HINDUSTANI MUSIC |
CARNATIC MUSIC |
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Carnatic VocalCarnatic music is one of world's oldest and richest musical traditions, originating in the fertile plains of the Cauvery delta and flourishing through the ages. It primarily comprises a monophonic song based on improvised variations. The Melody infused ragas called 'Alapana' are introduced and developed gradually, with the embellishment much faster and shorter. It begins with 'Varnam' a warm up of sort for the musicians, followed by exchange of ragas and thalas, intermixed with krithis and pallavi. Emphasis is more on the voice than on instrument as it is said to have the ability to bring out the graduation of the composition. The confluence of the Ragas and the Thalas have from early times been providing us with melodious patterns which when rendered with bhava (feeling) is an experience that has to be had to be believed. The Trinities of Carnatic Music, Saint Thyagaraja, Muthuswamy Dikshithar and Syama Shastri composed songs that have explored & exhibited the depth and the rich feeling in this form. The other notable composers are Patnam Subramaniya Iyer, Papanasam Sivan, Raja Swathi Thirunal, Annamacharyar, Purandaradasar. There are various stages of learning Carnatic music, starting from the Swaravali (Sarali Varisai) which train and tune the voice and the mind. Purandaradasa developed a system of teaching Carnatic music, starting with Sarali Varisai in Mayamalavagowlai ragam and gradually built up till Gitam. This pattern is being followed even today. Purandaradasa was the trendsetter in developing a teaching methodology for Carnatic music and is hailed as the "Father of Carnatic music". A systematic learning of Carnatic music under a competent teacher enables one to sing in a disciplined manner with adherence to the laid down rules with an understanding of the concept of Carnatic music. |
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Carnatic ViolinThe violin may have been introduced to India in and around 1790. Baluswami Dikshitar, brother of renowned Carnatic Composer Muthuswami Dikshitar, learned and adapted the instrument to suit Carnatic Music. Over the course of time, the violin has become an integral part in any classical kutcheri (Carnatic classical concert). The very reason for choosing violin as the “pakka vādya” (accompanying instrument) is for its tonal characteristics which closely mimics a human voice. A violinist should develop “listening” and “being accurate” skills. These are by far the two most important qualities very much needed for being a good violinist ”. The reason is very simple since the music is performed without any written sheet music/notation or any rehearsals prior to a performance. So understanding and identifying what the vocalist is singing requires a great deal of sharp listening skills and agility to reproduce the same in a very short period of time. A solo violinist will require a great deal of both rhythmic (usually mrudangam lessons) and musical knowledge since we need to understand how a “Mukthāya”, “Swaraprasthāra” , “Neraval” and “Tani Āvarthanam” works since they are purely based on “Mahodharma” (improvisation) of the artist. A solo violinist can be thought of as a vocalist but without the “Sāhitya” or the lyrics. The main intention would be on depicting or playing the lyrics through the instrument without harming the melody with which it was composed. This is achieved by controlling the bowing. This requires complete mastery over the instrument, bowing and the lyrics itself. The best example for this quality would be none other than the stalwarts, Lalgudi G Jayaram and MS Gopalakrishnan, two of the greatest violinists who are known for their melodic intricacies and rhythmic bowing techniques respectively. To achieve mastery of Violin whether playing as an accompanying artist or a solo violin performer, a combination of high quality technique and consistent practice over several years is required |
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TablaTabla is the modern caretaker of an ancient rhythmic tradition that is perhaps 5000 years old. It is the main rythmic instrument in North Indian classical music, but its versatility in all musical styles has enabled it to become the most popular percussion instrument in all of India. Its music involves skillfully composed rhythmic patterns, intriguing compositions, and complex beat structures. The tabla is a highly versatile percussion instrument, which is played solo or in accompaniment with just about any musical instrument. The level of sophistication and tonal beauty it possesses has elevated the instrument to an unmatched status in the world of percussion. The study of tabla is in the oral tradition and is a continuation of the pakhawaj repertoire, which is thousands of years old, and has developed into a supremely refined style, technique, and literature. The vast oral literature of drumming is divided into two categories, fixed rhythmic compositions and theme and variations. In ancient times, a language was developed using words called bols that were descriptive of the sounds that the drum makes. Some of these words are rooted in Sanskrit and are derived from the vibrations of the universe. Today, there are about sixteen different sounds or bols which are arranged like poetry, first in phrases, then sentences, followed by paragraphs, chapters, and then novels. These literary references are the fixed compositions that have specific names, categories, and meaning to tabla players. A person who studies tabla has to memorize an enormous number of these compositions, and they are preserved in notebooks with only the words and no musical notations. These words or bols are enough information for a tabla player to perform the music. The other technique tabla players use is a theme and variations technique which includes improvisation. An enormous amount of practice is necessary to be a proficient tabla player. All the professional tabla players today and throughout history have been through intense training, which is why there is a very real common respect and spirituality amongst players who achieve an advanced level of performance. |
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Hindustani VocalIndian music has been enriched over the past several centuries by different flavors of Gharanas and influences of social cultures. There are various types of light classical music - Thumri, Jhoola, Sawan, Dadra, Hori, Chaiti, Kajri, etc. All these have a significant role in shaping modern Hindustani Vocal music which are mostly based on time, emotion, rasa, affection, love and devotion. It’s nature varies from Gharana to Gharana and some time these are complied with native folks tune with specific messages. Thumri is a short elaboration of semi classical rendition which is based on the romantic devotional literature inspired by Radha- Krishna love theme. It has another name - Sringar. Specifically, using of words is extremely soothing and meaningful here. Dadra emphasizes on natures beauty and human characters in socio cultural aspect in Indian society. Here, using of words is much lighter and faster than Thumri. Chaity songs reflect the mood of summer in the month of Chaitra. Same way, Hori symbolizes festival of color called Holi. It’s being said that Rainy season is the season of creation, Love and Romance. This season has gifted us many forms of music – Kajri, Jhoola, Sawan and all these are influenced by rainy reason. Jhoola describes the romantic story of Radha Krishna in swing, Sawan describes the beauty of nature than human emotions, Kajri reflects the separation in love. Systematic learning of Hindustani music under a competent teacher enables one to sing in a disciplined manner with adherence to the laid down rules with an understanding of the concept of Hindustani music. |
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Carnatic Vocal for Tiny Tots (4.5 - 6 yr olds)Carnatic music is one of world's oldest and richest musical traditions, originating in the fertile plains of the Cauvery delta and flourishing through the ages. It primarily comprises a monophonic song based on improvised variations. The Melody infused ragas called 'Alapana' are introduced and developed gradually, with the embellishment much faster and shorter. It begins with 'Varnam' a warm up of sort for the musicians, followed by exchange of ragas and thalas, intermixed with krithis and pallavi. Emphasis is more on the voice than on instrument as it is said to have the ability to bring out the graduation of the composition. The confluence of the Ragas and the Thalas have from early times been providing us with melodious patterns which when rendered with bhava (feeling) is an experience that has to be had to be believed.
The Trinities of Carnatic Music, Saint Thyagaraja, Muthuswamy Dikshithar and Syama Shastri composed songs that have explored & exhibited the depth and the rich feeling in this form. The other notable composers are Patnam Subramaniya Iyer, Papanasam Sivan, Raja Swathi Thirunal, Annamacharyar, Purandaradasar. There are various stages of learning Carnatic music, starting from the Swaravali (Sarali Varisai) which train and tune the voice and the mind. Purandaradasa developed a system of teaching Carnatic music, starting with Sarali Varisai in Mayamalavagowlai ragam and gradually built up till Gitam. This pattern is being followed even today. Purandaradasa was the trendsetter in developing a teaching methodology for Carnatic music and is hailed as the "Father of Carnatic music". A systematic learning of Carnatic music under a competent teacher enables one to sing in a disciplined manner with adherence to the laid down rules with an understanding of the concept of Carnatic music. |
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VeenaVeena, Veena, Veena.....this word itself sounds sweet, pleasant & musical. While referring to the musical instruments from time of yore, we are used to the three main musical instruments as Veena, Venu, Mrudangam. While Veena (flute) represent the string instrument, Venu represents the wind instrument & Mrudangam represents the percussion instrument. These three type of instruments are termed as “ Tata,” Suchira”, and “Avanaddha (Taadana).
Right from the Vedic ages Veena has been acclaimed as the king of the instruments and is believed to be the only instrument capable of producing music closest to the vocal rendering. It has been glorified to such an extent that it is deemed an instrument of the Gods and in fact an incarnation of the God. This may be the reason why the Goddess of learning, Saraswati is depicted and adorned with a Veena & called “Veena-Pani". As all the deities reside in Veena it is Sarva Mangala, because all sins are driven away.“INDIRA PATRIKAA BRAHMA TUMBURNAABHIHI SARASWATEE-DORIKO VAASUKIR JEEVAH SUDHAA MSUH SAURIKA RAVIH-The above Verse describes the deities and their places in Veena. From the time when Vedas were created, a Veena player has been known to be the master of Sruthis and Veena was an instrument of choice when chanting “ Veda- Mantras” especially in Sama-Veda. Over the ages Veena developed to consist of 24 frets with 4 strings along the frets and 3 strings at the side. The 4 strings depict the 4 Vedas - 1st String/Sarini: Rigvada; 2nd String/Panchama: Yajurveda; 3rd String/Mandra: Samaveda; 4th String/Anu Mandra: Atharvaveda. All the 4 strings are said to have ”shudda satva guna". The importance of 24 frets comes due to the sound (Nada) that is produced from them. From time immemorial Veena has been the guiding star for the development of Indian Music in general. In fact there are many resemblances between the human body (God made Veena) and man made Veena. These secrets are revealed in a book by name, “SANDHYA VANDANEEYA TATVARTHA” and “VEDA PRAKASIKE” written and published by Mr. YEDA TOREY SUBRAMANYA SARMA in the year 1936. The human back-bone (Spinal Chord) stands straight from the Mooladhara (the seat of the body) up to the head. In the top of the head exists the Brahma Randhra. Just like the 24 frets of the Veena, human back bone has 24 divisions. It is said that it is not enough to merely to know how to play Veena but one should know the secrets of the instrument and how it responds to a devoted votary. |
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