Sarali Varisai 2 Pdf Basic Traditional#

Sarali Varisai 2 Pdf Basic Traditional

See the Markdown source file with the notation. Sarali varisai notes in kannada pdf Basic traditional scalar exercises for Carnatic music. The last 3 exercises help you move smoothly up and down the scale. Concentrate on getting the notes right. Now you can sing all the 14 swaravalis with us by looking the book in all 3 speeds.The first chapter of Carnatic music is Sarali Varisai.

The duration of song is 28:03. Sarali Varisakal Part I song from the album Basic Lessons In Carnatic By S Rajeswari is released on Jul 1999. Rajeswara Rao Sarali Varisakal Part I MP3 song.

They also have a point when they say that the Hindustani musician gradually ascends to the higher octaves. The voice would tend to get thicker over the years.They say that in Hindustani there is no well-organised structured pattern like the Carnatic ‘varisais’ but point out that the Hindustani musician dwells at each octave level for sufficient time to make his voice more rounded and mature. This unscientific fixing of the pitch has a great disadvantage as this would tend to make the female voice ultimately acquire a masculine character. While it is true that the teacher may find it convenient to sing at this pitch, it would be more meaningful if the teacher guides the student in finding and determining her “own” range depending on its power to traverse the octaves. They argue that the approach in fixing the sruthi for the female voice (or the male voice which is fixed lower) in Carnatic music as 5 (or 5.5) irrespective of the students’ range is faulty.

Hindustani music handles gamakas differently. In Hindustani, the aspirant knows the path is arduous and, hence, serious seekers are only a few.Carnatic music abounds in gamakas (oscillations), half notes and other nuances. Rajasekaran adds that there are too many aspirants to the status of performing musicians in Carnatic. Instead she advocates the method of mental practice where you only try to conceive. As much as practice, rest is equally important to maintain the voice.Chitra also feels that practice (riyaz) need not be done on a daily basis. The voice cannot withstand such a sudden strain, he says.Unlike Carnatic musicians who accept too many concerts without giving due consideration to the impact on their voice, the Hindustani musician limits himself to singing one concert per month.

He has got used to it over the years. He should be limited to a single ‘vilam bakala’ (slow-paced) ‘composi bakala’ (slow-paced) composition in a concert. `Dasavidha gam akams’ (ten types of gama kas) are found only in Carnatic music, he points out.And in what way does the Carnatic music rasika respond to all this? For him the existing package of krithis of many kinds with a couple or more of alapanas, some thukkadas and a bhajan at the rear has become the ideal combination. He explains the use of gamakas in the ‘taan’, which “is a virtuoso technique used in the vocal performance of a raga“.The akara (“a” sound) is used in a rapid manner, without sacrificing melody to weave a number of notes simultaneously.