Teaching/Learning Karnataka Violin

To teach and learn Indian classical music
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msakella
Posts: 2127
Joined: 30 Sep 2006, 21:16

Post by msakella »

Hi, brother & sister-members,
All are aware that Music is divine and, generally, everybody desires to learn it. Thus, many are learning it but among hundreds of them very few become either successful performers or, though not efficient, sincere teachers. But, after learning music, at one time or other, everybody tries to teach it to the aspirants irrespective of his/her standard either in the art or in the ability of teaching. Performing the art is entirely different with teaching it to the aspirants. While we can bring out what we know at the time performing, we have to come down to the level of a student and properly understand him to, in turn, make him understand the things properly and sing or play as we do. Every performer is not at all a successful teacher or vice versa. Generally, while teaching, the teachers follow only the established traditional methods in teaching in which they were taught by their teachers. While the teachers always teach the aspirants what they know but not what the aspirant is fit to learn. Every aspirant differs with another aspirant not only in physical abilities but also in mental abilities like in grasping, understanding, assimilating, retaining and reproducing the lesson learnt. Thus, a single method of teaching is not suitable to all the aspirants who do not know what they do not know. Even before starting the first lessons in music to the aspirants the instinctive level of rhythm of the aspirant must be tested and suitable rhythmical exercises should at first be taught to stabilize and strengthen it. Music should never be imparted unless the aspirant has the required level of rhythmical instinct. Being, basically, a Mridangist I have experimented upon hundreds of my students in my teaching life spread over more than five decades and finalized some very interesting rhythmical exercises which are helping in instilling confidence among students in singing Svarakalpana on their own along with many rhythmical intricacies. Music teachers should note down that while Shruti gives pleasure Laya gives confidence to sing and unless a person have self-confidence he/she cannot get success in his task.

Even though many of the teachers do not observe at all the factor of age also has a lot of influence upon the aspirants. Between 8 and 15 years of age is highly preferable to start learning this art and the maximum age limit is 25. While the age increases gradually the mental abilities decrease in multiplying speed to learn such a difficult art of invisible sound.

All are aware that the Fine Arts are very hard to learn than all other subjects. Even in these Fine Arts, music and dance need heavy physical exertion towards regular and strenuous practice than all others. Even among music and dance, while dance has visual aids also, music is the only subject upon earth, which deals with invisible sound. To get control over this invisible art of sound the time between 3 a.m. and 12 noon is always preferable for regular practice. Unless the aspirant practices heavily and regularly on his own but without any pressure either from his parents or any others he cannot attain standards in music. To enable the aspirant practice on his own the mp3 CD ‘AMS easy methods’ is provided and made available from http://www.sangeethapriya.org/~chandra/ . Irrespective of any holiday, each aspirant needs a REGULAR AND KNOWLEDGEABLE PRACTICE of minimum 2 hrs. in a day up to the level of Gitas, 4 hrs. up to the level of Varnas and 6 hrs. and above beyond Varnas.

In our Indian music Manodharma Sangita is very important and develops the creative talent of an individual. Right from the first lesson in music an efficient teacher always paves way for the development of this creative talent of the aspirant by exposing his student to learn the compositions on his own by following a given detailed notation and again, in turn, to write in notation a composition sung. But many of our music teachers, being unable to bring all the nuances of our music in the form of a detailed notation, always prefer to teach the compositions without notation, which is suicidal.

To tell the truth, many of the music teachers, by being irrational of the above vital points and also ignorant of the easy, effective and innovative methods of teaching music, are interested in prolonging the process of teaching compositions for a longer period keeping only the pecuniary advantage in view but not in shaping the aspirants independents in all aspects and making the noble profession of teaching of music result oriented. By this, very few of the aspirants are going beyond average level and many others are remaining even below the average level. But, I have found a way in making the teaching of this art time bound and result oriented and I am able to instill the necessary ingredients into my students, which, no doubt, are pushing them to high level by their regular practice with the needed patience and perseverance.

Thus, there are so many important points to be taken care of and the remaining points will be brought out when and where they are needed.

Even though, this is absolutely a practical subject and to be demonstrated and explained I shall try to define the intricacies of it through some video clippings to enable the aspirants residing in far off places to properly learn, practice and proceed further in learning this art, Karnataka Music, Violin.
In the enclosed video clippings two of my students have played some exercises on Violin. Both have played five Alankaras, in Eka, Rupaka, Mathya, Dhruva and Triputa-talas and three types of Arohana & Avarohana exercises. These Arohana & Avarohana exercises are 1. srgm-pdns-rsnd-pmgr, 2.srgm-pdns-rgmp-dpmg-rsnd-pmgr and 3.srgm-pdns-rgmp-dnsr-grsn-dpmg-rsnd-pmgr. Both of them have played all these exercises on the 2nd and 4th strings. They are learning from me since last 3 years. Even prior to that they have learnt Varnas and Kritis but I have fully modified 9 Varnas, in Natakuranji, Kambhoji, Darbar, Shankarabharana, Kalyani, Begada, Todi, Saveri (of Adi-tala), Bhairavi (of Ata-tala) and Svarajati in Bhairavi and set their finger techniques and increased rhythmical abilities exposing them to different Laya-exercises. Later, without directly teaching them even a single Kriti, I have initiated and guided them to learn and play Kritis on Vocal and Violin on their own following the notation and pre-recorded cassettes of Kritis supplied by me. They regularly practice for 4 to 6 hrs. daily and they have been participating in a number of concerts.

Our brother-member, sbala has very kindly helped me a lot in uploading these music files and do the needful for which we all must thank him. The links are furnished hereunder:

http://www.youtube.com/v/RgGxRbJ7-PE
http://www.youtube.com/v/07EilTzev6A

If you are interested in playing your Violin like this and if you can also make regular and heavy practice of Violin I shall try to guide you. For this you have to upload your Violin play and send the link to my e-mail address. amsharma.

Suji Ram
Posts: 1529
Joined: 09 Feb 2006, 00:04

Post by Suji Ram »

msakella garu,
Thank you so much for putting up the video. This is amazing!
I never tried playing on 2nd string alone. Secondly the speed-that is hard work!!

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

Post by msakella »

Dear Sister-member, suji Ram, I feel extremely happy if I am always able to serve my brothers and sisters. In my last post I have asked you all to send the video link, if any, to my e-mail address. Of, course, you all can do so. But, it becomes more helpful to all our people if all of you bring all your doubts through these columns only along with the video links and we all make our discussions through these columns only. Please do so. amsharma.

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

Post by msakella »

Dear sister-member, suji Ram, Playing Gamaka on a single string is not that difficult if it is taught by your vigilant teacher in a phased manner. Most surprisingly, one cannot get through this Gamaka-techniques unless he/she is provided with the required level of Laya-instinct. I have also made some interesting experiments upon some of students and found this defect. Just like ‘colour blindness’ of a candidate many teachers cannot recognize this ‘laya-defect’ but start teaching music but ending in an utter failure. In teaching violin, finding the level of the laya instinct, the teacher should start some bow-less Gamaka-exercises with one finger, 2 fingers, three fingers and 4 fingers gradually increasing the involvement of the fingers and following certain norms and the aspirant must practice them strictly under the vigil of the teacher for a couple of months not to get distracted from the correct finger technique. Tender age of the aspirant is an advantage to teach these finger-techniques and you can find a kid of 10 years playing these Gamaka-exercises in the following link. amsharma.
http://www.youtube.com/v/vXGWT7-tbqs
Last edited by msakella on 13 Jul 2007, 14:39, edited 1 time in total.

violinlover
Posts: 46
Joined: 11 Jul 2007, 11:51

Post by violinlover »

dear msakella,
from your style of writing, i guess you are a violin teacher teaching abroad(outside india). let me share my views in this topic too. playing gamakas is really tough even if you practise with the guidance of your guru.secondly
the purpose of the violin-in fact, any carnatic instrument- is to resemble the voice.in other words the style of playing violin should resemble singing.
so, one of the methods is to play in the single string( i.e. A string) thus giving the resemblance of the voice( this is not my suggestion. violin maestro sangeetha kalanidhi shri M.Chandrasekharan spake thus)
so more practise is required to play the swaras with more force to bring out that effect.

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

Post by msakella »

Dear b/s-member, violinlover, I reside in Hyderabad, Andhra Pradesh, India. I had been abroad in 1980 to accompany my Guru Shri Nedunuri Krishna Murthy on Violin in his Vocal concerts but never taught anybody there.
It is a well-known fact that playing Gamakas on Violin is very tough. Since 1961 to 1996 I have worked as teacher in Violin in the Govt. Colleges of Music & Dance of Andhra Pradesh for 35 years and almost in the fag end of my service I was able to formulate some teaching techniques in Violin play and a system of teaching. In fact, my real teaching life started only after my retirement as, only then, I could make many experiments in these teaching techniques and also made the teaching process TIME BOUND AND RESULT ORIENTED. Generally, for example, if 10 students are learning Violin under a Violin teacher, there is no guarantee that all the 10 students can become technically wealthy paving the way to become successful accompanists. But, in my system, I can give such a guarantee that each one of my students will definitely become technically wealthy in a time-bound plan and, depending upon his regular, knowledgeable and strenuous practice, he can definitely become a successful accompanist. I have been the follower of Shri M.S.Gopalakrishnan and used to follow some of his techniques, at the least, playing Varna 30 kinds on all the four strings of the Violin. Of course, after my retirement in 1996, I have given up both playing concerts and Violin-practice too but teaching some capable students. In my experience, unless an efficient, sincere and vigilant teacher teaches the short-cut techniques, initiates and guides the Violin-student properly, he has to grope in the dark for a long time to become technically wealthy. amsharma.

kedaram
Posts: 13
Joined: 25 Jun 2007, 20:16

Post by kedaram »

Sharmaji, I was away on vacation for two weeks and I found that you had posted those nice videos of your students playing on youtube. I would love to post videos of playing them myself but I dont have a video camera at hand. I will post them once I get hold of one. Do you teach your students to play the varisais in shankarabharanam? I think thats great practice indeed. I only did the same exercise in the standard mayamalavagowla. I shall start doing those in shankarabharnam and perhaps a "tougher" prathi madhyamam mela like simhendra madhyamam also. As always thanks for the encouragement!

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

Post by msakella »

Dear b/s-member, kedaram, At the first instance, the teacher must be efficient in techniques and also in teaching. Adding to that he should teach the student vigilantly without letting his student go to the wrong path. Violin-teaching must be made only in person as there are so many points to be vigilantly observed by the teacher and to correct them then and there. However, I shall try to guide you through the clippings of YouTube if you send me some of your clippings through the same to assess your techniques. While teaching the playing of either plain or Gamaka notes on Violin, I feel, the places of notes of Mayamalavagoula facilitates easy handling of his left-wrist to the student. In particular, while teaching the finger-techniques of Gamaka it is more important to follow the notes of Mayamalavagoula with the pointing-finger, at the fist instance, to make the things easier to the student and later in Kalyani with the middle-finger. If you post some the clippings of your Gamaka-playing also I shall try to give you some more details and to guide you. amsharma.

kvgonline
Posts: 2
Joined: 23 Jul 2007, 02:40

Post by kvgonline »

sharmaji,

Am a new member who is having no exp and no knowledge about music - except I love musics!

Its great to get the oportunity to keep in touch with such a fantastic forum of music and I really grateful to you and rasikas for providing such a superb options to the music lovers! thanks once again!

It is a dream for me to learn violin but still am unfortunate due to various factors. I have an old violin presented by my friend in 1988 which has kept as a momento! Could you please suggest any CD or books for the basics learning?

pranamam

I always welcome if anybody could provide some info,
Last edited by kvgonline on 23 Jul 2007, 03:05, edited 1 time in total.

kvgonline
Posts: 2
Joined: 23 Jul 2007, 02:40

Post by kvgonline »

Dear sureshji

I found u r online, shall i assume / presume that u are from palakkad,

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

Post by msakella »

Dear b/s-member, kvgonline, I did never come across any book on the basics of Karnataka-violin-playing. However, I have heard about a book, ‘Violin Vaachippu (Tamil}’ written by Shri V.V.Subramanyam, the famous Violinist but could not go through it as I can follow the Tamil script a very little. You can try for it from the ‘Karnatic Music Book Centre, Royapettah High Road, Chennai (Ph:044-28111716 & 28113253). Some books are available on the western system of playing Violin and they facilitate to do so. But, Karnataka-music-violin-playing, being complex, has to be learnt only in person. However, I shall try my level best to prepare some lessons and upload to YouTube to be helpful to the aspirants like you. It may take some time to do so and you have to bear with it. amsharma.

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

Post by msakella »

Dear brother-member, praveena, Without creating another thread you could have posted this question in the thread,‘Teaching/Learning Karnataka Violin’ itself as it relates the same thread. Hereafter do so as it facilitates other aspirants also to get the relevant information under the same thread.
As you are also well aware, this is more a practical subject and unless a visual aid is provided along with the question it is very difficult to diagnose the disease. Please try to video-record and post the link of YouTube clipping to enable me get the correct picture.
Generally, having no proper knowledge, more than 90% of the Violin-players play wrong-technique and pose number of questions. While playing Darbar-varna, the 3-finger-combinative-technique plays a dominant role and many of the Violin-teachers are not teaching this technique properly resulting the failure of many of the Violin-students. In my experience, I have found more than 90 % of the Violin-teachers are not teaching this technique properly. I have also been taught like that. But, by the grace of the Almighty, I was fortunate enough to know my defect and rectify it immediately even before it is settled in my fingering like many other Violinists.
In fact I am thinking of video-recording some of these techniques in YouTube and provide the relevant links in our forum to enlighten the aspirants. As, presently, I am very busily engaged in some other project, which is more useful to our kids, I can do this a little bit later. In the meantime please try to post some of your video-clippings to give me an accurate picture. amsharma.

praveena
Posts: 20
Joined: 24 Jul 2007, 15:15

Post by praveena »

Dear sir,

Thanking you for the advise, I will definitely post the video shortly. Thank you for posting your video recording, that would be great help for us.

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

Post by msakella »

Dear b/s-members, Again with the help of our brother-member, sbala, the YouTube video-links of some of the Violin-lessons (1 to 5) are furnished hereunder for the benefit of our aspirants. Even though I have given up my Violin-practice 15 years back and my age also does not permit to expose my body for much physical and mental strain my earnest desire to serve our community made me do all such things. In this process many mistakes or in-corrections may have crept and I request all our brothers and sisters to bear with me and possibly help me in this task. They can go through all the lessons and try them. Any doubts could be brought out through this thread and I shall try my level best to do the needful. amsharma.

http://www.youtube.com/v/7fzsVnzw9Zc
http://www.youtube.com/v/f8eW5cVwbns
http://www.youtube.com/v/4Mr6jPAdrQ4
http://www.youtube.com/v/76RofpxDVM8
http://www.youtube.com/v/z2Oo12PaW7A

violinlover
Posts: 46
Joined: 11 Jul 2007, 11:51

Post by violinlover »

namasthe am sharma sir,
truly amazing is the only thing i can exclaim!!!
my pranams and i seek your blessings!!!

violinlover

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

Post by vasanthakokilam »

Sharmaji: Just wonderful. You are a great teacher. I watched your videos even though I am not a violin student and your teaching methods made me wish I am one. I can only hope that for whatever I aspire to learn, there is a teacher with the same patience and ability to clearly explain things like you have done. Thanks very much for serving the aspiring students of CM violin.

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

Post by msakella »

Dear b/s-members, violinlover & vasanthakokilam, Thank you for your kind complements. This is only the beginning and there is lot more to do in this process, which I shall definitely do with the ability showered upon me by the Almighty. Of course, as an aged person I shall always bless and wish you all the best. amsharma.

praveena
Posts: 20
Joined: 24 Jul 2007, 15:15

Post by praveena »

Dear sir,

My humble Pranams to you............. and seeking your blessings sir.

Today I have learnt many new techniques from your video, I never practiced playing on one string, I will practice from here onwards. Thanks a lot ..........

I am just clarifying my doubt sir, you have played Jatta swaras in Sankarabharanam,
only for SS, you are using the pointing finger and for the rest of all swaras you are using both pointing finger and the middle finger, am I right sir?
Last edited by praveena on 01 Aug 2007, 01:00, edited 1 time in total.

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

Post by msakella »

Dear b/s-member, praveena, There are umpteen kinds of exercises formulated basing upon our needs of playing the instrument, Violin. Among them, in respect of utilizing our fingers, there are finger-energising-exercises and note-finding-finger-exercises. Among them, while practicing the note-finding-finger-exercises you must use the bow also. But, while practicing the finger-energising-exercises you have to practice much without using the bow to get proper acquaintance with the correct technique to facilitate you to properly use your wrist, thumb and other fingers of your left-hand. In the beginning of this Gamaka-playing-technique you must practice using your pointing finger only. The same I have demonstrated in the ‘Violin-lessons-1, 2, 3, 4 & 5’ using my pointing finger only. In my forth-coming lessons I shall demonstrate other exercises one after the other and you can follow them. If you have any doubts feel free to ask me any number of questions to clear off your doubts. amsharma.

praveena
Posts: 20
Joined: 24 Jul 2007, 15:15

Post by praveena »

Dear sir,

Its so kind of you sir, Thanks a lot................ I will practice as you told.

Sam Swaminathan
Posts: 846
Joined: 04 Feb 2010, 08:45

Post by Sam Swaminathan »

Sharmaji

Namaskarams. I am planning to be in Chennai by the last week of Sep for a period of 2 weeks. This is to prepare for my daughter's wedding, scheduled for Jan 2008. Would you be kind enough to give me permission to visit you and to offer my pranams to you and also to formally seek your acceptance to be my Guru thru the electronic means ( distance learning). I seek your blessings......regards.....Sam

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

Post by msakella »

Dear brother-member, Sam Swaminathan, You are welcome at any time and I am always ready to serve the cause of music. ‘Shree Krishnam Vande Jagadgurum’ - HE is only Guru in the Universe and all the beings are instrumental in despatching the goods. Of course, not only in the height (5’-11â€

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

Post by msakella »

Dear b/s-members, Hello! Now another YouTube video-link containing some bow-less finger exercises for energizing the fingers and also for technical-development of the fingers along with some jati-bow-playing-techniques is furnished hereunder for the benefit of our aspirants. amsharma.
http://www.youtube.com/v/hswcVZhd0Qk
http://www.youtube.com/v/IavgB9-0JwA
http://www.youtube.com/v/ifGkbS1EiRk
http://www.youtube.com/v/ujX7hPJbIJg

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

Post by msakella »

Dear b/s-members, Irrespective of learning either Vocal or Instrumental-music, every aspirant, depending upon his/her instinctive level of rhythm, must regularly practice the relevant rhythmical exercises prescribed by his/her teacher to get his/her rhythmical abilities stabilized and also to get reasonable control over Laya. Many experiments upon aspirants undoubtedly proved that any kind of inefficiency in rhythm would definitely hinder the learning of music of the aspirants. For this purpose different Laya-exercises have been provided in the mp3 CD which is available from the web-site http://www.sangeethapriya.org/~chandra/. Among them the Laya-exercises furnished in the items Nos. 05, 06, 25, 26, 27, 35 & 36 are now sung by me and provided through Youtube links furnished hereunder as visual aids will be more helpful to the aspirants, The aspirants can practice them regularly and get their items tested by exhibiting them before knowledgeable persons or post the relevant Youtube clippings in this thread to enable me to listen to them and to inform their success or otherwise through this thread. amsharma.

http://www.youtube.com/v/rX_0fC8UsNw
http://www.youtube.com/v/0jeMPtiCLaE
http://www.youtube.com/v/jctteXYGvTY

praveena
Posts: 20
Joined: 24 Jul 2007, 15:15

Post by praveena »

Dear sir,

My humble Pranams to you............

In technical-development of the fingers Method, I understood the two finger technique, but I have a doubt in using three finger technigue, do we have to place all the three on note, how can we place the three notes? Like, in two-finger technique, to go down we use the lower finger and going up we use upper finger. But in three-finger technique, how the procedure goes?

While playing Janta swaras, do we emphasize on fingers for doing Janta or do we emphasize the bow.

In Jati-bow playing technique, is TA KI TA on one bow and another TA KI TA on the other bow?

Your videos are helping me a lot, thanking you for all your kindness.

Seeking your blessings.........................
praveena
Last edited by praveena on 07 Aug 2007, 03:39, edited 1 time in total.

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

Post by msakella »

Dear b/s-member, praveena, While playing Gamaka for Sadharana-gandhara in Todi-raga you have to make a group of three fingers consisting of ring-finger, middle-finger and pointing-finger, keep your ring-finger in Shuddha-madhyama and glide down bringing down the pointing-finger up to Chatusshruti-rishabha making the middle-finger neutral just moving up and down along with other fingers on both sides. In the same manner you have to do for Kaishiki-nishada in Todi-raga and for Shuddha-madhyama in Shankarabharana also. This is the ‘Sampradaya-gamaka’ of our Karnataka-music having the range covering Shuddha-madhyama, Antara-gandhara, Sadharana-gandhara and Chatusshruti-rishabha for Sadharana-gandhara and sounding with the starting Shuddha-madhya and with the ending Chatusshruti-rishabha only and, in the same manner, covering Shadja, Kakali-nishada, Kashiki-nishada and Chatusshruti-dhaivata for Kaishiki-nishada and sounding with the starting Shadja and with the ending Chatusshruti-dhaivata. In this Sampradaya-gamaka along with the 2nd upper note the actual note will not sound at all but the note beneath sounds which is Chatusshruti-rishabha for Sadharana-gandhara and Chatusshruti-dhaivata for Kaishiki-nishada. In the same manner the range for Shuddha-madhyama is also to glide down with the middle-finger alone from Panchama to Antara-gandhara and swing in-between them sounding the upper Panchama and the lower Antara-gandhara but not the actual note at all. This is the treatment of these three notes which is not found anywhere in the world. I have categorized the Gamakas into two kinds and they are, 1.Lalitha-gamaka, in which the Gamaka should be played in-between the 2nd upper note and the actual note which is in-between Shuddha-madhyama and Sadharana-gandhara for Sadharana-gandhara, in-between Panchama and Suddha-madhyama for Shuddha-madhyama and in-between Shadja and Kaishiki-nishada for Kaishiki-nishada, 2. Sampradaya-gamaka, in which the Gamaka should be played in-between the 2nd upper note and the note beneath described in the above manner.
While starting to play the preliminary exercises, either Saralee-svaras or Janta-svaras or Datu-svaras, it is always better and healthy to use only Sahitya-bow i.e., moving the bow from one end to the other but not individual bow at all for each and every note. After getting reasonable acquaintance with the notes you can divert your attention to the bow-usage.
While playing ta-ki-ta, ta-ki-ta in the bow-techniques if you play one ta-ki-ta in the middle of the bow you have to play the next ta-ki-ta in the left-side of the bow. In the same manner you have to play alternatively every time. You can find this in my demonstration provided in the end of the Violin-lessons-8. You should never practice or play these bow-techniques in the right extreme of the bow as it jumps every time hindering your Violin-play. With best wishes, amsharma.

praveena
Posts: 20
Joined: 24 Jul 2007, 15:15

Post by praveena »

Dear sir,

My humble Pranams to you............

Now I understood the procedure well, I am very Thankful to you sir. Previously I used to use three finger technique, but I didn't knew what exactly was happening. I was not so confident.
Could you please tell me which Raagas does come under 1.Lalitha-gamaka and 2. Sampradaya-gamaka categories?

In my violin, the Pa string is not getting tuned properly, i am using this violin since 17yrs, somehow managing, I am not able to rectify the problem. Could you please suggest me sir.
I was thinking of to buy new violin, could you please suggest me which kind of Violin would be good? I am from Hyderabad, presently staying in US, this time when I come to India I want to meet you and take your blessings sir.


Seeking your blessings.........................
praveena
Last edited by praveena on 07 Aug 2007, 12:39, edited 1 time in total.

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

Post by msakella »

Dear b/s-members, Now, I shall define the items provided in the three Youtube-video-links furnished in the 24th post above to be helpful to the aspirants.
In the process to make the teaching of music result-oriented and time-bound umpteen experiments have been made upon many students and accordingly the ‘Easy, effective and innovative methods in teaching music’ have been formulated bringing out these methods in the mp3 CD which is available from http://www.sangeethapriya.org/~chandra/. According to these methods, at the first instance, the aspirant must be exposed to the 1st item, inspirative instrumental music set to Chaturashra-gati furnished in this CD to asses the level of the rhythmical instinct of the aspirant. While this music is running, the teacher should ask the aspirant to continuously render the corresponding even beats to this instrumental-music and, later, simultaneously, the teacher himself should render different odd-beats to that music to confuse the aspirant. If the aspirant is able to continuously render his even beats accurately even while listening to the odd-beats of the teacher that aspirant could be selected to teach music and, at the first instance, without teaching him/her the 1st Saralee-svara, he/she should be taught the following Jati-alankaras in the speed @ 4-units and two beats with both the hands per each second, which, in fact, is the 3rd speed and which will be inspirative to the aspirant.
In the 1st video-link I have sung the Jati-alankaras in the seven-suladi-talas @ 4-units per each second occupying two beats i.e., 2-units in the right-hand and the next 2-units in the left-hand. It is always desirable to practice with both the hands until one gets reasonable control over Laya. These seven Jati-alankaras are 1.ki-ta-ta-ka of Eka-tala 2.ta-ka-ki-ta-ta-ka of Rupaka-tala 3.ta-ka-dhi-mi-ta-ka-ki-ta-ta-ka of Mathya-tala 4.ta-ka-dhi-mi-ta-ka-ki-ta-ta-ka-ki-ta-ta-ka of Dhruva-tala 5.ta-ki-ta-ta-ka-ta-ki-ta-taa of Jhampa-tala 6.ta-kee-taa-taa-ki-taa-taa-taa of Ata-tala and 7.ta-ki-ta-ki-ta-ta-ka of Triputa-tala and each Jati of each Alankara was sung (many times in the 5th and 6th items of the CD) only 16 times in this video-link All these Jati-alankaras should be taught should be taught in the same seriatim along with beats of both the hands but without teaching them the Talangas at all. If the aspirant reproduces the same successfully the music-lessons should be taught starting with Saralee-svaras with the beats of both the hands.
After the preliminary exercises are over 5 Gitas and 1 Svarapallavi provided in the CD should be taught with only plain-notes without Kampitas or Gamakas. Later, on one hand the inter-relation of Kampitas and Gamakas of 12-Svaragatasthanas should be taught followed by the demonstration and teaching of Varnas in the Ragas, Natakuranji, Kambhoji, Darbar, Shankarabharana, Kalyani, Begada, Todi, Saveri in Adi-tala, Bhairavi Varna in Ata-tala and Svarajati in Chapu-tala, in the same seratim, and on the other hand, simultaneously, the following Jati-break-exercises furnished in the 2nd link should be taught. As you all know we have been provided with 5 kinds of Jatis, Trisra (3), Chaturashra (4), Khanda (5), Mishra (7) and Sankeerna (9) and among them except the Chaturashra (4) all others are odd-jatis. Thus, our ancestors are so intelligent that they have preferred much of odd-jatis and provided 4 odd-jatis and only one even Jati obviously bringing out the importance of odd-jatis. Among them, as Sankeerna-jati accommodates three numbers of Trisra-jati, leaving aside the Sankeerna-jati for the time being, each and every aspirant must get good acquaintance with the remaining three odd-jatis. According to the easy method in rendering these Jati-break-exercises one should remember the value of the Jati i.e., 3 of Trisra-jati, 5 of Khanda-jati, 7 of Mishra-jati and should note that the Trisra-jati-breaks i.e., ta-ki-ta – ta-ki-ta could be completed rendering in the duration of 3 Avartas or half of it i.e., 1 ½ Avartas or in a group of 3 Kriyas, the Khanda-jati-breaks i.e., ta-ka-ta-ki-ta - ta-ka-ta-ki-ta could be completed rendering in 5 Avartas or half of it i.e., 2 ½ Avartas or in a group of 5 Kriyas and the Mishra-jati-breaks i.e., ta-ka-ta-ka-ta-ki-ta could be completed in 7 Avartas or half of it i.e., 3 ½ Avartas or in a group of 7 Kriyas of Chaturashra-jati-chaturashra-gati-triputa-tala i.e., Adi-tala. While rendering them there are three varieties in each Jati and the three varieties of Trisra-jati (3) are rendered consecutively as 1. ta-ki-ta – ta-ki-ta 2. ta-a-a – dhi-i-i and 3. ta-,-, - dhi-,-, in this link (refer my book, Sangita Svararaga Sudha for detailed exposition). But, while practicing, the first two varieties should be practiced much and the third variety should be practiced in the presence of the Guru only to correct it vigilantly. In the same manner the three varieties of Khanda-jati, 1.ta-ta-ta-ki-ta – ta-ka-ta-ki-ta 2.taa-aa-a - dhi-ii-i 3.taa-;-, - dhi-;-, and the three varieties of Mishra-jati, 1.ta-ka-ta-ka-ta-ki-ta – ta-ka-ta-ka-ta-ki-ta 2. taa-aa-aa-, - dhi-ii-ii-, 3.taa-;-;-, - dhi-;-;-, are sung in the 2nd video-link All these things should be practiced regularly and carefully. These exercises are also furnished in the item Nos.25th, 26th & 27th of the CD.
In the 3rd video-link the Khanda-jati-breaks in end of each Avarta of Adi-tala, thus, protruding 1-unit each time to the next Avarta, are sung and furnished. This exercise is furnished in the item No.28 of the CD. This exercise, in particular, is very important and must be practiced by one and all to energize them in rhythmical abilities. amsharma.

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

Post by msakella »

Dear b/s-member, praveena, Ragas having Sadharana-gandhara in combination with Shuddha-madhyama like Kharaharapriya, Todi, Keeravani, Gaurimanohari come under Sampradaya-gamaka and the Ragas having Sadharana-gandhara in combination with Prati-madhyama like Shanmukhapriya, Sihmendramadhyama, Dharmavati, Sumanasaranjani come under Lalita-gamaka or even Kampita.
In general, basing upon the tuning ability of the player, every string could be tuned correctly. I have never heard of such a complaint that a string of the Violin is not getting tuned and I can tell you only after handling the Violin in person. If not, you can as well show it to some nearby Violinist and ask his guidance.
When you come to me I shall definitely arrange to purchase a good Violin. Please inform me earlier about your arrival here. amsharma.

praveena
Posts: 20
Joined: 24 Jul 2007, 15:15

Post by praveena »

Dear sir,
My humble Pranams to you............

What are 12-Svaragatasthanas? Are your books Sangita Svararaga Sudha and others available in English?
The above threads are very informative and are really helping me to improve in the rhythmical aspects. I will practice them daily. When I sing varnams in second speed and when I come across the 3 akshara kalas, i sometimes make mistake, I used to wonder how to improve in the rhythmical aspects. You have showed me a way to improve it, I am very Thankful to you sir.
Thankyou sir for arranging to purchase violin, I will definitely inform you earlier before I come.
Seeking your blessings.........................
praveena
Last edited by praveena on 08 Aug 2007, 04:13, edited 1 time in total.

virig
Posts: 11
Joined: 14 Nov 2005, 12:19

Post by virig »

Hi Praveena,

Use a Korg GT-12 chromatic tuner. I use 'em in case of any doubt. It is right on the dot. It shows the octave info. like C3 and C4 and cent info.... Just FYI.

Happy bowing...

Giri

praveena
Posts: 20
Joined: 24 Jul 2007, 15:15

Post by praveena »

Hi Giri,

what is "em" ? How do you use the Korg GT-12 chromatic tuner.

Thanks a lot.
Last edited by praveena on 08 Aug 2007, 03:44, edited 1 time in total.

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

Post by msakella »

Dear b/s-member, praveena, As all are aware, universally, the Svaras are 7. While Svaras are seven their places, which are called by all as Svarasthanas, should also be seven logically. But, having become bifurcated, the places have become twelve (12). So to say, also to make a logical difference between these two names, these 12 places should be named after ‘Svaragatasthanas’. To a lay man, apart from the two natural-notes, without having any variation at all, are Shadja and Panchama, and the remaining 5 notes, Ri, Ga, Ma, Dha & Ni having two variations of each are Ri-1 (Shuddha-rishabha), Ri-2 (Chatusshruti-rishabha), Ga-1 (Sadharana-gandhara), Ga-2 (Antara-gandhara), Ma-1 (Shuddha-madhyama), Ma-2 (Prati-madhyama), Dha-1 (Shuddha-dhaivata), Dha-2 (Chatusshruti-dhaivata), Ni-1 (Kashiki-nishada) & Ni-2 (Kakali-nishada).
Copies of my book ‘Sangita Svararaga Sudha (English)’ is available from Chi. Sow. Meenakshi residing in New Jersey (e-mail address: mtumuluri@wesleyan.edu).
If you don’t misunderstand me, I would like to tell you that we are not aware of our own mistakes and everybody loves his own mistakes. In the same manner, the person who is having ava-laya, unaware of his deficiency, mistakes others having ava-laya. So, test your Laya yourself properly or go to a knowledgeable person to test it. To test yourself you can rely upon my audio or video clippings as they have been provided with the beats of Metronome. You wrote ‘When I sing varnams in second speed and when I come across the 3 akshara kalas, i sometimes make mistake’. I don’t understand this properly. While singing any Varna, as every Varna was originally composed @ 4-units or Svaras per each Kriya, any one must sing 4-units or Svaras per each Kriya in the 1st degree, 8-units or Svaras per each Kriya in the 2nd degree and 16-units or Svaras per each Kriya in the 3rd degree. But you wrote ‘3-akshara-kalas’, which, in fact never occurs. Having been originally composed @ 4-units or svaras per each Kriya, no Varna should ever be sung @ 3-akshara-kalas. Even while you change the Gati into Trisra, you must sing @ 6-units or Svaras per each Kriya. So, I could not make out what you mean.
Always the rhythm is instinctive. I have experimented upon a number of my students and, at last, found that rhythmical abilities could very well be improved by practicing with both the hands. (Nearly 30 years back, when I have accompanied Sangita Vidwan Late Chittoor Subrahmanya Pillai on Violin, to my utter surprise, he rendered Tala with both the hands and, having learnt this from him, I have implemented successfully) You can as well do this by following my video-clippings. If needed and if you practice regularly the same along with my video-clippings for some time and later send your video-clippings to me, I shall be able to guide you in this aspect. With best wishes, amsharma.

arasi
Posts: 16774
Joined: 22 Jun 2006, 09:30

Post by arasi »

msakella,
I am amazed at your patience in teaching! Your erudition is well known. How many teachers have this much patience, though? Above all, the way you encourage the students, whatever their level of proficiency, is admirable. While lesser people might think of me as layA deficient (I am!), you give me confidence by virtue of your tolerance and encouragement. Wish I had the facility to learn from you in person...

sbala
Posts: 629
Joined: 30 Jul 2006, 08:56

Post by sbala »

I especially like Sharmaji's receptiveness to modern technologies. We had a 30 min conversation on how to use youtube and I thought he would probably upload one video and get bored. But the violin movies have been pouring in and it has helped me as a rasika to see the violin in a new light. I now seem to pay more attention to the upcoming Lalgudis and MSGs in concerts. I would be happy if I have half his energy and flexibility to learn at that age.

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

Post by msakella »

Dear b/s-members, arasi & sbala, I thank you for your kind comments. I am now 70 years of age and have a little more experience in teaching our Karnataka music and Violin by which, unlike many other teachers, I could make this teaching result-oriented and time-bound. Always the truth is bitter and I truthfully feel very unhappy to tell that, nowadays, the students eager to learn music are being squeezed hopelessly by the so called music teachers for money-sake which is very unfair. Music is a very sacred art, which should never be linked up with monetary benefit at all and I never charge even a single pie from my students. Every musician, however big or little, is becoming ready to teach whatever he knows but not what the student needs. Fortunately or unfortunately, a system of teaching, starting with Saralee-svaras, Janta-svaras, Datu-svaras, Alankaras, Gitas, Svarapallavis, Svarajatis, Varnas, Kritis etc., etc., has very long ago been formulated and the same is being followed by one all running for years together even without observing the logic behind it. This is helping only to squeeze money from the aspirants taking advantage of their ignorance. If we, the professional teachers, truly put much of our brains to know the logic behind it than on the monetary benefit we will definitely be able to find ways to make this teaching of music result-oriented and time-bound which has never been done before. Fortunately enough, in spite of many constraints, I have very well been blessed by the Almighty in many ways along with contentment paving way to serve the cause of music looking into the logical base of teaching. With HIS blessings I am able to get some solutions in making the teaching of music result-oriented and time-bound. What the Almighty had given me, in turn, I am trying to give him. What little experience I have I want to share it with my brothers and sisters and, at the same time, I have also been receiving abundant co-operation from many of our brothers and sisters in this process thus encouraging me a lot to continue my mission. Always expecting the same affection and co-operation from all of you, amsharma.

praveena
Posts: 20
Joined: 24 Jul 2007, 15:15

Post by praveena »

Dear sir,

My humble Pranams to you............
I am sorry sir, I didn't write properly. I will give one example sir like if I take the Sri Ragam varnam, pallavi
Sa , , Mi , , Ni , ,Ne , , Ko , , , | In this line, Sa , , has three akshara kalas and also Mi , , and so on. I think i am not able to use the correct words to explain.
So when I sing this line like Sa a a Mi e e Ni e e.......... my guru always asks me to sing like Sa , ,Mi , , like an advance student, i feel I may do mistake at the similar 3 akshara duration, if I sing like that. My guru says it comes with practice.
When I joined the Secunderabad Govt Music college, they tested my rhythmic aspect, they said I am fine, but I think I am not good at rhythmic aspects, I will try to improve with daily practice with your guidance.
Its all Gods grace on me to meet such a great Guru like you in my life sir. You are showering so much knowledge on me. I am very much inspired by you sir.

Seeking your blessings.........................
praveena
Last edited by praveena on 08 Aug 2007, 13:57, edited 1 time in total.

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

Post by msakella »

Dear b/s-member, praveena, One thing is certain. Many of the music teachers do not know that the rhythmical deficiency of the aspirants hinders their progress in music. Their speed of learning also reduces and they must stop at one point or other and stagnated. I have found this after making umpteen experiments upon my own students in this respect. I have provided Youtube links of 3 video-clippings in a graded manner in my above posts and you try to follow them properly and serially and also to send me the audio-clippings of your practice sessions to enable me to assess your rhythmical instinct.
I have worked in many of these Govt. Music Colleges and I was the founder President of the Teaching Staff Association which was Registered and recognized by the Govt. of AP. I know all the members of Staff of all of them very closely. Generally, on one hand many of the teachers are afraid to tell the deficiencies of the aspirants lest they may complain against them and on the other they encourage the students to admit themselves in these institutions as the higher authorities, having no knowledge of music, are pressurizing the teachers to admit as many number of students as they can and teach them irrespective of their receptivity ultimately leading to chaotic conditions. In our country, people feel that many of the institutions governed by the Government are like that. If you commit mistakes while singing 3-unit groups it obviously reveals your rhythmical deficiency and, in such case, how can they declare your rhythmical aspect is fine. It is somehow contradictory making me unable to make a picture. Only after listening to your audio-clippings I may be able to get a picture and guide you properly. With best wishes, amsharma.

virig
Posts: 11
Joined: 14 Nov 2005, 12:19

Post by virig »

Hi Praveena,

Don't worry about 'em. The tuner is a simple apparatus. It has a needle which sways based on the input sound. Our goal is usually to keep the needle in the middle (close to middle with a left slant between -20 and 0 cents in GT-12). Also make sure there is a rotating swivel which should be set to 'Chromatic'. Now all you got to do is start playing each string in the violin. It is usually best to do this in a place where there is less external noise. Play a string on the violin and check the results on the lcd panel. I usually look for (C3 E) (C3 B) (C4 E) (C4 B). C3 and C4 are the octave numbers and E/B are the SA/PA. These values are for the strings from the bass to treble strings...i.e left to right with the violin in the playing position.

Giri
Last edited by virig on 09 Aug 2007, 11:08, edited 1 time in total.

praveena
Posts: 20
Joined: 24 Jul 2007, 15:15

Post by praveena »

Hi Giri,

Is KORG TM-40 Digital Metronome and Instrument Tuner is good to buy, or do you strongly recommend Korg -12 Chromatic tunner?

Thanks a lot.

praveena
Posts: 20
Joined: 24 Jul 2007, 15:15

Post by praveena »

Dear sir,
My humble Pranams to you............

what is the difference between singing the Jati-Alankaras in for instance 2.ta-ka-ki-ta-ta-ka of Rupaka-tala, instead of
s r | s r g m ||

Seeking your blessings.........................
praveena

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

Post by msakella »

Dear sister-member, praveena, Without concentrating much only upon the monetary benefits, the teacher should always strive hard to make his students independent in all aspects. In the process of teaching while the teacher’s role is more than 85% the student’s role is less than 15%, which I personally feel. Just like parents, who always work hard truthfully and sincerely for the welfare of their children even without any recommendation from any third party the teacher should also do. Even if anybody recommends they feel heavily hurt and curse that person at their best. In the same manner the teacher also must work hard truthfully and sincerely. Such a teacher must, at first, test the rhythmical instinct of the aspirant and if he is found suitable in it, then only he should test his musical instinct. If the aspirant is not found suitable in the rhythmical test he should, at first, be trained to improve his rhythmical abilities and only after he becomes suitable he should be tested in his musical abilities. Unless he becomes suitable in his rhythmical abilities he should not be taught music at all even though he is extremely interested in learning music. In our Manodharma Sangita we are having five divisions and they are, Ragam, Tanam, Pallavi, Niraval and Svarakalpana. Among them, while the Ragam has different phrases in different un-restricted-rhythms (Layas), Tanam has restricted Laya-patterns, Pallavi, Niraval and Svarakalpana have well-disciplined Laya which is well set in the form of Tala. By all this, one must understand that one cannot become a musician unless he/she gets enough control over Laya. Many may not believe in me but I, having rapport with a number of aspirants for more than 40 years in teaching line, tell that deficiency in Laya cannot be cured like the colour-blindness. That is why, even from the first meet with me, I have always been used to take more precautions to improve the rhythmical abilities of my student. Even after finding his/her suitability in rhythm in the first meet I always start different rhythmical exercises only to improve his rhythmical abilities but not music at all. In this process my first lesson is teaching Jati-alankaras with only beats of both the hands I have already demonstrated in my video-clippings of Laya exercises. In fact, in singing Alankaras there are four implications and they are 1. Laya 2.Tala 3.Solfa-syllables of sa,ri,ga,ma etc., and 4. Different sound levels of the solfa-syllables, sa,ri,ga,ma etc. While teaching them the Jati-alankaras I am avoiding teaching him/her three implications, the 2nd, 3rd & 4th of them and exposing him to the 1st one only to make the matters easier to him/her. In this process of teaching, if the aspirant is below 15 years of age and regularly and vigorously practice according to this plan I, within a span of 4 yrs., can definitely make him/her able to give an admirable concert for 2 hrs. amsharma.
Last edited by msakella on 09 Aug 2007, 10:44, edited 1 time in total.

virig
Posts: 11
Joined: 14 Nov 2005, 12:19

Post by virig »

Hi Praveena,

I wouldn't recommend that one. From what I gather there is no octave indicator...I went through a slew before settling on this one. In my previous post I had written in brackets as -80 and -90 cents. It is supposed to be between -20 and 0 in GT-12. Sorry for the confusion. I have edited the post since.

Giri
Last edited by virig on 09 Aug 2007, 11:08, edited 1 time in total.

praveena
Posts: 20
Joined: 24 Jul 2007, 15:15

Post by praveena »

Dear sir,
My humble Pranams to you............

Thanking you for showing me, the importance of Laya. I read your other threads, where I came to know about G D A E for SPSP. I suppose the Mandara Sa string is G Mandara Pa string is D, and A is Sa string and E is Pa string. For tuning the strings, i do the following steps, please let me know whether am i doing the right procedure.

1. On Sa (A) string, I keep the middle finger and play Pa and then I compare with the Pa (E) string by playing on Pa(E) string.

2. On Mandara Pa(D) string, I keep the middle finger and ring finger and play Sa and then I compare with the Sa(A) string.

3. On Mandara Sa(G) string, I keep the middle finger and play Pa and then I compare with the Mandara Pa (D) string by playing on Pa(D) string.
Dear sir, I might be troubling you with all my questions, please forgive me.

Seeking your blessings.........................
praveena
Last edited by praveena on 09 Aug 2007, 13:33, edited 1 time in total.

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

Post by msakella »

Dear sister-member, praveena, The 4 strings of western Violin are always tuned to fifth-note every time i.e., either to C, G, D & A or G, D, A & E or D, A, E & B and our corresponding terms of them are Sa, Pa, Ri & Dha. If C is Shadja, G is Pa of C, D is Pa of G and A is Pa of D and the same thing applies to G, D A & E and D, A, E & B also. In our Indian music we are used to take any of the 12-notes as basic Shadja and from that basic Shadja we are used to tune the Violin to S, P, S & P. For example, if you want to tune your Violin to accompany a male artist having Shruti-1, our Shruti-1 corresponds to the C of the pitch-pipe and so you should tune the extreme-left string to C, the next second string to G which is Pa of C, the next third string to the C of the upper-octave and the next fourth string to the G of the upper-octave. If you want to tune your Violin to accompany a female artist having Shruti-5, our Shruti-5 corresponds to the G of the pitch-pipe and so you should tune the extreme-left string to G, the next 2nd string to D which is Pa of G, the next 3rd string to the G of the upper-octave and the next 4th string to the D of the upper-octave. In this manner you have to tune your Violin. Even though you have to follow the available western-terms, C, D, E, F, G, A & B of the pitch-pipe you must note that you have to take the corresponding sound of Pa of your basic note. Don’t get confused with the western-terms of the pitch-pipe. You have given 1, 2 & 3 details in your post in which way you are comparing the tune of your strings and they are correct. You can follow that. Never think that you are troubling me with all your questions. You can ask me as many questions as you need. If you don’t mistake me, my question is, why you, being a house-wife and having much leisure time, have not been trying to acquire as much music knowledge as you can going through various books on music available in the market? Please think yourself. amsharma.

shanks
Posts: 118
Joined: 25 May 2006, 22:03

Post by shanks »

Praveena,
Having a Sruti box when you practice will of great help. It helps in tuning and then ensuring that you are in alignment all thru your practice.

praveena
Posts: 20
Joined: 24 Jul 2007, 15:15

Post by praveena »

Dear sir,
My humble Pranams to you............

You are absolutely right sir, I should start reading books, I always tried to focus on practice, but never thought of reading music books.
Dear sir, could you please tell me the titles of books, which you think I should read first.

Seeking your blessings.........................
praveena.
Last edited by praveena on 10 Aug 2007, 01:56, edited 1 time in total.

praveena
Posts: 20
Joined: 24 Jul 2007, 15:15

Post by praveena »

Hi Shanks,
Thanks a lot for your advise. I will do the same.

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

Post by msakella »

Dear sister-member, praveena, You can start with the Telugu books, Ganakalabodhini, Krotta Sangita Vidyadarpanam, Sangita Kalapradarshini and English books, South Indian Music series of 6 Volumes by late Prof. P.Sambamurthy. You can visit the Karnatic Music Book Centre, Chennai and get all these books. You can also enquire about their website and order for the required books. You can also speak to me and see me through web cam by Yahoo messenger if you need and make me listen to your Laya-exercises. My ID on both Yahoo and Skype is ‘msakella2002’. But, I may not be able to see your Violin-play properly through Yahoo or Skype as the picture, generally, lags behind either on Yahoo or on Skype. You have to send the clippings of your Violin-play by other means only. With bestr wishes, amsharma.
PS: You can as well visit the Links of this forum to find and visit KMBC-The Karnatik Music Book centre's web site. amsharma.
Last edited by msakella on 10 Aug 2007, 06:01, edited 1 time in total.

praveena
Posts: 20
Joined: 24 Jul 2007, 15:15

Post by praveena »

Dear sir,
My humble Pranams to you............

I am very happy that I can speak to you and can see you on web-cam, I am very Thankful to you sir................ I want to reformat the system and from next week we can have voice chat sir.
Is your Email Id: msakella2002@yahoo.co.in or msakella2002@yahoo.com?
I will definitely read those books sir.

I have few questions in the 2nd video of Laya exercises, do we have to sing like this
Jati-break-exercises in 3 variesties in the following way?

1) Trisra Jati-break excercise
(a) ta-ki-ta – ta-ki-ta
(b) ta-a-a – dhi-i-i
(c) ta-,-, - dhi-,-,
should I sing the above Trisra in Adi tala in 3 Avartas?

2) Kanda Jati-break excercise
(a) ta-ka-ta-ki-ta - ta-ka-ta-ki-ta
(b) ta - a - a - a - a - dhi - i - i - i - i
(c) ta - - - - dhi - - - -
should I sing the above Kanda in Adi tala in 5 Avartas?

3) Mishra-jati-breaks
(a) ta-ka-ta-ka-ta-ki-ta - ta-ka-ta-ka-ta-ki-ta
(b) ta - a - a - a - a - a - a dhi - i - i - i - i - i - i
(c) ta - - - - - - dhi - - - - - -
should I sing the above Misra in Adi tala in 7 Avartas?

In the third video, is it like this
Ki ta ta ka - ki ta ta ka - Ki ta ta ka - ki ta ta ka - Ki ta ta ka - ki ta ta ka - Ki ta ta TA - DHI GI NA TA ?


Seeking your blessings.........................
praveena.
Last edited by praveena on 11 Aug 2007, 04:15, edited 1 time in total.

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