Valuable musical exercises

For the participants, the Thennangur workshop was a great way to understand the nuances.

EXPERIENCE: Vidushi Vedavalli with the participants.

Thennangur, near Vandavasi, became the hub of wholesome musical activity from January 31 to February 2, when a music workshop was conducted by Nadasangamam. (GA Trust of Narada Gana Sabha, Chennai.) All 27 members - students of Carnatic music - who had gathered here, drew benefits from the sessions.

The proceedings instilled in them a measurable confidence and in the days to come, they should be able to tackle issues relating to music in an assured manner.

Each day, the routine began with Yogasana and Pranayama at 6 a.m. where the focus was on simple techniques, that had as its mainstay, breathing exercises and methods meant for building one’s stamina. The yoga master was the young and dynamic Renjith Babu.

A brief introduction to the workshop was given by Sumathi Krishnan, coordinator. The music ‘classes’ were held in two parts - one in the forenoon and the other in the afternoon.

Thanam

The opening session was by Dr. R S Jayalakshmi, convener. She spoke on ‘Thanam Singing Patterns.’ She traced the history of Thanam and its various forms then and now. Then she went on to explain how the thana varnam is of great significance, as it assists one to get the thanam-feel and went on to add snippets about the right (and wrong) choice of ragas for thanams, the appropriateness of long and short notes, the very style of sounding syllables, their orientation, et al. She then asked the participants to sing thanam. She then guided them with basic guidelines and watch-words.

Kriti learning

Vidhushis Shyamala Venkateswaran and Gayathri Girish taught the students four compositions. While Gayathri chose two kritis of Margadarsi Sesha Iyengar, ‘Sarasa Dhala Nayana’ (Surutti) and ‘Pahi Sesha Saila’ (Ananda Bhairavi), Shyamala imparted the nuances relating ‘Ra Ra Ani Pilichithe’ (Kharaharapriya, Mysore Vausdevachar) and ‘Manasi Madhana Thapam’ (Surutti, Iraiyamman Thampi). Shyamala stated that she learnt the first directly from the legendary Voleti Venkateswaralu and the next from Neyyatinkara Vasudevan. Earlier Gayathri made a brief Power Point presentation detailing the life, awards and achievements of Margadarsi.

Layam

Mridangam vidwan Arun Prakash handled an afternoon session on “Mathematics, Mridangam and Music.” He dealt on the fine aspects of Laya.

“Laya extends beyond kanakku,” he began and then stressed that the raga and the krithi together should determine the korvais. Exclusive mridanga (laya) korvais cannot and therefore should not be sung.

He cited several examples to show why and how Misra Chapu has regrettably been reduced to six and a half counts instead of the prescribed seven. Thavil strokes are permissible in mridangam playing and the thumb rule ought to be this - “Is it aesthetically pleasing on the ear?” He also introduced a practice session where Misra Chapu beats were asked to be maintained at normal speed (vilamba kalam), slower (athi vilamba kalam) and finally at an ultra-slow tempo (athi athi vilamba kaalam).

Kalpanaswara singing

Vidushi Vedavalli spoke on “Nuances of Kalpanaswara Singing.” She divided the group into three – those confident about swara-singing, the not-so confident and the third that had only a little experience in swara singing.

Then she allowed the students to choose Kalyani (‘Ethavunara’) and asked them to sing swaras limiting it to three notes. After that, she observed that there was an absence of karvais and also cautioned that karvais if held for a long time could perforce lead singers to land on the next swara. She conducted similar exercises to highlight various aspects of swara singing.

Group activity

Finally, the participants had to ‘tune’ Bharathiyar’s ‘Nalla Nalla Nadhigalundu.’ Taking up this task as groups, the students showed remarkable receptivity, absorption and capability as they ‘tuned’ this song and presented it as a chorus item.

On a request from this rasika, Sumitra Vasudev rendered this Bharatiar song. If there was impeccable diction in her singing, then it was matched by her selection of ragas - Kedaragowla, Dhanyasi, Mohanam, Ahiri and Surutti. What more can one ask for!

Nadasangamam’s workshop was a well-thought out and well-formulated venture to foster music in the minds of youth. And this matters most for a sound future of the arts.

(sivakumar2004@gmail.com)