fast brighas in vocal.

[ganesh_mourthy]

I would like to know what the techniques and methods and varisais to practice brighas in vocal singing. I am always fascinated by the fast brighas a few musicians make during their singing. There are very few people who make crystal clear brighas at lightening speed while for most it seem to only blend.

i sure know that the answer is going to come spat " practice all the janta and dhatu. but what essentially is the manner, however, abstract my question is.

I need to know because even a small change in sitting posture by my guru made a significant change to my playing violin. i feel that there could always be some simple things that we may miss out if not well taught that makes a great difference.
i have observed some people even after having become established singers cannot make fast laden brighas and would simply retort by saying thay belong to gamakam school.

am searching for the finest pieces to site from youtube and music files.

My nephews are learnign vocal and I want to guide them with all the nitty gritty. expecting inputs from experience.

[ganesh_mourthy]

http://www.youtube.com/watch?v=DLo9pjDq ... re=related

a short brighas phrase by S.kalyanaraman.

[girish_a]

Very good topic, and I'll be keenly watching this thread.

[thenpaanan]

I would like to know what the techniques and methods and varisais to practice brighas in vocal singing. I am always fascinated by the fast brighas a few musicians make during their singing. There are very few people who make crystal clear brighas at lightening speed while for most it seem to only blend.

...

My nephews are learnign vocal and I want to guide them with all the nitty gritty. expecting inputs from experience.

From my own experience I can only tell you that over-emphasis or abuse of brigha singing can lead to damage to your voice instrument. It may seem very enticing to be able to do fast brigas just like the senior vidwans but brigas need vocal chord strength which a given child may or may not have. My personal opinion, which is given without hesitation but also without the weight of professional credentials, is that one needs to make sure first that the vocal chords are strong with proper breath control and singing technique. A simple test would be to ascertain if the child can sustain/hold a note (in mid-range, say pa) for some length of time, say twenty seconds, with absolute ease, without quaver and without loss of breath.

I, unfortunately, dont have anything specific to suggest on the question of how to sing brighas better (I wish I knew myself.

-Then Paanan

[ganesh_mourthy]

of course thenpaanan . but a few artistes carried it well over all their career. proper techniques and culture and practice may be. say for instance if our singers were to try soprano I think they cannot even speak for the next few days . coz our system does not have such requirement. but western classical singer sing with ease . so the I think a culture and method should be paved out to avoid strain perhaps..

[cacm]

I slightly disagree. Western classical sopranos, MS, MMI all had to work over lots of years to get the voice properly under control. The key I think is to choose something that does not make the singer strain his voice. MMI used to say "Kattha koodhathu"- should never shout- & it indeed is a Golden Rule. VKV

[laks1972]

Varisais to practice
-----------------------
1)

s-rs s----
r-gr r----
and so on

2)
s-rs s-rs s----
r-gr r-gr r----
and so on

3)
s-rs s-rs s-rs s----
r-gr r-gr r-gr r----
and so on

4)
sr g-mg r-gr s---
rg m-pm g-mg r---
and so on

All these to be practiced as swaras first and then as "aakaaram" with "aa" sound

[ganesh_mourthy]

one valuable input. but i feel a slight shaking of head or a wriggle becomes mandatory at time. unavoidable.

[ganesh_mourthy]

besides I would like also raskikas to share if you found anything in youtube.

[karthikbala]

I slightly disagree. Western classical sopranos, MS, MMI all had to work over lots of years to get the voice properly under control. The key I think is to choose something that does not make the singer strain his voice. MMI used to say "Kattha koodhathu"- should never shout- & it indeed is a Golden Rule. VKV

I would add that Western sopranos (or tenors or any other category) labour under an additional constraint i.e. fixed base pitch. They do not have the luxury of choosing a comfortable base pitch unlike CM singers. So they have to be judicious in choosing their repertoire. There have been cases where lyrical sopranos have ruined their voices by going for dramatic or coloratura roles. It is imperative that budding singers of any genre get good guidance from qualified practitioners (who have "been there and done that" as opposed to pedants).

[ganesh_mourthy]

there was an excellent input from our own Akella Ji on this subject that I find dutiful to share.

" USE A METRONOME".

S.KALYANARAMAN attained that perfection and clarity and speed with the use of metronome to practise.

"It is always good to have a parameter to check the progress.
say for instance srss rgrr gmgg all this with every beat.. then all the varsai speed probably can be increased when you attain confidence and clarity at a particular speed. if otherwise you might start at a speed and then it varies and start to merge.

all the varisais and jantas can be practiced this way. this is enough to give the confidence and perfection. but make sure that you move to next step only when you are confident."

Very methodical indeed.

[thenpaanan]

there was an excellent input from our own Akella Ji on this subject that I find dutiful to share.

" USE A METRONOME".

S.KALYANARAMAN attained that perfection and clarity and speed with the use of metronome to practise.

"It is always good to have a parameter to check the progress.
say for instance srss rgrr gmgg all this with every beat.. then all the varsai speed probably can be increased when you attain confidence and clarity at a particular speed. if otherwise you might start at a speed and then it varies and start to merge.

all the varisais and jantas can be practiced this way. this is enough to give the confidence and perfection. but make sure that you move to next step only when you are confident."

Very methodical indeed.

I think getting the speed is the easy part. The hard part is knowing whether you have the requisite confidence or clarity.

Relating to the question on exercises to be found on youtube, there is a method posted to get the right vibrato (number of oscillations per minute when holding a note) using a metronome (or a stopwatch). Search on youtube for "speech-level singing". This particular exercise is not specifically useful for CM singers (because we do not care much for vibrato) but we should keep looking for easy exercises like this for something that may indeed be useful.

-Then Paanan

[ganesh_mourthy]

to check the confidence and clarity we can record and listen. judge ourselves

[munirao2001]

ganesh_mourthy,
Brigas are essentially 'links', not necessarily based on the note/notes. The brigas/birkhas, a set or chain, practiced and performed will always be the same, in any raga/melody being rendered. Vocalization took place from unique instrumental music-Nagaswaram and Venu.
1) First mind preparation is essential. You must develop interest. Listen to all the Great Maestros/Maestros, who have mastered and render, with aplomb. The artists use brilliantly short brigas as beautiful connection between two sangathis/sancharas or the artists use them for electrifying effect, with long and complicated birgas/birkahs. Carefully note the type/kind, time and the speed of different brigas/birkhas. Memorize. Without the focus on the technical part, just sing along or repeat, instantaneously. When you get confidence in singing the brigas/birkhas, of max. type of brigas/birkhas, stop the exercise. If your confidence level is high, it indicates that your mind has memorized and you can recall at your will, the most essential and critical part.

2) The second part consists of the Voice technique/culture. It would be better if the choice is made on the natural ability or endowment of the Vocal chords (God gifted). If the vocal chords are not ideally suited for training, do not attempt elaborate technical practice and renditions. Voice will develop huskiness, due to the strain of the muscles/nerves. Thick voice (like that of ARI, MDR, for instance) is not ideal. Medium thickness voice (like GNB, BMK, MLV, TNS for instance) can be trained. Ideally thin voice (likeTSK, Voleti etc for instance) is most suitable. Khapam and vatam (mucus and inflammation) in the throat will not permit the best use of vocals for brikhas. Food with Alcohol, inherent naturally NOT AS ADDITIVE, to be taken for keeping the voice fit for this usage.

3) The third part consists of the breadth control. The power of the muscles movement in the chest, throat and nasal only to be used for the power and tonal volume. Usage of Nabhi/Navel muscles to be totally avoided. Nasal tone/delivery only gives the control and perfection in rendition of birkhas.

4) The fourth part consists of the akara sadhanam at the Max speed (turita/ati turita kalam) of recommended or chosen janti, datu and jaru swaras and few compositions.

In general, with one's own inherent likeness for Gamaka rich renditions and delivering satisfaction, will not be helpful, both mentally and physically, for this requirement and training.

munirao2001

[ganesh_mourthy]

munirao. thanks.
very little alcohol , ca that is interesting too, indeed. is there any support to that. or just empirical?

[musicfan_4201]

Voice will develop huskiness, due to the strain of the muscles/nerves. Thick voice (like that of ARI, MDR, for instance) is not ideal. Medium thickness voice (like GNB, BMK, MLV, TNS for instance) can be trained. Ideally thin voice (likeTSK, Voleti etc for instance) is most suitable. Khapam and vatam (mucus and inflammation) in the throat will not permit the best use of vocals for brikhas. Food with Alcohol, inherent naturally NOT AS ADDITIVE, to be taken for keeping the voice fit for this usage.


munirao2001

GNB in his prime was the ultimate.
Voleti and TSK had supreme control over their voice and sruti and they mastered thru voice culture. They mastered it and gave importance to sruti like the hindustani musicians.

[munirao2001]

ganesh_mourthy,
Many food items contain alcohol, as a natural ingredient. Only such fruits/vegetables, with alcohol to be consumed for keeping the vocal chords supple and free from deposits. Many medicines contain alcohol. For better scientific data/advice, you are adviced to consult ENT specialist.

munirao2001

[mohan]

ganesh_mourthy,
1) First mind preparation is essential. You must develop interest. Listen to all the Great Maestros/Maestros, who have mastered and render, with aplomb.

I agree with this - listen to a lot of alapanas from GNB school musicians (GNB, MLV, SKR, TVR, SR) and you will be in a better position to sing them yourself!

[munirao2001]

musicfan_4201,
Both Voleti and TSK did not have naturally endowed good voices. Both with sadhana, succeeded in optimum usage of their trained voices to convey their musical ideas, perfectly. Nasal tones were predominant( naseekam-considered as one of the gayaka doshas). Their music with very rich content, made rasikas, totally ignore their blemishes.

munirao2001

[thenpaanan]

Munirao2001,

You have made some extremely interesting comments.

ganesh_mourthy,
Brigas are essentially 'links', not necessarily based on the note/notes. The brigas/birkhas, a set or chain, practiced and performed will always be the same, in any raga/melody being rendered. Vocalization took place from unique instrumental music-Nagaswaram and Venu.

I had not thought about this (that brigas may have been inspired by instruments rather than originated with vocal music) but it is an intriguing observation. Could you elaborate? Do you think it is merely from the fact that the instruments could naturally be played at great speed? Usually (though not always) our instrumentalists have tried to imitate our singers, at times even eschewing some natural capabilities of the instrument to keep the fidelity to vocal music.

Does Hindustani music have a notion of brigas in the same way that CM does? It seems unique to Carnatic music though. I remember singing a CM demo to a class on intro to Hindustani music in an American university -- I was singing "vasudevayani" and when I sang some brigas the audience broke into laughter. I have no idea what made them laugh, my guess is that they had never heard such a thing before that.

1) First mind preparation is essential. You must develop interest. Listen to all the Great Maestros/Maestros, who have mastered and render, with aplomb. The artists use brilliantly short brigas as beautiful connection between two sangathis/sancharas or the artists use them for electrifying effect, with long and complicated birgas/birkahs. Carefully note the type/kind, time and the speed of different brigas/birkhas. Memorize. Without the focus on the technical part, just sing along or repeat, instantaneously. When you get confidence in singing the brigas/birkhas, of max. type of brigas/birkhas, stop the exercise. If your confidence level is high, it indicates that your mind has memorized and you can recall at your will, the most essential and critical part.

Is there a systematic classification of the types of brigas permitted/used in CM?

2) The second part consists of the Voice technique/culture. It would be better if the choice is made on the natural ability or endowment of the Vocal chords (God gifted). If the vocal chords are not ideally suited for training, do not attempt elaborate technical practice and renditions. Voice will develop huskiness, due to the strain of the muscles/nerves. Thick voice (like that of ARI, MDR, for instance) is not ideal. Medium thickness voice (like GNB, BMK, MLV, TNS for instance) can be trained. Ideally thin voice (likeTSK, Voleti etc for instance) is most suitable. Khapam and vatam (mucus and inflammation) in the throat will not permit the best use of vocals for brikhas. Food with Alcohol, inherent naturally NOT AS ADDITIVE, to be taken for keeping the voice fit for this usage.

It would seem that the female voice is more suited to briga singing by this analysis (i.e. thin voice == more supple == more brigas) but we don't see female singers singing more brigas. Is this just a matter of style?

3) The third part consists of the breadth control. The power of the muscles movement in the chest, throat and nasal only to be used for the power and tonal volume. Usage of Nabhi/Navel muscles to be totally avoided. Nasal tone/delivery only gives the control and perfection in rendition of birkhas.

Though I agree with you, there is a lot of verbiage out there about singing from the nabhi and so on. There are some artists like KVN who have managed to sing brigas without sounding nasal but they are rare.

4) The fourth part consists of the akara sadhanam at the Max speed (turita/ati turita kalam) of recommended or chosen janti, datu and jaru swaras and few compositions.

In general, with one's own inherent likeness for Gamaka rich renditions and delivering satisfaction, will not be helpful, both mentally and physically, for this requirement and training.

munirao2001

That is the truth - put another way, you need both the voice control _and the inclination_ to sing brigas well. But it is quite possible to do well in CM without resorting to brigas at all.

Thanks for a thought-provoking post.

-Then Paanan

[rajeshnat]

Then paanan
Beautiful questions , awaiting for munirao2001 to answer them.

Just wanted to three more questions:
In general I am always finding it difficult to register in my head the meaning of brighas . I define it as embellishments or in thamizh better word is fast uRuTTaL (spins).

We usually associate two styles of singing namely flat note singing vs gamaka oriented singing. Usually brighas are sung when there is more flat notes,but does it mean gamaka oriented singers did not sing brighas .For eg does it mean semmangudi mama who is more a gamaka oriented singer not employ brighas .I think semmangudi also used brighas , but at the same time I am assuming musicians like brinda -muktha who are totally gamaka oriented singers have not used brighas to a minimum or practically they avoided.

It would be nice if some one defines brighas and more importantly if there is a connection of gamaka oriented singing and brighas

[munirao2001]

Then paanan

I will answer your questions, in brief, as given below:

1) On Vocalization of Instrumental technique: Brighas were truly the invention of the Great Maestros, playing nagaswaram, inspired partly by the vibrato employed by the Western Music Band performances in the court of Tanjavur. Even tough many Nagaswaram maestros in the Cauvery delta region were playing brighas, it was TNR’s mastery in playing the brighas/brikhas, attracted and inspired many vidwans-Vocalists, flutists and violinists practiced and included the brikhas in their renditions. The vidwat and renditions of nagaswaram players and flutists had great impact on the Vocalists to such extent that, they modeled their singing on nagaswaram padhathi, leading to vocalization of the instrumental technique. Similarly, Palladam Sanjiva Rao and Mali's flute techniques were are adopted by the Vocalists.
It is a fact/shastaic for instrumentalists to play with gayaka dharmam/padhati, as gayaka padhati is complete, challenging and capable of meeting the highest goal(s) of IM/CM. To play successfully gamakas in instruments, other than Veena and vichitra veena (gottu vadyam) is a great challenge and only few succeed. But they do not try to limit the capabilities, but exercise as a choice, selectively.

2) Brigas/Birkhas in HM: HM system abhors the gamakas of CM, as 'besur'. Shenai maestros do employ birkahs -Varanasi/Benares regional players-like Great Ustad Bismillah Khan, for instance. Strictly not resorted to and eschewed by Vocalists and other instrumentalists, as unmusical and totally lacking rasanubhavam. But they are resorted/used in other forms of light classical music and film music.

3) Classification of Brikhas: Birkhas/Brighas are not shastraic. No classification(s) done. It is recognized and called as small and long only.

4) On ease of Singing by Male/Female artists: Many female singers are singing, small brikhas, very effectively. If they desire, with determination and practice, they can sing long brikhas also. With the present day singing resorting predominantly to light Classical form of CM, many female artists are very successful in the use of the brikhas.

5) Is brikhas singing is 'Style' only?: Yes. It is only 'style'. Great Maestro GNB, the pioneer and role model.

6) Pure Sound/Nada production: Saint Thyagaraja has made it clear the ideal for the production of celestial nada/music, it has to be 'Nabhi-Hruth-Kantha-Nasadula yandu' - the nada produced with the support of the muscles of these regions have different power/energy. Usage of only nasal is one of the gayaka doshas-naseekam. The test of quality of music is in total registration, memory and capable of perfect recall. This is possible only with deep and high energetic tonal volume production. This can be attained only through 'Nabhi-Hruth-Kantha-Nasadulu'
The singers with Hruth-Kantha also are capable of singing birkhas, but short and very beautiful-like MVI, DKP, KVN for instance. MVI's brikhas, in particular, immensely beautiful and unforgettable.

ARI/Musiri/Tiger/MDR/Chembai/SSRao, to mention a few legends, did not resort to brikhas, deliberately and consciously.

Finally, birkhas are a 'style' statement and used for the short, sweet, attracting, surprising, and arresting impact on the listener’s attentive value only.


munirao2001

[munirao2001]

rajeshnat,

1) On Brigas/Brikahs and Uruttal: From the word/sabdam 'Brisk' in English, depicting fast speed phase, understood as "Brigam/Brikham", the usage of the word brigas/brikhas came in to practice. Brigas are not swaram/note based, even though voilinists can de codify the swaram/note(s). Tamizh 'Uruttal'-pre-existed brigas/birkhas. Urutaal is based on the swara/note, used with spinning effect.

2) On Styles of singing: There are three, not two as you have posted. One-only rich in gamakas, with occasional non-serious usage of short birkhas Two- usage of both gamaka and flat note- use judicoiusly the birkhas and for the special effect. Third-predominantly flat note with occasional use of gamaka for the sake of the vaggeyakara's composition - use birkahs for the special effect and obsessively.
Doyen Semmengudi mama's singing was based predominantly on the flat notes-nagaswaram technique-usage of gamaka only to adhere to the pata/vaggeyakara's composition, not rich in gamaka. This was deliberate and intentional for two reasons-one the nature of his voice and the second is his great admiration of the tanjore nagaswaram maha vidwans. But he enjoyed music, rich in gamakas-ARI, Brindamma, MDR for instance.
Singers, in total love with only rich gamakas method of singing, did not resort to brikhas or occassional made non-serious attempts. They also deliberately avoided with understanding/knowledge that brikahs singing will affect their voice.

3) CM is truly rich with usage of gamakas and it is its core strength and distinct identity.

The advent of 'cutcheri' format with purely entertainment value-pleasing to the ears, rasikas not acquiring reasonably good knowledge, looking for instant gratification-through gimmicks-thrills/excitement and least demanding listening skills and the performers with goal of attaining popularity, ever/eagerly compromizing the values in CM music, resort to pyrotechnics. One of the tools is fast and long brikhas, whether apt or not for the sangathi/sanchara!

Well the true connection is CM with rich in gamaka, with occasional use of birkhas-smaller-shorter for the good effect- as resorted to by legends MVI, DKP, KVN,TMT- to name a few Great Maestros.

munirao2001

[girish_a]

From the word/sabdam 'Brisk' in English, depicting fast speed phase, understood as "Brigam/Brikham", the usage of the word brigas/brikhas came in to practice.

Fascinating

One other point. You mention vibrato, but isn't vibrato different from Brigas? Vibrato corresponds to Kampita, if I'm not wrong; so could the idea of brigas really have been inspired by vibrato?

[ganesh_mourthy]

I have heard people saying GNB in his later time had shruti problems because of his fast brighas. Some attribute it to his shrudhi bedham do.
In my opinion there were many gamakam singers who were drifting from shruthi too. I am happy that the concept of shrudhi adhering has been taken more seriously by these days singers. More exposure to music. And some of the brighas that I listen to these days are more clearer too.

[munirao2001]

Girish_a
Vibrato is certainly different from brighas. Kampita in CM was existing before the introduction of brighas and were of very short time duration. The long vibrato performed by the western bands, attracted the Vidwans. As they were not trained on long vibrato of western music/ voice production technique, they experimented and the result was brighas -fast and short time duration.

munirao2001

[munirao2001]

ganesh_mourthy

About GNB having shruti problems and attributed to singing fast brighas and shruthi bedham, is not factual. All the performing artists-Vocalists, immensely popular and performing very high number of concerts of 3 hours and more, did struggle with shruti alingment, at times. The changes in the life style, habits , general health getting affected frequently and the ageing contributed for the voice quality and its best use.
GNB mama's frequent/over use of brighas and the popularity gained contributed to his focus on madhyama and turita kalam compositions and raga elaboration and affected his vilamba kalam singing. He resorted to singing in madhyama kalam singing of vilamba kalam compositions also-'Meenakshi me mudam dehim'-Mudduswami Dikshita-poorvi kalyani, for instance.

On shruti sudham, with few exceptions, CM Vocalists-male vocalists, in particular, are 'licenced to kill'. Rasikas and even Vidwans/Vidushis tolerating the serious mistakes, on the basis that their quality of music transcends the vocal imperfections!

munirao2001

[karthikbala]

One other point. You mention vibrato, but isn't vibrato different from Brigas? Vibrato corresponds to Kampita, if I'm not wrong; so could the idea of brigas really have been inspired by vibrato?

Yes, vibrato is a quality of voice production and does not refer to ornamentation, whether included by the composer or improvised by the singer. The equivalents of brigha in WM are probably trills, runs, roulades, and other varieties of fioritura/ornamentation/embellishment. Ornamented singing was de rigueur for singers in the heydays of bel canto, but with advent of verismo at the turn of the century faded away. Rossini and Bellini operas are full of them.
Also, I would be judicious in applying terms from WM vocalisation to CM, as proper voice production in WM is intended to fill a large house or auditorium without any miking whatsoever. It still is; miking is strictly a no-no for classical performances.

[munirao2001]

karthikbala,
Thanks for the post/inputs on correct knowledge. Probabaly without the knowledge of trills,runs,roulades and other varieties of fioritura/ornamentation/embelishment in WM, it was thought to be derivative of vibrato OR attracted by the vibrato, this innovation of brighas was made - as per girish_a's post.

munirao2001

[munirao2001]

For the benefit of rasikas,
-if fellow members, vocalists, who can share their own practice and attainments for better appreciation

-if fellow members can record brighas in the renditions of Great Maestros/Maestros from the recordings they possess, which does not infringe on the copy rights, and give the links

this will be ideal result/culmination for this post of ganesh_mourthy.

munirao2001

[ganesh_mourthy]

for those of you who want to hear some brighas style of singing. here is a link. especially the banthureethi alapana. also you could listen to the manasayetulo.

http://www.hummaa.com/music/album/New+g ... n%29/23235

I would appreciate more such links for rasikas to listen to .