Bommalattam, Nadhaswaram – virtual concert.

August 26, 2020 at 9:41 pm (Uncategorized)
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Performing artists, of all disciplines, all over the world, from classical arts, to hip-hop to broadway have been impacted by covid. Artists practicing some of the traditional art forms which were not commercially successful and endangered, even in normal times are facing more hardship now with Covid restrictions threatening their livelihood and survival. They have been keeping the traditional arts alive, even while facing economic poverty. during pre-covid times.

Traditional Nadaswaram artists depend on weddings and temple festivals, for their income. Nadaswaram music is known as mangala isai, very auspicious, that has a special place in temple festivals, weddings, house warming ceremonies and many more occasions.

Another artist group is the puppet artists known as Bommalattam in Tamil who depend mostly on temple festivals, religious festivals and community festivals for their livelihood.

These artists have lost their income with temples closed and weddings cancelled. With no means to provide for their family, they are not looking for charity or handouts but opportunities to perform their art and earn their livelihood.  They need financial support now more than ever.

Paallam Arts, an organization to promote Indian arts, is hosting a two day virtual event to support these artists, on Augest 29 and August 30, 2020 .

https://www.tickettailor.com/events/paallamarts/404680?fbclid=IwAR023o0nRUwv3kfTELGNMDdA3Lt3aYOrEQ-a7KyLO0C5IEWF14AOHC4gnlU

Kozhukattai Recipe | How to make Kozhukattai with Coconut Filling ?

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Scheme of Swarams

February 17, 2012 at 12:02 am (Uncategorized)
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Scheme of Swarams

Carnatic music is almost as complex as our life. We enjoy and love the beauty of the music form at the same time trying to comprehend all the myriad grammar that defines it.

When we first learn caranatic music we are taught only the 12 swarams till we complete geethams and the books have only the 1st & 2nd variety (ex:R1, R2) for each swaram.

We see the arohanam & avarohanam  for geethams & varanams in books listing only the swarams that has identifiable physical position.

R1- Suddha Rishabham; R2- Chathusruthi Rishabham; G1 – Suddha Gandharam, G2-Sadharana Gandharam; D1 – Suddha Dhaivatham; D2-Chathusruthi Dhaivatham; N1 – Kaisiki Nishadham; N2- Kakali Nishadham.

Subsequently when we move on to Kirthanais we come across R3, G3, D3, & N3 which baffles most students.

here is an example…

While in the varnam book the arohanam & avarohanam for the ragam Shankarabaranam is given as

S, R2, G2, M1, P, D2, N2, S / S,  N2, D2, P, M1, G2, R2 S

in some kirthanai books and in most websites it is given as

S, R2, G3, M1, P, D2, N3, S / S, N3, D2, P, M1, G3, R2 S

Which is right & which is wrong? Both are correct! Really?

The swarams for Shanakarabaranam are

Shadjam; Chathusruthi Rishabham, Anthara Gandharam, Suddha Madhyamam, Panchamam,  Chathusruthi Dhaivatham,  Kakali Nishadham

Since we do not normally learn any ragams that has Shatsruthi Rishabham,  Suddha Gandharam,  Shatsruthi Dhaivatham,  Suddha Nishadham, until we reach Kirthanais we do not come across the third variety of R, G, D & N.

Carnatic music follows a 16 swarams scheme, though there are only 12 identifiable positions on an instrument like a veena where the frets for each swaram are clearly marked just like a piano. The other 4 swarams share their places with swarams that already has an identifiable position.

Here are the swarams under the 16 swarams scheme

Sa (Shadjam)  -1

Ri (Rishabham) – 3 -Suddha Rishabham;  Chathusruthi Rishabham, Shatsruthi Rishabham

Ga (Gandharam)- 3 – Suddha Gandharam, Sadharana Gandharam;  Anthara Gandharam

Ma (Madhyamam) -2 -Suddha Madhyamam; Prathi Madhyamam

Pa (Panchamam) -1

Dha (Dhaivatham)- 3 – Suddha Dhaivatham;  Chathusruthi Dhaivatham ;  Shatsruthi Dhaivatham

Ni (Nishadham) – 3 –  Suddha Nishadham;  Kaisiki Nishadham;  Kakali Nishadham

The following swarams share the same position …..

Shatsruthi Rishabham &  Sadharana Gandharam

Suddha Gandharam & Chathusruthi Rishabham

Shatsruthi Dhaivatham & Kaisiki Nishadham

Suddha Nishadham & Chathusruthi Dhaivatham

An easy numbering scheme

To make it easier for students, for better understanding , I have started following a simpler method.

R1 – Suddha Rishabham;  R2-Chathusruthi Rishabham, R3-Shatsruthi Rishabham

G – Suddha Gandharam, G1 – Sadharana Gandharam;  G2-Anthara Gandharam

D1-Suddha Dhaivatham; D2- Chathusruthi Dhaivatham ;  D3-Shatsruthi Dhaivatham

N-Suddha Nishadham;  N1-Kaisiki Nishadham;  N2-Kakali Nishadham

This avoids confusion and there is consistency in the learning process. Of course using the names is better than numbers but if we have to use numbers this scheme works!

One less confusion!

 

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Chennai’s Carnatic Music Tourism

December 21, 2010 at 9:25 pm (carnatic, Tamil culture)
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Carnatic music has been gaining acceptability and popularity among the masses and has become an industry in the last two decades. Carnatic music is not just about devout singing of kirthanais any more. There is lot of hype, glamour and all the trappings of the entertainment industry of the world. New stars are born, awards conferred, new albums and books released, new concert venues added to the ever increasing list of concerts.

The dull, cloudy, rainy days of December, known as Margazhi in Tamil is livened by the strains of carnatic music spilling from the concert halls all over Chennai. It’s something like the Mardi grass of Carnatic music. The crowds descending on Chennai in the month of December for the world famous Music Season stands testimony to the name Chennai has acquired, “Mecca of Carnatic Music”.

Chennai’s December music season is instrumental in creating a new industry, the carnatic music tourism,  which is now a major  contributor to economic growth like many other industries. It has helped create allied industries and create job opportunities to thousands of people.

I know of lot NRIs who embark on their annual music pilgrimage in December, travelling to Chennai to immerse in music. They plan their trip months in advance, book tickets, not just air tickets but also tickets to the innumerable concerts in the innumerable sabhas – concert venues in Chennai. They book rooms in hotels, rent apartments or choose paying guests accommodations, if they do not have relatives in Chennai to host them for a month.  It’s a great time for hospitality industry in Chennai at this time of the year.  Most hotels in Chennai do not accept any corporate bookings during this time of the year, so that they could cater the ever growing demands of the carnatic music tourists.

The following articles make an interesting reading that highlights these developments in carnatic music.

http://timesofindia.indiatimes.com/city/chennai/Margazhi-brings-expatriates-home/articleshow/6951301.cms

http://www.thehindu.com/arts/music/article965785.ece?homepage=true

http://www.kutcheribuzz.com/decseason2010/buzzfromsabhas.asp#4

Here are some news, articles, snippets on Music Season 2010.

http://www.thehindu.com/system/topicRoot/Chennai_Margazhi_Season/

http://www.kutcheribuzz.com/decseason2010/buzzfromsabhas.asp

Listen to Sanjay Subramaniam singing Sadhachaleswaram of Muthuswamy Dishithar in the ragam Bhoopalam

http://www.youtube.com/watch?v=ORag7qsPPNg&playnext=1&list=PLACDA475F669222D6&index=2

In the days to follow I will highlight the impact of carnatic music tourism on Chennai, its economy,  the people, artists, music lovers all over the world and the status of carnatic music itself.

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Rehearsal in Flushing Town Hall

June 11, 2009 at 8:27 pm (Uncategorized)
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Yesterday morning I went to Flushing Town Hall and had a try out session with bass guitarist Clyde Bullard. This was the first time we were playing together, though I had played with bass guitarists earlier. For Clyde, this was his first time playing with a carnatic musician.

I first gave him the notes on the ascending & descending scale (Arohanam & Avarohanam) of the ragam Hamsadhwani. – s r2 g2 p n2 / ś n2 p g2 r2 .
(Shadjam, Chathusruthi Rishabham, Anthara Gandharam, Panchamam & Kakali Nishadham)

Since I have tuned my veena to D# (E flat) the corresponding notes were
e flat – f – g – b – d

I started playing Vathapi Ganapathim as this is my favorite opening piece on the veena and most often I start a concert with this Muthuswamy Dikshithar Kirthana.

I told Clyde that he can play within these 5 swarams (notes) only.  He listened to the Pallavi as I played and quickly understood the scale and then started accompanying me on his bass guitar with matching notes.

Half  hour later my husband ShivRaj,  who composes music on the midi joined us to listen and gave some tips to Clyde as to what notes would sound better at various parts of the kirthanai (a song).  Soon we were playing together, synching well.

Overall it was a good rehearsal. We would meet for another rehearsal next week.

Vathapi Ganapathim is a Kirthanai on Lord Ganesha in the language Sanskrit. Vathapi Ganapathim – KJ Yesudas.

I heard Yesudas ji rendering Vathapi in a concert in Chennai as a kid and fell with that style and Iam both inspited and influenced by his style in this kirthanai.

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