Topic started by Ravi Kiran (@ 202.54.26.125) on Tue May 2 11:50:58 .
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Swara singing is as such a relatively recent addition |
Responses:
- From: IR (@ columbo.lifeworks.com)
on: Tue May 2 11:57:53 EDT 2000
There are different styles of Swara Singing and each style is unique and beautiful...
sarvalaghu - no one to beat Semmangudi mama
Kanakku - TNS
konashtai - our dear BMK :::)))
Lovely patterns - Ramani, MSG, KVN
- From: Ravi Kiran (@ 202.54.26.125)
on: Tue May 2 12:04:03 EDT 2000
what i am more interested in is:
does the audience prefer a particular style
in general or does it depend on the manodharma
of the singer.
if you consider TNS, i doubt if more than a handful
among the audience would be understanding what is
going on on stage - but still, one feels that
they are enjoying it.
sarvalaghu has such a natural flow in it.
in fact, i have heard musicians opine that sarvalaghu
singing is tougher than kanakku because everything
has to flow then and there and not practised
before hand.
- From: narayanan (@ 195.224.238.98)
on: Tue May 2 12:06:27 EDT 2000
IR:
Sarvalagu: SSI has stiff competiton from MMI when it comes to Sarvalagu swaram.
Kanakku swaram : I have not seen anybody doing more kanakku than Chengalpet Ranganathan. (TNS ku kollu thaaththaa)
Konashtai : I cant agree more :-0)))
Patterns :- Semmangudi. You can see all sorts of Jhandai/sarali and other varisais in his swaras.
I dont think instrumentalists should be given much credit here. They just play the swara. They do not have the pressure of spelling the swara. So
even if he thinks of "Ri" and plays "Ga" it is okay if the Raga allows it. The same does not apply to a vocalist.
- From: Ravi Kiran (@ 202.54.26.125)
on: Tue May 2 12:11:20 EDT 2000
but there is also an argument that sarvalaghu
might become monotonous and does not involve any
coordination with the mridangist.
i, ofcourse feel that anyone who has heard SSI
would disagree with this.
- From: Nadopasaka (@ ahppp35.buffnet.net)
on: Tue May 2 12:27:44 EDT 2000
Kanakku intricacies of mridangam are also often lost on a majority of audiences. Actually, with TNS' recent US concerts (maybe others, as well ) I am positive people with very little understanding of music abound in the audience. Connoisseurs, by definition, will be few in number. Whether they can dictate the course of a kutchery is difficult to say. But the artiste should not sacrifice basic principles to attract large crowds. (maybe this is impossible)
- From: Ravi Kiran (@ 202.54.26.125)
on: Tue May 2 12:31:59 EDT 2000
what about the argument that says that appreciation
for classical music(or any other art for that matter)
has to be cultivated over a period of time.
so, may be, if given the exposure, the number
of people appreciating the intricacies of kanakku
in singing or mridhangam (especially mridhangam)
might increase.
- From: haris (@ inet-fw4-o.oracle.com)
on: Tue May 2 13:07:14 EDT 2000
what about TVS and Mandolin srini?
i have heard GNB singing swarams unbelievably fast.. subbudu has praised mand. srinis' 'kanakku' and had once called him a computer ( in that..) .
- From: Vasu (@ 167.austin-08-09rs.tx.dial-access.att.net)
on: Tue May 2 20:48:16 EDT 2000
Can someone please explain what is sarvalaghu? Is kanakku something to do with taalams? thanks!
- From: suhas (@ 203.197.56.146)
on: Wed May 3 03:17:46 EDT 2000
Yes And I would also like to know all the meaning of the other terms discussed konashtai,poruuttam etc.
Please Oblidge.
Thanks
- From: narayanan (@ 195.224.238.98)
on: Wed May 3 07:19:22 EDT 2000
Vasu/suhas:
Sarvalagu Swaram is the free form of performing Kalpana swaram. The only rules are
a)The swarams must be within the scope of the raga
b)The Euppu must be proper (eduppu of the keerthanai)
This is the most common "form" of performing swaras.
Kanakku is to do with manipulation of thalam. For example
Adi Talam has 8 beats. If a thisra kanakku (multiples of three) is done, this would fit into 3 complete cycles of adithalam (8x3=24 and 3x8=24). This is just one example. There can be any number of combinations. The swara pattenrs are formed as per the calculation and performed. Some artists perform this extempore (seshu, Chengalpet Ranganathan). Many practise and present :-))
Kanakku swarams is normally finished with something called as "Korvais" which are build patterns of swaras in proper structure. These korvais can normally be observed in mridangam thanis. The jathi patterns are replaced with swaras.
- From: Ravi Kiran (@ 202.54.26.125)
on: Wed May 3 08:38:06 EDT 2000
it can be mentioned that palghat mani iyer
was very much against vocalists using
korvais (especially the 'thandinginathom' variety)
in their swara prastharam.
- From: S (@ wwwgate2.motorola.com)
on: Thu May 4 09:29:35 EDT 2000
Layam related intricacies are welcome when presented by competent people who r capable of tempo-tight melodious presentations; purity of sruti/swarasthanam, and fidelity to talam ( I mention even talam because a few upcoming musicians try to present complicated korvais while their sarvalaghukalapramana-suddham itself is suspect! ) are basics which should never be compromised. In addition, it is highly desirable that all such intricacies should be melodious ( aesthetic, with gamaka-suddham ). Some accompanists grasp complexities instantly - recordings where Lalgudi has accompanied Alathur ( and reproduced elegantly their pallavis with trikalam etc) , Mudikondan ( simhanandana tala pallavi ) come to mind. Of the present day violinists, I find Mysore Nagaraj among others quite sharp in instantly reproducing korvais.
It is not that everyone can perform nadaibhedams in swaraprastaram. People who cannot do so without demonstrating strain or tension should avoid such exercises. Ravi's comment was that "sarvalaghu .... does not involve any
coordination with the mridangist"; excessive kanakku may also result in derailing the mridangist when he is unprepared. Personally, I feel a judicious mix between sarvalaghu and kanakku is the best. Poruthams [ 'apt'(!) patterns ] are also welcome. Kanakku and porutham should not seem to be appear to be learned by rote, or be presented as dry exercises.
- From: charangi.com (@ qdsl153.sttl.uswest.net)
on: Thu May 4 10:08:56 EDT 2000
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- From: haris (@ inet-fw3-o.oracle.com)
on: Thu May 4 13:43:26 EDT 2000
charangi.com,
you need to worry about copy rights
???@#$$
- From: Nadopasaka (@ aappp1.buffnet.net)
on: Wed May 17 07:48:53 EDT 2000
>>> Swara singing is as such a relatively recent addition <<<
I wonder if this related to the rise of the violin's stature and the fact that most violinists ( Ok maybe not the Lalgudis ) , maybe also flutists use swaras rather than sahityam in kritis. Is the same true for vainikas ?
- From: nick (@ host.sumitomomarine.co.uk)
on: Wed May 17 12:24:24 EDT 2000
I don't think this question got answered...
savalaghu... a basic rythmic accompaniment on the mridangam simply following the structure of the thalam, like dividing eight into 4s and 2s rather than something more complex like 5s and 3s.
Konakku... sometimes used for the vocal language of percussion, sometimes for the calculations made to make this work out.
- From: nick (@ host.sumitomomarine.co.uk)
on: Tue May 23 12:16:16 EDT 2000
"korvais (especially the 'thandinginathom' variety)"
... Isn't a korvai by definition a composition using ThaDhiGhiNaThom sequence?
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