that frustrating thing called upper Pancham

Miscellaneous topics on Carnatic music
Post Reply
ganesh_mourthy
Posts: 1137
Joined: 02 Sep 2007, 23:08
x 4
x 11

#1 that frustrating thing called upper Pancham

Post by ganesh_mourthy » 01 Dec 2018, 20:25

I think most people including trained artistes have a problem in touching this note, let alone sustaining and a fleeting touch. I really envy anyone who can effortlessly do it. For many, I could notice the strain on the face itself. I can do it but it has never been this effortless. I could notice here that the artiste does it exactly the way it ought to be. I have to find a way out too. Any tips?

It is at 26.00 valli dei(Va) and it is at that Va

https://www.youtube.com/watch?annotatio ... 4#t=22m26s
0 x

Sivaramakrishnan
Posts: 1373
Joined: 02 Jan 2010, 08:29
x 1
x 82

#2 Re: that frustrating thing called upper Pancham

Post by Sivaramakrishnan » 02 Dec 2018, 15:16

1. Practice, practice, practice.
2. Some singers select a sruti (pitch) which permits their voice to 'access' upper panchama without much strain.
0 x

ganesh_mourthy
Posts: 1137
Joined: 02 Sep 2007, 23:08
x 4
x 11

#3 Re: that frustrating thing called upper Pancham

Post by ganesh_mourthy » 03 Dec 2018, 11:04

Thank you Sivaramakrishnan JI. But nowadays I realize that you have to practice perfectly , in a manner that you dont record a wrong technique in mind which will be hard to undo . So what is that perfect technique is the million dollar question that can be effective too.
0 x

thenpaanan
Posts: 527
Joined: 04 Feb 2010, 19:45
x 31
x 22

#4 Re: that frustrating thing called upper Pancham

Post by thenpaanan » 04 Dec 2018, 07:20

A million dollar question that rarely gets asked in Carnatic music -- how to sing high notes without strain. If you look on Youtube you can find a whole universe of videos on this very topic, except that they are all or mostly by Western voice coaches. It takes some adjustment and imagination to apply those techniques to Carnatic singing but ultimately some things about singing are universal. Here are a few things I've learned over the years towards your question.

1. Many a time we have a psychological block about high notes and we sabotage our own singing because we think we cannot do it. There are many proposed exercises for this -- the easiest is to visualize notes on a horizontal plane as keys on a piano rather than as steps on a ladder. It takes some time but not impossible to do. I still recall my teacher telling me when I was a kid -- only your head is moving up, not the note (it sounds much funnier in Tamil!). As a kid I should not have had any trouble and yet I had imbibed this idea that higher notes are harder. I still suffer from this problem but it has become much better over time.

2. Vowels matter a lot in singing and proper enunciation can make all the difference. It is not possible to describe in a short space but one tip is try to exaggerate the vowel that is being sung (even if it looks funny). Positioning the vowel properly relaxes your vocal apparatus and enables easier sound production. Us Carnatic singers are hopeless in singing the 'ah' sound properly -- the above-mentioned Youtube videos give good instructions on vowel singing.

3. One advanced tip (i.e. you should only do this after some practice with the other two) is to try and approach the note from "above and behind". It is impossible to put words to this indescribable physical action but the effect is to have you gently land on the high note rather than lunge at it from below (which can be injurious in addition to sounding bad) and open the back of your throat (i.e. lift the soft palette) for a well-rounded sound. Again you can find Youtube videos for this specific tip.

Good luck on your endeavor and let me know if this gives you any benefit. I am curious too. You've asked a very good question and I wonder why more people have not asked this question.

-T
1 x

ramamatya
Posts: 90
Joined: 16 Dec 2015, 11:04
x 26
x 12

#5 Re: that frustrating thing called upper Pancham

Post by ramamatya » 05 Dec 2018, 10:56

Lots of musicians do it effortlessly without any kind of physical strain or mental block. All you need to do is remove the very idea as a 'frustrating' thing from your head, and everything will simply fall in place.
0 x

ganesh_mourthy
Posts: 1137
Joined: 02 Sep 2007, 23:08
x 4
x 11

#6 Re: that frustrating thing called upper Pancham

Post by ganesh_mourthy » 05 Dec 2018, 15:19

I think not many are doing it easily and effortlessly. Even the sudha Ma is not clear sometimes and it lands at andhara ga . Can you send me links with times stamps? Let this take shape healithily
0 x

sureshvv
Posts: 4839
Joined: 05 Jul 2007, 18:17
x 97
x 312

#7 Re: that frustrating thing called upper Pancham

Post by sureshvv » 05 Dec 2018, 18:01

ganesh_mourthy wrote:
05 Dec 2018, 15:19
Even the sudha Ma is not clear sometimes and it lands at andhara ga .
Seems you should be the one sending links with timestamps :D
1 x

ganesh_mourthy
Posts: 1137
Joined: 02 Sep 2007, 23:08
x 4
x 11

#8 Re: that frustrating thing called upper Pancham

Post by ganesh_mourthy » 05 Dec 2018, 18:26

I only feel that it is like pointing out the flaws of such and such artistes if I did . I do not wish the wrath of fan rasikas fall upon me .tangentially , the earlier in age u start making the effort the easier it can be . I have observed that playback singers do with some techniques that seem effortless , even in live programs .
0 x

thenpaanan
Posts: 527
Joined: 04 Feb 2010, 19:45
x 31
x 22

#9 Re: that frustrating thing called upper Pancham

Post by thenpaanan » 05 Dec 2018, 19:48

ganesh_mourthy wrote:
05 Dec 2018, 15:19
I think not many are doing it easily and effortlessly. Even the sudha Ma is not clear sometimes and it lands at andhara ga . Can you send me links with times stamps? Let this take shape healithily
Indeed it is my impression as well that many top-line artists struggle with the high notes. These artists have considerable stagecraft so this is not always obvious or glaring. But the tell is when the singer has to change volume to hit the note -- some become very soft and some become louder, both are undesirable. Some singers force their way through the high notes by singing with great power causing them to sound hoarse towards the end of the concert. Sometimes it is fleeting, occurring inside a rapid run of notes. At other times the pitch is just a shade flat. Many singers sing the high note phrases in a pinched way -- the high notes don't flow as freely as the low notes and it gets excused as stylistic license.

Even if you take the case of TMK, arguably the best sounding male voice on stage today, the muscles of his neck are stretched when he goes high. That is not easy and effortless, even if the ultimate sound output is quite pleasing. If you see Western male singers they seem to reach those heights without any visible sign of stress or dramatic change in voice quality or volume. Actually even many Hindustani male singers seem to be able to do this.

Rather than give examples of bad singing I would rather give good ones. Among the male singers who do it well, Vijay Siva seems to have best technique. TMK is very very good as well but as I said above sometimes he looks strained without necessarily sounding strained.

-T
0 x

Ranganayaki
Posts: 1261
Joined: 02 Jan 2011, 06:23
x 73
x 105

#10 Re: that frustrating thing called upper Pancham

Post by Ranganayaki » 05 Dec 2018, 20:08

I have not come across such a fault! It is difficult without pracrice, yes, and we have the Mel-sthayee varisai to practice with. Pracrice them by singing the notes slow and at increasing Kalams, and practice them doing “akaarasaadakam,” proceeding gradually to higher kalams. I guess also that there are different voice techniques to use as you go up the scale, to not show strain. Do it for every new melakarta you learn.

But an artist so incapable of the Panchamam that he will hit antara-G for a Madhyamam - I’ve not ever heard that. If you really have heard this, a link would be great. If it is true, I don’t think you need to worry about fans. I think there are shruti lapses with some artists, but the error never reaches the level of a full note as you say, Ganesh-Mourthy, like an antara-G for a Shuddha-M. It just goes a tad off, as Thenpaanan says, and yes they may strain and power through. Bur becoming softer sounds like modulation, and may not always be to hide anything. Powering through may also be for dramatic effect, and not necessarily hide a deficiency. Please share some audio or video to demonstrate.
1 x

thenpaanan
Posts: 527
Joined: 04 Feb 2010, 19:45
x 31
x 22

#11 Re: that frustrating thing called upper Pancham

Post by thenpaanan » 05 Dec 2018, 21:42

ganesh_mourthy wrote:
05 Dec 2018, 18:26
I only feel that it is like pointing out the flaws of such and such artistes if I did . I do not wish the wrath of fan rasikas fall upon me .
Agreed. Rabbit hole alert! :D
ganesh_mourthy wrote:
05 Dec 2018, 18:26
I have observed that playback singers do with some techniques that seem effortless , even in live programs .
To my knowledge the key difference between voice techniques used in CM and film singing is the use of the head voice. For some reason, using head voice is considered "false voice" in CM and abhorred. But you see it used all the time in film songs (especially in the ultra-high scales and pitches used on a repeated, almost exclusive, basis in Bollywood/Kollywood songs). The discussion on whether head voice is appropriate for CM is a separate discussion, but the limitation to sing exclusively in chest voice is a major constraint, especially for male singers, which is perhaps why we see so much strained singing . Only some singers like BMK and KJY have managed to disguise their use of head voice so effectively that hardly any one notices the change. Most singers cannot avoid the very audible change in tone that happens in that transition and culturally we in CM don't seem to like that. There is a whole technique set called "mixed" voice that tries to bridge this change without sounding obvious but that is only discussed openly in Western voice, not Indian voice as far as I know.

If there are other voice technique differences between CM and film singing I would like to know as well.

-T
0 x

SrinathK
Posts: 1465
Joined: 13 Jan 2013, 16:10
x 69
x 272

#12 Re: that frustrating thing called upper Pancham

Post by SrinathK » 05 Dec 2018, 22:16

There is another issue here. CM works best in chest voice. The transition between 2 registers is much harder in Carnatic than in Western musical genres or even film music. They don't have to work between the notes, and generate weight, manueverability and power at the same time.

Often the CM singer keeps his voice such that the register break happens just above the upper M. Others sacrifice some range in the lower notes to give them a higher and easier upper reach. Some singers practice with a higher pitch for adjustment, then they shift back to their regular pitch and find it's easier to hit the upper octave after a period of readjustment.

Your throat is your best guide to hitting the high notes. Keep your hand on your throat and observe what is happening as you go up (or down). As you go higher, your throat will flex to allow the resonance to occur. The shape of the vocal folds vibrating and the throat changes (or at least it feels like it) at a register break.

Singing in the upper octave (even the brighas) is almost totally due to correct technique, muscular strength and lung power (by which I mean you need a bit more air support) than anything. It doesn't ever come by forcing or shouting.

Another tip : Develop more range in the lower octave first. Then you can drop your pitch and get more range up there. The problem is that if you drop below your optimum pitch, your tone and power will suffer.
0 x

ganesh_mourthy
Posts: 1137
Joined: 02 Sep 2007, 23:08
x 4
x 11

#13 Re: that frustrating thing called upper Pancham

Post by ganesh_mourthy » 05 Dec 2018, 22:28

Thenpannan ,

It is not possible to hit the anthara pancham in Chest voice at all. you have to naturally move on to head even towards the Ri. But since there are no demonstrable metrics to prove the shift , we cannot dwelve on this argument. But , it is clear that the chest has to narrow from lower Sa as you raise the notes one by one. And this is certainly an abstract term. conversely , Falsetto is completely different. It is not a natural narrowing of tone , but a sudden shift of voice. I don't think male singers of cinema sing in falsetto. As far as the female playback singers, it is more of soprano I can say . They start at upper C or Csharp and they keep up and they don't change voice , but naturally it gets sharper.

Ranganayaki ,

I think Carnatic music can trick the listeners mind a lot. you cannot differentiate between da Sa da Sa gamakams, and Ni sa ni sa gamakams , unless you make out the raga. Until then they are the same. The same with fleeting movements and while the notes are oscillated vigorously. It is only when they sustain a note can you be sure and it super rare. I can show many examples. But again , are you going to use your ear? Ah you can be mislead in upper octaves with fast sangathis. Our singers easily get off tune there. As thenpannan said , even the top artistes.
0 x

Ranganayaki
Posts: 1261
Joined: 02 Jan 2011, 06:23
x 73
x 105

#14 Re: that frustrating thing called upper Pancham

Post by Ranganayaki » 06 Dec 2018, 00:53

I searched for some TMK video and found this Arabhi piece which I thought was promising as this is a raga where he is very likely to hit the upper panchamam. I wanted to see some sign of strain with the upper panchamam, as Thenpaanan says. Please watch it, he touches the upper panchamam with ease, even touches the daivata and even goes further up to the shadjam!! At one point, he does falter, but it is more at the level of imagination or attention than in touching notes. He does not make a swara mistake even with the ati tara shadjam.

I am posting this at the risk of sounding like a TMK defender. I was just amazed to find this instead while I was looking for something that would illustrate what Thenpaanan meant. I have seen him touch the ati mandara Ni as I said in my last review of TMK.

https://youtu.be/f5flTIM59Ws

So I can't agree with you guys about mind tricks here or TMK straining at Pa. The notes are full of clarity, there is no obfuscation.

So if TMK is able to touch the AtiTara shadja, even with effort, the Tara sthayee panchama will be just a mid-level note for him and it is unlikely that he needs to strain himself to reach it.
0 x

ganesh_mourthy
Posts: 1137
Joined: 02 Sep 2007, 23:08
x 4
x 11

#15 Re: that frustrating thing called upper Pancham

Post by ganesh_mourthy » 06 Dec 2018, 07:10

Ranganayaki

The first link that I sent was that of TMK in my very first intro post. TMK does it good . Sometimes impressively good. There is again a Tatva jeevatvam where he goes until lower Sa or Ni that I don't remember. But lower notes is also very hard to find out if a person is in shruthi, especially below Ma. I , personally , do not find that very soothing so I ignore as it is not very musical to the ear, and instead it is just a set of notes to enhance the take off notes from there ,gradually moving up .
0 x

thenpaanan
Posts: 527
Joined: 04 Feb 2010, 19:45
x 31
x 22

#16 Re: that frustrating thing called upper Pancham

Post by thenpaanan » 06 Dec 2018, 07:38

Ranganayaki wrote:
06 Dec 2018, 00:53
I searched for some TMK video and found this Arabhi piece which I thought was promising as this is a raga where he is very likely to hit the upper panchamam. I wanted to see some sign of strain with the upper panchamam, as Thenpaanan says. Please watch it, he touches the upper panchamam with ease, even touches the daivata and even goes further up to the shadjam!! At one point, he does falter, but it is more at the level of imagination or attention than in touching notes. He does not make a swara mistake even with the ati tara shadjam.

I am posting this at the risk of sounding like a TMK defender. I was just amazed to find this instead while I was looking for something that would illustrate what Thenpaanan meant. I have seen him touch the ati mandara Ni as I said in my last review of TMK.

https://youtu.be/f5flTIM59Ws

So I can't agree with you guys about mind tricks here or TMK straining at Pa. The notes are full of clarity, there is no obfuscation.

So if TMK is able to touch the AtiTara shadja, even with effort, the Tara sthayee panchama will be just a mid-level note for him and it is unlikely that he needs to strain himself to reach it.
I did not imply that TMK strains only at tAra panchamam. Strain can occur at any part of the octave depending on how you sing.

I definitely do not want to get into this discussion much further. But just as an example of how strain shows up in TMK's singing see https://www.youtube.com/watch?v=zGrDSEDeCI0 at 12:56. He is only at the upper sa but the way he sings it he seems to be putting strain on his voice artificially (compared to how he sings at, say, 4:15). In the passage that follows immediately after you can his voice falter at the upper Ga at 13:04 and then he seems to hide that in the phrase immediately following by modulating. You might have seen that earlier at 2:15 where is only at the lower Ga that he seems to be holding his throat taut.

Now here is why I dislike such examples. There is no way to know what TMK is feeling, we can only infer from what we see and what we hear. One may well say that this is how CM is sung. In that case there is nothing to discuss. My personal opinion is that this kind of strained singing will only work for certain gifted individuals who can keep singing in spite of the constant abuse or overworking of the voice box, not for all. You may well disagree and that is that. It could very well be that I am completely off base and that he his voice box is in fact relaxed, his countenance notwithstanding. TMK certainly produces a lovely sound and perhaps that tension in the voice is part of the charm. I hope and pray that his voice stays with him for a long time.

For an example of relaxed singing see https://www.youtube.com/watch?v=sjGIgMAHsm4 at 9:19 at the upper Sa. And then notice how he slightly loses his tonal quality in the upper Ga that follows right after.

To be sure no one is perfect all the time and no one sings badly all the time either. The fact that we have to look so hard to find these small imperfections is testament to their craft. It is much easier with other singers. The point is just that we have to strive to be like these exceptional singers who knowingly or not have figured out to sing in a way that is worthy of emulation. But we have to do it with full awareness of what should be emulated and what should not be.

This is the kind of discussion (who's making mistakes when) that can easily descend into random bad tangents, so let's agree to not take this any further and focus instead on only positive examples.

-T
0 x

Ranganayaki
Posts: 1261
Joined: 02 Jan 2011, 06:23
x 73
x 105

#17 Re: that frustrating thing called upper Pancham

Post by Ranganayaki » 06 Dec 2018, 11:55

ganesh_mourthy wrote:
06 Dec 2018, 07:10
Ranganayaki

The first link that I sent was that of TMK in my very first intro post. TMK does it good . Sometimes impressively good. There is again a Tatva jeevatvam where he goes until lower Sa or Ni that I don't remember. But lower notes is also very hard to find out if a person is in shruthi, especially below Ma. I , personally , do not find that very soothing so I ignore as it is not very musical to the ear, and instead it is just a set of notes to enhance the take off notes from there ,gradually moving up .
ganesh_mourthy wrote:
06 Dec 2018, 07:10
Ranganayaki

The first link that I sent was that of TMK in my very first intro post. TMK does it good . Sometimes impressively good. There is again a Tatva jeevatvam where he goes until lower Sa or Ni that I don't remember. But lower notes is also very hard to find out if a person is in shruthi, especially below Ma. I , personally , do not find that very soothing so I ignore as it is not very musical to the ear, and instead it is just a set of notes to enhance the take off notes from there ,gradually moving up .
Yes, I have heard TMK reach the atimandara sa and ni and he does it impeccably, I can assure you that he stayed in shruti. It actually was very soothing and very quiet, yet very dramatic. The effect is not as simplistic as you imagine it .
0 x

SrinathK
Posts: 1465
Joined: 13 Jan 2013, 16:10
x 69
x 272

#18 Re: that frustrating thing called upper Pancham

Post by SrinathK » 06 Dec 2018, 12:31

TMK uses mixed voice around that area from high M2 to D1, it is full head voice by the time he gets to the upper S. He also uses the vocal fry register for the S of the lower octave and below that (down to the ati mandara P!!). Note that his chest voice itself is strong enough to hit the upper D1 on it's own (which is how I remember it from the early 2000s).

Early in the morning, it may be possible to go 3 or 4 notes lower with one's normal voice itself, only to find that gone by the end of the day.

GNB hit that upper S regularly, and it is said he had 4 notes or so more in reserve on a good day. No way that is happening without using more than one register. MLV also in her early recordings could use this above upper P (contrary to what people have written, MLV actually had huge upper octave range during her peak years). MS also used a small bit of mixed voice for D2 and above, but it was too seamless to tell - her chest voice itself had a massive range on it's own.

The one person who literally waltzes his way through his registers today is Abhishek Raghuram, doing virtually everything he can do in his chest voice with a mixed voice.

The "strain sound" you hear is not really strain, it's a register bridge, and it's always a slightly tricky area where the vocal cords don't quite close properly if you are not careful. One other reason is because TMK moves around a lot while singing, this causes him to sound like he's trying to sing softly to avoid strain when he moves away from the mike, which he does a lot while singing in the upper octave. That movement especially causes some jarring volume changes, because mics these days need you to face straight up front, or else there's nothing.

I know that well. I myself have a problem above the M1 due to lack of practice and I've been trying. If it was real strain for TMK, other aspects of his voice like brighas or the range in the lower octave would be affected, which they are not. Compare that to singers who actually shout for the higher notes, you will find their lower octaves fade after a while.

Yesudas is much more head voice above the upper P, and even in the case of BMK it is obvious. NCV also used the mixed voice (her chest voice itself must have been very powerful, or else it won't come out so seamlessly - listen to her mAyE tvam yAhi at samutAye guruguhOdayE). Bhimsen Joshi and Pandit Jasraj also use the mixed voice extremely well - and it's actually the very reason why HM musicians have such huge ranges.

The old era singers like SG Kitappa and T R Mahalingam also knew how to use the mixed voice combo extremely well (just listen to that illAdadum illai viruttham from Thiruvilaiyadal to get my point, it doesn't get better than that, how to sing Tenor).

MDR had that kind of voice where his chest register was very strong in the lower reaches, so it would have blended with vocal fry seamlessly (although AFAIK he didn't need to use it).

So the order of vocal registers from lowest to highest will be :
1) Vocal Fry
2) Chest voice (modal register) - or normal voice.
3) Mixed Voice
4) Head Voice
5) Whistle Register (not whistling itself - that's just blowing air) - screaming kids know how to use that well.

Falsetto - Falsetto is an open, airy, soft sound that doesn't fall into these categories. If you wanted to say "false voice" - you're really using a vague term to convey something that isn't chest voice, but there are many categories

In old age, singers whose mixed voice has gone very weak can find themselves turning to falsetto. An example of that is MLV. She had a massive range in the upper reaches until her health declined in later days. So did T Brinda at the very end.
Last edited by SrinathK on 06 Dec 2018, 13:30, edited 2 times in total.
2 x

Ranganayaki
Posts: 1261
Joined: 02 Jan 2011, 06:23
x 73
x 105

#19 Re: that frustrating thing called upper Pancham

Post by Ranganayaki » 06 Dec 2018, 13:09

thenpaanan wrote:
06 Dec 2018, 07:38


I did not imply that TMK strains only at tAra panchamam. Strain can occur at any part of the octave depending on how you sing.

I definitely do not want to get into this discussion much further. But just as an example of how strain shows up in TMK's singing see https://www.youtube.com/watch?v=zGrDSEDeCI0 at 12:56. He is only at the upper sa but the way he sings it he seems to be putting strain on his voice artificially (compared to how he sings at, say, 4:15). In the passage that follows immediately after you can his voice falter at the upper Ga at 13:04 and then he seems to hide that in the phrase immediately following by modulating. You might have seen that earlier at 2:15 where is only at the lower Ga that he seems to be holding his throat taut.
At 12:56, he is at the Nishadha, not even the upper Sa. You want to compare the difference in ease or technique with 4:15. But at 4:15, he is singing softly and only fleetingly touches the ni and sa after approaching it from the lower notes, while he stays in the upper reaches at 12.56, which naturally demands greater effort. The context of these notes is very different in the two instances: 4:15 and 12:56. And also, he is attempting a very different musical effect.

I don’t hear him falter at a Ga at 13:04 (or before it). At 13:04, he is singing at the Rishabha with the word, “shabalita,” not a Ga. I don’t know what you feel he is hiding through modulation.

It could very well be that I am completely off base and that he his voice box is in fact relaxed, his countenance

His countenance gives that impression of pain even in much lower notes, and has nothing to do with strain, it is probably concentration.

For an example of relaxed singing see https://www.youtube.com/watch?v=sjGIgMAHsm4 at 9:19 at the upper Sa. And then notice how he slightly loses his tonal quality in the upper Ga that follows right after.
I don’t know what you mean. He is nowhere near the upper Sa at 9:19.

One may well say that this is how CM is sung. In that case there is nothing to discuss. My personal opinion is that this kind of strained singing will only work for certain gifted individuals who can keep singing in spite of the constant abuse or overworking of the voice box, not for all. You may well disagree and that is that.
[/quote]

No, I worry a lot about some gifted singers who abuse their voices. I worry that they may be forced into early retirement.

This is the kind of discussion (who's making mistakes when) that can easily descend into random bad tangents, so let's agree to not take this any further and focus instead on only positive examples.
For me both these videos of yours are positive examples :)
0 x

ganesh_mourthy
Posts: 1137
Joined: 02 Sep 2007, 23:08
x 4
x 11

#20 Re: that frustrating thing called upper Pancham

Post by ganesh_mourthy » 06 Dec 2018, 13:56

Thenpannen .

Certainly we do not wish this thread to devolve into another mudslinging event. However, I will be happy to see some links where the artistes have impressed with their control over the upper octave , especially around Pa region. Let us not focus on the negative.
0 x

ganesh_mourthy
Posts: 1137
Joined: 02 Sep 2007, 23:08
x 4
x 11

#21 Re: that frustrating thing called upper Pancham

Post by ganesh_mourthy » 08 Dec 2018, 13:12

the following one is very inspiring for the higher notes. Here she stays in various higher notes. I am sure she would have done with ease while she was younger.
0 x

ganesh_mourthy
Posts: 1137
Joined: 02 Sep 2007, 23:08
x 4
x 11

#22 Re: that frustrating thing called upper Pancham

Post by ganesh_mourthy » 08 Dec 2018, 13:25

the following one is very inspiring for the higher notes. Here she stays in various higher notes. I am sure she would have done with ease while she was younger.

Listen to this clipping from 46:00

https://www.youtube.com/watch?v=Y4x6T4boG8o

This is pleasing and musical too. Sometimes we get so familiar with some and we find that pleasing . It is an acquired taste and knowledge which I disapprove . And for the same reason , I beg to differ with Srinath . Abhishek has it wobbly up there. I was playing my violin along and I could sense that very clearly . TMK is good though he lacks the oomph up there and goes so soft.
0 x

ramamatya
Posts: 90
Joined: 16 Dec 2015, 11:04
x 26
x 12

#23 Re: that frustrating thing called upper Pancham

Post by ramamatya » 10 Dec 2018, 10:27

Your posts have gone from frustrating to disgusting.
0 x

sureshvv
Posts: 4839
Joined: 05 Jul 2007, 18:17
x 97
x 312

#24 Re: that frustrating thing called upper Pancham

Post by sureshvv » 10 Dec 2018, 10:33

Vignesh Easwar is your man!
0 x

ganesh_mourthy
Posts: 1137
Joined: 02 Sep 2007, 23:08
x 4
x 11

#25 Re: that frustrating thing called upper Pancham

Post by ganesh_mourthy » 10 Dec 2018, 14:48

Hndustani phobia or pure note phobia?
0 x

Post Reply