In carnatic music, the fundamental notes (swarasthanas) have an intricate relationship. Many students are not proprely taught about this. Some teachers go on to call some of these swarasthanas as "small" and some as "big". This complicates things rather than simplifying. For example, there are three swarasthanas for Ri. Which one is "small" Ri, which is "big" Ri, and how do we refer to the third variety?
This post clarifies how carnatic swarasthanas are related to each other and provides correct short forms:
https://beautifulnote.com/blog/2017/12/03/carnatic-swarasthanas.html
This post clarifies how carnatic swarasthanas are related to each other and provides correct short forms:
https://beautifulnote.com/blog/2017/12/03/carnatic-swarasthanas.html
BeautifulNote
Carnatic Swarasthanas
Carnatic music has 16 swarasthanas sharing 12 distinct positions. This article describes their relationship.
Here is Vidwan T. M. Krishna's Lecture Demonstration. At 13:35, the topic of Gamakam comes. He starts by pointing out the disparity between theory and practice. He then presents gamakams mentioned in Sangeetha Sampradhaya Pradaharshini (SSP) both visually and aurally. It is interesting to know that some gamakams mentioned in SSP are not used even in song notations in SSP. He follows it up with a masterly exploration of Kampita Gamakam.
This is a rare and very valuable record on contemporary practice of gamakams in carnatic music by a prominent musician.
https://youtu.be/ue7TypsHCV4?t=815
This is a rare and very valuable record on contemporary practice of gamakams in carnatic music by a prominent musician.
https://youtu.be/ue7TypsHCV4?t=815
YouTube
Carnatic Music: Svara, Gamaka, Motif and Raga Identity: T. M. Krishna
Talk by Sri T. M. Krishna on "Carnatic Music: Svara, Gamaka, Motif and Raga Identity" at the 2nd CompMusic workshop, in Istanbul (Jul 12-13, 2012).
Thyagaraja Sishya Parampara
Patnam Subramanya Ayyar was a second generation disciple of Saint Thyagaraja (Thyagaraja --> Manambuchavadi Venkatasubbayyar --> Patnam Subramanya Ayyar).
Composer
He was the one who composed the immortal varnams Era Napai (Thodi), Evvari Bodhana (Abhogi) and more. He not only contributed kritis, thillanas and javalis but also created the catchy and cheerful ragam Kadanakuthoohalam along with the popular kriti Raghuvamsa Sudha in the same ragam.
Performer
As a singer, he was unparalleled in rendering Begada ragam to such an extent he was fondly referred to as Begada Subramanya Ayyar. Though he was a prolific composer, he usually sang Thagaraja Swamy's compositions and rarely sang his own compositions.
Teacher
He was a master teacher too. His disciples were Ramanadapuram (Poochi) Srinivasa Ayyangar, Tiger Varathachariyar and Mysore Vasudevacharya who went on to become luminaries of carnatic music.
Patnam Subramanya Ayyar was a second generation disciple of Saint Thyagaraja (Thyagaraja --> Manambuchavadi Venkatasubbayyar --> Patnam Subramanya Ayyar).
Composer
He was the one who composed the immortal varnams Era Napai (Thodi), Evvari Bodhana (Abhogi) and more. He not only contributed kritis, thillanas and javalis but also created the catchy and cheerful ragam Kadanakuthoohalam along with the popular kriti Raghuvamsa Sudha in the same ragam.
Performer
As a singer, he was unparalleled in rendering Begada ragam to such an extent he was fondly referred to as Begada Subramanya Ayyar. Though he was a prolific composer, he usually sang Thagaraja Swamy's compositions and rarely sang his own compositions.
Teacher
He was a master teacher too. His disciples were Ramanadapuram (Poochi) Srinivasa Ayyangar, Tiger Varathachariyar and Mysore Vasudevacharya who went on to become luminaries of carnatic music.
Here is Patnam Subramanya Ayyar's "Raghuvamsa Sudha" in ragam KadanaKuthoohalam rendered memorably on violin by Dwaram Venkataswami Naidu.
This is one of the very few recordings of Dwaram that is available to us. It also captures Dwaram's unique style of playing violin which is vastly different from contemporary styles. Let us cherish this in memories of these two legends.
https://www.youtube.com/watch?v=rAjuUp8jccQ
This is one of the very few recordings of Dwaram that is available to us. It also captures Dwaram's unique style of playing violin which is vastly different from contemporary styles. Let us cherish this in memories of these two legends.
https://www.youtube.com/watch?v=rAjuUp8jccQ
YouTube
Raghuvamsa Sudhambudhi - Kadana Kuthoohalam - Aadi
Provided to YouTube by Saregama India Ltd
Raghuvamsa Sudhambudhi - Kadana Kuthoohalam - Aadi · Dwaram Venkataswamy Naidu
Dwaram Venkataswamy Naidu On Violin
℗ 2020 Saregama India Ltd
Released on: 1993-04-01
Producer: N/a
Composer: Tyagaraja
Auto-generated…
Raghuvamsa Sudhambudhi - Kadana Kuthoohalam - Aadi · Dwaram Venkataswamy Naidu
Dwaram Venkataswamy Naidu On Violin
℗ 2020 Saregama India Ltd
Released on: 1993-04-01
Producer: N/a
Composer: Tyagaraja
Auto-generated…
Yet another master piece in Kadana Kuthoohalam, a Thillana composed and sung by Mangalampalli Balamurali Krishna.
https://youtu.be/KlZAMRb45NE
https://youtu.be/KlZAMRb45NE
YouTube
Kadana Kuthuhalam Thillana
Provided to YouTube by YouTube CSV2DDEX
Kadana Kuthuhalam Thillana · M. Balamuralikrishna
Thillanas M. Balamuralikrishna
℗ 1986 Sangeetha Music
Released on: 1986-01-01
Auto-generated by YouTube.
Kadana Kuthuhalam Thillana · M. Balamuralikrishna
Thillanas M. Balamuralikrishna
℗ 1986 Sangeetha Music
Released on: 1986-01-01
Auto-generated by YouTube.
Notation of Patnam Subramanya Ayyar's kriti Paridhanamicchithe in Bilahari.
https://beautifulnote.com/blog/2019/07/30/notation-paridhanamicchithe-bilahari.html
https://beautifulnote.com/blog/2019/07/30/notation-paridhanamicchithe-bilahari.html
BeautifulNote
Notation: Paridhanamicchithe - Bilahari
Kriti: Paridhanamicchithe Palimthuvemo Ragam: Bilahari Thalam: Kanda Chapu Composer: Patnam Subramaya Ayyar
How would one learn to identify swarasthanas when listening to carnatic music? Are varisai exercises enough to gain this critical skill?
https://beautifulnote.com/blog/2019/08/07/learning-to-identify-swarasthanas.html
https://beautifulnote.com/blog/2019/08/07/learning-to-identify-swarasthanas.html
BeautifulNote
Learning to Identify Swarasthanas
How would one learn to identify swarasthanas when listening to carnatic music? Are varisai exercises enough to gain this critical skill?
Challenge 1: Sing a sarali. Stop when you reach Dha and sing Ri.
Challenge 2: Sing a sarali in Mayamalavagowla. Immediately, sing the same line in Kalyani.
Did you face even a momentary difficulty? Then you must read this article: https://beautifulnote.com/blog/2019/08/07/learning-to-identify-swarasthanas.html
Challenge 2: Sing a sarali in Mayamalavagowla. Immediately, sing the same line in Kalyani.
Did you face even a momentary difficulty? Then you must read this article: https://beautifulnote.com/blog/2019/08/07/learning-to-identify-swarasthanas.html