which one attracts you? why?

erode14 · Post by **erode14** » 12 Apr 2009, 00:33

In a concert, what attracts you more?
alapana or krithi or neraval or swaram or mannerisms of the rasika sitting near you!

Do you have sentiments?
if the concert begins with an ata thala varnam it has been great.
if started with just a song on vinayaka it is a success.
if with an adhi thala varnam it would click.
if with with an announcement, that artistes are on the way and the concert will start soon, then it will be .......!

when do you become restless?
thani.
alapana by violinists.
too mauch swaram.
when you start getting more sms and missed calls!

have you ever come out of a concert in the middle, just because, you have heard a great piece and you don't want to feed your ears more as you are satisfied?

(1500th cent!)

VK RAMAN · Post by **VK RAMAN** » 12 Apr 2009, 00:38

Many of the rasikas get upset during the long winded introduction speech I suppose.

srikant1987 · Post by **srikant1987** » 12 Apr 2009, 08:39

erode14 wrote:alapana or krithi or neraval or swaram or mannerisms of the rasika sitting near you!

If it's a good concert, it's usually rasikas I already know who might be problematic, as rasikas usually don't complain to stranger fellow-rasikas.
My mind resonates with the "aha"s, "besh"es and all, when the concert is good.

erode14 wrote:if the concert begins with an ata thala varnam it has been great.
if started with just a song on vinayaka it is a success.
if with an adhi thala varnam it would click.

aTatALa varNams are nice. AditALa varNam rendered in more than 3 speeds probably indicate this concert is going to have a lot of things I haven't yet learnt to appreciate. If a concert begins with a vinAyaka kriti, it should preferrably be a popular one for me. That will set the musical mood in which I become ready to appreciate the kritis that follow. Rare vinAyaka kritis can be kept in between the concert. As such, there's no rule that there should be only one vinAyaka kriti, or that it should only be in the beginning.

I also like songs like nAda tanumaniSam beginning the concert.

erode14 wrote:when do you become restless?
thani.
alapana by violinists.
too mauch swaram.
when you start getting more sms and missed calls!

Smses can be kept waiting, of course. I get a little shaken when I get calls. Swarams are never too much if the artist is particularly good at them, like TVS. But otherwise I feel they invade into time that could be spent on neravals, AlApanais or even tAnam. AlApanai by violinist (in non-violin concert): depends on the main performer. If it's TMK or Vijay Siva with RKSK (R K Shriram Kumar, in case someone who doesn't know reads this), it basically makes no difference!

"AlApanais" within songs can really get to me!

erode14 wrote:(1500th cent!)

750th post? Wow!

vasanthakokilam · Post by **vasanthakokilam** » 12 Apr 2009, 11:19

I look forward to the alapanai by violinists. Very often their alapanai is sharper and clearer than the vocalist. In general, I like alapanais that are without too much fluff, I am not a big fan of excessive brighas, and I do not mind repetition of the characteristic phrases with small variations.

Regarding rhythm, I want the built in laya of the song to be interesting and any novelty there is very much welcome. Of late, I am discovering the interesting laya frameworks of misra chapu songs, so I guess I will be pleased if there are a few misra chapu pieces. Are there varnams in Miscra Chapu?

My main problem in RTP is thanams. Too often thanams seem to be low on raga swaroopa content. On the other hand, for a raga like Mukhari which is a top favorite, thanams are inherently difficult. I would love artists to take that up for RTP, and if they do a great job with thanam, that would make my day.

I do enjoy the thani very much. To prove how much, recently I went to a concert right after an hour long cardio workout at the gym ( after a shower of course!! ). With a lot of water intake, you know what happens. I decided to forgo 5 minutes of the vocalist's alapana to take care of that and I was all set for the remainder of the concert including the thani. It turned out to be a wise decision!!

coolkarni · Post by **coolkarni** » 12 Apr 2009, 12:42

Nick H · Post by **Nick H** » 12 Apr 2009, 14:30

vasanthakokilam wrote:I look forward to the alapanai by violinists. Very often their alapanai is sharper and clearer than the vocalist. In general, I like alapanais that are without too much fluff, I am not a big fan of excessive brighas, and I do not mind repetition of the characteristic phrases with small variations.

And I thought I was going to be the only one!

There are occasions on which I have been, err, not exactly held spell-bound, by a vocalist's alapana, only to be resurrected by the violin reply. I am repelled if the vocalist does not give sufficient opportunity to the violinist --- also by the audience considering it a low-relevance part of the concert in which they may as well chat.

I enjoy a good thanum although to be honest, I haven't much clue how to define 'good' in this context. I can say that skimped or hurried is not good. An RTP itself is something that I like very much in a concert, but it should be a major part, with considerable neraval and swarams.

Yes, I enjoy the thani too, but again, not skimped, and I prefer those whose style is musical-first, rather than mathematical-first. I don't much enjoy the spectacle of the same composition being played in three or four different nadais --- except, maybe, by Trichy Sankaran!

erode14 · Post by **erode14** » 12 Apr 2009, 15:38

srikant1987 wrote:
erode14 wrote:(1500th cent!)
750th post? Wow!

no, it is 1500th post in General Discussions "sent" to the forum!

sankirnam · Post by **sankirnam** » 13 Apr 2009, 03:25

erode14 wrote:
have you ever come out of a concert in the middle, just because, you have heard a great piece and you don't want to feed your ears more as you are satisfied?

No, because that would be rude...

arasi · Post by **arasi** » 13 Apr 2009, 04:31

Also because it may lead to your ruing over leaving. How do you know the next piece and the ensuing ones are going to be? Don't we come across this in the reviews?:
Reviewer: That keeravANi was mind-blowing. The best in the entire concert.
RasikA: Shoot! I left just before that!

srinivasrgvn · Post by **srinivasrgvn** » 13 Apr 2009, 08:04

arasi · Post by **arasi** » 13 Apr 2009, 08:31

srinivasrgvn,
While I am in accord with most of what you say, I do like a varNam at the start of a concert. While I don't mind an invocation to gaNESA, I do wonder why you don't like them to be in the above rAgAs. After all, they are suitable rAgAs for an opener.
I do like to listen to unknown songs. Their newness excites me (both the kruti and the rAgA). Unless listeners are open to new compositions, what will contemporary composers like me do?

srikant1987 · Post by **srikant1987** » 13 Apr 2009, 14:35

srinivasrgvn wrote:And I Think the vinayaka kritis at the beginning can be of a different raga rather than the same old Nattai, Sowrashtram and Hamsadhwani. Something new and refreshing at the beginning of a concert is always welcome.
For ex. Smt.Kalpakam Swaminathan started with "Hastivadana" in Navaroj ragam.
...
I become restless when somebody sings a kriti that is practically unknown to the lay rasika. And it is much more annoying when they sing rarest songs in ragas like Todi etc.

Aren't these somewhat contrasting requirements? Or you mind new kritis only in ragas known better to you?

Well, one disadvantage of beginning concerts with nATTai, saurAShTram or hamsadhwani is that this takes these ragas off from submain or main handling, especially saurAShTram, which has good scope. And even MMG, which definitely can be taken up for main or even an RTP.

I like new kritis in old ragas, especially if they're sung "properly", i.e., with each sangati sung twice, etc.

@ arasi
You'll have to probably set your compositions to obscure ragas, or create your own ragas.

prashant · Post by **prashant** » 13 Apr 2009, 15:33

A few thoughts [these are strictly personal views]:

- One of my favorite aspects of a concert is to hear new krithis in old rAgAs. I attend concerts first to be educated and only then to be entertained. A pet peeve of mine, therefore is unadventurous song selection in concerts. Let us take tODi for an example: there are umpteen world-class renditions of kaddanuvAriki, shri krishNam bhaja mAnasa, ninnE namminAnu etc available from great artistes of today and yesteryears. But why should the endu dAginAdOs, the shri subrahmaNyOs, the nannu brOCuTakus, the gajavadana sammOdhitas etc languish in disrepair? By all means sing swara rAga sudhArasa as the main with niraval at mUlAdhAraja. By all means sing Cakkani rAja mArgamu with niraval at 'kaNTiki...' These are great krithis and I understand that each artiste has the conviction that they can add something new into even a familiar krithi. But if an artiste is doing this, then, for example, take up a rare krithi as sub-main, or attempt a pallavi in a non-trivial rAgA. If the SankarAbharaNam is going to be familiar, then, let's have, say 'CAlu CAlu' in sAvEri as the sub-main. If the kharaharapriyA is going to be familiar, then take up a tyAgarAjam bhajEham or nA moralanu vinA. It is up to artistes to mine the depths for rare and dignified krithis and present them to the rasikas. Only then will they rise in stature and popularity.

- I also like RTPs in unconventional Carnatic rAgAs. For example, a few years ago Smt. Sowmya experimented with RTPs in asAvEri, mAnji, chenjuruTTi etc. I think these are worthwhile attempts despite their relatively limited scope.

- The more the niraval and AlApanA quotient in a concert, the better. I would welcome three niravals in a two-hour concert and can make do with just two sets of swara exercises.

- All these personal prefences aside, I do my best to keep an open mind in a concert. Even if the rAgAs and songs being rendered are not to my taste, I try to listen objectively, and if I am not happy, I leave unobtrusively and with respect to the dais. The dignity of the stage and the courage of the artistes in baring their ideas and thought processes to us [even if they do not gel with our own], command respect, and that's what I make a sincere effort to do in each concert I attend. Hence my absolute intolerance to plastic bags, mobiles noisy handbags, paper-reading etc.

rajaglan · Post by **rajaglan** » 13 Apr 2009, 16:00

I am first ultimately thrilled when the screen opens and you see the artists with multiple tampuras
and mridangams, and flasks, notebooks, shruthi box, colored cloths fully charged and ready to deliver.
especially in MA, chennai, the bell rings and the screen opens. This tradition is great. And this MA experience
can not be duplicated anywhere. My likings in the kutcheri format.

1. I have a list of fav artist and I sit through the concert till RTP. Tukkadas are no no for me.

2. In the concert the most interesting parts again differ from artist to artist. I never want to miss the
first song of TMK, it is like Jayasurya in ODI. For sanjay I never want to miss the second , third songs.
Normally he sings a slightly rare (?) songs like Brovasamaye, venkatesa girisam, Mathrubootham like that.
He introduces songs that are not so often sung and you get attracted to it.

3. The submain is my most favorite. Because the redundancy in raga alapana will be missing as
the raga itself will be for 7-10 min and stage after stage, the raga imagination overflows. I like
to listen this from every artist.
Sometime a surprise raga like ramapriya,malayamarutham etc here, will make me do lot of searches
next day trying to grasp that raga.

4. The slow rendition songs is the next best which I like very much. but it cannot be too slow. Mukari
, devagandhari, dwajawanthi, sama, Reethigowlai etc are myfav.

5. I am bored (or for the time being) with high speed swaras. So my best bet is neravals. If the artist
doesnot sing neraval till main, I am slightly bored. And if he reserves the fireworks for swarams, then
also I am disappointed. So I guess artist should perform neraval in one of the first three songs and
a grand neraval in main as well. And a neraval specialist like TMK jumps to swarams quickly, I am
very disappointed.

6. The pallavi of every song should be sung in all possible combinations. I donot like jumping to
saranam or swarms quickly. If Jakkani raja or Sheenamai pallavi is quickly wrapped up, I am disappointed.
Because the best schools (SSI) have set the benchmarks for comparision.

7. Songs : I like any song as long as it impresses me. No particular composer.

8. Some ragas have bored me by now, like kalyani and mohanam, so I donot prefer.
And digging of less scopeful raga or less imaginative artist also sounds me like
a redundancy.

9. Fillers : I donot like however fast it is. A filler like Neeye Charan shunmuga is decent.
It is like a bhkathi paadal pleasing the majority.

9. Main: Only the gana ragas. Sankarabaranam and Kamboji and Puvikalyani and bairavi todi etc.
And songs on famous "specific" deities like meenakshi, Ranganatha, kapali, balaji...

And I like surprises. After a long Bairavi, todi alapana, if soemone renders a sincere swarajathi,
I am thrilled.

And here most artists reminds you of their school of music and it makes you feel happy.
especially if someone can remind me off SSI, MMI, MSS, MLV, DKP... the day is lived.
Raga alapana for a minimum of 12 minutes is a must and a sincere treatment is a must.
Main should be for an hour not including thani.

10. If all the above is done, then I am more satisfied. And any RTP is ok with me.
Suruti, ka(a)nada, janaranjani, gowrimanohai, keeravani,karnaranjani
A impressive pallavi line is important. And the ragamalika, if it includes an elaborate
sindhubairavi, then great.

11. If it is an instrumental, Raga alapana , neraval and swarams are very important.
pallavi line need to be sung atleast once by the artist. Playing a song for only 5 minutes does
not impress me.

12. No speeches. Thani for 10min only. violin raga reply is for 40% artists alapana time.
I never want to go to a concert for the accompnaying artist however great they are. Because
their scope theortically is minimal.

As someone else said, I keep my mind open independent of all personal likings.
I think my personal likings may be due to my limited knowledge. At the end of the
concert I make point to pray for the artist to live long and healthy.

arasi · Post by **arasi** » 14 Apr 2009, 02:00

Srikant,
Not really. Most of my songs are in familiar rAgAs. And Rajesh once said to me that I should compose more in rare rAgAs. Now look at what srinivsargvn has to say: don't sing rare (new) songs in familiar rAgAs!
See, it is catch 22 for us contempoary composers

rshankar · Post by **rshankar** » 14 Apr 2009, 02:17

srinivasrgvn wrote:
What I meant was that I liked kritis in new ragas but the main kriti should be(I like it if they are) in some familiar raga. Also, I mentioned that I didn't like rare kritis in familiar ragas. Funny isnt' it? =)

It is possibly the conditioning of my training - but true to the adages on diagnostics:

1) I prefer familar compositions and rAgas by-and-large (when I hear hoof-beats, I like to think 'horses' not 'zebras'!) =)

2) Additionally, I would prefer rare/new compositions in common rAgas to 'established' ones in uncommon/rare rAgas (uncommon manifestations of common diseases are rarer than common manifestations of rare ones!)

bilahari · Post by **bilahari** » 14 Apr 2009, 08:13

Interesting thread!

Things I look forward to:

1. Raga alapanais (I expect at least three well-formed ragas in a 2.5 hour concert)
2. Neravals (at least two, and any neraval should be done thoroughly and not merely a couple of rounds sandwiching krithi and swaras).
3. The most important one: RAGAM THANAM PALLAVI. Has probably become the thing I look forward to the most because it's the thing that people perform the least nowadays, and even if they do, it's treated like a tukkada. I'm especially a fan of thanam and although I can forgive a short ragam and even a short pallavi, I cannot forgive a 2-3 minute thanam, ever. I bear grudges about this for a long time.

Other aspects like accompanists are not as important for me compared to the cohesive output. While I like a good 2 speed varnam rendition to start things off, I am not averse to vinayaka krithis/ weighty krithis in starting off concerts. I have also really liked slokas, raga alapanais in starting concerts because they set the mood very well for me. However, this is a rarity.

I'm also starting to develop some allergies like the I-saw-it-coming-miles-away hamsadhwani swaras, GMPMG RGSRG climaxes in sh'bharaNam and kAmbOji, ragamaliga swaras in RTP having not even exhausted the RTP ragam, etc. I realise that a lot of my allergies have to do with kalpana swaras, which although I enjoy is probably the least important component of manodharmam for me.

arasi · Post by **arasi** » 14 Apr 2009, 09:29

Bilahari,
Yes! rAga AlApanai and wholesome neravals--and a substantial RTP are my cup of tea too. While I do like like a rAgamAikA RTPs, I do not like their impinging on the rAgam of choice.
While svarams impress me, I don't think they can bring out the bhAvam of a rAgam which is very essential for me. AlapanA and sAhityA do. Strangely enough, a well sung tAnam conveys more of bhAvam to me than svarams.
While svarams can dazzle you, you can grow weary of them if they go on and on. I don't think fireworks alone make a dIpAvali...

vganesh · Post by **vganesh** » 14 Apr 2009, 16:40

When I was young aalapana was very boring... I used to wonder why this mridangist and Violin players are keeping quite for such a long and only the vocalist is singing

Ofcourse even now also I do not know why somebody have such a long aalapana ( somebody can enlighten me

) but I just enjoy.

srikant1987 · Post by **srikant1987** » 14 Apr 2009, 17:18

vganesh wrote:I used to wonder why this mridangist and Violin players are keeping quite for such a long and only the vocalist is singing

I often wish violin players kept quiet during the alapanai.

rajaglan · Post by **rajaglan** » 14 Apr 2009, 20:23

srikant1987 wrote:
vganesh wrote:I used to wonder why this mridangist and Violin players are keeping quite for such a long and only the vocalist is singing
I often wish violin players kept quiet during the alapanai.

I agree with this when the violinist is intrusive. Otherwise fine.

srinisings · Post by **srinisings** » 14 Apr 2009, 21:12

I often wish violin players kept quiet during the alapanai

- I do too! Barring a few exceptions, Violionist (only accompaniment) produce a lot of undesired sounds while playing. That screeching noise, however feeble it might be,gets on my nerves. Its even more palpable when its an instrumental concert -say a mandolin or a veena concert.

What attracts me:

1. Instrumental concerts in general

2. RTPs - a.)Thanam, in particular. And if the thanam has a ragamalika, you made my day!. b.) Multi-raga pallavis. Like the famous 'SHANMUKAPRIYAranjani SAAMAganavinodhini SadhANANDHABHAIRAVI' RTP from Lalgudi Jayaraman. Just love the way he transitions from one raga to the other on the fly!

3. Fast paced kalpana swaras (I really lack the patience to listen to neraval)

4. An elaborate 'kuraippu'.

arasi · Post by **arasi** » 15 Apr 2009, 02:34

Interesting. You like instrumental concerts, yet do not like violin 'intrusion' in a vocal concert.
For me, not knowing a pallavi line or any kruti in an instrumental concert bugs me!

completelyclueless · Post by **completelyclueless** » 15 Apr 2009, 03:20

arasi said "While svarams impress me, I don't think they can bring out the bhAvam of a rAgam which is very essential for me. AlapanA and sAhityA do. Strangely enough, a well sung tAnam conveys more of bhAvam to me than svarams.
While svarams can dazzle you, you can grow weary of them if they go on and on. I don't think fireworks alone make a dIpAvali..."

I think slow speed swarams can sometimes also bring out raga bhava if sung well...for example Semmangudi's first kala swarams.

arasi · Post by **arasi** » 15 Apr 2009, 08:26

Completely clueless,
After saying all this, I don't know. If not 'completely', I am somewhat 'clueless' about which aspects of a concert are appealing to me, and why. The more I analyse it, the more clueles I get!
I am also clueless about how you chose your forum name. It is one of a kind, I agree.

Which brings me to the subject of forum names. I do not want to start a new thread on this because there are enough threads going on in the General Discussions section at the moment.
It is a well known fact that most of us covet VK's name. What could be better than his (yes, he is a male cuckoo) name on a music forum? Yet, we call him VK! Does it mean that we cannot be bothered with long names while typing and that's the reason why we shorten them? Qualitative names like yours can be amusing (braindrain, ignoramus, always evolving), but again they are elusive. Then there are crisp names with minimum vowels: srkris and such. cmlover became CML, and there is a cmloving too. I see several 'srini' containing names these days. The more the members, the more names we have to remember.
I hope new members would think of shorter forum names which don't need to be abbreviated

Purist · Post by **Purist** » 15 Apr 2009, 13:04

arasi wrote:Bilahari,
Yes! rAga AlApanai and wholesome neravals--and a substantial RTP are my cup of tea too. While I do like like a rAgamAikA RTPs, I do not like their impinging on the rAgam of choice.
While svarams impress me, I don't think they can bring out the bhAvam of a rAgam which is very essential for me. AlapanA and sAhityA do. Strangely enough, a well sung tAnam conveys more of bhAvam to me than svarams.
While svarams can dazzle you, you can grow weary of them if they go on and on. I don't think fireworks alone make a dIpAvali...

Bringing out bhavam in swaram singing is definitely possible. It depends on the artist's calibre.
While its lot more easier in chauka kalam there are some artists (like MMI, TKR, Somu ...) who
could do this even in madhayam kalam. As an illustration you can listen to TKR's Sabapathiku
(available on sangeethapriya) great nereval and swarams are 100% abhogi extract

rajaglan · Post by **rajaglan** » 15 Apr 2009, 17:29

arasi wrote:Interesting. You like instrumental concerts, yet do not like violin 'intrusion' in a vocal concert.
For me, not knowing a pallavi line or any kruti in an instrumental concert bugs me!

The first part ... yes. Sometime when i become conscious of that, it disturbs my enjoyment of the alapana.
But I have seen some violinists have this habit (It is a personal opinion so no names ).
In most concerts I am not conscious of this.

I liked chowdaiah's violin, because sometime he is ahead of the artist in manodharma.

The worst is playing mridhangam in thanam. What a distraction? I pity those rasigas in Kerala, but I guess
they are used to it.

visaalam · Post by **visaalam** » 15 Apr 2009, 19:05

srinisings wrote:I often wish violin players kept quiet during the alapanai

- I do too! Barring a few exceptions, Violionist (only accompaniment) produce a lot of undesired sounds while playing. That screeching noise, however feeble it might be,gets on my nerves.

True, improper bowing can create "wolf note" which is very high frequency resonance. It can really get on to nerves.

You dont hear wolf notes in violonists whose bowing technique is absolutely perfect. For example, you don't hear wolf note when Dr L Subramaniam or MSG or Mysore brothers play. I have heard wolf note in almost all other top violonists including Lalgudi.

coolkarni · Post by **coolkarni** » 15 Apr 2009, 19:24

arasi · Post by **arasi** » 15 Apr 2009, 20:13

Rhubarb pie moment, Cool? You like rhubarb? I do too. Used to grow it a million years ago!

srinisings · Post by **srinisings** » 15 Apr 2009, 21:38

visaalam wrote:
srinisings wrote:I often wish violin players kept quiet during the alapanai

- I do too! Barring a few exceptions, Violionist (only accompaniment) produce a lot of undesired sounds while playing. That screeching noise, however feeble it might be,gets on my nerves.
True, improper bowing can create "wolf note" which is very high frequency resonance. It can really get on to nerves.

You dont hear wolf notes in violonists whose bowing technique is absolutely perfect. For example, you don't hear wolf note when Dr L Subramaniam or MSG or Mysore brothers play. I have heard wolf note in almost all other top violonists including Lalgudi.

I couldn't agree more! Improper, harsh bowing leads to these 'wolf notes'. Many of us dont realize it may be becoz we got used to it. I am sure these harsh notes will be quite annoying to a foreign ear.

srinisings · Post by **srinisings** » 15 Apr 2009, 21:44

arasi wrote:Interesting. You like instrumental concerts, yet do not like violin 'intrusion' in a vocal concert.
For me, not knowing a pallavi line or any kruti in an instrumental concert bugs me!

Not just vocal concerts! To me, Violin accompaniment in any concert is just annoying because of the undesired sounds produced(there could b a few exceptions). It sounds totally INHARMONIOUS.

But I haven't had this problem in a violin concert, at least not much. The lead player's bowing is a bit 'civilized' if you will, and not harsh on my ears. (may be thats why he/she is the lead and not an accompaniment!)

rbharath · Post by **rbharath** » 15 Apr 2009, 22:21

erode14 wrote: have you ever come out of a concert in the middle, just because, you have heard a great piece and you don't want to feed your ears more as you are satisfied?

yes.
latest was yesterday. 14th april 09.
after vedavalli's kAmbhOji and srI raghuvara... i dint even want to listen to kAmbhOji svarams that followed

srikant1987 · Post by **srikant1987** » 15 Apr 2009, 23:19

srinisings wrote:But I haven't had this problem in a violin concert, at least not much. The lead player's bowing is a bit 'civilized' if you will, and not harsh on my ears. (may be thats why he/she is the lead and not an accompaniment!)

When accompanying, you need to keep your volume low (or so many rasikas say), and that might sometimes need one to do crazy things with one's bow, especially when the sound people and the singer aren't cooperative.

uthrabalaji · Post by **uthrabalaji** » 17 Apr 2009, 22:09

It differs with one's interest. Well, I look forward to a few things in a concert. A sruti bedam in alapana, RTP in ragas that have a melocholic shade, Ragamalika with surprising ragas and a summary of all ragas in reverse order (I just love those which my Guru Late Smt. Sulochana Pattabhi Raman taught us), tani if there are more percussion instruments on stage and a gripping thillana that would leave you breatheless.

What I dont like? Well, not much. Of course, rasikas (mostly above 60 mamis) who come dressed up as if attending a wedding, discussing with each other at the beginning of every song. But that which annoys me the most is when the violinist tries to show his/her supremacy over the singer. This doesnt mostly happen with seniors, but the upcoming artists suffer a lot. Much of their endearing sangatis get lost in a violinist's adhikaprasangithanam.

I have had such bitter experiences during my radio recordings. My Guru builds sangatis one above the other with such care that you have to wait for a raga-specific delivery only in the 4th or the 5th sangati. While I would be carefully reserving that sangati, the violinist would come up with that in the 2nd sangati itself while following me. It used to be so irritating but you cannot do anything.

erode14 · Post by **erode14** » 20 Apr 2009, 13:09

yes bharath... it happens... just like you fold the book in your hand after reading a weighty paragraph and start thinking, identifying your manas in that and all...