Unique ideas in Carnatic Music

param · Post by **param** » 16 Mar 2006, 00:10

Let us all put in our ideas such as the one that CMLover posed to me earlier this week.

Adaptation of different gathis to the various components of a Tala - What is the outcome.

Your comments please

cmlover · Post by **cmlover** » 16 Mar 2006, 00:29

Great param!

Let us discuss ideas as well as new techniques here. Our laya specialists could give a demo (for example BMK's suggestion) and play it out so that we may feel how it sounds. I personally am waiting to get first the laya concepts (basics) under the belt and would then encourage some meaningful explorations. Tani may start sounding different when we introduce new gati-changing ideas but then once our Rasikas get to knwo what is happening they will enjoy the innovations.

I would encourage our budding vidvans to experiment and post their samples here!

param · Post by **param** » 16 Mar 2006, 11:38

My father recollected yesterday that at Rasikapriya - the sabha that used to be run by Sivaraman - Sri BMK had in fact rendered a RTP using the principles of Sashabdham and Nishabdham and different gathis for these two components.

Much later when Sri BMK, Sri Upendran and my father were discussing this aspect again, Sri Upendran asked my father to compose a Periyamohra and a korvai to that Talam which my father could do. Sri Upendran then told Sri BMK that my father had succeeded in setting up a Periya mohra and a morvai to that Talam - and to this Sri BMK retorted, if your disciple cannot do it, no one can.

A pat on the back for Sri Upendran and his school. Kannakku is one of the most important aspects of this school.

This thread can become more and more interesting if we have all the percussion artistes who today are merely a part of the audience pitching in with their valuable quotes - and may be we could also start of a mini contest - in terms of setting up a talam and then asking them to come up with a periya mohra etc., - and post a copy of their recording for the benefit of all of us.

Your comments please

vasanthakokilam · Post by **vasanthakokilam** » 16 Mar 2006, 11:49

Of course, first, you will have to define for us KG students what a mohra and periyamohra is.... I guess you will make them available at the vidyalaya thread...

cmlover · Post by **cmlover** » 16 Mar 2006, 12:12

vk is right! We have enthusiasm but lack the technical knowledge. We need to know the alphabet first and then the words followed by sentence constructions. We may not be able to play since we don't have the years of experience but once the Prof gives us the knowledge we sure will be able to design the schema! I know of several engineers who do not know to screw together two planks but who design space vehicles!

kiransurya · Post by **kiransurya** » 16 Mar 2006, 15:04

Param..
I second to CMlover. We dont (I) even know the basics properly and we are brimming with enthusiasm. ...........

param · Post by **param** » 16 Mar 2006, 16:10

What I find strange is that though all the students claim to be KG level and ignorant of the basics, most of the questions posed are sometimes a little difficult even for a great vidwans.

Which is correct - the fact that these "KG students" are having fun with the professors or are these "KG students" being prompted by "others" who do not wish to attend class, yet, wish to get trained in the process.

Your comments please... :frown:

cmlover · Post by **cmlover** » 16 Mar 2006, 21:25

The famous words of Pope (the poet)
"Child is the Father of Man"

kaumaaram · Post by **kaumaaram** » 17 Mar 2006, 18:41

Well, there is a difference between familiarity and knowledge. "Knowledge is structured in consciousness" (Maharishi Mahesh Yogi). It means that familiarity is something that drives you towards knowledge - the "yearning soul".

Kaumaaram

kiransurya · Post by **kiransurya** » 17 Mar 2006, 19:28

Param !!!!
I would still stick to the fact that Iam a KG student.....

vasanthakokilam · Post by **vasanthakokilam** » 18 Mar 2006, 00:47

What I find strange is that though all the students claim to be KG level and ignorant of the basics, most of the questions posed are sometimes a little difficult even for a great vidwans.

Got the message and admonishment to keep the questions in progressive and logical order. That makes sense. Also, teacher.. if we ask you a question that seems to be jumping ahead, please feel free to file it away for later ( with a cyber-kuttu on the head

). Thanks.

musicsyndrome · Post by **musicsyndrome** » 26 Nov 2006, 17:29

hallo all. am a new member n found this site very interesting. talking about technicalities there is this new trend among contemporary composers. They frequently use the concept of 'swaraksharam' in their sahityam. This is not something new though. The Trinitys hav also used this concept. For eg : take the thyagarajar kriti 'Shree raama paadama'. the sahitya goes like this... 'ni(shree) da(ra) ma(ma) pa(paa) da(da) ma(ma)' . so the word 'paadama' becomes a swaraksharam.

msakella · Post by **msakella** » 03 Apr 2007, 16:38

Dear brother-member, musicsyndrome, Please refer the topic Svarakshara under the General Discussions. amsharma.

thanjavooran · Post by **thanjavooran** » 09 Jun 2007, 09:04

Few weeks back, chitra veena ravikiran in his interaction with music lovers in podhigai tamil DD chennai while explaining the evolution of gottu vadhyam, mentioned that in earlier days tambura was laid horizontally on lap and used to make musical notes by a stone on left hand duly plucking the string by right hand. Really surprised to note this reference. Has it been tried by anybody. interested to know more about this.

uday_shankar · Post by **uday_shankar** » 12 Jun 2007, 18:57

thanjavooran,
That was how Shri Sakharam Rao revived the old chitravina in the early part of the 20th century and evolved what he called the gotuvadyam which was subsequently perfected by Shri Narayana Iyengar.

Anyone with a little bit of practice playing the chitravina (gotuvadyam) , or even anyone
possessed with excellent swara gnyanam and good hand to eye coordination, can play some melodies with a tambura (laid horizontally) and a cylindrical piece of wood (kattai) or a smooth pebble, within a few hours of practice.

The principle of chitravina, as you can see is shockingly simple but mastery of the
instrument is meant for very few individuals.

Check out http://www.ravikiranmusic.com/chitravina.htm for more info.

thanjavooran · Post by **thanjavooran** » 14 Jun 2007, 07:51

shri Uday_shankar

thanx