Rama Ravi, Carnatica
Rama Ravi & Nandita Ravi - M A Krishnaswamy - K Arun Prakash
Carnatica
25 Dec 09. 10:45 am
The theme of the programme was 'kAla pramANam'
evvari bOdana - AbhOgi - Adi - PSI
In the mordern concert tradition, it is prefered to start a concert with a varnam and quick song on probably Lord Ganesha, with sometimes a quick round of svarams.
The concept of slow song like 'gajavadaAnA sammodita' in tODi or madhyama sruti kriti like 'hastivadanAya' is not known and will it suit to start a concert that way?
srI mahA gaNapatim - aTANA - Adi - JCW
mApAla velasi - asAvEri - Adi - T
The kAlapramANam is very important for sangeetham and sahitya bhavam. It depends on the melody of the ragam, structure of the composition, lyrics and other factors too. Ragams are classified according to the gamakkams they take as 'sarva svara gamakka ragams', 'ardha kampita ragams', 'kampa heena ragams' and this also decides the kalapramanam.
Ragams like yadukula kambhoji and devagAndhari are preferably taken up in slow pace to give more melody.
lesser number of words and long syllables warrant slow pace, more wordy pieces might sound better in fast pace. sahitya bhavam and the theme of the song should also be considered.
Illustration of sahitya bhavam governing kAlapramANam with 2 kritis in kEdAram
though kEdAram is probably a faster ragam, the theme of the song and the cosmic dance and other descriptions of 'Ananda naTana prakAsam' warrant a slow pace.
The violinst mentioned that it is believed that the antara gAndhAram gives some energy and the suddha gAndhAram is somewhat slow and sober. Hence it was considered more auspicious to start a concert with a ragam that has antara gAndhAram.
Ananda naTana prakAsam - kEdAram - misra cApu - MD (RS)
A vocalist needs a very deep depth of the voice to sustain slower tempo of the song. MDR probably was the best for this.
To show a contrast, a song that calls everybody for have darshan of the Lord Nataraja and is in a peppy mood.
ellOrum vArungaL - kEdAram - Adi - GKB
The mridangist made a mention of the need to need to play sticking to the vocalist and their music. Also, knowledge of the kritis for the percussionist is very important and it is tough to actually get the correct timing of the vocalist. The expression 'kavvi vaasikkaradu' was used.
There was a question about the need for cittai svarams. The vocalist mentioned they are supposed to be decorative and the violinst also added that some musicians like TMT believed that it was an easy tool to teach svara singing to students.
The cittaiswaram of gajavadanA in tODi and the svara sAhityam of srI kAmAkshi in vasanta were both rendered to show this idea.
kOrina varamu - rAmapriyA - rUpakam - PSI
tanayuni brOva - bhairavi - Adi - T (RNST)
vazhi maraittirukkudE - nATTaikuranji - misra cApu
tAru mARu - nATTaikuranji - Adi
The padam and javali are again sung for the change of tempo. Like the 'bade khayal' and 'chote khayal' of hindustani music, singing a padam and javali in the same ragam was practiced in the past.
Carnatica
25 Dec 09. 10:45 am
The theme of the programme was 'kAla pramANam'
evvari bOdana - AbhOgi - Adi - PSI
In the mordern concert tradition, it is prefered to start a concert with a varnam and quick song on probably Lord Ganesha, with sometimes a quick round of svarams.
The concept of slow song like 'gajavadaAnA sammodita' in tODi or madhyama sruti kriti like 'hastivadanAya' is not known and will it suit to start a concert that way?
srI mahA gaNapatim - aTANA - Adi - JCW
mApAla velasi - asAvEri - Adi - T
The kAlapramANam is very important for sangeetham and sahitya bhavam. It depends on the melody of the ragam, structure of the composition, lyrics and other factors too. Ragams are classified according to the gamakkams they take as 'sarva svara gamakka ragams', 'ardha kampita ragams', 'kampa heena ragams' and this also decides the kalapramanam.
Ragams like yadukula kambhoji and devagAndhari are preferably taken up in slow pace to give more melody.
lesser number of words and long syllables warrant slow pace, more wordy pieces might sound better in fast pace. sahitya bhavam and the theme of the song should also be considered.
Illustration of sahitya bhavam governing kAlapramANam with 2 kritis in kEdAram
though kEdAram is probably a faster ragam, the theme of the song and the cosmic dance and other descriptions of 'Ananda naTana prakAsam' warrant a slow pace.
The violinst mentioned that it is believed that the antara gAndhAram gives some energy and the suddha gAndhAram is somewhat slow and sober. Hence it was considered more auspicious to start a concert with a ragam that has antara gAndhAram.
Ananda naTana prakAsam - kEdAram - misra cApu - MD (RS)
A vocalist needs a very deep depth of the voice to sustain slower tempo of the song. MDR probably was the best for this.
To show a contrast, a song that calls everybody for have darshan of the Lord Nataraja and is in a peppy mood.
ellOrum vArungaL - kEdAram - Adi - GKB
The mridangist made a mention of the need to need to play sticking to the vocalist and their music. Also, knowledge of the kritis for the percussionist is very important and it is tough to actually get the correct timing of the vocalist. The expression 'kavvi vaasikkaradu' was used.
There was a question about the need for cittai svarams. The vocalist mentioned they are supposed to be decorative and the violinst also added that some musicians like TMT believed that it was an easy tool to teach svara singing to students.
The cittaiswaram of gajavadanA in tODi and the svara sAhityam of srI kAmAkshi in vasanta were both rendered to show this idea.
kOrina varamu - rAmapriyA - rUpakam - PSI
tanayuni brOva - bhairavi - Adi - T (RNST)
vazhi maraittirukkudE - nATTaikuranji - misra cApu
tAru mARu - nATTaikuranji - Adi
The padam and javali are again sung for the change of tempo. Like the 'bade khayal' and 'chote khayal' of hindustani music, singing a padam and javali in the same ragam was practiced in the past.
posted by bharath at 8:33 PM
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