for students and lovers of Carnatic music
If there is a single feature of Carnatic music to account for its mesmerizing effect on listeners it may well be a feature known as kalapramanam: practicing rhythm (laya)1 and performing in the the “right tempo”2 (kālapramānam) which, once chosen, remains even (until the piece is concluded). Adopting it as part of regular practice enables … Read more
Martin Spaink (1961-2020) earned a name for himself as a leading tanpura expert. Read more on the finer points of tanpura playing, stringing, tuning, maintenance, restoration and playing techniques. | Read his article on fine-tuning of a tanpura | Backup PDF (100 KB) >>
Colours, moods and feelings have been favourite subjects in the context of raga, literally “colour, beauty, pleasure, passion and compassion”.1 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: To get going, click on “Details” … Read more
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. We know bhava literally means, expression, the expression of existence. In a composition, bhava encompasses the aspects rasa, raga1 and laya and for a musical composition to … Read more
Ludwig Pesch, The Illustrated Companion to South Indian Classical Music (New Delhi: Oxford University Press, 1999) is a lengthy introduction to Carnatic music, with a useful chapter on voice training. John Potter and Neil Sorrell, A History of Singing. New York: Cambridge University Press, 2012. (Sources and references, p. 310)isbn 9780521817059
The above exercise is inspired by the eminent violin duo Lalgudi G.J.R. Krishnan & Lalgudi Vijayalakshmi rendering a varnam by their late father Lalgudi Shri. G Jayaraman: raagam: valaci (valaji), 16 cakravAkam janyaAa: S G3 P D2 N2 S | Av: S N2 D2 P G3 S
Off the beaten track yet more than a detour, and fun: with your own voice (even if quietly or just imagined) and hands. In short, this set of exercises provides a bridge for anyone keen on combining both, traditional and unconventional learning opportunities; even if for no more than getting immersed or enjoying a break … Read more
Raga, Tala and Pedagogy: On the First Steps in Carnatic Music by Jeremy Woodruff The system by which any music is taught is the key to what is preserved, and how, in a musical tradition. I chose to research the basics of instruction in South India,both as an entry point for some practical knowledge on … Read more
Whatever one’s personal background and aspirations may be, Carnatic music remains a quest for undiluted aesthetic experience (rasa). Three basic concepts are essential. Read the brief introduction for more! Also read the course overview if you prefer a more systematic approach.