for students and lovers of Carnatic music
The four strings of the tambura that provide sruthi or the basic swara (pitch) for musicians are considered the life force for any melodic exercise. Fixed in jack wood to enhance the naada, yesteryear musicians were stuck to this pitch provider because there were no alternatives. […] While many are comfortable with the electronic gadget … Read more
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
South Indian conventions (raga names & svara notation): karnATik.com | Guide >> raagam: kuntalavarALiAa: S M1 P D2 N2 D2 S | Av: S N2 D2 P M1 S If a raga1 constitutes more than mere arrangements of notes derived from a given scale, this is due to the mood it evokes in listeners from different backgrounds. This shared experience is … Read more
South Indian conventions (raga names & svara notation): karnATik.com | Guide >> raagam: mOhanakalyANiAa: S R2 G3 P D2 S | Av: S N3 D2 P M2 G3 R2 S The above exercise pattern may also be applied to raagam: bilahari | More details: songs listed under raga Bilahari >>Aa: S R2 G3 P D2 S | Av: S N3 … Read more
The most rewarding task for teachers and performers may well be to convey Tyagaraja’s last message to his disciples and the world, one that may liberate us by letting go of artificially separatist views of culture, creed and nature as well (given the multiple crises humankind is faced with on a daily basis): Paramātma is brightly shining … Read more