Gamaka determines the character of each raga in vocal and instrumental music

By N S Ramachandran (University of Madras, 1938) | Compositions >> Gamaka has been defined by Sarngadeva and others as the ornamentation of a note by shaking it. But evidence from their works can be cited to show that the idea of gamaka is more extensive than the connotation of this definition; it has been … Read more

Flow | The right tempo or “kalapramanam”

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

What’s the difference between Hindustani and Carnatic music?

At first, this question seems easy to answer: just watch performers from either strand of Indian music and you’ll know Which is Which, merely going by the instruments in use, or how they dress and watching the body language involved: harmonium or sarangi vs. violin for melodic accompaniment for most vocal recitals, and tabla drums … Read more

Flow | Moods, feelings and colours

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