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Appreciating Indian Classical Music & Dance
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 Post subject: Kalpana swaram doubt
PostPosted: Mon Nov 27, 2006 7:09 am 
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Joined: Sat Aug 19, 2006 12:39 am
Posts: 2
Hi

I recently went to 3 kutcheries conducted in Bangalore. I have not learnt

carnatic music but Im always interested in Carnatic music.

I have a couple of doubts to clarify with someone that knows the intricacies of

carnatic music.

DOUBT 1:
In a big song when a singer performs kalpanaswaram(if im not wrong), how does

the violin artist picks it up & repeats the same following the singer?( It is so

very surprising for me)

When repeating it, does the violin player plays it exactly the same swaras or

make any chnages or improvises or modifies it?


DOUBT 2:
Even more suprising is when the Ghatam or Mridangam artist plays along with the

singer. Does the Mridangam or Ghatam player when playing along with the singer

(in Kalpanaswaram) have a certain pattern according to the Raga the singer sings

in which would fit whatever the main singer sings? Or they play with the singer

spontaneously?

At least when the Violinist accompanies the singer in Kalpanaswaram there's a

delay of a secord or two in following the main artist on Violin?

How's it possible for a percussionist (like a Ghatam or Mridangam artist) to go

along with the main artist in whatever they sing? I simply cant understand it

I would be grateful if anyone could help me understand this.

Thanks
Nizamudin
(Nizamudin.Sikkandar@hp.com; Nizamudin.S@GMAIL.com)


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 Post subject: Kalpana Swaram
PostPosted: Mon Dec 18, 2006 9:25 am 
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Kalpana swaram belongs to the Manodharmam aspect of Carnatic music. It is an impromptu aspect of musician's creativity. To accompany for this part well , the violinist and the percussionist have to be really good. In fact it is more difficult for the percussionist, I think, than for the violinist, to follow. The percussionist has also to be a vocal singer to some extent to anticipate the different moves of the vocalist. Having been an amateur percussionist, I can speak more for the percussionist in this regard. There are certain standard swara patterns that can be easily anticipated. For example, Ga Ma Pa Ma Ga Ri Ga Sa Ri Ga etc. Sometimes the same pattern is sung in different kalaams (speed) with the speed (Kaalam) increasing. For example Sa Ri Ga Ma Pa SARIGAMAPA etc. The talam or the rhythmic patterns have to be watched by the percussionist. He may have to literally sing along, just like Palghat Mani iyer used to do in his days.


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 Post subject: kalpana swara
PostPosted: Mon Dec 25, 2006 9:21 am 
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Posts: 16
Hi,

Kalpana swara is basically free improvisation, and so there are no set rules. Violinists usually do not follow exactly what the vocalist depicts. My knowledge of percussion is pretty low, but I always felt that it is easy for the mridangist to stick to some standard patterns. However, things have to conform to the tala cycle, without which it will be a disaster, irrespective of who went wrong. The net result of all of them should
be a worthwhile experience for the listener, I suppose.

As a listener, I always enjoy(ed) kalpana swara by Madurai Mani Iyer,
Semmangudi Srinivasa Iyer, MDR and the like. Predictable swara
kalpana (?) is a good time for listeners to take a break, I think.

Subu


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 Post subject: Re: Kalpana swaram doubt
PostPosted: Thu Jul 26, 2007 2:53 pm 
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Joined: Sat Aug 19, 2006 12:39 am
Posts: 5
Hello,
Doubt 1:
as it has already been pointed out there is no hard and fast rule for a violinist to repeat the same kalpana swaras sung by the vocalist. But if the violinist follows/repeats them it brings thrust to the cutchery being heard. Sometimes it so happens that the violinist outperforms the vocalist in his kalpanaswaras. ( eg., chembai's thaye yasodha -neraval at kaalinil silambu kondu- followed by kalpana swara int he 4th speed wherein the vilonist merges everyone in thodi and brings the climax to the song ending it in upper octave- pat comes the applause from the musical genius chembai himself-immediately)
It is easier to repeat the kalpana swaras in the first kalam for the violinist or say at the beginning when the total swaras are restricted to one full completion of tala.As the tempo picks up as the voclist more and more dives deep into the raaga with his manodharma it a challenge for the violinist to repeat them and in turn the violinist resorts to his own and might outperform also. In general as a rule the violinist should expect the future moves of the vocalist and this he gains after accompanying the particular artist for sometime.
Geniuses like Chowdayya would make the viloin speak the kalpana swaras ditto be it for madurai mani or chemabi or any other stalwarts.

Doubt:2
Coming to the percussionist it is really a challenge.A percussionist needs to have only one thing in mind the basic taala.A percussionist too plays by bringing out the byhearted jatis in mind though the instrument. To startwith as the tempo is initially slow it is easier to accompany with the byhearted jatis.But as the momentum gathers the percussionist would watch for the pattern the swara is being rendered ( 2+6 or 4+4 or 3+5 etc) and accordingly ajdusts his jatis and mora. One reason for plaghat mani iyer to shine was he can predict the future moves of the vidhwans and accordingly he adjusted his rendering apart from his inbuilt manodharma which one can relish in his thani.
it is easier said than done. To accompany the vocalist extempore is an uphill task but it is not so. Generally the accompanists would have already accompanied the vocalists for few cutcheries and would have heard the song already in different patterns and they knwo pretty well in hand the shape the raga is going to take in the hands of the vocalist.thus it becomes an easier task.
This is one of the reasons why the vocalsit have their standard accompanists on violin and mridangam. They form as a set or a team.
A kutcheri kali kattuvadu eppodu?
Only when the whole team performs well from the beginning and gives the climax as a whol team.Thus team work is more important in a kutcheri and for this predetermined accompanists make the task much easier.

knramesh






nizprav wrote:
Hi

I recently went to 3 kutcheries conducted in Bangalore. I have not learnt

carnatic music but Im always interested in Carnatic music.

I have a couple of doubts to clarify with someone that knows the intricacies of

carnatic music.

DOUBT 1:
In a big song when a singer performs kalpanaswaram(if im not wrong), how does

the violin artist picks it up & repeats the same following the singer?( It is so

very surprising for me)

When repeating it, does the violin player plays it exactly the same swaras or

make any chnages or improvises or modifies it?


DOUBT 2:
Even more suprising is when the Ghatam or Mridangam artist plays along with the

singer. Does the Mridangam or Ghatam player when playing along with the singer

(in Kalpanaswaram) have a certain pattern according to the Raga the singer sings

in which would fit whatever the main singer sings? Or they play with the singer

spontaneously?

At least when the Violinist accompanies the singer in Kalpanaswaram there's a

delay of a secord or two in following the main artist on Violin?

How's it possible for a percussionist (like a Ghatam or Mridangam artist) to go

along with the main artist in whatever they sing? I simply cant understand it

I would be grateful if anyone could help me understand this.

Thanks
Nizamudin
(Nizamudin.Sikkandar@hp.com; Nizamudin.S@GMAIL.com)


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 Post subject: Re: Kalpana swaram doubt
PostPosted: Fri Dec 29, 2017 4:31 pm 
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 Post subject: Re: Kalpana swaram doubt
PostPosted: Thu Feb 22, 2018 11:11 am 
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 Post subject: Re: Kalpana swaram doubt
PostPosted: Tue Apr 03, 2018 12:56 pm 
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PostPosted: Tue Apr 10, 2018 4:44 pm 
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 Post subject: Re: Kalpana swaram doubt
PostPosted: Tue Jun 12, 2018 8:47 am 
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