMS garu. To my understanding, the real lacuna in the music learning field, is that, the learning cross-section is unaware of the right approach/method to learn music, and that has been simplified and brought to the open platform by Sri AMS garu for the real aspirant. This has been a wonderful project for the music aspiring community.
As I have been in the learning process, from different reputed music schools for long time without landing properly, finally I adopted this system, following the system properly, and applying myself with good thinking and now Iam able to do some good work.

As Iam in the learning process of the instrument Veena, I understood, quite a few things which were never told in any music school. As the AMS method says, practicing of the defined Varnas in a defined manner, in a defined speed is really very important task, before one goes to practising other items.
To play Veena, getting fluency over the instrument, playing of any note in proper Sruthi and laya and with correct rendering of the note can come only come with a very good practice of the varnams. As more the number of times the varnam is played, that many number of times the hand is, either , plucking/pulling the note, may be some times wrong, but as our built in body detector, the Ear can tell us the correctness of the note. So in this process, one acquires the command over the note as well as the instrument. Since different varnams with different Aroha-avarohana swarams, and playing these varnams, the hand gets tuned to play all the notes. But here vocal guidance of AMS method will be very useful to understand the place of the note, and requirement of the Gamakam - how much is to be rendered.

This process really helps to play the Ragalapana in a proper manner, gives the feel of the RAAGAM and a very good satisfaction.
The positive message should go to the needy cross-section and the real aspirant should get benefitted from the experiences of the learners.

As AMS garu says, “an efficient, honest and reliable teacher properly initiates the aspirants in learning the intricacies of rhythms and intricacies of the oscillations of notes which make the aspirant able to proceed further and further in learning music” is quite correct and applicable. Thanks to AMS methods.
Sastry
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msakella
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#470 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella » 18 Mar 2015, 15:21

Dear brother-member, sastrydevarakonda,

Each and every musician invariably knows the greatness of our Varna. But, in my extensive research,
I have found that an efficient and honest teacher only can pave way in properly equipping the aspirant with different facets of knowledge leading to Manodharma-sangita by properly initiating the aspirant in learning these Varnas.

The composition, Varna helps the aspirant a lot in equipping him/her with the needed intricacies of both rhythm and the note to proceed further and further in acquiring the knowledge of Manodharma-sangita. Unless the teacher makes suitable arrangements to the aspirant to rely upon and practice regularly and independently on his/her own even in the absence of the teacher himself/herself this is not possible at all.

In our suicidal traditional system of teaching (not teaching but singing and making the aspirant also sing along), as usual, the Varnas are sung by the teacher and the aspirant also follow along singing. But, in our qualitative system of learning, the details of 60 kinds of oscillations of notes along with symbolized notation and respective audio-file are supplied and the aspirant is made to rely upon the in-built Shruti and Metronome of the Casio-key-board, play it and sing along very slowly in Matra-kaala i.e., @ one-note-per-each-second. By playing and singing at this slow-tempo only all the oscillations are magnified and understood properly to proceed further and further in learning Kritis etc., on his/her own. Except our teachers trained in our novel system of learning music as no other teacher on the globe does in this manner none of them is able to make the process of learning ‘time-bound and result-oriented’ efficiently.

In the old system, while the teachers have been used to always sing themselves right from the beginning up to Kritis and make the aspirants also sing along, in our novel system, the aspirant himself/herself learns all the items by playing them on the key-board and singing along with the Metronome on his/her own very fast with minimum dependence upon the teacher like the kid in my previous post.

Not only at Hyderabad our branches at Bangalore and Chennai also have started functioning, of course, on a slow pace to make a mark of their own in the near future. amsharma
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Rajyalakshmi
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#471 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by Rajyalakshmi » 22 Mar 2015, 00:56

Namaste Rasikas members,

My son Chi.Pradyumn has been learning vocal from Sri MS Akella Sir for the last 8 months and he has already completed all 9 varnas in 468 speed, Kalpana Swara exercises and working on his 8th song Prakkala Nilabadi. Though having little knowledge about music, I still can understand how difficult it is to bring a student to the level of learning Prakkala Nilabadi. While my son is making some effort with his practices, I would really want to convey many thanks to Sri. MS Akella sir for all his dedicated works through the years preparing the syllabus, recordings and perfect notation for all the Kritis. My son was able to learn the first 7 songs with less difficulty due to the precise notation and recordings provided by Sri. Akella Sir. I myself used to struggle to learn a song all these years. Now I feel it is much faster and easier to learn a song because of the perfect notations and recordings.

My son is also working on Ragalapana exercises provided by Sri. Akella Sir. I completely understand and agree with his teaching methodologies which provide the young students with all the necessary ingredients to become a future musicians. While many teachers argue that teaching Ragalapana and Kalpana swaras with the help of pre-drafted notation is incorrect, I strongly believe that providing beginner students with notation for these techniques will help them understand the basic concepts and encourage them to try more on their own.

I hope my son continues his musical journey along the path laid by Sri. AMS Sir. His guidance and encouragement are priceless. Thank you so much for teaching my son this divine art of music. He is gaining more confidence in his musical abilities now.
We are very grateful to you and your efforts in helping the interested kids become better musicians.

Sincerely,
Rajyalakshmi
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msakella
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#472 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella » 23 Mar 2015, 12:22

Dear sister-member, rajyalakshmi,

Thank you for your kind appreciation.

To tell the fact, there is a lot of history behind bringing out this present successful system of learning our music in which your son, Chi. Pradyumn has been initiated to learn.

Since time immemorial a suicidal system of singing (not teaching) our music both by the teacher and aspirant has been in vogue. This has long ago been formulated by the selfish maestros, legends and experts in music. This has particularly been formulated by them in such a manner that it facilitates not only to maintain their regular practice in giving their regular concerts but also to elongate the process of singing/teaching for many years always keeping the poor aspirants dependents upon them. Accordingly they also created an illusion that Manodharma-sangita could neither be taught nor learnt and also issued a prohibitive rule that notation should not be written either for the compositions or for the Ragalapana or Swarakalpana. That is why they wantonly did neither follow nor encourage the symbolised notation of Subbarama Dikshitrar. While the knowledge of writing notation or singing is the only source to get the knowledge of Manodharma-sangita, very sadly, all the teachers have mercilessly closed all the doors leading to the Manodharma-sangita. If the aspirants are properly, truly and honestly taught and encouraged writing the notation they themselves can learn the Manodharma-sangita very easily and quickly on their own. But, as you truly wrote, they all very conveniently declared that all kinds of pre-drafted notation is harmful to the aspirants. Very sadly, in making such harmful acts to the aspirants, they all are used to connive with each other.

In the present suicidal system of teaching music a number of items only are sung and the aspirants also are made to follow. More over, the aspirants are told that they must work hard and acquire the Manodhrama-sangita on their own. In this respect even Sangita Kalanidhi Dr. Shripada Pinakapani also wrote in his book that after learning 25 Varnas and 50 Kritis only the aspirant must try to attempt for Manodharma-sanigita. However, fortunately for the first time in the history, he brought out his book, Manodharma-sangita with notation though not with a pre-recorded CD like me.

As per this novel system of learning, even though I did never sing even Shadja or Panchama in any of the classes your son himself worked hard with all your encouragement and succeeded in learning the much needed ingredients of our music hardly within 8 months to proceed further on his own later. This is the greatness of this system and the commitment of the aspirant only. amsharma
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msakella
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#473 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella » 23 Mar 2015, 15:23

In all beings each and every mother always strives hard to make her kid the best in all respects. But, I do not understand, why our so-called Gurus, having been treated far higher than the mother or the father or even the God, have very conveniently closed all the doors leading to the Manodharma-sangita to the poor aspirants. Surprisingly enough, they all regularly sing the sacred compositions of our great saint-composers and on the other hand they all do many kinds of harmful acts to the poor aspirants. Even if it is undoubtedly proved many a time that they all survive upon the illogicalities and irrationalities of teachings only none of them openly comes out to give up their harmful acts upon the aspirants or even discuss about them.

In fact, I have never been taught the Trisra-gati by any one of my teachers. However, as it is a must to learn to a violin-accompanist, I have learnt it later on my own. Funnily, as it was not included in any of our syllabi by any of our maestros or legends or experts, it did never even struck that I must teach Trisra-gati also to my students in properly stabilizing their rhythmical abilities while in my service. Many of my tube-lights went on only 5 years after my retirement and been able to do the needful to the aspirants.

Even though we cannot manage with the other odd-gatis, as the will-wisher of the aspirants, it helps a lot to the aspirants if the teacher, as the well-wisher of the aspirants, properly encourages and initiates the kids in proceeding further with the other odd-gatis also.

Thinking on these lines, even though I also cannot manage with the other odd-gatis at this old age, I have encouraged and initiated my disciple, Chi. Shankara Aditya of Warangal, to practice the other odd-gatis also and he succeeded

Thus, now, I have uploaded 7 video-files of 7-Jati-alankaras sung @ 1-2-3-4-5-6-7 & 8 notes per beat @ 50 bpm speed by my disciple, Chi. B.Shakara Aditya to ‘youtube.com’user/msakella’ and the url is furnished hereunder for the benefit of the interested aspirants. amsharma

https://www.youtube.com/playlist?list=P ... jOymD4CVWa_
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sastrydevarakonda
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#474 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by sastrydevarakonda » 28 Apr 2015, 16:30

Namaste to Members, Rasika.org,
I would like to put forward some of my thoughts which Iam able to feel through my practice of music, for the benefit of the Veena learners.
I also came through the different phases of learning and passing through different schools with no answers, finally when I adopted the system provided by sri AMS garu, definitely, I feel the change in my thoughts and my playing of veena. From this what I understood, the important features of learning Veena, constitutes, mainly the fluency and speed of playing the instrument, that can come only with,
 Playing the Varnam @ 120 speed, that means - one avruttam of 8 kriyas will take 4 seconds time. This will help in playing the Ragaalapana with sufficient fluency, in a melodious way.

 Rendering the swara combinations taking the help from 3-5-7 & 4-5-7 and both the gatis, in all the main four Talas, ending each avruttam or a small flow of few avruttas with the given muktai swaras. Here more vocal practise is very much required.

 The first exercise will promote Ragaalapana prakriya, the second one will promote Swarakalpana prakriya.

For the aspiring and dedicated music learners and members, this forum helps in finding the required answers for which they have been searching,
So what the ambitious learners or serious musicians, they can share or put forward their thoughts or doubts, in these columns, our great guru sri AMS garu will clarify them.
Let us avail the vast experience of Sri Sharma garu in music and help in paving way for the rich music society.
Sastry
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sastrydevarakonda
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#475 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by sastrydevarakonda » 18 May 2015, 20:38

18-5-2015
Namaste to members of Rasika.org
Iam here to express some of my feelings about the learning part of Veena.
As far as learning of Veena is concerned, I doubt that, we can not expect to see any new good Veena player with perfection in the future, (unless one is born genius) since we have been in the precipitated system of learning music, which has been planted so deep in the system, by our predecessors, which will not make us good artists. If the great gurus like Sri AMS garu, says something, the learners, specially the veena aspirants are not in a mind set to receive and understand what the great guru means.

So What I mean is that, we the ambitious learners, can become good veena players, provided we keep following a proper system and put up good home work, for this we should motivate ourself to keep the aim active/alive till we bring out good output with the instrument.
The important aspects as explained by the AMS method –

1. Make the laya system perfect means, the laya excercises 3-5-7 and 4-5-7 in chaturasra and thisra gatis, as this paves way for building the required Swara flow and build the laya balance within the system.

2. Make the fluency over the instrument perfect
The fluency over the instrument- that means, the easy flow of hand over the instrument to play any tough notation, this can come only with playing varnas @120 speed. This is really the toughest part, if we can make this perfect, with good practice with the help of a Matrinomo, may be little late, but sure to reach some point, where the hand movement over the instrument increases.
3. The practice – we can not really define this part, as the answer lies only in more and more practice.
With the above home work, definitely we will be able to put up a good performance with the instrument and build the hope for towards a perfect artist.

Thanks to AMS2007 easy methods. Sastry
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