Amidst lively debates within and beyond India these perspectives on our shared legacy make interesting reading:
VainikaSavithri Rajan who believed that Tyagaraja, like other great men, was always meditating, but his medium of expression was nādam, “sound”.
In the introduction to his unfinished yet voluminous magnum opus Karunamirtha Sagaram, titled “The Dignity and Origin of music”, Abraham Pandither entices readers to embark on a virtual journey through time and space; a discovery of nature that for him would have gone hand in hand with musical evolution if not advanced civilization itself.
A summary of findings by archaeologists titled “How prehistoric societies were transformed by the sound of music”.
We are aware that the ultimate aim of every composer and musician is to achieve the coalescence, the essential factors of classical music namely bhava, raga and tala. | Learn more >>
Explore this wonderful realm in imaginative ways – always in accordance with your own creativity and feelings
Suggestions for widening the scope for the “Flow”-exercises offered in this course:
Alternate the singing of svara syllables with humming (-m): – lines wherein 3-2-3 svaras are highlighted become “3 svaras sung + 2 svaras hummed + 3 svaras sung” – lines wherein 8 svaras are highlighted become “4 svaras sung + 4 svaras hummed”
Instead of humming (-m), extend the vowel found in the preceding svara variant (-a, -i)
As always, “be patient” …
To get going, click on “Details” and enjoy your practice!
Details
Select one of the exercises offered here:
7 notes: Any sampurna (melakarta) raga
5 notes: raga Mohana
6 notes: raga Kuntalavarali
6 notes: ragas Sriranjani & Hamsanandi
Listen to Uma Ramasubramaniam demonstrating the svaras (notes) for the present raga(s) on Raga Surabhi >>
Practice with basic “Sa” = G# Note: this recording has no fifth note “Pa” (as advised for those janya ragas wherein “Pa” will not be sung or played) Download this audio file (2 MB, 2 min. mono) Credit: eSWAR / FS-3C Sruthi petti + Tanjore Tambura
Here comes another challenge
Details
Designed for anyone in search of new “Flow-” horizons through music:
Vary the vowels of svara syllables: –a, -i and -uyield ra-ri-ru, ga-gi-gu, ma-mi, dha-dhi-dhu, na-ni-nu.2
Examples – in raga Sankarabharanam (seven notes, mela 29), the variants sung are: “sa ri gu ma pa dhinu”3 – these variants also apply to many janya ragas like Hamsadhvani: “sa ri gu pa nu” (five notes) – in melakarta raga Gamanasrama (seven notes, mela 53), the corresponding variants are: “sa ragumi pa dhinu“ – its janya raga Hamsanandi (six notes) lacks pa: “sa ragumidhinu“ – other variants apply to janya raga Sriranjani: “sa ri gi ma dhini“ – the “parent raga” for Sriranjani (six notes) is Kharaharapriya (seven notes, mela 22) to which the following variants apply: “sa ri gima pa dhi ni”
To learn more about the association of sound with colour, search the internet using the term “synesthesia”; according to a source cited on Wikipedia “individuals rarely agree on what color a given sound is”. [↩]
These variations traditionally serve as memory aids (mnemonics) even if hardly used today: “a” for the lowest variant, “i” for the middle one, and “u” for the highest one, always depending on the melakarta raga a given janya raga is associated with. [↩]
Please remember: sa and pa never vary (though pa is sometimes omitted altogether); ri, ga, dha and ni have three variants each (-a, -i and -u); and ma has two variants (-a and -i). [↩]
Tambura and sruti petti: “Sa” = G# without PaTambura and sruti petti: “Sa” = G#Tambura and sruti petti: “Sa” = GTambura: “Sa” = F without PaTambura and sruti petti: “Sa” = FTambura and sruti petti: “Sa” = DTambura and sruti petti: “Sa” = D without PaSruti petti: “Sa” = C-sharpSruti petti: “Sa” = C without PaTambura and sruti petti: “Sa” = CTambura and sruti petti: “Sa” = A# (lower octave)
A combination of “Muki-Prana” Ragam – Tanam – Pallavi Concept and Pallavi lyrics by TR Sundaresan – Mridangam Tuned and sung by S Srivathsan
TR Sundaresan, on the occasion of India’s celebration into the entry of the 76th year of Independence, brings this humble presentation as a dedication to the country. Through the journey of Independent India there have been many great musicians who have contributed to Indian Classical music and its rich tradition.
The late Dr Sri Mangalampalli Balamuralikrishna’s contribution is incredible to this field of Art. One among his contribution is the Tala System he invented through the concept of ‘Muki’. ‘MUKI’ gives a different form of 175 Talas to Carnatic Music apart from the existing 175 Talas.
‘Muki’ is applied over the ‘Kriya – Prana’ of Tala. The ‘Sashabhtha Kriyas of the Tala is explored with the relevent five different kinds of “Gathi” ( acknowledged by him as the ‘MUKI‘) and the Nishabtha Kriyas remain as 4 Mathras throughout the Tala cycle per Kriya.
On the event of Dr Balamurslikrishna’s Anniversary TR Sundaresan takes the concept of ‘MUKI’ as a source of Inspiration to present a celebrating moment for the 76th year of Independent India. TR Sundaresan has taken the Ata Tala, which has two Lagu and two Drutams to explore this. The first Lagu with Tru Muki Trisra Jathi and the second Lagu with Pancha Muki in Kanda Jathi.
Two Drutams are set to Saptha Muki. In this Sundaresan has applied three different Mukis within the Tala Cycle and given a new Tala name called Triveni. This tala has 76 mathras per cycle to honor the 76th year of Independence. The lyrics for the Pallavi is written by Sundaresan himself to acknowledge Dr Balamuralikrisha on his remembrance day with the Tala Mudhra and Raga Mudhra to the lyrics. The lyrics are tuned by Vidwan S Srivatsan who will give vocal support for this Laya exploration.
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