by Ludwig Pesch “An easy to use reference book for concert, music class and and home” [about the first edition] – Indian Express, Chennai, 29 August 1986 “A neat compilation … ragas mainly used on concert platforms … highly useful as a reference book for listeners in concerts and to students for use in the …
Continue reading “Reviews – Raga Dhana: An Alpha-Numerical Directory of Ragas”
7 notes: Any sampurna (melakarta) raga6 notes: ragas Sriranjani & Hamsanandi5 notes: raga Hamsadhvani5 notes: raga Mohana5 notes: raga Valaji5/\7 notes: ragas Bilahari & Mohana Kalyani5/\6 notes: Vasanta6 notes: raga Kuntalavarali << swipe >> to try another exerciseFlow | Exercises, related resources & tips >>
By choosing an octave based on G# or A for basic “Sa”, all types of voice will be able to join in comfortably. This is demonstrated by a noted singer and vocal guru, Dr. Nookala Chinnasatyanarana: for this audio lesson1 he … Continue reading “Flow | Practice within a shared vocal range of one octave” …
Continue reading “Flow | Practice within a shared vocal range of one octave”
By N S Ramachandran (University of Madras, 1938) | Compositions >> Gamaka has been defined by Sarngadeva and others as the ornamentation of a note by shaking it. But evidence from their works can be cited to show that the idea of gamaka is more extensive than the connotation of this definition; it has been …
Continue reading “Gamaka determines the character of each raga in vocal and instrumental music”
S. Rajam (1919-2010) is credited with defining the visual identity of South India’s classical music. The present recording was made at his Mylapore home on 12 December 1997 when rehearsing for a lecture-demonstration; an annual event serving to highlight rare facets of South Indian (Carnatic) music. More about this recording & Sangita Kalasikhamani S. Rajam >> Total …
Continue reading “S Rajam and disciples sing Harikesanallur Bhagavatar”
