Noob question here! Do the Carantic swarasthanas really align well with the western 12-tone equal temperament? i.e. will the frequency of the tara sthayi shadjamam be twice that of the previous shadjamam?
This doesn't make sense that a music system that grew in isolation (at least until the contact with western musicians in the past couple of hundred years) will come up with the same primitives as another
For context, I'm a teenager who started somewhat early around 11 years ago. I'm the first person in my family to have learnt carnatic music for more than a couple of years.
I started kritis super late and I've never had anyone make me practice because nobody I around me knew the importance of practice. I was too lazy to practice on my own and I didn't realise that I had to practice. I am practicing now, and I realise that I'm so behind because I simply didn't practice.
I feel like I'm not at par with any of my peers. A lot of people around me learnt manodharma years and years ago and now they've advanced so much even though I could have been at par with them five years ago. I'm a beginner at manodharma and I know it will take me a while to catch up with any of them (if I ever do).
For example madurai somu I think has a lot of bhavam in his singing, while someone like tmk also sings with bhavam but it seems to be of a different kind.
What exactly is raga bhavam, is this something more evident in the alapana and is removed from the words and their meaning? The texture of how a raga is sung (specific modulation, phrasings)?
Other singers with a lot of bhavam obviously md ramanathan, musiri subramanian etc. How would you specifically categorise their bhavam?
Garuda Gamana https://youtu.be/dvMAy2TaiFo?si=CLkFkUX0099MY6xy
Bhavayami https://youtu.be/Evajptcwu7U?si=Ad22fyp-UE_6Fcxz
Ksheera sagara https://youtu.be/Wwav6nE9Ew0?si=kNwck2k1hzfpydQU
Jalaja bandu https://youtu.be/HR0p01UD670?si=Zg9r6PUiKw3Wxdd_
He is also an actor, music director and a Professor in Agriculture.
So, I am new to classical music and am just learning basics. My doubt is that Thodi ragam has lower ga. But when singing aarohanam and avarohanam, we say ga but the gamakam is ri and ma and does not have ga at all. Similarly kaanada also. During aarohanam, we say ga but actually sing ma ri ma ri in the gamaka.
So why do we say one swaram but sing another ? Also, technically, in the aarohana avarohana, there is no Ga at all then. Then where exactly do we sing the Ga of these ragas?? Please forgive me if I am making a mistake here, I am a novice, and I am genuinely confused. I would appreciate an insight into this. Kindly help me comprehend this concept.
hello everyone,
I recently posted on here about wanting to self-learn theory as a result of not having money and one person suggested that I look for a guru and also maybe ask in exchange lessons to work under this person. I really like this idea and would absolutely love to do that. I’m a clarinetist by trade and so I’d like to find Carnatic Clarinet gurus who I could learn from. I’m based in the US, and I have no problem traveling the world if it means I can learn Carnatic music and also have the benefits of being in a new country and all. Please if you know anybody send them my way!
Thank you so much for the help!
Anyone learning directly under Ranjani-Gayatri in this space or enrolled in this ? I know I should've posted this under resources flair, but wanted to discuss how classes with such experienced and busy vidwans/vidushis work. Also how much do they charge in comparison to the average? Just curious to know.
See below the questions, and post your score below! Strict honour system - do NOT use google, or any other internet source, and do NOT leave this page :)
I've been learning kanakana ruchirA in varALi for the past couple of weeks (it's the 2nd pancharatna kriti I'm learning), and while practising I figured I'd hear some recordings as well. Then I stumbled upon Dr. Balamurali Krishna's recording here and noticed that for the 7 charaNam in the whole kriti, his swaras and the general 'tune' itself are very vastly different from the typical tyAgarAja ArAdhanA festival rendition of the kriti (which is roughly what I'm being taught). Now, of course different performers will have different renditions of a song, but I'm hearing a fully changed version of a big chunk of the song for the first time in BMK's recording. Considering that of course the great BMK is part of the tyAgarAja paramparA as well and has perfect bhAva and pada-vichchEdana writ large, can I just chalk this up to creative independence, or is any rendition fine for it [or am I looking at this in a fully wrong angle]? I'm not going to perform this at a concert or anything, it's just what my teacher continued to after jagadAnanda kArakA.
hello everyone,
Im new to Carnatic music, making my switch over from western classical music. I would love to do more study of Carnatic music theory, the problem is that In low on money so I can’t stufy under a guru at the moment. I’m looking for a guru so we’ll see what happens. Within the mean time, what would you guys suggest is the best way to study theory? Thus far, I’ve just been singing compositions.
I should also mention that I’m looking to be a Carnatic Clarinetist as that is my instrument of choice. Hearing Natarajan play is a surreal feeling to me as a clarinetist because his play style is honestly fascinating. And quick side note, has anyone done the experimentation on making use of a standard clarinet bell instead of a Nadaswaram bell? If so how would you describe the differences in tone?
Thanks a bunch for the help!
I'm joining college within few days for engineering and I'm thinking of ways to balance both academics and music. I'm a carnatic flute performer and would like your suggestions for keeping up with both fields
Hi again! I have a small competition coming up and I want to go for any kruthi or any small kIrthanam (minimum duration of 5 minutes). I personally do not want to present very famous ones (For example: sIthammA mAyammA, bantureethi, nagumOmu, or the pancharatna kruthis or, the bigger varnams).
So I would be highly obliged if ya'll could suggest some underrated compositions (according to you), any language will do. Also if you could advise any improvisations in the same which you think would enhance the beauty of both the rAgam and the composition and hence highlight it.
Can be a huge list guys, I do not mind at all. Much appreciated. I will be genuinely happy!
Looking forward to all of your suggestions!! <3
Hello ! I have started trying Carnatic flute since about a month ago. However I am facing issues when playing the swaram since Madhya Pa and onwards.
Specifically, whenever I try to play them, I just drop down to Mandra Sthayi. The freq I could measure was proper 440Hz (it is a D scale flute, the manufacturer had mentioned A4 being tuned to 440Hz).
Sometimes, I can observe some freq at ~880Hz matching the 440 one but the sound is very unpleasant to hear and not at all like how it is supposed to be...
I am trying to keep my lip hole shape to be as minimum as possible but the best till now was to have both tones present equally....which still sounds very unlike a normal Pa.
Haven’t been able to figure out where this is from (see video from 27:42 onwards).
Hi everyone,
I’m currently pursuing my MSc in Clinical Psychology, and as someone who has also grown up learning Carnatic music, I’ve always been curious about the way music shapes us beyond performance, such as if it improves our attention, memory, mood regulation, etc.
I’m currently researching that in my dissertation and I’m looking for vocalists trained in India forms of music between the age 18-35 as participants.
The criteria is atleast three years of formal learning and engagement in practice.
It will take you around 15 minutes to complete the survey, which will consist of a computerised memory task and a few short questionnaires.
It would genuinely mean a lot to me to have musicians from this community take part in the research. I really hope this study can contribute, even in a small way, to understanding Indian classical music not only as an art form, but also as how it contributes to well being :)
Link to the survey has been attached
I am a beginner (I am in varnams currently). I am 20. And I do not really like what I am doing right now career wise and I am really unsure and insecure and unhappy about it. I really wanna go for music since it has always been my thing ever since I could recall. Father says that it will provide no financial security unless I am really good at it and I really know what I am doing. I wanna do music so bad, I'd just sit and sing for the entire day than to sit at a desk and stare at a screen from 9-5. Anybody who have any thoughts? It is not really about earning money from it, it's just that I want to do something in which I am really keen at and which genuinely makes me happy.
Any suggestions/thoughts/recommendations. Positive criticism accepted 😄 Really looking forward to it!
Hi im 20F, I restarted learning Carnatic music 6 months ago.... I learnt carnatic music for a few yrs before covid and finished my junior exam during covid without going to class for a year... and I barely practiced or put in any efforts the whole time. Well, now i took it up again and have been taking senior classes for the last 6 months and actually practicing everyday.
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I want to know if sound anywhere close to be good enough for learning senior portions. I struggle with high notes and I dont have a feminine/ high pitched voice.
I am starting to doubt if I'll ever sound good/ melodious.
Here's a vocaroo link of me singing. Any advice on my singing?? Thank you in advance
Hello, I am looking for a Tyagaraja swamy idol for my home. Please help me find, thank you!
I see a pattern with Darbar (GGRS), Reetigowla (SGRG, NNS), Sree (RGRS), ...
Thoughts? Are there more such ragas you can think of?
Exactly as the title states. I have noticed that many of the artists I have been listening to recently are quite young, artists such as Ramana Balachandra, Ramakrishna Murti, Vinay Varanasi (although, he's not really a carnatic musician per say). Who are some other Gen Z (15-30 y.o) artists who you all would recommend?