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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#251

Post by msakella »

Hi all.
Physical life is entrirely different with spiritual life. Even Shri Saibaba of Shiridi told his disciples to be very careful while selecting a good Guru in spiritual life. Even if it is so in spiritual life we must be very careful in selecting a Guru even in our physical life. Even though we all believe that every thing has already been destined, that is our primary duty to be careful to the maximum extent possible. Even as per my personal experience what our sister-member, santharama, wrote ‘at the same time a very talented famous artist may not be a good teacher’ is absolutely true. For example Akella Mallikarjuna Sharma (msakella) may be a great artist but it is absolutely foolish to take all the relatives, friends and neighbours also with prefix or suffix of ‘akella’, along with him, are great teachers. No, not at all. When even msakella himself may be a good artist but may not be a good teacher what about others of him. The duties of the artist who is only performer differs with the duties of a teacher who strives hard to shape the future of the persons. The duties of the teacher are far more responsible than a selfish performer who works all the time for himself only. All the more the abilities of a teacher should always be adjudged by the end-results of his teaching making the process very quick and efficient to the aspirants.

As my aim always is to enlighten the people as far as I can in respect of the art of teaching music I post the relevant posts also in the sub-thread, AMS Easy Methods-2007 - Teaching & Learning Methods by A.M.Sharma under the main thread Sangitakalalaya for the benefit of the aspirants. amsharma

msakella
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#252

Post by msakella »

‘Just as the midwife assists the body to give birth to new life, so the teacher assists the mind to deliver itself of ideas, knowledge, and understanding.

The teacher does not produce knowledge or stuff ideas into an empty, passive mind. It is the learner, not the teacher, who is the active producer of knowledge and ideas.
Teaching, like farming and healing, is a cooperative art which helps nature do what it can do itself -- though not as well without it. We have all learned many things without the aid of a teacher. Some exceptional individuals have acquired wide learning and deep insight with very little formal schooling. But for most of us the process of learning is made more certain and less painful when we have a teacher's help. His methodical guidance makes our learning -- and it is still ours -- easier and more effective.
Teaching always involves a relation between the mind of one person and the mind of another. The teacher is not merely a talking book, an animated phonograph record, broadcast to an unknown audience. He enters into a dialogue with his student. This dialogue goes far beyond mere "talk," for a good deal of what is taught is transmitted almost unconsciously in the personal interchange between teacher and student.
This is a two-way relation. The teacher gives, and the student receives aid and guidance. The student is a "disciple"; that is, he accepts and follows the discipline prescribed by the teacher for the development of his mind. This is not a passive submission to arbitrary authority. It is an active appropriation by the student of the directions indicated by the teacher. The good student uses his teacher just as a child uses his parents, as a means of attaining maturity and independence. The recalcitrant student, who spurns a teacher's help, is wasteful and self-destructive.
Speaking simply and in the broadest sense, the teacher shows the student how to discern, evaluate, judge, and recognize the truth. He does not impose a fixed content of ideas and doctrines that the student must learn by rote. He teaches the student how to learn and think for himself. He encourages rather than suppresses a critical and intelligent response.
The student's response and growth is the only reward suitable for such a labor of love. Teaching, the highest of the ministerial or cooperative arts, is devoted to the good of others. It is an act of supreme generosity. St. Augustine calls it the greatest act of charity.’

Dear Coolji, I am very thankful to you for this link you have very kindly provided. I have posted above some of the very important excerpts of it which help to remind the duties of our teachers in the high interest of the aspirants. amsharma

svkashyap
Posts: 115
Joined: 12 Jan 2007, 15:25

#253

Post by svkashyap »

Unfortunately teaching has been reduced to an "art' of passing data from teacher's book to the student's without passing through the brains of either.

msakella
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#254

Post by msakella »

Dear brother-member, svkashyap, All these unwanted things in this noble profession are due to the excessive importance being given for earning money and leaving away all the ethics but not the enlightenment of the aspirant at all. amsharma

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

#255

Post by Rasika911 »

Sir can you please share with us methods of teaching nearavl to aspirants. Most of us can barely recall how we learnt it. Trying to explain and teach the concept to a student is difficult. What sort of drills would prove to be useful.

msakella
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#256

Post by msakella »

Dear brother-member, Rasika911, Yes, with pleasure I shall do this. But, as my approach is logic, novel and mostly based on making the process of teaching ‘time-bound and result-oriented’ but not money-oriented at all, this becomes non-traditional and teachers, in general, hesitate to follow it. However, I shall try to explain it in detail for the benefit of the true aspirants.

While singing Niraval, the aspirant needs to have perfect control over Laya and good fluency in singing the phrases in all speeds. For this, as usual, I again harp upon practicing all the 23 Special Rhythmical Exercises furnished in one of the above posts strictly along with Metronome as increasing the abilities of the aspirant is possible through Metronome only. The aspirant who realises this truth will only become benefitted abundantly. Among the SREs, according to the 23rd exercise many intricate easy-muktayis are to be practised first in terms of Mridanga-jatis, later in terms of respective notes for different Kritis having different ‘eduppus’ and lastly in ‘akaara’ of all those easy-muktayis. By all this, the aspirant gets control over Laya.

Later, the aspirant has to practice the Saralee-swaras, plain and Gamaka Janta-swaras with 2, 3 & 4 notes, Alankaras, all avoiding longer notes, with Jatis and Swaras of 32 non-vivadi-melas, all in Akaara also, strictly along with Metronome, gradually increasing the speed periodically. Later in place of ‘akaara’ he can include the letter of the lyric while singing the Niraval. This method has been been experinted upon some students and found successful. amsharma

msakella
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#257

Post by msakella »

Hi all, Today I have uploaded the video-clipping of Ragalapana in Shankarabharana recently sung on 02-08-2009 by 9 years old boy, Chi. Shashank to 'youtube.com/msakella'.

Chi. Shashank had recently started learning Adi-tala-varnas from Chi. Sow. Chidrupalakshmi Eshwara Prasad of Secunderabad. When I have started the workshop on Svarakalpana and Ragalapana in November, 2008 he had also joined this workshop. In that workshop, in all, 30 kids ranging from 7 and 13 years of age who have learnt only 3 Varnas are trained in singing intricate Svarakalpana patterns. In the beginning, even though they could spare very little time daily for their practice due to their regular school work, later, in the last summer vacation, for full one month, they all have regularly practised for 5 to 7 hours daily and gave a mini-concert on 04-07-2009 successfully singing the intricate patterns of rhythmical-svarakalpana. The respective video-clippings also are already uploaded to the playlist, Kids’ Svarakalpana of ‘youtube.com/msakella’ as per the details furnished in the 163rd post of this thread.

Later, after re-opening of all schools, even though they all are compelled to minimise their regular practice due to their regular studies, we have started training them in singing Ragalapana in Shankarabharana though in a dead slow pace. The notation of Ragalapana of Shankarabharana furnished in my book, Sangita Svararaga Sudha along with the audio CD is supplied to all the students and, now, in a matter of 2 months but with a little practice, 5 or 6 students among them are able to sing the Ragalapana. However, the video-clipping of the student, Chi. Shashank, who stood first among all of them, is now uploaded to the above website for the benefit of the aspirants.

Even though these kids have simply reproduced a group of set-patterns either in Svarakalpana or Ragalapana one should not forget that any kid, at the first instance, imitates the elders in every aspect and later only does things on his own. In the same way, here also, the imitations later lead to their creativity in course of time. More over one should keep in mind that even reproducing these set-patterns of rhythmical Svarakalpana is not that easy even to concert-singers or A-grade artists.

Till now every musician or every music teacher is always used to tell that Svarakalpana and Ragalapana should never be written and taught to the aspirants but should only be acquired by the aspirant himself by constant listening to the music of great stalwarts and heavy strenuous practice for a very longer period until they get them. Most unfortunately, on this plea, all the teachers are conveniently teaching only a number of Varnas or Kritis or Keertanas etc., etc., but escaping from the burden of teaching the Svarakalpana or Ragalapana. I have made umpteen experiments in this regard and at last found a way out for this problem. Ultimately, by all the above, it has evidently been proved that, if the relevant techniques are clearly defined and taught along with detailed demonstrations, the Svarakalpana and Ragalapana could very easily be taught to the aspirants even without teaching them a Kriti at all in that Raga within a period of maximum one year from the day he/she starts learning music. If every music teacher, from the beginning, properly initiates the aspirant in all aspects, defines and demonstrates the needed details and teaches what the aspirant needs (but not the teacher knows) every aspirant certainly becomes a giant in music. But, this can be made possible only to the committed teachers who can successfully render the 20th Special Rhythmical Exercise furnished in the 162nd post above and who give high preference for efficient and sincere teaching only than pecuniary aspects. While many of the private-music-teachers, in their struggle for survival, are teaching what little they know more responsibility lies on the salary-paid teachers working in the educational institutions, music departments of various Universities and in All India Radio etc., etc., in maintaining and developing the standards of the aspirants by giving them qualitative teaching. Unless the aspirants and their parents become aware of the qualitative teaching and insist their teachers for qualitative teaching only and even the respective syllabi of these institutions is properly modified increasing the importance for qualitative teaching and Manodharma Sangita there is no hope that they produce more talented students. amsharma

ganesh_mourthy
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#258

Post by ganesh_mourthy »

where is the link akellaji?
Last edited by ganesh_mourthy on 05 Aug 2009, 12:22, edited 1 time in total.

ganesh_mourthy
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#259

Post by ganesh_mourthy »


Rasika911
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Joined: 09 Mar 2009, 06:11

#260

Post by Rasika911 »

Msakell sir, i have qurstion. Most kids today find it hard to reproduce sangathis and i believe this is due to a lack of swaragnanam. Most of the kids have even learnt many varnams(up to 20 in some cases) and many krithis as well. What exercises can help them improve swara gnanam to the extent that they can even learn krithis on their own? Thanks.

msakella
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#261

Post by msakella »

Dear brother-member, Rasika911, Our ancestors have given us a series of items, Saralee-svaras, Janta-svaras, Daatu-svaras, Hecchusthayi-svaras, Taggusthayi-svaras, Gitas, Svarapallavis/Jatisvaras, Svarajatis, Varnas, Kritis, Keertanas etc., etc.,to be taught to the aspirant and in this process our aim must be to induce the knowledge of Manodharma-sangita into the aspirant. Even though we sincerely follow the same seriatim while teaching the aspirant the teacher must use his brain getting into the logic behind, in the interest of the innocent aspirant, which item with which quantity in which way to which aspirant should be taught. By thinking all this for many years and experimenting upon the aspirants themselves I have formulated an easy, effective and innovative method in teaching our music making the process time-bound and result-oriented unlike any other music-teacher. I have furnished all these details in all my previous posts of this thread. However, I shall give you a brief answer to your question.

Reproducing the sangathis depends upon the acquaintance with different notes and their detailed oscillations. While the acquaintance with all the 12 plain notes is obtained through the regular practice of all the preliminary exercises upto Gitas all the different oscillatioins must be taught to the aspirant in terms of Varnas in different suitable Ragas. In general, to make it easy, all our music-teachers start teaching the Varnas in the Ragas like Mohana, Hamsadhvani, Vasantha etc., by which the intricate gamaka-notes, Sadharana-gandhara or Shuddha-madhyama or Kaishiki-nishada are not covered at all. Unless the aspirant gets reasonable acquaintance with these intricate gamaka-notes through the Varnas having these notes and regularly practices suitable exercises of them to gradually increase their acquaintace with them he cannot proceeed with the sangathis of any Kriti later. That is why I have formulated a particular seriatim of Varnas in the Ragas, Natakuranji, Kambhoji, Darbar, Shankarabharana, Kalyani, Begada, Todi, Saveri, Bhairavi and Bhairavi-svarajati looking into the logic behind the different oscillations, which has never been done by any other music-teacher till now. In which way only two usable pants are far better than 20 un-usable pants the above 10 compositions are far better than such useless 20 Varnas. What is the real purpose in bringing rice, pulses, oils, vegetables etc., etc., from the market spending hard earned money? Only to get a delicious meal. Ultimately, if we don’t get such meal at the end the purpose in bringing all these items itself is absolutely defeated. The same is happening even in learning music also. But, most unfortunately, everywhere neither the parents nor the aspirants are aware of it and all the music-teachers, without any qualitative-teaching, make quantitative-teaching wantonly dumping a number of Varnas and Kritis into the poor aspirant. After the completion of the last Varna, if the aspirant is unable to learn a Kriti on his own with the help of the supplied notation and CD, no doubt, this obviously reveals the inefficiency of the music-teacher. For the details of all the different exercises in this aspect you can refer my previous posts of this thread. Many of all these things must be discussed face to face and even then many details may not be covered in such discussions as all these methods differ from person to person. In fact, such discussions on efficient teaching methods must be arranged at length periodically by all the reputed organisatioins, Institutions and Universities all over the country for the benefit of our aspirants. But, who bells the cat is the million dollar question. amsharma

Dwani
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Joined: 16 Dec 2008, 02:06

#262

Post by Dwani »

Akellaji,

I live in the US and would like to know where I can get a copy of the book "Sangita Svararaga Sudha (English)" with the MP3 and a copy of the CD "AMS methods 2007".

Thank you

msakella
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#263

Post by msakella »

Dear b/s-member, Dwani, Thank you for your kind appreciation. The ‘AMS Easy Methods-2007’ mp3 CD is available from http://www.sangeethamshare.org/chandra/ ... hods-2007/. If you download and run it on your computer you will also find 9 pdf files of English and 6 pdf files of Telugu along with 481 audio-files of all the contents of the CD.

You can contact my disciple, Chi. M.V.N.Prasad, soft-ware Engineer and Violinist who is working in US and get the copy of my book ‘ Sangita Svararaga Sudha (English or Telugu)’ along with the mp3 CDs. His e-mail address is ‘[email protected]’ and the telephone numbers are 256-693-2510 & 256-730-3227. amsharma

msakella
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#264

Post by msakella »

Hi! All, In Classical music the success of many things depends upon the Shruti-instrument, Tambura and in this respect I would like to tell the following in enlightening our aspirants.

In general, every musician likes the natural sound of Tambura and always strives hard to get the same sound even in the electronic-automatic-shruti-instrument but, most unfortunately, in every such instrument, the two Shadjas of the middle octave are producing different kinds of waves and, till now, I did never come across any electronic-automatic-shruti-instrument devoid of this defect (YouTube demo: http://upasani.org/iTanpura/demo.html is not an exception). At the same time I am very much surprised to find many of our professional musicians are unable even to recognise this defect. More over, while many of them agree with the natural sound of the electronic-automatic-tambura although it is with the above defect they disagree with the generated sound of the electronic-automatic-tambura although it is in perfect tune. More over, many of them prefer not to tune the Panchama-string to Shuddha-madhyama while singing even Shreeranjani which is a Panchama-varja-raga.

In fact, there is another very important point to take into consideration while enhancing the beauty while singing a Raga. In which many more different dishes in our meal enhance the quality of it in making it more delicious and making the person to eat more and more the singing of Raga becomes more inspirative not only to the singer but also to the listener if some of the notes of the Raga are also included in the shruti-instrument. This kind of facility is available only in the electronic-automatic-tamburas having the generated sound. For my personal use I have myself designed such an electronic-automatic-tambura with the generated sound and been using it since many years and having become addicted to its mellifluous sound of different combinations of notes I am unable to relish either the conventional tambura or the electronic-automatic-tambura with natural sound or even any other electronic-automatic-tambura with generated sound but without such additional notes to add.

My Tambura has two sections and they are 1. Tambura-section having three-tamburas one each of the three-octaves, mandra, madhya and tara-sthayis, each one independently tunable either with Panchama or with Shuddha-madhyama or with Shadja of upper-octave avoiding both the Shuddha-madhyama and Panchama along with the choice of plucking sound or non-plucking sound of the strings and also with the choice of tempo of the plucking-sound of the strings and 2. Drone-section having Shadjas of 4 octaves (mandra, madhya tara & ati-tara), Panchamas of 2 octaves (madhya & tara), Shuddha-madhyamas of 2 octaves (madhya & tara), Sadharana-gandharas of 2 octaves(madhya & tara), Antara-gandharas of 2 octaves (madhya & tara), Shuddha-dhaivatas of 2 octaves (madhya & tara) and Chatusshruti-dhaivatas of 2 octaves (madhya & tara) having choice to put-on or put-off any note of them.

But, while having the choice of notes in combination one should be very careful to make the sounds concordant to each other in the following manner:

1. For Ragas having either Shuddha-madhyama or Sadharana-gandhara or Shuddha-dhaivata Mandra-shadja must be avoided as it always emanates the antara-gandhara as upper-partial/Svayambhoosvara. An upper-partial/Svayambhoosvara could also be avoided by increasing the octave i.e., the upper-partial, Antara-gandhara of Mandra-shadja could also be avoided by increasing the octave of Mandra-shadja as Madhya-shadja or Tara-shadja or even by putting off the Tambura of Mandra-sthayi which is possible only in the generated sound of electronic-automatic-tambura but not in conventional Tambura.

2. For Ragas like Shankarabharana, Kalyani, Mohana etc., in which importance could also be given to Antara-gandhara, along with the general shruti of the Tamburas of 3 octaves, the note Antara-gandhara in drone, either in Madhya-sthayi or even Tara-sthayi or both, along with your choice of volume and according to your taste, could also be used.

3. For Ragas like Udayaravichandrika etc., in which importance could also be given to Sadharana-gandhara, along with the Tamburas avoiding mandra-sthayi, the note Sadharana-gandhara in drone, either in Madhya-sthayi or Tara-sthayi or both, along with your choice of volume and according to your taste, could also be used.

4. For Ragas like Shubhali (Gujari-todi of HM), Hindola, Bhavani etc., in which importance could also be given to both Sadharana-gandhara and Shuddha-dhaivata, along with the Tamburas avoiding the notes of mandra-sthayi and Panchama and Madhyama, the Sadharana-gandhara and Shuddha-dhaivata in drone, either in Madhya-sthayi or Tara-sthayi or both, along with your choice of volume and according to your taste, could also be used.

5. For Ragas like Hamsanandi etc., in which importance could also be given to both Antara-gandhara and Chatusshruti-dhaivata, along with the Tamburas avoiding the notes of mandra-sthayi and Panchama and Madhyama, the notes Antara-gandhara and Chatusshruti-dhaivata in drone, either in Madhya-sthayi or Tara-sthayi or both, along with your choice of volume and according to your taste, could also be used.

6. For Ragas like Ranjani etc., in which importance could also be given to Chatusshruti-dhaivata, along with the Tamburas avoiding the notes of mandra-sthayi and Panchama and Madhyama, the note Chatusshruti-dhaivata in drone, either in Madhya-sthayi or Tara-sthayi or both, along with your choice of volume and according to your taste, could also be used.

7. For Ragas like Abhogi, Shreeranjani etc., in which importance could also be given to both Shuddha-madhyama and Chatusshruti-dhaivata, along with the Tamburas having Madhyama and avoiding the notes of mandra-sthayi and Panchama, the notes Shuddha-madhyama and Chatusshruti-dhaivata in drone, either in Madhya-sthayi or Tara-sthayi or both, along with your choice of volume and according to your taste, could also be used.

8. For Ragas like Hindola etc., in which importance could also be given Shuddha-madhyama, along with the Tamburas with Shuddha-madhya and avoiding the notes of mandra-sthayi, the Shuddha-madhyama in drone, either in Madhya-sthayi or Tara-sthayi or both, along with your choice of volume and according to your taste, could also be used.

Recently I have digitised some of the Auto-shruti-combinations of 6.5 Shruti and loaded into the Transecend mp3 player to use them as Shruti through small speakers and it is working very well. Even though I am not a professional Vocalist, for the perusal of the interested persons, recently I sang some of the concordant Ragas along with the respective digitised Auto-shruti-combinations and have uploaded these samples of the audio-files not exceeding 2 mts., each to
http://www.esnips.com/web/msakella2002sOtherStuff

Rasika911: Previously you have asked me to provide the recording of ‘Talachinantane-Mukhari-Adi-Thyagaraja’ -a rare keetana. Now, I have also uploaded it to
http://www.esnips.com/web/msakella2002sOtherStuff

for you. You can listen to it and tell me. As I am unable to locate that thread now I am compelled to post this message here. amsharma
Last edited by msakella on 07 Dec 2009, 14:05, edited 1 time in total.

VK RAMAN
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#265

Post by VK RAMAN »

I completely agree with your comments about electronic sruti box; I got hooked to manual sruti potti or harmoniam; what is your view on these?

msakella
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#266

Post by msakella »

Dear brother-member, VK RAMAN, Sorry sir, I am not at all against the elctronic-automatic, tambura or Drone (Shru-box) and more over I am dead against using the manual Tambura or Shruti-box as it is like going to Varanasi by bare foot in these modern days when we have umpteen facilities to make it dead easy and fast. That is what I wrote also in my post. For this purpose I have myself designed this instrument which I have defined in my post. amsharma

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

#267

Post by Rasika911 »

Did anyone record MS Akella sirs lec dem at the music academy "Easy, innovative and effective methods of teaching Karnataka Music with special reference to Svarakalpana and Ragalapana"? It was a morning academic session on the 31/12/09.

nvidya
Posts: 4
Joined: 02 Jan 2010, 20:05

#268

Post by nvidya »

Dear Mr. Akella,

Bagunnara.Sir,I am speechless to see that you are offering a lot of information and knowledge to

students of carnatic music. My daughter learns carnatic music and has a good voice . I sent her song to 6 performing artists requesting them to

evaluate and give constructive criticism. I do not want to mention their names, it could be that they are

busy and cannot reply. But I was very disappointed as I did not get any reply from even one of them.

So seeing your contribution I was overwhelmed.

God's grace will be always upon you.

My daughter was unfortunate that all her teachers are not staying permanently in this place - Abu

Dhabi. She was forced to change 4 teachers in 5 years of learning.She has difficulty in singing gamakas

and kampita swaras -- she sings too many plain notes.

And her songs are devoid of bhava. I will use your kmapita and gamaka files for improving her gamakas.

And for the bhava , I hope she will learn to sing with bhava gradually.

Thank you once again.


Regards,

Vidya

msakella
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#269

Post by msakella »

Dear brother-member, Rasika911, My Lec-dem in the Music Academy on 31-12-2009 went on well. As the topic actually occupies the duration of 3 to 4 hrs. I was compelled to condense to one-fourth of it by which I could demonstrate very few details only. However, at the end of it some enthusiastic aspirants approached me, took my residential address at Chennai and came to me on 2nd and 3rd to learn some of the easy methods. Some of them even started coming online to learn them. My talk was recorded and I took even a copy of it in my pen-drive. But, when I opened it at my house, I did not not get anything out of it. However, I shall try to get another copy of it. If it works out I shall post in esnips in parts and let you know. However, I shall hereunder give the type-written material which I read in the Academy. amsharma

Lec-dem on 31-12-2009: Sabhaayai Namah
Today I shall bring out the details of the ‘Easy, innovative and effective methods in teaching Karnataka music’ I have evolved by the grace of the Almighty in making the process of teaching ‘Time-bound and result oriented’, unlike in the past. In fact, I am used to take 3 to 4 hours to demonstrate all the details of this topic, but, now, I have made brief notes of all the important points to fit in this short time. I am afraid I may not be able to demonstrate the full details. However, I shall certainly try to answer your questions at the end of this talk.

Having worked as a music teacher for nearly four decades, I have realised the pros and cons of conventional teaching methodology. Post retirement I realised that I had committed several mistakes in my teaching career. On reflecting upon the past mistakes, I felt that there was a dire need for a scientific method of teaching, which facilitates quicker and efficient teaching/ learning of music. After retirement in 1996, I gave up my active artistic-life as a professional Violinist and continued my experiments and found many encouraging easy methods in teaching. On introspection and extensive experiments, I realised that the defect lies not so much in learning but in teaching. I also found that, mainly, there are two kinds of methods of teaching and they are 1.quantitative-teaching and 2.qualitative or knowledgeable teaching.

I also felt that most of the teaching methods practiced today are quantitative in nature, wherein the student is taught several items right from the preliminary exercises to the Kritis, which mostly enhances the ability to memorize items. Not much is taught with respect to Ragalapana and Svarakalpana barring a few exceptions. This calls for a more analytical approach in teaching Manodharama Sangeeta. As the crux of our music is Manodharama Sangeeta, lot of our efforts must go into these two aspects. Contrary to popular belief, Ragalapana can be taught to students by way of notation, the basis of which comes from learning Kritis with precise notations and also by gaining knowledge of writing notations. Thus, it is also essential to sharpen the creative abilities of the aspirants so that they can sing Ragalapana and Svarakalpana on their own. Based on these aspects I have evolved a teaching methodology which I believe is qualitative in nature and formulated certain teaching methods wherein the aspirants' rhythmical abilities are enhanced leading to effortless and free-flowing Svarakalpana along with providing insight into developing Ragalapana techniques and honing of skills with respect to Manodharma Sangeeta.

On analysis, I have arrived at the conclusion that primarily 8 Saralee-svaras, 4 Janta-svaras, 3 Daatu-svaras along with the 7 Alankaras are sufficient. Later, only 6 Gitas including one Lakshana-gita without Gamakas covering all the 12 notes and 9 Varnas and one Svarajati covering all the oscillations, enabling the student to learn Kritis on his own with minimum assistance from the teacher. Here, it is very important to note that though the teacher is instrumental in learning, this method enables the student to become independent, a quality, which is essential to develop and nurture one's own creative abilities.

As you all are aware, Shruti and Laya are the core components of music. While Shruti gives pleasure to the listeners, Laya sharpens the brilliance and instills self-confidence and helps increase the rhythmical abilities in the aspirant. Hence, the rhythmical instinct of the aspirant must first be put to test and only if he qualifies, he should further be subjected to the Shruti test. Initiating him to play with two cane sticks in tandem with the rhythmical music of Casio-MA-150 in both Chaturashra and Trisra-gatis, as Gati is pivotal and more crucial in strengthening Laya than Jaati, must further sharpen the aspirant’s rhythmical abilities.
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(At this point, I would like to bring to your notice that there have been modifications of Angas of some of the Alankaras. As per Talas furnished in Ragatalachintamani, Dhruva-tala which was originally furnished as ‘l S O’ was later modified as ‘l 0 l l’, Jhampa-tala which was originally furnished as ‘0 U l’ was later modified as ‘l U 0’; Triputa-tala which was originally furnished as ‘0 0 0 U’ was later modified as ‘l 0 0’; Ata-tala which was originally furnished as ‘l 0 0 l’ was later modified as ‘l l 0 0’ and Eka-tala which was originally furnished as ‘0’ was later modified as ‘l.)
--------------------
On analysis, we now find that the logic behind teaching the preliminary exercises, Saralee-svaras, Jata-svaras and Daatu-svaras in Adi-tala is to give acquaintance with respective notes, Laya, Talangas and their Jaati. In the same manner, the logic behind teaching Akankaras is not providing mere acquaintance with longer Talas as relatively short Talas are prescribed despite the availability of much longer Talas.

Even with respect to Jaatis, while 5 Jaatis are prescribed, only one is an even-jaati and the remaining 4 others are odd-jaatis pointing out the importance of odd-jaatis. More over, Sankeernam has wantonly been omitted in these Alankaras obviously indicating that it is less significant as three Trisras can easily be accommodated in a Sankeernam. Now, we have the more crucial aspect of Tala, which is the Gati. Since Gati is pivotal to the strengthening of Laya, it is essential to equip the students with the ability to render exercises both in Chaturashra and Trisra-gatis as Gati is more crucial than Jaati.

In contemporary practice, we also notice that there are four implications in learning Alankaras and they are, 1.Laya 2.Tala 3.Uttering the solfa-syllables like s-r-g-m-p-d-n and 4.Singing the solfa-syllables with their respective sounds. In order to simplify the learning process of these Alankaras and also to strengthen the rhythmical abilities of the aspirants, for the first time in the history, Jati-alankaras have been formulated based only on Laya relieving the aspirant from the remaining three implications. Also to strengthen the rhythmical abilities of the aspirant the left hand beat also is introduced right from the first day of the lesson even before Saralee-svaras. In order to simplify further, the seriatim of Alankaras has also been modified so as to start with the shorter Tala i.e Eka of 4-units and proceed towards longer Talas i.e., Rupaka of 6-units, Mathya of 10-units, Dhruva of 14-units, Jhampa of 10-units and Ata of 14-units. Lastly, Triputa of 7-units, the only Tala having odd-number of units is introduced.

Based on several experiments I have found that each and every musician must indispensably get acquaintance with at least Trisra-gati along with the Chaturashra-gati and hence the Alankaras must be rendered in both Chathurashra and Trisra Gatis.

Keeping all the above in view, the aspirant should be initiated to render the Jati-alankaras formulated for the first time in the history, with the alternate beats of both the hands @ 120 bpm of the in-built Metronome of Casio-MA-150. Later, he should also be initiated to render the same both in Chaturashra and Trisra-gatis consecutively.

As we begin the first lesson in music, the aspirant should be initiated to play the 1st Saralee-svara, at the first instance, with 4 notes and later with 2 notes consecutively followed by one note on his own playing the keys of Shankarabharana-raga to create acquaintance with the plain notes. The pitch of his voice can also be selected by operating the ‘Transpose’ key of Casio-MA-150. Later, he should also be initiated to sing Svara and Akaara while playing the notes.

Here it is very important to note that practicing along with the in-built-rhythm of Metronome and fixed notes of Casio-MA-150 helps the aspirant a lot without letting him go off-track even in the absence of the teacher.

Next, he should be initiated to proceed in the same manner playing and singing Svara and Akaara along with the remaining 7 Saralee-svaras, 4 Janta-svaras of 2 notes and 3 Daatu-svaras.

While the aspirant makes a regular drill of rendering the Jati-alankaras right from the first day of the lesson, he should also be initiated to render the Svara-alankaras in Hamsavinodini-raga, first in Chaturashra-gati and later in Trisra-gati in Matra-kala i.e., 4-units per each second, with both the hands alternatively, wherever necessary, along with the beats of the Metronome but without Talangas.

After the invention and inclusion of Kritis, Keetanas etc., the Gitas are being used just to prevent them from getting extinct. Hence the Gitas should be taught to familiarize aspirants with notes and thus, the aspirant should be initiated to learn 6 Gitas including one Lakshana-gita and 1 Svarapallavi on his own by playing them on Casio and singing them along with Svara, Akara and Sahithya. After the completion of Gitas, the aspirant should be initiated to render all the items in 3 degrees of speed and along with Talangas but without Gamakas.

Later, he will be initiated to regularly render the 23 kinds of Special-laya-exercises, in which the groups of the odd-jaatis must be recited both in Chaturashra and Trisra-gatis and both in Eka-kala and Dvi-kala along with other intricate exercises, specially formulated to strengthen the rhythmical abilities of the aspirant in which the symbolized-easy-muktayis are also included.

Further, he should also be initiated to play and sing all these preliminary exercises in 32 non-vivadi Melas to get good acquaintance with all these 12 notes.

In our music, 15 kinds of oscillations called Panchadasha-gamakas are furnished in the old texts, which are not at all sufficient to cater to our present-day needs. Unfortunately no fruitful attempts have ever been made in standardising all the available oscillations of our music, even in the interest of our students and teachers. I was compelled to work hard on these lines and could successfully categorize and symbolize all of them to enable the aspirant and teacher follows them easily. In this process, I could symbolize 60 kinds of oscillations of notes among which the Kaishiki-nishada itself occupied 27 kinds, so far.

Before starting Varnas, the aspirant must be enlightened with the general application of oscillations of notes. While initiating the aspirant learn the 9 Varnas in the Ragas Natakuranji, Kambhoji, Darbar, Shankarabharanam, Kalyani, Begada, Todi, Saveri and Bhairavi and one Svarajati in Bhairavi all the respective oscillations of each Varna must be demonstrated in every detail strictly @ one note per each second and the aspirant should be instructed to listen to and sing all of them in the same seriatim as provided in the CD so that he gets proper acquaintance with all the oscillations of notes and proceeds further in learning Kritis on his own with minimum assistance from his teacher.

In order to strengthen the rhythmical abilities and thus impart training in Svarakalpana, I have collected many easy-muktayis in all popular Talas from the ‘Great Mullapudi School of Mridangam, Vizianagaram’ and symbolized them in which mathematical element is simplified for the purpose of singing Svarakalpana easily. While learning the Shankarabharana Varna itself, the aspirant should be initiated into singing easy-muktayis in terms of both Jatis and Svaras not only in Shankarabharana but also in other Ragas like Kalyani, Mayamalavagaula, Mohana, Shuddhasaveri, Hamsadhvani, Madhyamavati etc., etc., containing the same notes both in Arohana and Avarohana by which drill, his ability in singing Svarakalpana on his own increases gradually. Consequently, singing all these easy-muktayis in Akaara also enables the aspirant sing Ragalapana also efficiently.

In the context of singing Ragalapana, we must recollect the process of extracting ghee from milk. Just as mere collecting of large quantities of milk doesn’t help in extraction of ghee; mere learning of several compositions doesn’t help or suffice. Instead, the process of obtaining the Raga from compositions must be learnt. More over, umpteen experiments revealed that repeated listening to segmented Sangathis of the Raga with a proper understanding of all the oscillations of notes along with sufficient knowledge of their application, is more effective in singing Ragalapana than learning a number of compositions by heart in that Raga. To begin with, segmented Sangathis of Shankarabharana-raga should be loaded into an mp3 player to enable the aspirant listen to it, repeatedly.

To cater to all these needs and also to be helpful to the aspirant I have brought out a mp3 CD, AMS Easy Methods-2007, in which, starting from the preliminary exercises up to Varnas are furnished with symbolized notation, sung by me and recorded in my CD along with different rhythmical exercises and defined oscillations of notes. This CD has also been uploaded to the website ‘sangeethamshare.org’ to keep it accessible to one and all, across the globe. I have also penned a book, Sangeeta Svararaga Sudha, containing easy-muktayis in six different Talas and notated and symbolized Alapanas of 36 Ragas provided with another mp3 CD. I have also written another book, Sangita Vidyabodhini, which is the compilation of notations of nearly 70 Kritis along with 3 mp3 CDs in which all these Kritis are sung in the same notation.

Now, I have given a CD to Shri Pappu Venugopala Rao, Secretary, Madras Music Academy in which some audio and video files are furnished containing the intricate Laya-exercises, intricate Svarakalpana and Ragalapana efficiently and challengingly rendered even before the completion of the 4th Varna in Shankarabharana by some 30 students below 16 years of age trained in this novel system of qualitative-teaching for the perusal of interested persons.

To encourage traditional arts, the Central Government has long ago introduced a course of study in general education through ‘National Institute of Open Schooling (NIOS)’ in which the aspirants can spend much of their time in learning and practice of traditional arts and simultaneously study general subjects also during the remaining hours at their residences, appearing for the examinations privately. Presently, some of the candidates learning music seriously are choosing this system of examination and are qualifying in both academics and music.

At this juncture, I want to make a special mention, to all parents who are interested in exposing their kids to music. As per the experiments held by Mr. Roger Sperry, the Nobel Prize winner, in the year 1981, one of the four parts of the human brain positively responds to Music, Dance, Poetry, Acting, Singing, Painting, and Art & Culture only up to 6 years of age. So, it is always better to expose their kids regularly right from their 6th month to the in-built rhythmical-instrumental-music of Casio-MA-150 pertaining to both Chaturashra and Trisra-gatis in a well-disciplined manner.

msakella
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#270

Post by msakella »

Dear sister-member, nvidya, My email address is ‘[email protected]’ & ‘[email protected]’ and my ID is ‘msakella2002’ both on Yahoo Messenger and Skype. You can send the audio-file of your daughter and I shall guide you. Don’t worry. I have brought out one CD, AMS Easy Methods-2007 which you can dowload from http://www.sangeethamshare.org/chandra/ ... hods-2007/. You can get the contents of it from the English/Telugu pdf files by running it on the computer. You can very conveniently make your daughter follow the instructions to learn music. If you need you can come online, speak to me to my ID and get the needed instructions. amsharma

msakella
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#271

Post by msakella »

Hi all, Please go through the following link of the interview with Hindu: amsharma
http://www.thehindu.com/thehindu/fr/201 ... 050100.htm

SJosyula
Posts: 1
Joined: 06 May 2009, 06:43

#272

Post by SJosyula »

Sir, thank you very much for sharing the article with us. Very informative article about teaching methods of CM. Certainly useful to CM teachers and aspirants.

msakella
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#273

Post by msakella »

Dear b/s-member, S.Josyula, In fact, even without keeping anything I have already given in this thread each and every detail of the easy, innovative and effective methods in teaching our Karnataka music I have evolved by the grace of the Almighty in making it TIME-BOUND AND RESULT-ORIENTED unlike in the past. Unless either the parents or the aspirants are enlightened of these details either of them cannot assess what the teacher is teaching or at what level they themselves are. And also to fully enlighten the music-teachers, aspirants and parents as well I have also arranged to download my CD, AMS Easy Methods-2007 from http://www.sangeethamshare.org/chandra/ ... hods-2007/ free of any charges along with the respective video-clippings of the Laya-exercises and the aspirants being successfully trained in this novel system who confidently and challengingly rendered Svarakalpana with many intricate rhythmical patterns and also sing brief Ragalapana even before learning the first Kriti in ‘youtube.com/msakella’. To tell the truth, I did all this not only in respect of Vocal aspirants but also Violin aspirants not only to merely inspire them but also to enlighten them in this reliable symtem of teaching. But, most surprisingly, even though many are very inquisitive of knowing the full details of this novel system none of them came out open to do some thing in this direction and post some of their respective audio-files or video-files to one website or other. Ultimately, all this obviously reveals that, now-a-days, the people are not that inquisitive in doing things but in knowing things. msakella
Last edited by msakella on 12 Jan 2010, 16:23, edited 1 time in total.

msakella
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#274

Post by msakella »

The mp3 audio-file of my Lecture-demonstration held in the Music Academy, Chennai on 31-12-2009 is of 64 MB and as per the desire of our rasikas today I have uploaded it to rapidshare in a single file as per the link below. amsharma
http://rapidshare.com/files/342121473/0 ... 0.mp3.html

msakella
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#275

Post by msakella »

I have also uploaded the Lec-dem of Srikantham Nagendra Shastry to the following link. amsharma
http://rapidshare.com/files/342133208/0 ... 9.mp3.html

mkranthikiran
Posts: 10
Joined: 14 Feb 2010, 07:07

#276 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods by

Post by mkranthikiran »

Respected Sir, I have a doubt regarding ragalapana. Are there any specific rules to sing an alapana? As we have learnt in theory, an alapana must contain introduction, key prayogas of the raga, some sancharams, prastarams and a conclusion. Does this really work out? In what way should we practice to develop a good alapana?

One more doubt, what is the meaning of Sarva swara gamaka varika rakti ragam? I had to include this term for almost all the raga lakshanas in our theory exams.

Can you please explain me about these in detail?

Thanks

Kiran Mudigonda

msakella
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#277 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods by

Post by msakella »

Dear brother-member, mkranthikiran, In which way eatables should be tasty and inspirative to the eater the Alapana of a Raga should also be tasty and inspirative to the listerner. Basing upon the duration of the Alapana of a Raga you have to make the volume of its content only increases or decreases. For example, basing upon the size of the picture of an animal the limbs of it may become big or small and, in the same manner, irrespective of the duration of the Alapana of a Raga it should give full taste to the listener. If you have to sing Alapana of a Raga for a Ragam-Tanam-Pallavi of an hour you can follow the Akshiptika (introductory part), the four Ragavardhanis (elaborative part) and Sthayi or Makarini (conclusive part) but for a duration of 5 minutes you have to cut short all the items of them accordingly.

And, in respect of learning, a small kid always learn things by observing and imitating the deeds of his parents and, thus, the first level of learning is always imitation, though many of the music teachers do not agree with me but escape from the responsibility of teaching Svarakalpana or Ragalapana. I have made umpteen experiments in this respect upon many kids and found that like the vaccination of Svarakalpana and Ragalapana the aspirant should start with singing easy-muktayis and sangathis with symbolised notation respectively. For this purpose only, for the first time in the history, I have brought out my book, Sangeeta Svararaga Sudha (English/Telugu) containing easy-muktayis for six daily used Talas and Alapana of 36 Ragas along with symbolised notation and supplied along with a mp3 CD by which the aspirant starts with imitating them and gradually builds up his own originality. If you are interested you can follow this book.

‘Sarva-svara-gamaka-varika-rakti-ragam’ is a modern term bringing out the details of notes which can be used along with Gamaka, Varika and also maintaining ‘rakti’. amsharma

msakella
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#278 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods by

Post by msakella »

Previously 23 Special-laya-exercises are furnished elsewhere in this thread for the purpose of increasing, strengthening and stabilising the rhythmical abilities and, thus, instill confidence into the aspirants. Now, one more exercise is also added making a total of 24 Nos. (Gayathri-laya-saadhanalu) and all of them are furnished hereunder with some slight modifications for the benefit of the aspirants.

SPECIAL RHYTHMICAL EXERCISES

Important note: Some of the excercises have to be sung with both hands where in the right hand beat is followed by a left hand beat which facilitates a balance in Laya. Some of these exercises are furnished in the playlists of Laya-exercises of ‘youtube.com/msakella’ and in the mp3 CD, AMS Easy Methods-2007.

01 Rendering of.7 Jati-alankaras @ 4-units, i.e; k-t-t-k per second. For e.g. the Eka-tala alankara is rendered spelling k-t with the right hand beat denoting the Talanga followed by the rendering t-k with the left hand beat.

02. Rendering of Trisra (t-k-t -3), Khanda (t-k-t-k-t - 5) and Mishra (t-k-t-k-t-k-t - 7) Jatis @ 4-units per second in Adi-tala (Chaturashra-gati) with both hands.

03. Rendering of Trisra(3), khanda (5) and Mishra (7) Jatis @ 8 units per two seconds in Adi Tala (Chathurashra-gati) with both hands.

04. Rendering of Trisra (3), Khanda (5) and Mishra (7) Jatis @ 8-units per 2 seconds in Adi-tala( Chaturashra-gati ) the Tala with the right hand only.

05. Rendering of 7 Jati-alankaras @ 8-units per 2 seconds with both hands.

06. Rendering of 7 Jati-alankaras @ 8-units per 2 seconds with the right hand only.

07. Rendering of Chaturashra-jatis in Adi-tala (Chaturashra-gati) with both hands @ 4-units per second ending each Avarta with one Khanda-jati extending to the next Avarta.

08. Rendering of Chaturashra-jatis in Adi-tala (Chaturashra-gati) with both hands running @ 8-units per 2 seconds ending each Avarta with one Khanda-jati extending to the next Avarta.

09. Rendering of Chaturashra-jatis in Adi-tala (Chaturashra-gati) with the right hand running @ 8-units per 2 seconds ending each Avarta with one Khanda-jati extending to the next Avarta.

10. Rendering of Chaturashra (4), Khanda (5) and Mishra (7) Jatis @ 3-units per second in Trisra-gati Adi-tala with the right hand only.

11. Rendering of Chaturashra (4), Khanda (5) and Mishra (7) Jatis @ 6-units per 2 seconds in Trisra-gati Adi-tala using both hands.

12. Rendering of Chaturashra (4), Khanda (5) and Mishra (7) Jatis @ 6-units per 2 seconds in Trisra-gati Adi-tala with the right hand only.

13. Rendering of Trisra-jatis in Trisra-gati Adi-tala running @ 3-units per second with the right hand ending each Avarta with one Chaturashra-jati extending to the next Avarta.

14. Rendering of Trisra-jatis in Trisra-gati Adi-tala running @ 6-units per 2 seconds with both hands ending each Avarta with one Chaturashra-jati extending to the next Avarta.

15. Rendering of Trisra-jatis in Trisra-gati Adi-tala running @ 6-units per 2 seconds with the right hand only ending each Avarta with one Chaturashra-jati extending to the next Avarta.

16. Rendering of 7 Jati-alankaras @ 4 & 3-units per second with right hand only.

17. Rendering of 7 Jati-alankaras @ 8 & 6-units per 2 seconds with both hands.

18. Rendering of 7 Jati-alankaras @ 8 & 6-units per 2 seconds with the right hand only.

19. Rendering of 7 Jati-alankaras @ 1, 2, 3, 4, 6 & 8-units per Kriya per second or in a convenient tempo with the right hand only.

20. Rendering of 7 Jati-alankaras @ 1, 2, 3, 4, 6 & 8-units per two Kriyas per two seconds or in a convenient tempo with both hands.

21. Rendering of 7 Jati-alankaras @ 1, 2, 3, 4, 6 & 8-units per two Kriyas per two seconds or in a convenient tempo with the right hand only.

22. Rendering of a Khanda Jati (5-units) followed by consecutive rendering of Chaturashra Jatis (4 units) in the 2nd degree of speed, in Khanda-chapu-tala/Trisra-rupaka-tala running @ 4-units per second. Selected muktayis should also be rendered at complex commencing points (eduppu) in first and second degrees of speed. (The students of Dance and percussion are expected to render Jatis whereas the music students are expected to sing Svaras also).

23. Rendering of a Mishra Jati (7-units) followed by consecutive rendering of Jatis of Chaturashra Jatis (4 units) in the 2nd degree of speed, in Mishra-chapu-tala /Trisra-triputa-tala running @ 4-units per second. Selected muktayis should also be rendered at complex commencing points (eduppu) in the first and second degrees of speed. (The students of dance and percussion are expected to render Jatis whereas the music students are expected to sing Svaras also).

24. Rendering of easy muktayis of 3 kinds, 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) furnished in the book ‘Sangita Svararaga Sudha’.

venkatakailasam
Posts: 4170
Joined: 07 Feb 2010, 19:16
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#279 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by venkatakailasam »

Please read the article about Sri. Palladam S.Venkataramana Rao at :

http://www.palladamvenkataramanarao.com/profile.php

Two of his concerts provided by Podhigai DD are available at this link:

Folder name: Harmonium:
Download link: http://www.mediafire.com/folder/3wivle1n0o26l
The above link includes performance by Anantharaman and v seetharamiah also.
venkatakailasam

joeraman
Posts: 1
Joined: 01 Nov 2010, 14:31

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

Post by joeraman »

can u give the brief information on that topic?

S.Balaji
Posts: 162
Joined: 07 Nov 2009, 13:30

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

Post by S.Balaji »

Akellaji,

I understand there was a lecdem on 25th at Vidyamandir. Sir, can we have the details pls. If possible, video uploads too.

msakella
Posts: 1970
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#282 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Dear brother-member, S.Balaji, Yes. There was a lecdem on 25th at (I think) ARK Vidyamandir from 9-45 to 11-50 am arranged by Chi. Shashikiran. As usual, as I am always bothered how quickly and efficiently I can make our kids sing the Svarakalpana and Ragalapana and as the time was short, I could briefly demonstrate for nearly 2 hrs. about singing Svarakalpana only.

In which way our conservatives very strongly believe that there are no easy methods or short-cut methods in making the aspirants sing Svarakalpana or Ragalapana, even though I was also one of the victims of the traditional-methods of teaching, I, as a duty minded-teacher, was compelled to find one way or other to make my aspirants sing both Svarakalpana and Ragalapana. Fortunately enough, only by the grace of the Almighty and unlike any other music-teacher, I was able to find a way in making my aspirants sing Svarakalpana and Ragalapana even before the completion of 10-selected-varnas. Basing upon these methods I have since been training some of our kids and I have already uploaded some of the videos to ‘youtube.com/msakella’s channel’ and also furnished all the details in this thread for the benefit of the aspirants and their parents, if at all they want. Even the 11 years old kid, Shi. Shreenidhi, who successfully sang the concert in the Global Rasikas meet on 19-12-2010, was also trained in this system and became able to successfully sing Svarakalpana and Ragalapana even before the completion of Varnas within the duration of one year.
I believe that only imitation is the first level of learning for any aspirant and that is why even the Varna has also been introduced in our system keeping this idea only in view. But, supplementing to Varnas, basing upon my rhtymical knowledge as a Mridangist in my younger age, I have formulated some intricate rhythmical exercises along with some easy-muktayis from ‘Mullapudy School of Mridangam’ which instills confidence into the aspirant to proceed further on his own. If you are truly interested to know the details you can go through my CD, AMS Easy Methods-2007, which is available from http://www.sangeethamshare.org/chandra/ ... hods-2007/ and also from another thread ‘Easy muktayis - their utilization in Svarakalpana’.

As I do not know whether my lecdem has been recorded, Chi. Shashikiran or the authorities of that hall may kindly be addressed for further details. amsharma

nandiraju
Posts: 15
Joined: 11 Dec 2010, 19:37

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

Post by nandiraju »

Dear All,

While going through the string, I believe there has been many people, who had shown tremondous interest in the AMS Easy Methods and the same is still continuing. The fact that I would like to bring out, is when these mehtods have been so successful, and there are live examples of the kids performing wonderfully, then why the teachng schools and the "paddhati's" be moved into this method. While there may be many facts, which I stronglybelieve may be blocking, but as rasika's there is a necessity, that we need to start training our future artistes in the filed, and cannot wait any more time, than to take this tested and successful method into the schools and music colleges. This program not only gives the music learners insight about what is needed to be done, but also gives direction in the way that is needed to be moved. Apart from excercises, there is a CD which contains all the things sang in a manner which are easy to follow and do a self learning as well.

Teachers are the one who should guide and should show the student the path, once the same is done and is through, then the student would know what is needed to be done. For e.g., we would learn the mathematics by addition, substraction, mulitplication and division in our childhood, however the same is used in almost every day activities. For which, we are not having any teacher following or holding our hands, why the same does not happen in music as well.

While I strongly believe, that the path of music should be shown and the basics and music should be thought, however, it depends on the capacity of the learner and practicer to follow the path and reach the sky.

msakella
Posts: 1970
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#284 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Dear brother-member, nandiraju, What you wrote is absolutely true. Even after viewing the kids’ successful videos furnished by me in ‘youtube.com’ this kind of successfully proven novel method of teaching must immediately be introduced in all the Karnataka-music institutions all over the globe for the benefit of the aspirants who have since many years been wasting their time, money and energy in learning this music in the traditional method for years together but not getting the Manodharma-sangita at all at the end of their sturuggle. Long ago, in this thread, I have also appealed to the teaching community to follow these methods in training their aspirants and put the videos of their successful aspirants in ‘youtube.com’ which will inspire many of the aspirants. But, not even a single video has ever been uploaded to ‘youtube.com’ obviously revealing their total disinterest in following this novel method. No music teacher wants to follow or propagates this novel method of teaching muisic as it not only curtails their earnings drastically by reasonably quickening the process of teaching the items but also brings back the responsiblity of teaching Manodharma-sangita to their aspirants from which they have all along been escaping. That is why even the Great Music Academy, Chennai had washed their hands by simply giving me the TTK award but not showing any interest in the propagation of these new methods even for the benefit of our own kids. This is the present state of affairs of our beloved Karnataka-music and our beloved kids. amsharma

nandiraju
Posts: 15
Joined: 11 Dec 2010, 19:37

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

Post by nandiraju »

I fully agre with you Sir. Vidwat sabhas should just try to think in the new direction and keep in mind the base requirement of music propaganda rather than other related matters which are irrelevant when it comes to training and keeping the art alive. If the same is not there, then the art and the learners would suffer. How many of such students who may be gems but are lost becuase of frustration comming out of such methods, where they would loose interest thus losing them permanently.

In this current world where opportunities are more and patience is less, there should be a tested method which would tackle all the requirements and this method should undergo implementation at all teaching centres. This would get more students to the fold owing to increased interest and would achieve the same result on income patterns as well, by teaching new students.

When competition increases, there would be increased interest and the product would be better. While I am not aware how the others are feeling, but from a personal perspective, I would like my Son and daughter to be taught in this new method so that they would learn their bid quickly. I request all the rasikas who are parents, teachers, grandparents etc., also to start giving this new methods a thought, and try it so that the students would get the ultimate benefit.

msakella
Posts: 1970
Joined: 30 Sep 2006, 21:16
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#286 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Dear brother-member, nandiraju, Now, some people at Hyderabad are able to realise the importance of this new method of teaching music. Here, nearly 6 years back I have trained a 11 year old highly talented boy, Chi. J.S.Shriram. Within a duration of 3 years he was able to give a 2 hrs. concert efficiently and till now he had given 70 to 80 full-length-concerts including one such concert in the Music Academy, Chennai in and around April, 2010. Having become inspired, his father Shri J.S.Eshwara Prasad, a famous Nritya-sankeertana-artist and his mother, Chi. Sow. Chidroopa Lakshmy, a post gradute and gold-medalist in music from Telugu University started teaching in this system to some of the aspirants. In their institute, 3 years back, while there are only 12 students to learn, now there are 72 students learning among which each and every student is proceeding further successfully with enormous self-confidence due to this rhythm-oriented methods of teaching music. Having become inspired, Shri J.S.Eshwara Prasad had even resigned to his lucrative job and recently registered three institutions, 1.AMS Foundation for research and development, 2.Swarabhangima for teaching and training the kids in music and 3.Sampradaya arranging monthly-concerts for showcasing the talents of the kids for the benefit of the younger generation. He is the only such person I have ever seen sincerely doing yeoman service to the society along with all his family members through these 3 institutions.

Even after attending the 45 mts. successful concert of Chi. Shreenidhi at the Global meet of Rasikas at Chennai on 19-12-2010, having become inspired, some aspirants from Chennai and also from US have started learning through Skype. In the same manner you can also send your kids to learn music through Skype. amsharma

msakella
Posts: 1970
Joined: 30 Sep 2006, 21:16
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#287 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Hi all, The 25-Special-laya-exercises furnished in the previous pages have again been modified and furnished hereunder along with the serial number, indicative figure and respective definition for the benefit of the aspirants. amsharma

28.Special-laya-exercises

01.7-1/2 - 7-jati-alankaras - Eka-kala - with two hands.
02.7-7-1/2 - 7-jati-alankaras with Talas - Eka-kala with two hands.
03.7-7-1/1 - 7-jati-alankaras with Talas - Eka-kala with right hand only.
04.8-1/2-3, 5, 7/3 - Adi-tala - Eka-kala - with two hands - 3, 5 & 7 - Jati-groups - 3 varieties.
05.8-1/1-3, 5, 7/3 - Adi-tala - Eka-kala - with right hand only - 3, 5 & 7 - Jati-groups - 3 varieties.
06.8-2/2-3, 5, 7/3 - Adi-tala - Dwi-kala - with two hands - 3, 5 & 7 - Jati-groups - 3 varieties.
07.8-2/1-3, 5, 7/3 - Adi-tala - Dwi-Kala - with right hand only - 3, 5 & 7 - Jati-groups - 3 varieties.
08.8-1/2-----5 - Adi-tala - Eka-kala - with two hands - Khanda-jati in the end of each Avarta.
09.8-1/1-----5 - Adi-tala - Eka-kala - with right hand only - Khanda-jati in the end of each Avarta.
10.8-2/2-----5 - Adi-tala - Dwi-kala - with two hands - Khanda-jati in the end of each Avarta.
11.8-2/1-----5 - Adi-tala - Dwi-kala - with right hand only - Khanda-jati in the end of each Avarta.
12.8-1/1-4, 5, 7/3 - Adi-tala - Eka-kala - with right hand only - 4, 5 & 7 - Jati-groups - 3 varieties.
13.8-2/2-4, 5, 7/3 - Adi-tala - Dwi-kala - with two hands - 4, 5 & 7 - Jati-groups - 3 varieties.
14.8-2/1-4, 5, 7/3 - Adi-tala - Dwi-kala - with right hand only - 4, 5 & 7 - Jati-groups - 3 varieties.
15.8-1/1----4 - Adi-tala - Eka-kala - with right hand only - Chaturashra-jati in the end of each Avarta.
16.8-2/2----4 - Adi-tala - Dwi-kala - with two hands - Chaturashra-jati in the end of each Avarta.
17.8-2/1----4 - Adi-tala - Dwi-kala - with right hand only - Chaturashra-jati in the end of each Avarta.
18.7-7-2/2 - 7-jati-alankaras with Talas - Eka-kala with two hands.
19.7-7-2/1 - 7-jati-alankaras with Talas - Eka-kala with right hand only.
20.7-7-1/1-4 & 3 - 7-jati-alankaras with Talas - Eka-kala with right hand only - in Chaturashra & Trisra-gatis.
21.7-7-2/2-8 & 6 - 7-jati-alankaras with Talas - Dwi-kala with two hands - in Chaturashra & Trisra-gatis.
22.7-7-2/1-8 & 6 - 7-jati-alankaras with Talas - Dwi-kala with right hand only - in Chaturashra & Trisra-gatis.
23.7-7-1/1-1, 2, 3, 4, 6 & 8 - 7-Jati-alankaras with Talas - Eka-kala with right hand only - 1, 2, 3, 4, 6 & 8-units.
24.7-7-2/2-1, 2, 3, 4, 6 & 8 - 7-Jati-alankaras with Talas - Dwi-kala with two hands - 1, 2, 3, 4, 6 & 8-units.
25.7-7-2/1-1, 2, 3, 4, 6 & 8 - 7-Jati-alankaras with Talas - Dwi-kala with right hand only - 1, 2, 3, 4, 6 & 8-units.
26.10----- , 4 - Khanda-chapu - with only one Khanda and all Chaturashra-groups.
27.14----- , 4 - Mishra-chapu - with only one Mishra and all Chaturashra-groups.
28.SSS-3 kinds of Muktayis of 6 Talas furnished in Sangita Svararaga Sudha.

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

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

Post by cmlover »

Dear Sarmaji
As I was interestingly watching the Jaya TV Carnatic Idol program I noticed that many of the contestants got tripped
by questions on laya despite their astute raga gnaanam and kalpana swara felicity. Some of them had 17 to 18 years of
musical training. It occurred to me how they would have benefitted by your system in gaining solid
laya gnaanam even in about three month's training. It incidentally shows the weakness in the current
system of musical training which partly ignores laya or the training is inadequate. I eagerly
look forward to one of your students competing in future and acing it (by God's grace) which will be a true vindication
of your innovative teaching methods.
regards

msakella
Posts: 1970
Joined: 30 Sep 2006, 21:16
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#289 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Dear brother-member, cmlover, Having been invited by Shri Ajit Neelakanthan, Agni Cultural Academy Annamnada, Thrissur, Kerala, I have given two Lec-dems on the easy, effective and innovative methods of teaching music, Svarakalpana and Ragalapana in particular on 27th and 28th Nov., 2010 which was well attended and well received.

And, just now only, I have received SMS from him saying “News from agni: TVM (may be Trivandrum) – N.J Nandini & Vishnunath have become the 1st & 2nd runner-ups in the Carnatic music idol competition by Jaya TV. Nandini’s mobile – 9446460618”.

I am happy to find my services are being spread and properly arriving and utilizing by our kids and in turn the standards of our kids are increasing abundantly. amsharma

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

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

Post by cmlover »

Congratulations Sarmaji
It is pleasing to know that your system is helping candidates excel ,though it is not known explicitly.
There should be a wider explicit recognition from among the teachers of Carnatic Music...

VK RAMAN
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#291 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by VK RAMAN »

Students excelling in such performances must openly give credit to their Guru by name at the open forum itself.

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

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

Post by cmlover »

VKR
I second your proposal...

msakella
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#293 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Mostly conservatives don’t want any change and try to hinder even any rational progress in the society. Moreover, in these traditional arts like our Music, as conservatives are more and dominate, they all will certainly oppose any change in any system even that change is known explicitly and proved as the best beyond any doubt. But, based on the efficiency, success and convenience of the novel system, they will be compelled to yield and gradually come down to follow it. But, it takes much time and we all must be patient.

While in my service I did not justify as a teacher and, to be honest, I must pay-back to the society in one way or the other. That is why I have given up even my lucrative artist-life, being a Top-grade Violinist, and took up the propagation of these easy methods in teaching music as the mission of my life but not to earn any recognition or fame or money or honours or titles. I shall be extremely happy if our kids are benefited by following these methods. That is what I want and more than enough. I am very much beholden to you all for your sincere appreciation.Thank you all. amsharma

msakella
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#294 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

While responding to the post of our brother-member, cmlover, I forgot to mention an important point in my last post. According to his wish of my students competing in future and acing it, I would like to reiterate that the criterion in learning these novel methods of teaching is only to give them to as many aspirants as we can to make them independents in all respects of our music but not to compete with anybody.

Presently my disciple, Chi. J.S.Shriram, has become not only an accomplished artist but also an efficient, honest, critical and reliable teacher even at this young age of 17 years and I always wish to encourage him both in teaching and performing but not in useless competing. amsharma

msakella
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#295 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

In the olden days our people were used to walk all the way to and from Varanasi which was taking months or years to return. But, now, we all are able to fly by air and finish of the same task even within 24 hours. Are we not utilising the modern facilities to do the same very easily, quickly and efficiently? Even now if anybody tries to go to Varanasi in the same manner he must be a fool and he must be sent to the mental hospital. One must properly think over the logic behind utilising the modern facility. The logic is to do the same very easily, quickly and efficiently saving time, money and energy. We must apply the same to everything to save our time, money and energy in every respect.
In fact, in our Karnataka music, all our conservatives hate even to touch the harmonium or the modern Casio as it does not permit us to play all our different oscillations of our music. Yes, that is true it does not permit. But, why Hindusthani-musicians even now rely upon the harmonium only. Its best quality is always giving away the pure note. The pure note is the base and basing upon it only all oscillations must be made. More over, we should not try to teach running to a small kid who is finding it very difficult even to stand on his own legs. Even in music, the aspirant must, at the first instance, be initiated to listen to and sing along with the pure note only. It is always healthier to the aspirant to teach him/her pure notes only up to Gitas to give him/her a good base. Up to Gitas, while initiating him to play the notes, he/she should also be initiated simultaneously to play all the exercises in all the 32-non-vivadi-melas to get acquaintance with all the 12 notes of our music. At this juncture, even more than a teacher, I tell, Casio is far more reliable than any other instrument to the aspirant to have the base of pure notes. Initiating him/her to play the Casio and later to sing along with those notes makes him knowledgeable in dealing with all the 12 notes and also makes him independent in doing things on his/her own. If this is truly followed by one and all our next generation will become more knowledgeable and independent than ever in music. But, no doubt, our conservatives will never think of any logic but certainly oppose this to hinder our progress.
Even the 7 years old kid, Aditya, son of Mr. Vasant, while learning even the Gitas, is now able to simultaneously sing all the 12 different notes by playing all the 32-non-vivadi-melas. Thus, he is able to successfully render many of the 28-Special-laya-exercises and also play all the Svara-exercises in all the 12 notes. How many kids of his age can do so? This is the greatness of the modern methods of teaching music. amsharma
(I am posting this in the ‘AMS Easy Methods-2007-Teaching/Learning Methods’ of the main thread ‘Music School’ also for the benefit of the aspirants and their parents)

Deepu
Posts: 8
Joined: 14 Feb 2011, 16:58

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

Post by Deepu »

Dear msakella,
I'm not able to open the mp3's that have been uploaded to the sangeethamshare site. Please let me know if I'm missing something.
For info, I'm getting this error:
"Internet Exploer cannot download auth.php from www.sangeethamshare.org. Internet Explorer was not able to open this Internite site. The requested site is either unavailable or cannot be found.Please try again later."

Thanks,
Deepu.

srikant1987
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#297 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by srikant1987 »

Try sangeethapriya.org instead. That site also hosts the sangeethamshare database, and is rather better-maintained these days.

vasanthakokilam
Posts: 10937
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#298 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by vasanthakokilam »

Deepu, I just tried it and it worked for me. I first had to login using my google or yahoo username and password. After that it worked fine.

msakella
Posts: 1970
Joined: 30 Sep 2006, 21:16
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#299 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by msakella »

Hi all!

At the outset, only by the grace of the Almighty, today, I am able to fulfill my long cherished desire of uploading nine select Varnas sung @ one note per each second to youtube.com for the benefit of our aspirants. The details of the technical-terms used in this respect along with their respective links are furnished hereunder.

Abbreviations: AA-Arohana & Avarohana, P-Pallavi, A-Anupallavi, MS-Muktayisvara, C-Charana, ES-Ettugadasvara.

01.Natakuranji-Adi-Varna:
01.01 http://www.youtube.com/watch?v=F40sXKTLM74
01.02 http://www.youtube.com/watch?v=NI90KvbmQd0
01.03 http://www.youtube.com/watch?v=68x9zrxvIto
01.04 http://www.youtube.com/watch?v=Ny69J33FRro
01.05 http://www.youtube.com/watch?v=ar_ROpZomEM
01.06 http://www.youtube.com/watch?v=j3Re81dpslU
01.07 http://www.youtube.com/watch?v=Q7EoNM_GMJY
01.08 http://www.youtube.com/watch?v=7nspXnRypJM
01.09 http://www.youtube.com/watch?v=REfXBQe1NE4
01.10 http://www.youtube.com/watch?v=ADvCOus4_BI
01.11 http://www.youtube.com/watch?v=NwB8WlyjLHc

02.Kambhoji-Adi-Varna:
02.01 http://www.youtube.com/watch?v=TtBWRij3IaU
02.02 http://www.youtube.com/watch?v=h2izd-D_lps
02.03 http://www.youtube.com/watch?v=Jg2E59vMdHM
02.04 http://www.youtube.com/watch?v=s5L6uEKMAG4
02.05 http://www.youtube.com/watch?v=agbWrJt6-6U
02.06 http://www.youtube.com/watch?v=QTGPT_3he88
02.07 http://www.youtube.com/watch?v=4Q-oEL5s_9Y
02.08 http://www.youtube.com/watch?v=8SrfZ3vkgsk
02.09 http://www.youtube.com/watch?v=N_uN7sPa--4
02.10 http://www.youtube.com/watch?v=IUy25Fh3S5I
02.11 http://www.youtube.com/watch?v=Fj8rtC4AGgA
02.12 http://www.youtube.com/watch?v=026QgtDgxnY

03.Darbar-Adi-Varna:
03.01 http://www.youtube.com/watch?v=s8y3nRB-YqA
03.02 http://www.youtube.com/watch?v=bKjlCzvtH1g
03.03 http://www.youtube.com/watch?v=ED8YPKZbYF4
03.04 http://www.youtube.com/watch?v=CmZz1kIRiao
03.05 http://www.youtube.com/watch?v=CqJjmLq7Gz0
03.06 http://www.youtube.com/watch?v=uvjFC2RkkYg
03.07 http://www.youtube.com/watch?v=fdz2BJSjkHA
03.08 http://www.youtube.com/watch?v=7WlZB3wlzUc
03.09 http://www.youtube.com/watch?v=962Jo5lzClU
03.10 http://www.youtube.com/watch?v=m8RQIoDtIDY
03.11 http://www.youtube.com/watch?v=_E6a5h1h3vU

04.Shankarabharanam-Adi-Varna:
04.01 http://www.youtube.com/watch?v=QD0ZKm_jsYo
04.02 http://www.youtube.com/watch?v=-PYNuOBAqQY
04.03 http://www.youtube.com/watch?v=r_Hayl1W0f8
04.04 http://www.youtube.com/watch?v=0UTgej8vQVo
04.05 http://www.youtube.com/watch?v=I5eLEDDncOI
04.06 http://www.youtube.com/watch?v=qF8l3d7csn0
04.07 http://www.youtube.com/watch?v=7fH6GTWnKfs
04.08 http://www.youtube.com/watch?v=AT-BVrLORFc
04.09 http://www.youtube.com/watch?v=IJSbzQ-i3LQ
04.10 http://www.youtube.com/watch?v=q_JJoYqF5EY
04.11 http://www.youtube.com/watch?v=l38z7PC9Vpw

05.Kalyani-Adi-Varna:
05.01 http://www.youtube.com/watch?v=_oRbcv9cBpY
05.02 http://www.youtube.com/watch?v=-8IrC8pPgQ8
05.03 http://www.youtube.com/watch?v=qJl7im3_P9k
05.04 http://www.youtube.com/watch?v=paU4bAUrGL0
05.05 http://www.youtube.com/watch?v=rSLo0D6DkfQ
05.06 http://www.youtube.com/watch?v=Uo6Q9ZCZ9Rk
05.07 http://www.youtube.com/watch?v=qh-pOMDwtlU
05.08 http://www.youtube.com/watch?v=qQiEjVdMr5A
05.09 http://www.youtube.com/watch?v=rBkoUYLyL_o
05.10 http://www.youtube.com/watch?v=0cUa0V2Il5o
05.11 http://www.youtube.com/watch?v=Z3Mce4T7JZY

06.Begada-Adi-Varna:
06.01 http://www.youtube.com/watch?v=9UUrr3Mx5Lk
06.02 http://www.youtube.com/watch?v=Cd9G1tH0w80
06.03 http://www.youtube.com/watch?v=c9aTytyD8jU
06.04 http://www.youtube.com/watch?v=JuvO-sl7pvM
06.05 http://www.youtube.com/watch?v=40p6wUKliGo
06.06 http://www.youtube.com/watch?v=StsDaeGhJo4
06.07 http://www.youtube.com/watch?v=6INu8aQcpKM
06.08 http://www.youtube.com/watch?v=Bn-Fde0XWu0
06.09 http://www.youtube.com/watch?v=uGEDxjynjug
06.10 http://www.youtube.com/watch?v=0J_J88lOQwY
06.11 http://www.youtube.com/watch?v=IYlZRiHP_Ik

07.Todi-Adi-Varna:
07.01 http://www.youtube.com/watch?v=4ZsEibj4Sx0
07.02 http://www.youtube.com/watch?v=4Mdy5ND2YFU
07.03 http://www.youtube.com/watch?v=jbEz5rzAwh4
07.04 http://www.youtube.com/watch?v=7RKIP-g4mpA
07.05 http://www.youtube.com/watch?v=NjVPaRqHmeU
07.06 http://www.youtube.com/watch?v=McFZnhkMGaU
07.07 http://www.youtube.com/watch?v=JHmIo-we8R8
07.08 http://www.youtube.com/watch?v=QUKpxh_p-zU
07.09 http://www.youtube.com/watch?v=t8wj1iH2_k4
07.10 http://www.youtube.com/watch?v=oZaNwk3T8gQ
07.11 http://www.youtube.com/watch?v=Uw4ewfQOZVs
07.12 http://www.youtube.com/watch?v=JTCuRAkCfWI

08.Saveri-Adi-Varna:
08.01 http://www.youtube.com/watch?v=FfIbKasr-f4
08.02 http://www.youtube.com/watch?v=iR_y6crFvWQ
08.03 http://www.youtube.com/watch?v=BIRhErXfRPc
08.04 http://www.youtube.com/watch?v=_KjW7InZxKc
08.05 http://www.youtube.com/watch?v=0ZHQ-_WAEhk
08.06 http://www.youtube.com/watch?v=bEj634g99tc
08.07 http://www.youtube.com/watch?v=aCRfBV9C5Yg
08.08 http://www.youtube.com/watch?v=U2BfQK1q5vU
08.09 http://www.youtube.com/watch?v=nOmr0NI05qo
08.10 http://www.youtube.com/watch?v=0RRbrOvdtr8
08.11 http://www.youtube.com/watch?v=O9wIcqEndZE

09.Bhairavi-Ata-Varna:
09.01 http://www.youtube.com/watch?v=vlzkjY8wVjQ
09.02 http://www.youtube.com/watch?v=8oCV7YJ8CME
09.03 http://www.youtube.com/watch?v=IN8C-zuI4xU
09.04 http://www.youtube.com/watch?v=23vQGcKqNeM
09.05 http://www.youtube.com/watch?v=xBZBCRacsaw
09.06 http://www.youtube.com/watch?v=pL_PzbTFo8U
09.07 http://www.youtube.com/watch?v=yWJqiD6Lgfc
09.08 http://www.youtube.com/watch?v=s-2H0pihuVg
09.09 http://www.youtube.com/watch?v=z2VCtSoyHQw
09.10 http://www.youtube.com/watch?v=PK7lhvXjlkY

Anywhere, either the parents or the elders must always feel the responsibility of making things easier to the kids in make their lives enjoyable. But, while the parents have always been feeling the same and doing the same accordingly even without any recommendation from any corner, most unfortunately, nowadays, in our music in particular, it has many a time been proved that many of the elders are not feeling the same and doing things accordingly for the benefit of our kids.

In our music, while the Manodharma-music is the only criteria in learning music, according to the traditional-quantitative-method of teaching, the teacher is relieved of the responsibility of inculcating the knowledge of Manodharma-music in the aspirant which has very conveniently been thrusted upon his own head but can go on teaching a number of different compositions for years together. Umpteen experiments upon many aspirants in this direction undoubtedly proved that they themselves very easily get this knowledge with minimum or no guidance of the teacher within a very short time with a perfect plan of listening and practice of music which is called ‘the qualitative-method of teaching’. All the details of it have already been furnished in the previous posts of this thread.

In this process, the listening to and reproducing of select Varnas sung @ one note per each second helps the aspirant a lot in making him more knowledgeable in respect of Manodharma-music. In general, as far as my knowledge goes, no music-teacher prefers to do this as it is very difficult in many ways. So, I have long ago decided to do this on my own for the benefit of our kids but my age has not been allowing me to do so. But, ultimately, I am able to fulfill it. If all these different tracks are loaded into an mp3 player for repeated listening and reproducing the same the aspirants will certainly be benefited a lot. amsharma

vasanthakokilam
Posts: 10937
Joined: 03 Feb 2010, 00:01
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#300 Re: AMS Easy Methods 2007 CD - Teaching and Learning Methods

Post by vasanthakokilam »

akellaji: Great list of youtube links. Your energy and enthusiasm is incredible.

I edited it a bit to make the links clickable ( by removing the dash between the "http" and the item number like "0.01".

There is something wrong with the first one nattakurinji 01.01 If you can find the right link, please post back here and I will edit the post above. Thanks.

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