Thanks to the excellent response from students from all over the world to our previous workshop, Acharyanet is proud to organize the second workshop titled “Neraval and Rare Krthis and Javalis from the Brinda Repertoire” , in the series marked to commemorate the centenary of the Carnatic music legends, Sangita Kalanidhis T Brinda and Madurai Mani Iyer. The workshop will be conducted by Sangeet Samrat Shri Chitravina N Ravikiran (www.ravikiranmusic.com). The first workshop in this series was conducted on the topic of Kalpana Swarams and Rare Krthis and Javalis from the Brinda repertoire. The live video recording of the entire workshop is available for instant download at our Acharyanet e-store. The topics covered in this workshop will be:

Art of Neraval Singing and rare compositions including some exquisite javalis. Guru Chitravina Ravikiran will cover the following aspects in Neraval singing.

Why is it the most significant improvisation in Carnatic music

Getting started – choosing a line in the song rich in melody

Choosing a line with appropriate lyrics

Understanding spacing within the line and within each word

Awareness of key notes in the raga with development potential (jeeva and nyasa swara)

Opening short and fairly atmospheric rounds around key notes

Middle rounds with faster phrases interspersed

Final fast rounds

Neraval in various styles

While Brinda was hailed as a musicians’ musician for her huge repertoire of masterpieces, original approach to creative music and uncompromising values to core values of music, Madurai Mani Iyer was renowned for his brilliant concert presentation, distinctive style of swara singing and his ability to elevate any raga to a status of a major favourite among rasikas.

This event will also be recorded live and made available for online download. Video lessons are made available instantly for download after an online purchase.

Ravikiran will present the workshop in two parts:

1. Neraval Methodology
2. Rare krtis and javalis from the Brinda school.

The workshop is open to:

1. Students of middle and advanced levels (who have a minimum repertoire of 25 krtis) and musicians
2. Age group 7 to 65
3. Vocalists / instrumentalists

Venue, date and time: Jun 9th and 10th at Arkay Convention Center , Mylapore, Chennai. Session starts at 9 am on both days and ends approximately at 12pm.

Entry fees: 500 Rs per day for Indian students. Please complete the form and register here.

Acharyanet is offering a 40% discount for advance payments and registrations ,valid for overseas students and for a limited time only, till Jun 8th.
The workshop is available in two modules, ‘Neraval’ and ‘Rare Krthis from the Brinda repertoire’.
Individual modules are priced at $20 , entire workshop is available for $35 till Jun 8th.

Advance Payment: 20 US Dollars per module and $35 for entire workshop. Enter details below and complete payment through Paypal.
Payment After Event: 30 US Dollars per module and $55 for entire workshop.
Material : Email with download link to the recorded video content will be provided within two weeks of the event.
Contact: Email support@acharyanet.com for questions.

This package of 7 Javalis contains the authentic version of the compositions from the Veena Dhanammal school as taught by Sangeeta Kala Acharya Vidushi Rama Ravi and Sangeeta Samrat Chitravina N Ravikiran.

The lessons are in video format and lyrics are dictated in the recording. The package contains the following compositions.

1) Eratagunatara- Kedaragowla – Javali composed by Dharmapuri Subbaraya taught by Chitravina N Ravikiran.
2) Smarasundaranguni – Paras – Javali composed by Dharmapuri Subbaraya taught by Chitravina N Ravikiran.
3) Nera mora – Javali – Hamsadhwani – taught by Vidushi Rama Ravi
4) Taarumaaru – Javali – Nattaikkuranji – composed by Pattabhiramayya – taught by Vidushi Rama Ravi
5) Naareemani – Javali – Khamach – composed by Dharmapuri Subbaraya – taught by Vidushi Rama Ravi
6) Aiyo vibhudu – Javali – Kedaragowla – taught by Vidushi Rama Ravi
7) Ela Radayane – Javali – Bhairavi – taught by Vidushi Rama Ravi

Acharyanet and Gaanapriya (gaanapriya.in) organized a 3 hour workshop with Sangeet Samrat Shri Chitravina N Ravikiran (www.ravikiranmusic.com), to commemorate the centenary of the Carnatic music legends, Sangita Kalanidhis T Brinda and Madurai Mani Iyer. While Brinda was hailed as a musicians’ musician for her huge repertoire of masterpieces, original approach to creative music and uncompromising values to core values of music, Madurai Mani Iyer was renowned for his brilliant concert presentation, distinctive style of swara singing and his ability to elevate any raga to a status of a major favourite among rasikas.

The event has been recorded live and made available for download for online students. This segment contains only the kalpana swaram recording. To download the entire workshop, click here.

Ravikiran presented the workshop in two parts:

1. Kalpana Swarams
2. Rare krtis and javalis from the Brinda school.

The contains:

Session 1 : Kalpana Swarams

1) Fundamental Principles
2) Concept of swara singing in various talas and tala speeds.
3) Ability to render one avartanam swara patterns in rapid succession.
4) Tips for swara singing in rakti ragas.
5) Exercises to improve articulation and agility when singing multiple avartanam swaras.
6) Introduction to ‘tala prasthana’ or the concept of expressing
numbers as permutation and combination of smaller numbers.
7) Exercises to help avoid mistakes and strengthen fluency when singing lesser known ragas.

Acharyanet and Gaanapriya (gaanapriya.in) organized a 3 hour workshop with Sangeet Samrat Shri Chitravina N Ravikiran (www.ravikiranmusic.com), to commemorate the centenary of the Carnatic music legends, Sangita Kalanidhis T Brinda and Madurai Mani Iyer. While Brinda was hailed as a musicians’ musician for her huge repertoire of masterpieces, original approach to creative music and uncompromising values to core values of music, Madurai Mani Iyer was renowned for his brilliant concert presentation, distinctive style of swara singing and his ability to elevate any raga to a status of a major favourite among rasikas.

The event has been recorded live and made available for download for online students.

Ravikiran presented the workshop in two parts:

1. Kalpana Swarams
2. Rare krtis and javalis from the Brinda school.

The workshop contains:

Session 1 : Kalpana Swarams

1) Fundamental Principles
2) Concept of swara singing in various talas and tala speeds.
3) Ability to render one avartanam swara patterns in rapid succession.
4) Tips for swara singing in rakti ragas.
5) Exercises to improve articulation and agility when singing multiple avartanam swaras.
6) Introduction to ‘tala prasthana’ or the concept of expressing
numbers as permutation and combination of smaller numbers.
7) Exercises to help avoid mistakes and strengthen fluency when singing lesser known ragas.

Session 2: Authentic version of krthis and Javalis from the Brinda school

1) Eratagunatara- Kedaragowla – Javali composed by Dharmapuri Subbaraya.
2) Smarasundaranguni – Paras – Javali composed by Dharmapuri Subbaraya.
3) Needucharana – Kalyani – krthi composed by Pallavi Gopala Iyer.
4) Aspects of voice culture related to effective gamaka rendition.
5) Speciality of the Veena Dhanammal and Brinda school of music.

Nava Chitravina Orchestra on Pancharatna Krthis
Venue: Chowdiah Memorial Hall, Bangalore
Date: Feb 5 2012
Artistes on the Chitravina: Chitravina N Ravikiran, Durga Prasad, Chitravina P Ganesh, Bhargavi Balasubramanian, Jayan Nair, Anahita, Uday, Akshay, Murali.

ShriGanapatini – Sowrashtram

Gurulekha – Gowrimanohari


Jagadaanandakaraka – Nattai

Dudukkugala – Gowla

Saadhinchene – Arabhi

Kanakanaruchira – Varali

Endaromahanubhavulu

We have discussed the fundamental aspects of voice production in our previous posts on voice culture. We obtained a lot of queries from students who were interested in specific voice exercises from the Carnatic Music perspective. Many experts have provided comprehensive insights into specific practice methods for Carnatic music and we thought it might be useful to share that information in this space.

It is a well known fact that a good understanding of one’s own voice with the inherent limitations and strengths is essential, to enable one to communicate their musical thoughts freely. This is true in Carnatic music as well. In fact, Carnatic music , characterized by the ‘raga’ system and ‘gamakas’ (oscillations of notes) provides ample opportunity for singers to communicate their thoughts and musical expression effectively.

In addition to basic voice techniques discussed in earlier posts, we will also include specific exercises to help students develop their expression in Carnatic music, in terms of pitch accuracy, ability to execute gamakas and bhriga (fast paced) phrases with clarity and control. An over-looked fact is that, in Carnatic music, it is equally important for one to develop the ability to deliver slow phrases effectively. This requires greater breath control, precision in gamaka rendition, and a good control of the voice.

Here are a few suggestions to help get started:

Carnatic Fun Task tic – A practical guide to the fundamentals of Carnatic music for beginners, advanced level students, performers and teachers. Includes 3 Cds with 5 hours of lessons by Vidwan K.N Shashikiran

The book covers practice methods for beginners as well as advanced students. A beginner student might find the hand-holding method of progressing from varishais (basic solfa exercises) to alankaras. (advanced solfa excerises) very useful. The notation for singing in various speeds are illustrated well , guiding the uninitiated into the concept of pitch and rhythm in Carnatic music. There are useful tips and important points to guide students while practicing the exercises. All exercises are demonstrated clearly in the audio Cds.

Advanced students might find the voice exercises, designed to improve tone, stamina, breath control, pitch accuracy, fluency and speed very useful. The ‘Pranavam exercise’ is a very fundamental aspect of Carnatic music training, involving the ability to sustain a note on pitch without wobble for as long as possible. These exercises are recommended for early morning practice. Many singers have also recommended this exercise in our video interviews. Experts also recommend that students learn the practice of tuning a tanpura accurately and performing ‘sadhaka’ (practice) with the help of the ‘tanpura’ rather than using the electronic shruti box.

Shri Shashikiran has also provided numerous exercises for improving control and accuracy through the practice of various combinations of swara patterns. Students will find the terminologies both fun and extremely useful to help develop their voice abilities. Exercises such as ‘pendulum exercise’, ‘tambura exercise’, jumble exercise’ ‘octave exercise’ ‘twirl exercise’ and ‘briga exercise’ to mention a few, are designed to help students develop a good ability to sing alapanas (elaboration of a ‘raaga’) and compositions effectively.

The book also discussed yoga techniques to help improve breathing and discusses the physiology of the voice, aspects of good voice production, common problems faced by students and solutions to overcome them.

Acharyanet will offer this book shortly in our online store. Please email us at support@acharyanet.com for more details.

Acharyanet has been doing a feature on the aspects of Voice Culture in Carnatic Music. We have posted many articles and interviewed prominent musicians and voice culture experts in the Carnatic music field to get multiple perspectives on this often overlooked subject. Here are some highlights from the interview with Shri Abhishek Raghuram, Carnatic vocalist known for his excellent command over voice and rhythm.

Question: Could you share your thoughts on voice culture and discuss some successful techniques you have adopted in your training ?

It is very imperative that a student of music, especially Carnatic music follow the practice of early morning ‘sadhaka’ or practice. An extremely useful exercise is to focus on producing a pure tone of ‘Shadjam’ for one hour. Yes, one hour. A very great musician once told me that this exercise is helpful to condition the tone to adhere to ‘sruti’ or pitch like paper to glue. Once that happens, everything else falls in place. This exercise is more effective in the early mornings and one can then sustain the tone on various other notes as well such as from lower or mandra sthayi panchamam to madhyama sthayi panchamam.

This exercise could be practiced on various scales and alternated so that all possible notes are covered over a period of time. There are several ways of practicing a scale. A good way is to practice without ‘gamakas’ or oscillations. [demonstrates] There are multiple ways to do this, one can experiment and try different approaches. Even when singing plain scales, one approach is to hit each note on the head or emphasize each note. [demonstrates] Its a process of discovery, the more you seek , the more you find.

One could also practice ‘sadhaka’ or practice phrases. [demonstrates] Sing simple phrases, then add the complexity. [demonstrates]

Question: Did you create this exercise?
No, one of my relatives created this particular one, but it can be done by anyone.

We can go beyond the standard varishais and come up with with our own patterns for practice using the same principles, practicing single notes, then double notes or ‘janta’ patterns , and even ‘daatu’ patterns or patterns that skip notes and go upwards or downwards.

Then we need to focus on ‘gamakas’ or oscillation of notes which are very specific to our system of Carnatic music.It is rather tricky in the sense that one could easily sing it incorrectly but once mastered, the concept of ‘gamakas’ could very well be fascinating. There is a lot of scope for interpretation of gamakas , once the notes are established. Gamakas are the crux of our system and we can use them effectively to even communicate with an emotional intent.

How does one teach Gamakas effectively to students?

I once asked a student to repeat the scale of a ragam, he proceeded to sing with the gamakas. I proceeded to correct him and asked him to first sing without gamakas. It is essential have an understanding of underlying notes before attempting to sing gamakas. When you listen to great masters, it seems as if the phrases come out effortlessly but a lot of effort has gone into perfecting them.

It is essential to sing with awareness and an open mind. Learning many songs and singing just the lyrics or even knowing the underlying swaras are not enough. A student should know about the mechanics of singing as well.

Can you explain what you mean by that?
Singing is essentially how you control the passage of air, how you use your vocal cords , which kind of tone to use etc. I believe there are four types of tones, one that originates from the abdomen area, from chest area, chin area and head.

When you sing in higher octaves, do you adopt some technique to modify your sound?
Every singer is born with a certain range and one should have a good understanding of that. The range can only be extended slightly and we should strive to work our possibilities within that range. Also, we don’t use ‘false voice’ in our system , but a knowledge of that is very helpful for aspiring performers.False voice is used in higher octaves where the normal voice does not give way for the singer to reach higher. It requires hours of practice from the singer , even then there are no guarantees to get it right. Achieving the right mix between normal and false voice is a tough practice but one must be aware of it.

Students can try to learn more about voice culture by looking up these topics online. Nowadays , there are many reality shows and singing competitions. Students have to chance to listen to the judges and have a scope to improve their own voice training. Singing is fundamental. Practice techniques specific to the system comes after that.

Is there one point you would like to stress to students?
Never do something that causes strain and pain. Vocal cords are very sensitive. If you feel discomfort during singing, something is wrong. It is better to improve your technique than to continue along the same line.

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Acharyanet has been doing a feature on the aspects of Voice Culture in Carnatic Music. We have posted many articles and interviewed prominent musicians and voice culture experts in the Carnatic music field to get multiple perspectives on this often overlooked subject. Here are some highlights from the interview with Shri P Unnikrishnan, Carnatic music vocalist and playback singer as conducted by Sowmya Acharya

Question: Since you are familiar with various styles of music including classical, light and even western, would you be able to share some of the voice culture methods adopted in these various styles? Could these techniques be adopted in Carnatic music to some extent?

Voice culture basically refers to the ability to have control of one’s voice. Every voice is a god-given instrument and very unique. It is very important to have a good understanding of one’s own voice , along with its strengths and weaknesses before adopting voice culture techniques. Proper sound production involves various aspects. Breathing is an important concept, and involves using the abdominal muscles effectively.

Coming back to the various systems of music and voice techniques adopted in them, each system has its own method. In Carnatic music, concerts usually start with a ‘varnam’, this may serve the purpose of helping the voice warm up as well. Then there are other aspects such as training the voice to sing sustained notes . The ‘ohmkara’ is very powerful sound. It combines ‘aah’, ‘ooh’ and ‘mm’. Each tone originates from a different area of the body and this is fundamentally a very good training for the voice.

There are fabulous methods in western music as well. I have personally benefited from several techniques such as lip rolls and tongue trills, to help with warm-up. But the music and expression is very different , we cannot adopt all such western techniques.

Question: What are the common issues students face?

Avoiding strain. Students need to gradually increase the number of hours of practice and not strain themselves by practicing many hours at a stretch when not accustomed to it. Stamina has to be built slowly, then only it can be sustained. Another important factor is the control of eating habits and observing the reaction of our body to certain foods. Acidity has a major effect on voice as well and adopting healthy eating habits will help the voice, especially as one gets older. This may be a silent symptom and varies from person to person. Thats why its imperative for each and every singer to be well tuned to their body and understand cause and effects.

Question: What are your thoughts on tonal production? Do you think enough emphasis is given in Carnatic music to this aspect?

Teachers usually emphasize that students must sing loudly with an open throat. This is ok but teachers should also instruct and guide students to sing with a pleasant tone .

Question: If there is one thing you could emphasize in terms of voice culture what would that be?

It is important to have a good understanding of one’s own voice. The issues vary from person to person. For example, if you have problems with range it may be that you are not using the head voice enough and transitioning smoothly.

Question: Can you talk about these western terms like head voice, chest voice etc?

We don’t use these aspects directly in Carnatic music. In Carnatic music, depending on various factors , the mood of the piece or nature of improvisation, the dynamics vary. A knowledge of the various western aspects of voice training can help to improve the voice production and reduce the tension. [Demonstrates with a loud and dynamic effect followed a softer effect] It also depends on the mood of the composition. One thing I would say is that a knowledgeable Carnatic musician could easily adapt to other forms of music but the converse is not necessarily true. It is not so easy for a western musician to understand our system , gamakas and nuances and pick up easily.

It is important for any singer to have a goal in mind when singing, usually to communicate a feeling or meaning to the listener or even to evoke a certain response. In this regard, good articulation plays a key role in helping the singer communicate their ideas effectively to the audience.

Articulation primarily refers to the act of producing sounds (particularly consonants) in order to form words. These involve the muscles of the tongue, lip, cheeks, soft palate and jaw.

In Carnatic music, singers are required to sing compositions written in various languages. It is essential to have a understand of the lyrics and their structure when singing to be able to communicate and sing effectively. This also helps in the breath control process, if the mind has an idea of the words included in a phrase, the body automatically is able to regulate the correct intake of air to the sing the phrase effectively without running out of air.

Good diction requires the crisp , clear pronounciation of consonants especially. Sometimes, singers get so caught up in their emotions that they inadvertently introduce some amount of distortion. A good way to keep this in check is to record yourself and make sure this doesn’t happen.

Another problem students face when articulating is to try to do something totally different when singing compared to talking. Example is trying to make big movements with their mouths, attempting to push or punch out the words, rather than just articulate freely as one would while talking.

Its better to go with the instinct to communicate rather than put too much thought into the sound. Also, speaking the phrases first before singing them help immensely.

Here is a helpful guide:

1) Jaw should be relaxed, wrapped up and back. The jaw should neither be too low or clenched tightly. It helps to do chewing motions while humming or singing small phrases to unclench the jaw if this problem exists.

2) Cheeks should be lifted under the eyes, as in a sudden expression of surprise. This helps the soft palate rise as well.

3) Soft Palate should be high and wide.

4) Mouth should be rounded.

5) Tip of the tongue should always have its resting position at the bottom of the front teeth. For good articulation, the tongue should move minimally. Tongue twisters are helpful for ‘taming’ the tongue. In Carnatic music, there are rhythmic exercises stressing the various syllables which are immensely helpful in this aspect.