for students and lovers of Carnatic music
Kalaimamani TR Sundaresan (Chennai) is a versatile percussionist with “A-grade” ranking at the national Indian broadcasting service (All India Radio). He is known for his mastery of several South Indian percussion instruments in addition to the Mridangam (double-sided drum), Ghatam (claypot), Kanjira (small tambourine), Morsing (Jew’s harp) and Konnakkol (rhythmic solmisation). The Kalaimamani title is the … Read more
“The most thorough study of Carnatic music is by Ludwig Pesch.” – Historian of religions and musicologist Guy L. Beck in “Hinduism and Music” (OXFORD HANDBOOKS ONLINE , 2014) “I frequently dip into your books when in need of some clarification. Marvellous work.” – Ramnarayan Venkatrama, Editor-in-Chief, SRUTI MAGAZINE (unsolicited response by email, 18 July 2013) “useful … Read more
a = middle octave (madhya sthayi)‘sa = higher octave (tara sthayi) The above svara pattern may be sung, hummed or practiced silently with any svara variants: those you are already familiar with (e.g. raga Mayamalavagaula, mela 15, raga Dhirasankarabharanam, mela 29, raga Mecakalyani, mela 65) or any other you want to practice. Enjoy practicing by … Read more
H. Ramachandra Shastry (1906-1992), a disciple of Palladam Sanjeeva Rao.1 From 1977 to 1992 he taught several flute students at Kalakshetra including the present author. OF BAMBOO AND MAGIC – A FLAUTIST AT EIGHTY* by Ludwig Pesch Sri H. Ramachandra Shastry, seniormost Carnatic musician and teacher at the international centre of arts, Kalakshetra, at Madras, completes … Read more
Here’s a delightful “flow-exercise” of a different kind: nadai in rupaka tala South Indian music has a vast repertory of compositions known as nadai (Tamil “gait, walk”) most students of south Indian rhythm (laya) should be familiar with; this one transcribed at the home of vidvan T.K. Ramakrishnan busy teaching a mridanga lesson with his … Read more
Ethnomusicology can be considered as the holistic and cultural study of music existing in various folk, tribal and other ethnic societies. Classical music is the most refined and sophisticated music to be found in the subcontinent of India. There are many other forms, however, which have a specific function in the society, and these are … Read more
Modules 1 – 12
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
raagam: hamsadhvaniAa: S R2 G3 P N3 S | Av: S N3 P G3 R2 S Having but 5 notes (instead of 7), this type of raga pattern is traditionally classified as being “derived” (janya) from a melakarta raga. More specifically, text books refer to any raga limited to 5 notes as audava raga. The above svara … Read more
a = middle octave (madhya sthayi)‘sa = higher octave (tara sthayi) The above svara pattern may be sung, hummed or practiced silently with any svara variants: those you are already familiar with (e.g. raga Mayamalavagaula, mela 15, raga Dhirasankarabharanam, mela 29, raga Mecakalyani, mela 65) or any other you want to practice. Enjoy practicing by … Read more