AMS Easy Methods 2007 CD - Teaching and Learning Methods

[msakella]

In general, all the music-teachers, without any exception, ae always used to sing or play on their own and ask the aspirants to follow them while learning. But, unfortunately, none of them is aware that this method increases only the imitative abilities of the aspirant but not the knowledge. While training an aspirant in driving the motor-cycle the aspirant will only be benefited if the teacher sits on the pillion, makes the
aspirant occupy the driver’s seat and initiates the aspirant to operate the machine with his/her hands and legs explaining the operations but not by driving himself sitting in the driving seat and the aspirant on the pillion. In the same manner as this music is also a performing art every time the aspirant must be initiated by the teacher to perform things on his/her own. The teacher who sings or plays the minimum but initiates the aspirant sing or plays the maximum is the true teacher. Umpteen experiments obviously revealed that the aspirants properly tested in their instinctive levels of rhythm and initiated properly by the teacher in the intricate rhythmical exercises of the qualitative method of teaching certainly become more efficient than all other aspirants learnt in the quantitative method of teaching and proceed further on their own with abundant self-confidence and without depending much upon the teacher. For this purpose I have brought out 28 Special-laya-ecercises (SLE) which are helping the kids abundantly. But, due to my mental and physical iniabilties at this old age, I could furnish only some of them either in the form of audio files of my CD, AMS Easy Methods-2007 or in the form of video files of ‘Youtube - msakella’s Youtube’ and, now, only by the grace of the Almighty, I have again started to record and upload some more of them to Youtube for the benefit of the aspirants and music-teachers. amsharma

[msakella]

In continuation to my previous post I feel happy to inform that I could upload many of the relevant videos to the playlist ‘AMS Laya-exercises’ of ‘Youtube – msakella’s Youtube’ pertaining to the 28-Special-laya-exercises furnished in 287th post of this thread.

Long go, at the first instance, I could upload only 6 videos. Later, few days back, my 3rd son, Chi. A. Narasimha Swamy helped me in taking high-definition-videos of my renderings of these exercises. But, as it took very long time to upload each video I could upload only six videos and decided to stop as it is not feasible either to upload or download at this rate of time. Accodingly, to quicken the process of uploading, these videos have been converted into another package and, now, been uploaded. By all this, three lists of URLs are furnished hereunder and among them the first list is of the six videos uploaded long ago, the second list is of the high definition videos and the third list is of the converted package among which the serial-numbers of the Special-laya-exercises are also furnished.

Right from the beginning as I have also been groomed in this useless, worthless, time/energy/money consuming/wasting irresponsible method of quantitative-teaching but not in the time-bound, result-oriented, time/energy/money saving responsible method of qualitative teaching I am not confident enough to render some of these exercises successfully at this old age. That is why some of these exercises are not included in this list. Even later, if I happen to ably render them efficiently I shall certainly upload them later. Hope the aspirants and the interested music-teachers avail them properly. amsharma

AMS-Laya exercises (Special-laya-exercises-SLE):
02- http://www.youtube.com/watch?v=rX_0fC8UsNw
04- http://www.youtube.com/watch?v=0jeMPtiCLaE
08- http://www.youtube.com/watch?v=jctteXYGvTY
06- http://www.youtube.com/watch?v=Lk5g4JiV2FM
07- http://www.youtube.com/watch?v=bbUjhgqeuEc
20- http://www.youtube.com/watch?v=85IFouO0Mr4

High definition videos (mov):
01 (a) http://youtu.be/H1RwhSFxOwo
01 (b) http://youtu.be/g0HMnwCNJoo
02 (a) http://youtu.be/mceTvtwRXSk
02 (b) http://youtu.be/uvQAFTgc5tg
03 (a) http://youtu.be/6FfSjaF-hzo
03 (b) http://youtu.be/lZi1Mnjza6U

High quality videos (mp4):
01 (a) http://youtu.be/ARDxL-Ghsrg
01 (b) http://youtu.be/GL4RV5vWlIU
02 (a) http://youtu.be/2DeLYJ_jduk
02 (b) http://youtu.be/elZbYBuiyNs
03 (a) http://youtu.be/G5qHqfwUyqo
03 (b) http://youtu.be/Kw4uW1KaHsU
04 (a) http://youtu.be/7HQ9DF9ocr0
04 (b) http://youtu.be/Jskq07-rf9I
04 (c) http://youtu.be/2TI1am6dbXs
05 (a) http://youtu.be/8oEHYks1DS0
05 (b) http://youtu.be/qqqEcLhwUDk
05 (c) http://youtu.be/9Y9ivbgJxkA
06 (a) http://youtu.be/BetgSZ9CT_U
06 (b) http://youtu.be/7HLFnhLpsnw
06 (c) http://youtu.be/bMqUy4sibUo
07 (a) http://youtu.be/c5W-WSxQ9Gc
07 (b) http://youtu.be/t9Iphuc4awk
07 (c) http://youtu.be/5LPw61xh2B4
09 http://youtu.be/QFGPA7HSFGk
10 http://youtu.be/kVYqyk87Jac
11 http://youtu.be/BNPk_O0m8Ek
12 (a) http://youtu.be/_rES4hOeDBg
12 (b) http://youtu.be/EVLf_wD5BlM
12 (c) http://youtu.be/SyH-ahDt9pc
13 (a) http://youtu.be/ZNpBCEcfCx0
15 http://youtu.be/GfEpDQ_WqiU
16 http://youtu.be/5vChe_45FeY
17 http://youtu.be/JHETepNNSY8
18 (a) http://youtu.be/Bx66-zAI3u8
18 (b) http://youtu.be/fL6FUAqcOV0
19 (a) http://youtu.be/_EYeUrt7Ri8
19 (b) http://youtu.be/LfRogs9NjeY
20 (a) http://youtu.be/FIULqx8DZKM
20 (b) http://youtu.be/DGqXCUVOjEs
21 (a) http://youtu.be/rM1HPUv6CNw
21 (b) http://youtu.be/nEb2tFbvjoM
22 (a) http://youtu.be/BZ5czzCVq2s
22 (b) http://youtu.be/xXN145ZyHcg

[srkris]

Thank you very much, the demonstrations are impressive.

[msakella]

Dear brother-member, srkris, Thank you for your kind appreciation. I have so many ideas to do such things for our kids as my mind is running very fast. But, due to my old age, my body is not allowing me to run fast. However, only by the grace of the Almighty, I have been able to do the needful even on a snails pace. Of course, still I have to do a lot more before I leave this world. When you have very kindly provided the facility and made it easy to serve I shall certainly utilize the opportunity to serveI the cause of our music. amsharma.

[GaryInThailand]

Much gratitude, Mr. Akella. These videos are extremely helpful to me to understand the exercises as described in AMS (which is not always easy for me).

We are very lucky to have your strong motivation. Best wishes for you, sir!

Gary Hall

[msakella]

Dear brother-member, GaryInThailand, Thank you, dear. Now, the propagation of the easy methods in teaching music is my only mission and I feel extremely happy in being helpful to the aspirants in music even at this old age. Still there is lot to do and I hope that the Almighty gives me the needful to do this. amsharma

[msakella]

The URLs of the next instalment of the Special-laya-exercises and others are furnished hereunder for the benefit of the aspirants and teachers. amsharma

14 (a) http://youtu.be/F0h_r0kKhF0
23 (a) http://youtu.be/vmMWReJ7PxA
24 (a) http://youtu.be/woVcQClQ2Sg
25 (a) http://youtu.be/QE-7Yeg6Oxc
26 http://youtu.be/nYLt4WqEWcg
27 http://youtu.be/Fq2pboYrcGQ

Chi. Kashyap, 8 years old kid, learning music in this novel system and sang Ragalapana and Svarakalpana in a music-concert held on 05-06-2011 at Hyderabad:
http://youtu.be/c2vzn8nfYHk

Chi. Sankeerthana, 6 years old kid from US, started on 10-09-2011 learning music in this novel system by Skype sang Natakuranji-varna playing Casio:
Poorvangam:
http://www.youtube.com/watch?v=XChWwO-p ... JlDKHlTs9V
Uttarangam:
http://www.youtube.com/watch?v=z1vhFTDk ... 9swoEgDylY
http://www.youtube.com/watch?v=-DXYR_37 ... EX9NQG6C7e

[msakella]

The URLs of the next instalment of the Special-laya-exercises and others are furnished hereunder for the benefit of the aspirants and teachers. amsharma

14 (a) http://youtu.be/F0h_r0kKhF0
23 (a) http://youtu.be/vmMWReJ7PxA
24 (a) http://youtu.be/woVcQClQ2Sg
25 (a) http://youtu.be/QE-7Yeg6Oxc
26 http://youtu.be/nYLt4WqEWcg
27 http://youtu.be/Fq2pboYrcGQ

Chi. Kashyap, 8 years old kid, learning music in this novel system and sang Ragalapana and Svarakalpana in a music-concert held on 05-06-2011 at Hyderabad:
http://youtu.be/c2vzn8nfYHk

Chi. Sankeerthana, 6 years old kid from US, started on 10-09-2011 learning music in this novel system by Skype sang Natakuranji-varna playing Casio:
Poorvangam:
http://www.youtube.com/watch?v=XChWwO-p ... JlDKHlTs9V
Uttarangam:
http://www.youtube.com/watch?v=z1vhFTDk ... 9swoEgDylY
http://youtu.be/-DXYR_370d4

[msakella]

In general, people are used to give first preference to Ragalapana as it gives nice enjoyable juice of the Raga and also facilitates any kind of rhythm of the singer’s choice without any restriction avoiding the restricted Tala. But, in my extensive researh over novel methods in teaching music umpteen experiments obviously revealed that practice of different intricate rhythmical exercises and singing of Svaras of the relevant rhythmical patterns in different Ragas with and without Tala only gives the aspirant enormous acquaintance with both rhythm and notes and very quickly paves way to sing Ragalapana efficiently. But, all our stalwarts feel very bad of me if I write that they all have since long long ago been following the traditional quantitative method of teaching only being unaware of this secret as they all are great performers only but not even average teachers at all. Only after 5 years after of my retirement I became aware of not only my defects but also the defects all others in teaching and formulated the Jati-alankaras for the first time in the annals of our music which must be taught even before the basic notes of music. This later paved way to formulate the 28 Special-laya-exercises furnished in the 287th post and most of their basic audio-files are furnished in my AMS Easy Methods-2007 CDs.

It has been a long cherished desire to provide video-files also for even some of them, at the least, as always visual aids are more powerful than audio aids in influencing the aspirants. Only by the grace of the Almighty, now, at this old age of 74, I tried my level best to do the needful in this matter and succeeded up to some extent. In this respect I request all the aspirants and readers to kindly bear with my occasional indiscipline in bringing out these videos.

In this process, with reference to the 327th post, I have already uploaded some videos pertaining to the Special-laya-exercises. To avoid confusion to the aspirant I have recently segregated and modified the items of my channel ‘Youtube-msakella’s Youtube’ by removing the six videos furnished as ‘High-definition-videos (mov)’ as they have already been included in the consolidated list of mp4 videos. Now, the updated list of URLs in a serial order is furnished hereunder for the benefit of the aspirants and readers. amsharma

AMS-Special-laya-exercises (SLE)
(high quality videos (mp4):
01 (a) http://youtu.be/ARDxL-Ghsrg
01 (b) http://youtu.be/GL4RV5vWlIU
02 http://www.youtube.com/watch?v=rX_0fC8UsNw
02 (a) http://youtu.be/2DeLYJ_jduk
02 (b) http://youtu.be/elZbYBuiyNs
03 (a) http://youtu.be/G5qHqfwUyqo
03 (b) http://youtu.be/Kw4uW1KaHsU
04 http://www.youtube.com/watch?v=0jeMPtiCLaE
04 (a) http://youtu.be/7HQ9DF9ocr0
04 (b) http://youtu.be/Jskq07-rf9I
04 (c) http://youtu.be/2TI1am6dbXs
05 (a) http://youtu.be/8oEHYks1DS0
05 (b) http://youtu.be/qqqEcLhwUDk
05 (c) http://youtu.be/9Y9ivbgJxkA
06 http://www.youtube.com/watch?v=Lk5g4JiV2FM
06 (a) http://youtu.be/BetgSZ9CT_U
06 (b) http://youtu.be/7HLFnhLpsnw
06 (c) http://youtu.be/bMqUy4sibUo
07 http://www.youtube.com/watch?v=bbUjhgqeuEc
07 (a) http://youtu.be/c5W-WSxQ9Gc
07 (b) http://youtu.be/t9Iphuc4awk
07 (c) http://youtu.be/5LPw61xh2B4
08 http://www.youtube.com/watch?v=jctteXYGvTY
09 http://youtu.be/QFGPA7HSFGk
10 http://youtu.be/kVYqyk87Jac
11 http://youtu.be/BNPk_O0m8Ek
12 (a) http://youtu.be/_rES4hOeDBg
12 (b) http://youtu.be/EVLf_wD5BlM
12 (c) http://youtu.be/SyH-ahDt9pc
13 (a) http://youtu.be/ZNpBCEcfCx0
14 (a) http://youtu.be/F0h_r0kKhF0
15 http://youtu.be/GfEpDQ_WqiU
16 http://youtu.be/5vChe_45FeY
17 http://youtu.be/JHETepNNSY8
18 (a) http://youtu.be/Bx66-zAI3u8
18 (b) http://youtu.be/fL6FUAqcOV0
19 (a) http://youtu.be/_EYeUrt7Ri8
19 (b) http://youtu.be/LfRogs9NjeY
20 http://www.youtube.com/watch?v=85IFouO0Mr4
20 (a) http://youtu.be/FIULqx8DZKM
20 (b) http://youtu.be/DGqXCUVOjEs
21 (a) http://youtu.be/rM1HPUv6CNw
21 (b) http://youtu.be/nEb2tFbvjoM
22 (a) http://youtu.be/BZ5czzCVq2s
22 (b) http://youtu.be/xXN145ZyHcg
23 (a) http://youtu.be/vmMWReJ7PxA
24 (a) http://youtu.be/woVcQClQ2Sg
25 (a) http://youtu.be/QE-7Yeg6Oxc
26 http://youtu.be/nYLt4WqEWcg
27 http://youtu.be/Fq2pboYrcGQ

[S.Balaji]

Dear Akella Ji,

Namaskaram. May I have the Varnam Jalajaksha ( Hamsadwani ) pls . And also Evari Bodhana ( Abogi ).

[msakella]

Dear brother-member, S.Balaji, Blessings. When I was working in the Music Colleges I was used to teach these Varnas to the students as they were prescribed in the syllabus. But, after my retirement in 1996, in my introspection made around 2000, I became aware that the music-teacher, just like the mother who affectionately, sincerely and efficiently feels the responsibility of the health of her own kid and feeds only the highly energetic food to her kid, must feed his/her student only the highly energetic lesson in music being an experienced and responsible person. Thus, basing on some logic, I have started teaching the Varnas in Natakuranji, Kambhoji, Darbar, Shankrabharana, Kalyani, Begada, Todi, Saveri and Bhairavi, in the same seriatim to make him/her energetic in music. Even later, I am not used to teach these Varnas you have asked to any of my students as they are not that energetic like these Varnas. If at all the aspirants themselves want to learn them they can learn them on their own but I don’t teach. That is why I did not include these Varnas even in my CD, AMS Easy Methods-2007. If you want any Varna among the 9 Varnas mentioned above I shall send the pdf file of it if you give me your email address. But, I cannot send the Varnas you have asked me as I do not have the pdf file of any one of them. I feel very sorry for being unable to help you in this matter. amsharma

[msakella]

Hi all, as all are aware, five Gatis, Trisra, Chaturashra, Khanda, Mishra and Sankeerna have been provided in our Tala-system of Karnataka music. Among them, while only one, the Chaturashra is of even other four are of odd. Thus, the four-times importance of odd has obviously been prescribed while grooming an spirant. But, as mostly in-efficients are far more than the efficients not only in exceeding the number but also in efficiently deteriorating the standards bringing them down to their own level, not even the minimum odd of Trisra has been prescribed by many of the music-teachers while grooming their aspirants. Ultimately, even though many are not aware of it and also many may not even agree with me, only impotency is being increased in many of our aspirants. Having recognized this basic defect in teaching only after the date of my retirement, I have made umpteen experiments in this respect and found that this defect could very well be eradicated by including the minimum odd, Trisra-gati, at the least, not only from the basic lessons but also from the crucial composition, Varna. Accordingly, I sang the Natakuranji-Adi-Varna @ 4, 6 & 8-units per Kriya and brought out the video in two parts, Purvanga & Uttaranga. Now, recently, these two videos are uploaded to the ‘Youtube – msakella’s Youtube’ and the respective URLs are furnished hereunder for the benefit of the aspirants. amsharma

Natakuranji-Adi-Varna-Purvanga: http://youtu.be/6pa2i8TjaLQ
Natakuranji-Adi-Varna-Uttaranga: http://youtu.be/AV3Pr1TzQJA

[msakella]

Manodharma Sangita is generally believed to be totally based on the knowledge and creative abilities of an individual. The popular notion is that it can neither be taught nor learnt. More over, many are used to write much about Manodharma Sangita praising its greatrness but nothing clear in which way it could be acquired by a perfect plan of action. Some are used to say that it should be started cultivating right from the Saralisvaras singing them with all the required Gamakas. But, unfortunately, they don’t realise that it is suicidal to initiate a newly born kid to run fast. Many are used to harp on learning as many compositions as the aspirant can in each Raga. But, unfortunately, they don’t realise that it is absolutely foolish like collecting 10 grams of rice from each shop and thus to collect rice from 10 different shops to make it 100 grams in total and the same applies even to Ragas also. More over, can’t the music-teacher, having already learnt many compositions in the same Raga and being more knowledgeable, ably bring out the full picture of the Raga by any means and give it in a nutshell to the aspirant?

More over, the adament conservatives are dead against either to ably notate the compositions or even to listen to and follow the pre-recorded cassettes or CDs. Very sadly, none of our musicians never strived hard even to symbolise all the different oscillatiions of notes either to bring them nearer to the common music-teacher or even to preserve these compositions along with the true notations for the posterity. Ultimately, due to the fanatic and lunatic musicians, we have umpteen number of different notations to the same composition on one hand and far more than 75% of the aspirants are being ditched into the monotonous process of quantitative teaching on the other. To tell the fact the real problem lies with our conservative musicians only. While the westerners strived hard to fully standardise the system of their western music, pitiably, none of our musicians did so in fully standardising the system of our music though our system is older than any other system of music on the globe. Unfortunately, each and every musician in our country resorts to teach whatever little he knows and wants to, somehow, throw the responsibility of acquiring the knowledege of Manodharma Sangita on the aspirant only very conveniently escaping away from it. But, my extensive research obviously revealed that the aspirant could very easily and very quickly acquire the knowledge of Manodharma Sangita if an efficient, honest and reliable teacher properly initiates him/her in doing things on his/her own by going through the respective audio and video files consisting the needed rhythmical and musical lessons regularly and vigorously pacticing them under the guidance and supervision of this able teacher. As this music is a performing art, right from the beginning of the process of teaching or learning, it must be made perfomance oriented and the aspirant must be initiated in doing things of this performance on his own.

In our country no Indian even dreams anything against the Guru or the husband. To tell the truth, the teacher, the Guru is treated even more than the mother. For example, if a mother has to feed her five children among which each one eats of different quantity, different taste and at different timings she always feeds only highly energetic food of her knowledge but not any husk at all to each and every kid with more quantity than what he/she eats in general. That is the greatest quality of every mother in nature. In the same manner, the Guru should also feel his/her responsibility to feed his student only energetic food removing the non-energetic stuff. Even in respect of feeding him/her the knowledge of music the knowledgeable Guru must feed him/her the energetic number of musical-items only like 6 or 8 Nos. of Saralees, 4 Nos. of Jantas and Datus, only 6 Nos. of Gitas (which need not be exihibited on any dais) to give him/her acquaintance with all the 12 different notes and select Varnas only to give him/her proper acquaintance with all the different oscillations. Thus, the teacher, the Guru who makes the process of learning more easy, quicker, efficient and energetic always stands the best. I never teach directly to my student beyond Varnas but make him efficient to proceed further from even the first Kriti and I cannot call him/her a Guru who directly teaches even beyond Varnas. As most of our music-teachers are more eager in fully utilising the modern technologies like creating their own websites or blogs etc., etc., for their own benefit but not in modernising the methods in teaching music at all for the benefit of the aspirants or their parents or even the art, mostly impotents are being produced by many of our music-teachers or music-institutions or music-departments in Universities. Fortunately enough many are not aware of it.

While properly analysing this aspect, one must take into consideration, the five divisions of Manodharma Sangita which are the Ragam, Tanam, Pallavi, Niraval and Svarakalpana. It is evident that all these five divisions are bound by rhythm. While Rhythm is inherent in Ragam, it is metered in all other divisions except in Tanam. This corroborates the basic importance of rhythm and also calls for a methodology which is rhythm oriented. It is vital to understand that a proper base in the aspects of rhythm is fundamental to one’s training. It stimulates the blossoming of one’s creative abilities which is the essence of our Manodharma Sangita. A strong Laya is also crucial to the rendering of finer musical attributes such as the production of Gamakas and other subtle nuances. A Laya-oriented training instils tremendous confidence in the aspirant and equips him/her to face any musical challenge. To facilitate the same, intricate rhythmical exercises are formulated and taught as per the easy, effective, innovative and qualitative methods in teaching music. In the novel system of training these exercises are introduced at the very beginning of the curriculum so as to lay a strong foundation even among the kids unlike in the past.

My extensive research obviously revealed that the regular practice of certain intricate rhythmical exercises even from the very beginning of the curriculum enables the aspirant get the required acquaintance and control over rhythm. For this, at the first instance, even before the first Saralisvara, it is most essential to assess the instinctive rhythmical abilities of the aspirant and in strengthening them the aspirant must be initiated to follow the Jati-alankaras, newly formulated for the first time in the history of music, starting with Eka-tala (4-units) with only beats of both the hands but not with Talangas at all and proceeding further with Rupaka (6-units), Mathya (10-units) and Dhruva (14-units) which are devoid of longer-units and later with Jhampa (10-units) and Ata (14-units) each carrying longer-units and lastly the Alankara in Triputa having odd-number of Kriyas, all with beats only, in a gradually increasing order of value of the Kriyas. To make it easier to the aspirant even the seriatim of these Alankaras has thus been modified accordingly.

By constant listening to any fixed pre-recorded music the listener can imitate the same perfectly. That is why many are able to listen to the readily available CDs of the inspirative and even intoxicating film songs several times and perfectly imitate them. By this we can very well understand that many are having the required instinctive talent to follow the readily available CD of any film song and reproduce it very easily, quickly and efficiently. In the same manner more than 75% of the people can very easily, quickly and efficiently reproduce even classical compositions if they are given in the form of a fixed pre-recorded audio CD along with its exact notation. That is why, even though the conservatives cry out aloud against me, I have tried my level best to standardise our crucial Gamakas by properly symbolising and bringing them within the reach of the common music-teacher unlike in the past. We are enlightening our students in all these symbolised Gamakas initiating them to sing along with the Varnas supplied in the audio CD in which the select Varnas are sung @ one note per each second magnifying all the oscillations in a disciplined manner to be helpful to the aspirant. The able music-teacher who sings each and every Varna @ one note per each second magnifying and demonstrating all the respective oscillations can only make the aspirant sufficiently efficient not only to proceed further in learningf Kritis on his own but also in singing Svarakalpana and Ragalapana even without learning more number of compositions in that Raga as believed and insisted by all our performing musicians. At the end of learning Varnas if the aspirant is unable to learn Kritis on his own it obviously reveals only the inefficiency in teaching.

Here at Hyderabad, in our music-institute, Svarabhangima, the only music-institute of its kind on the globe, I can proudly tell, this novel qualitative method of teaching and learning is being followed successfully. While there were only 8 kids learning Vocal music in 2009 now there are nearly 80 kids of very high standards. While all of them are able to render both Chaturashra and Trisra-gatis of all the Alankaras efficiently, 50% of the students are able to render 4, 6 & 8-units of both Purvanga and Uttaranga of all the 9 Varnas they have learnt, 30% of the students can render all the 27 Special Laya-exercises in Eka & Dvi-kalas and all the Alankaras @ 1, 2, 3, 4, 6, & 8-units efficiently and 16 students are able to sing a concert of 30 to 45 minutes with Ragalapana and intricate mathematical Svarakalpana efficiently.

In this connection, a special mention must be made about the ‘Mullapoodi School of Mridangam’ here. As per my knowledge, it started from late Shri Mullapoodi Lakshmana Rao of Vizianagaram (1904-1970). Chi. Mullapoodi Shreerama Murthy, the recently retired Top-grade Staff Artist of Mridangam, All India Radio, Vishakhapatnam, is the son and successor of this great school. Accidentally, I happened to learn a little from this school and it has become handy to formulate different intricate rhythmical patterns for the aspirants and to train them accordingly. Later, I have even codified, symbolized and furnished, in detail, three kinds of them for six-talas of our daily usage, in my book, Sangita Svararaga Sudha (Telugu & English) in the 6th chapter. They are also included as the 28th SLE in the list of Special-laya-exercises. The audio-files of some of them have even been furnished in my CD, AMS Easy Methods-2007, under the head ‘Jati & Svara-muktayis’.

Now, for the benefit of our aspirants, I have demonstrated few patterns of them along with few other exercises pertaining to the ‘Prastara-muktayis’ in terms of Jatis and Svaras and started uploading the respective videos to the playlists, AMS-Kalpanasvara-exercises-1, 2 & 3 of ‘Youtube - msakella’s Youtube’. The relevant details along with the respective pdf files in Telugu and English languages are also uploaded to http://www.sangeethamshare.org/chandra/ ... hods-2007/.

1.AMS-Kalpanasvara-exercises-1: 01.Trisra-rupakam - 5 video-files 02.Rupakam - 6 video files 03.Triputa - 7 video files (5+6+7 = 18) further consisting of 3 varieties of files each (18 x 3 = 54) and 2 files each for Jati and Svara (54 x 2 = 108) pertaining to ‘Jati & Svara endings with Tala-cycle’, are furnished for easy comprehension.

2.AMS-Kalpanasvara-exercises-2: 01.Trisra-rupakam 02.Rupakam 03.Chapu and 04.Adi (medium-tempo)-each one of them carrying 10 video-files (4 x 10 = 40) in which Prastara-muktayis i.e., Muktayis based on Prastaras, rendered in both Jati and Svara (40 x 2 = 80) are furnished to make it more comprehensible.

3.AMS-Kalpanasvara-exercises-3: 01.Trisra-rupakam 02.Rupakam 03.Triputa and 04.Adi- three symbolised Muktayis pertaining to the ‘Multiples of Tala-cycle syncopated with Jati’ Muktayis (4 x 3 = 12) are rendered in each of the above Talas in (a) 5 (Khanda) (b) 6 (Divya-sankeerna) and (c) 7 (Mishra) jati-units (12 x 3 = 36).They are rendered both in Jati and Svara (36 x 2 = 72) and are furnished for better understanding.

Interested aspirants can also refer my book, Sangita Svararaga Sudha for more patterns of the same and their respective details. Based on regular and strenuous practice, the aspirant must gain abundant acquaintance with all these Jati and Svara patterns and should be able to create his own patterns. Every aspirant must also practice to sing all these patterns in terms of Svaras in all other Melakarta ragas and Janya-ragas having 6 notes and 5 notes along with their relevant combinations such as Charukeshi, Sarasangi, Lathangi, Vachaspati, Malayamarutham, Shreeranjani, Mohana, Hamsadhavani .They should also be practiced in Varja-ragas and Vakra-ragas. It is strongly recommended that the aspirants should practice rendering all these Jati and Svara patterns right from Gitas and Varnas very strictly along with the Metronome in order to get better acquaintance with different patterns of Laya and Svaras.

Now, we shall see how many of our music-teachers sincerely and honestly come forward to follow this novel methods of teaching for the benefit of our kids and their respective parents and upload the relevant videos of their talanted students to ‘Youtube’ bringing out their truthfulness towards this sacred fine-art. amsharma

[msakella]

Hi all, Miraculously, only by the grace of the Almighty I was able to fulfill my long cherished desire of uploading 260 videos pertaining to AMS-Kalpanasvara-exercises-1, 2 & 3 starting from 13th to 18th May, 2012, within 6 days only. I hereunder furnish the details of the respective URLs of all these videos uploaded to ‘Youtube – msakella’s Youtube’ for the benefit of the aspirants.

I shall be very thankful to any of our experts or stalwarts honestly coming out to furnish their videos in ‘Youtube’ in providing a perfect plan to acquire the knowledge of ‘Svarakapana or Ragalapana’ for the benefit of the aspirants. amsharma

AMS-Kalpanasvara-exercises-1:

1.01.Jati & Svara endings with Tala cycle - Trisra-rupakam-Taamarasadalanetri-Ammaraavamma-Kalyani:

01.01-01-01-J.mp4: http://youtu.be/Ll0mxbih6_w
01.01-01-01-S.mp4: http://youtu.be/ZJOci_i8c2I
01.01-01-02-J.mp4: http://youtu.be/FPiP60IEYmU
01.01-01-02-S.mp4: http://youtu.be/BzaKPKFdtVE
01.01-01-03-J.mp4: http://youtu.be/-_1ESK5y1SE
01.01-01-03-S.mp4: http://youtu.be/Es3vA91mbq8

01.01-02-01-J.mp4: http://youtu.be/N8D8Upj7Ut0
01.01-02-01-S.mp4: http://youtu.be/H5dbaIVqUTA
01.01-02-02-J.mp4: http://youtu.be/1_ODmebyUBY
01.01-02-02-S.mp4: http://youtu.be/h5G5abohrIo
01.01-02-03-J.mp4: http://youtu.be/paTlRnHHW0U
01.01-02-03-S.mp4: http://youtu.be/zHrBY649zjE

01.01-03-01-J.mp4: http://youtu.be/zg8uqxZTBQI
01.01-03-01-S.mp4: http://youtu.be/oJ_9KGcBj_8
01.01-03-02-J.mp4: http://youtu.be/r6lpnLJlJqE
01.01-03-02-S.mp4: http://youtu.be/1Res2Mo6PZY
01.01-03-03-J.mp4: http://youtu.be/7AMMo2Fdolw
01.01-03-03-S.mp4: http://youtu.be/x9W-C5aKKz4

01.01-04-01-J.mp4: http://youtu.be/2AhzT3dFwW4
01.01-04-01-S.mp4: http://youtu.be/I7I_ubu3i5I
01.01-04-02-J.mp4: http://youtu.be/hS5mqtqxszg
01.01-04-02-S.mp4: http://youtu.be/zB3W4VH-a8U
01.01-04-03-J.mp4: http://youtu.be/I_Jd5jGocfU
01.01-04-03-S.mp4: http://youtu.be/DuS4tybYEEM

01.01-05-01-J.mp4: http://youtu.be/y1y-O-ZA330
01.01-05-01-S.mp4: http://youtu.be/qEEWaCWnK2w
01.01-05-02-J.mp4: http://youtu.be/ilKwIgpl9oQ
01.01-05-02-S.mp4: http://youtu.be/5PhYlA57bqE
01.01-05-03-J.mp4: http://youtu.be/9K8IvZBIDno
01.01-05-03-S.mp4: http://youtu.be/XtryAyaUsmU

Total number of files = 30

1.02.Jati & Svara endings with Tala cycle - Rupakam-Shambhomahaadeva-Pantuvarali:

01-02-01-01-J.mp4: http://youtu.be/aESjIf2YBSA
01-02-01-01-S.mp4: http://youtu.be/JMmCxUzp1NY
01-02-01-02-J.mp4: http://youtu.be/J0Qsk7dPmDE
01-02-01-02-S.mp4: http://youtu.be/lQRntpgkEj4
01-02-01-03-J.mp4: http://youtu.be/sJ7snUXcCoc
01-02-01-03-S.mp4 http://youtu.be/epxTvNKKv5M

01-02-02-01-J.mp4: http://youtu.be/-E4BMf6sz7Q
01-02-02-01-S.mp4: http://youtu.be/8rjL06Cw1CI
01-02-02-02-J.mp4: http://youtu.be/yTaes5sVQhs
01-02-02-02-S.mp4: http://youtu.be/xpOm_TuOShE
01-02-02-03-J.mp4: http://youtu.be/Iry-WWJ0Ej4
01-02-02-03-S.mp4: http://youtu.be/hRLMKTtSvNA

01-02-03-01-J.mp4: http://youtu.be/vZGbcCTvXd4
01-02-03-01-S.mp4: http://youtu.be/HINz0s0EgIk
01-02-03-02-J.mp4: http://youtu.be/kKkM82sOO0g
01-02-03-02-S.mp4: http://youtu.be/50bd46rLjhg
01-02-03-03-J.mp4: http://youtu.be/rp8dhdB18BI
01-02-03-03-S.mp4: http://youtu.be/TqWWdEF9l4g

01-02-04-01-J.mp4: http://youtu.be/j2nKxPWjjRA
01-02-04-01-S.mp4: http://youtu.be/VuDS4s9_4kw
01-02-04-02-J.mp4: http://youtu.be/luftN5kiTNQ
01-02-04-02-S.mp4: http://youtu.be/6gTzbgxjQyo
01-02-04-03-J.mp4: http://youtu.be/avXqqxtNCDw
01-02-04-03-S.mp4: http://youtu.be/M0SmPT_5G6k

01-02-05-01-J.mp4: http://youtu.be/aouZ6dpoSmc
01-02-05-01-S.mp4: http://youtu.be/gNDW-qYoQ_o
01-02-05-02-J.mp4: http://youtu.be/LqCOsvLb6Hc
01-02-05-02-S.mp4: http://youtu.be/jsjoySLjjAU
01-02-05-03-J.mp4: http://youtu.be/taor4Vqqypg
01-02-05-03-S.mp4: http://youtu.be/yEOPycuxrf8

01-02-06-01-J.mp4: http://youtu.be/bN3yPEEPG0E
01-02-06-01-S.mp4: http://youtu.be/c4D_Fst-WdU
01-02-06-02-J.mp4: http://youtu.be/seyo2MiuhBg
01-02-06-02-S.mp4: http://youtu.be/GRzd31OHrQk
01-02-06-03-J.mp4: http://youtu.be/Rh2ifQCGsVY
01-02-06-03-S.mp4: http://youtu.be/AHMsZR55UlQ

Total number of files = 36

1.03.Jati & Svara endings with Tala cycle - Triputa-Needucharanamule-Sihmendramadhyamam:

01-03-01-01-J.mp4: http://youtu.be/iCBho2F94T4
01-03-01-01-S.mp4: http://youtu.be/34usQUc9w4Q
01-03-01-02-J.mp4: http://youtu.be/dgS3PUdHtVM
01-03-01-02-S.mp4: http://youtu.be/0gHW9Vxlq5k
01-03-01-03-J.mp4: http://youtu.be/5EDF14yd7pg
01-03-01-03-S.mp4: http://youtu.be/zE_eT1KHef8

01-03-02-01-J.mp4: http://youtu.be/7B04WCKiOhc
01-03-02-01-S.mp4: http://youtu.be/CYLjkI3OUHA
01-03-02-02-J.mp4: http://youtu.be/rXswrVWtU00
01-03-02-02-S.mp4: http://youtu.be/taLX8HAtbgo
01-03-02-03-J.mp4: http://youtu.be/Hrd1NxivqRQ
01-03-02-03-S.mp4: http://youtu.be/nEabj5sm24c

01-03-03-01-J.mp4: http://youtu.be/DeNt1SmdGNI
01-03-03-01-S.mp4: http://youtu.be/wlTMaSA1m_M
01-03-03-02-J.mp4: http://youtu.be/jrX07iHk5u4
01-03-03-02-S.mp4: http://youtu.be/3yjR4UopiQM
01-03-03-03-J.mp4: http://youtu.be/GnWKcZQrePo
01-03-03-03-S.mp4: http://youtu.be/ZEca-f1mM2s

01-03-04-01-J.mp4: http://youtu.be/q_p9LiMQUbg
01-03-04-01-S.mp4: http://youtu.be/W2DC_ERx3DY
01-03-04-02-J.mp4: http://youtu.be/B2kQhF4a-hY
01-03-04-02-S.mp4: http://youtu.be/8DD2oPgUL3I
01-03-04-03-J.mp4: http://youtu.be/0MzlZWuNDM4
01-03-04-03-S.mp4: http://youtu.be/SzP04tC-2nE

01-03-05-01-J.mp4: http://youtu.be/l0-gi94iBv4
01-03-05-01-S.mp4: http://youtu.be/TS6ZT5saOO8
01-03-05-02-J.mp4: http://youtu.be/tP505MY1CvQ
01-03-05-02-S.mp4: http://youtu.be/yR_cEt-8FxU
01-03-05-03-J.mp4: http://youtu.be/uxDa8TCx8Cs
01-03-05-03-S.mp4: http://youtu.be/YHL9kkVojy4

01-03-06-01-J.mp4: http://youtu.be/HD5Y4CRdkag
01-03-06-01-S.mp4: http://youtu.be/3pMN2uHmPL0
01-03-06-02-J.mp4: http://youtu.be/H1CPfMLOkWA
01-03-06-02-S.mp4: http://youtu.be/LmYJHedy1N4
01-03-06-03-J.mp4: http://youtu.be/AtFOqugTMA0
01-03-06-03-S.mp4: http://youtu.be/OmUC_saoej8

01-03-07-01-J.mp4: http://youtu.be/4k5U7lMhSn8
01-03-07-01-S.mp4: http://youtu.be/1-rLwjIsVNk
01-03-07-02-J.mp4: http://youtu.be/zp696Qbdu0c
01-03-07-02-S.mp4: http://youtu.be/_1KZI55c5Y8
01-03-07-03-J.mp4: http://youtu.be/n45QkRKhO5g
01-03-07-03-S.mp4: http://youtu.be/lQrsx-jifdc

Total number of files = 42

AMS-Kalpanasvara-exercises-2:

2.01. Prastara-muktayis - Trisra Rupakam-Taamarasadalanetri-Ammaraavamma-Kalyani:

02.01-01-J-.mp4: http://youtu.be/50kDZd0P9mw
02.01-01-S-.mp4: http://youtu.be/6XWrANystqM
02.01-02-J-.mp4: http://youtu.be/WTYYXORbb40
02.01-02-S-.mp4: http://youtu.be/ZAhlUmTz0e4

02.01-03-J-.mp4: http://youtu.be/P-DlsRHKkQk
02.01-03-S-.mp4: http://youtu.be/YXgJSLya6Ks
02.01-04-J-.mp4: http://youtu.be/XK9UZmkz7rw
02.01-04-S-.mp4: http://youtu.be/MwdfWSxIAN0

02.01-05-J-.mp4: http://youtu.be/yWwxLpT2Ijs
02.01-05-S-.mp4: http://youtu.be/suhG8dAN1L8
02.01-06-J-.mp4: http://youtu.be/AUutyl6-1uI
02.01-06-S-.mp4: http://youtu.be/SjoIHbNkPtM

02.01-07-J-.mp4: http://youtu.be/HJVCuLvdHkc
02.01-07-S-.mp4: http://youtu.be/PLngvvuypos
02.01-08-J-.mp4: http://youtu.be/1n2yMmqxKZU
02.01-08-S-.mp4: http://youtu.be/fvtIcokHMH0

02.01-09-J-.mp4: http://youtu.be/jA1XMQWqtxc
02.01-09-S-.mp4: http://youtu.be/1UjRjet9m4M
02.01-10-J-.mp4: http://youtu.be/8yxgCdEqmaA
02.01-10-S-.mp4: http://youtu.be/dYX3nyzZPfM

Total number of files = 20

2.02. Prastara-muktayis - Shambhomahaadeva-Pantuvarali:


02.02-01-J-.mp4: http://youtu.be/D3meWuPvho0
02.02-01-S-.mp4: http://youtu.be/epIAxow6-ik
02.02-02-J-.mp4: http://youtu.be/Jn3PrTz4_M4
02.02-02-S-.mp4: http://youtu.be/K9zpLD7bZg0

02.02-03-J-.mp4: http://youtu.be/JUD2LQMYvjg
02.02-03-S-.mp4: http://youtu.be/enKo2e4d298
02.02-04-J-.mp4: http://youtu.be/hMFxM3_IiwA
02.02-04-S-.mp4: http://youtu.be/Vazz2fjmIn8

02.02-05-J-.mp4: http://youtu.be/Aq8NIZT5Kd0
02.02-05-S-.mp4: http://youtu.be/ab0Klf5N_Wk
02.02-06-J-.mp4: http://youtu.be/n8ONWVOuzfo
02.02-06-S-.mp4: http://youtu.be/MXh3FUhw4Vk

02.02-07-J-.mp4: http://youtu.be/DPhnNxeXBvs
02.02-07-S-.mp4: http://youtu.be/Q_fqbzxgi6A
02.02-08-J-.mp4: http://youtu.be/hpUZEPun1Hw
02.02-08-S-.mp4: http://youtu.be/TaW4r4JL02A

02.02-09-J-.mp4: http://youtu.be/ThskK9Y2jcM
02.02-09-S-.mp4: http://youtu.be/SIBB-XAYecc
02.02-10-J-.mp4: http://youtu.be/33ZZAzpocvI
02.02-10-S-.mp4: http://youtu.be/xndUoR85JLI

Total number of files = 20

2.03. Prastara-muktayis - Triputa-Needucharanamule-Sihmendramadhyamam:

02.03-01-J-.mp4: http://youtu.be/w2UtRz4Gib4
02.03-01-S-.mp4: http://youtu.be/lkuVWLqKvGs
02.03-02-J-.mp4: http://youtu.be/9QtFN5Ul9Wk
02.03-02-S-.mp4: http://youtu.be/emR6Wx-ISFk

02.03-03-J-.mp4: http://youtu.be/WB8hMR4RRBI
02.03-03-S-.mp4: http://youtu.be/R5sh3qaI-zU
02.03-04-J-.mp4: http://youtu.be/bFFAnlG_96c
02.03-04-S-.mp4: http://youtu.be/pdDnfjU5zWQ

02.03-05-J-.mp4: http://youtu.be/kZGStoJ9o1Q
02.03-05-S-.mp4: http://youtu.be/hw-kS10WbiY
02.03-06-J-.mp4: http://youtu.be/eqEcLTiJFmo
02.03-06-S-.mp4: http://youtu.be/QmLQmisMtQg

02.03-07-J-.mp4: http://youtu.be/UbjWj14zNiE
02.03-07-S-.mp4: http://youtu.be/MyldXuVU8Y8
02.03-08-J-.mp4: http://youtu.be/L0TADF0ojOU
02.03-08-S-.mp4: http://youtu.be/HXMkGwMapoQ

02.03-09-J-.mp4: http://youtu.be/VUQ5DpIOFDA
02.03-09-S-.mp4: ttp://youtu.be/OQ6DMt5W828
02.03-10-J-.mp4: http://youtu.be/4DaSI1tQLSw
02.03-10-S-.mp4: http://youtu.be/FCO28WXSgq4

Total number of files = 20

2.04. Prastara-muktayis - Adi-Sarojadalanetri-Shankarabharanam:

02.04-01-J-.mp4: http://youtu.be/Xo8vgs_XJpY
02.04-01-S-.mp4: http://youtu.be/UuHaDvgyC2w
02.04-02-J-.mp4: http://youtu.be/GQxsZ74u4w0
02.04-02-S-.mp4: http://youtu.be/ncEB863z2G4

02.04-03-J-.mp4: http://youtu.be/FDFH6SdmMPk
02.04-03-S-.mp4: http://youtu.be/UTtFQys8Z9A
02.04-04-J-.mp4: http://youtu.be/f8mS7vfl1sY
02.04-04-S-.mp4: http://youtu.be/UJZ3kmENFrA

02.04-05-J-.mp4: http://youtu.be/MAZ1d5gSCYU
02.04-05-S-.mp4: http://youtu.be/JMLJPhvm7v4
02.04-06-J-.mp4: http://youtu.be/kdvnTuxQxKU
02.04-06-S-.mp4: http://youtu.be/shcElRFVT9s

02.04-07-J-.mp4: http://youtu.be/Fy5StJes-uk
02.04-07-S-.mp4: http://youtu.be/tRd9jqBdDns
02.04-08-J-.mp4: http://youtu.be/jb-quDNj2wk
02.04-08-S-.mp4: http://youtu.be/5Tnkimmb71M

02.04-09-J-.mp4: http://youtu.be/P7cDodeZI0M
02.04-09-S-.mp4: http://youtu.be/xhmctlycaxQ
02.04-10-J-.mp4: http://youtu.be/bEsFlGGswf8
02.04-10-S-.mp4: http://youtu.be/5p-WhfqqsKs

Total number of files = 20

AMS-Kalpanasvara-exercises-3:

3.01. Multiples of Tala-cycle syncopated with Jati - Trisra Rupakam-Tamarasadalanetri-Ammaraavamma-Kalyani (6.2.2):

3.01-01-01-J-.mp4: http://youtu.be/jfwSctkqcp4
3.01-01-01-S-.mp4: http://youtu.be/CwBd-UpcDjk
3.01-01-02-J-.mp4: http://youtu.be/7ww-CNWog_E
3.01-01-02-S-.mp4: http://youtu.be/5_q6zI_7mIA
3.01-01-03-J-.mp4: http://youtu.be/WphUz0zWvNo
3.01-01-03-S-.mp4: http://youtu.be/7_u0iId3Xn8

3.01-02-01-J-.mp4: http://youtu.be/msz01x8qMoc
3.01-02-01-S-.mp4: http://youtu.be/eZjtDu4FWBw
3.01-02-02-J-.mp4: http://youtu.be/xFODZjcLRq8
3.01-02-02-S-.mp4: http://youtu.be/_G2Vx2WSyfk
3.01-02-03-J-.mp4: http://youtu.be/X9JkmONnO-s
3.01-02-03-S-.mp4: http://youtu.be/wp-oO-sx8Cg

3.01-03-01-J-.mp4: http://youtu.be/OfdSIn2d_xw
3.01-03-01-S-.mp4: http://youtu.be/BCrmrB06yK0
3.01-03-02-J-.mp4: http://youtu.be/BCT5A-FuWKc
3.01-03-02-S-.mp4: http://youtu.be/CWCyHRRNNdo
3.01-03-03-J-.mp4: http://youtu.be/WXRLjLUMUXQ
3.01-03-03-S-.mp4: http://youtu.be/nK52qIllBwE

Total number of files = 18

3.02. Multiples of Tala-cycle syncopated with Jati - Rupakam-Shambhomahaadeva-Pantuvarali (6.1.2.1):

3.02-01-01-J-.mp4: http://youtu.be/Ww_HZU-TciU
3.02-01-01-S-.mp4: http://youtu.be/eGWXOoILkqY
3.02-01-02-J-.mp4: http://youtu.be/bnMzA5IDLws
3.02-01-02-S-.mp4: http://youtu.be/IvGhiIbLy8w
3.02-01-03-J-.mp4: http://youtu.be/4xj3yHrmCVg
3.02-01-03-S-.mp4: http://youtu.be/NBWOj_urVSI

3.02-02-01-J-.mp4: http://youtu.be/deqitgyD4tw
3.02-02-01-S-.mp4: http://youtu.be/0iGpCuq3ziw
3.02-02-02-J-.mp4: http://youtu.be/ehNnaKFV0OM
3.02-02-02-S-.mp4: http://youtu.be/MZYKYHffsqQ
3.02-02-03-J-.mp4: http://youtu.be/lOZnJ7Ws_QA
3.02-02-03-S-.mp4: http://youtu.be/mHBKOpR8ltQ

3.02-03-01-J-.mp4: http://youtu.be/rZAJDbPzXaw
3.02-03-01-S-.mp4: http://youtu.be/ycyVdnByXmQ
3.02-03-02-J-.mp4: http://youtu.be/MKmmMgkdeHI
3.02-03-02-S-.mp4: http://youtu.be/SM5nvC2seWA
3.02-03-03-J-.mp4: http://youtu.be/G-uI1Nz0YcA
3.02-03-03-S-.mp4: http://youtu.be/Pivvy92k2ik

Total number of files = 18

3.03. Multiples of Tala-cycle syncopated with Jati - Triputa-Needucharanamule-Sihmendramadhyamam:


3.03-01-01-J-.mp4: http://youtu.be/bUdPzHMuN5o
3.03-01-01-S-.mp4: http://youtu.be/FnsXWBubFGY
3.03-01-02-J-.mp4: http://youtu.be/kS3m2qv9Ldw
3.03-01-02-S-.mp4: http://youtu.be/kVQvBCkWXR0
3.03-01-03-J-.mp4: http://youtu.be/jyBfkP5yIfY
3.03-01-03-S-.mp4: http://youtu.be/pqoynTb3akU

3.03-02-01-J-.mp4: http://youtu.be/AW5OwqXOzlY
3.03-02-01-S-.mp4: http://youtu.be/hVDtau9xPBc
3.03-02-02-J-.mp4: http://youtu.be/KQDrwmpC-hU
3.03-02-02-S-.mp4: http://youtu.be/4C7ZQJ1cD04
3.03-02-03-J-.mp4: http://youtu.be/fmT9T9KRrxw
3.03-02-03-S-.mp4: http://youtu.be/nbRRD3CqD9Y

3.03-03-01-J-.mp4: http://youtu.be/4HX39WVnXQk
3.03-03-01-S-.mp4: http://youtu.be/hwbeskG6hhA
3.03-03-02-J-.mp4: http://youtu.be/byI-8jFm-EA
3.03-03-02-S-.mp4: http://youtu.be/P61eBYzbPl0
3.03-03-03-J-.mp4: http://youtu.be/mj1Qdwu67wA
3.03-03-03-S-.mp4: http://youtu.be/ilICsXKyyc0

Total number of files = 18

3.04. Multiples of Tala-cycle syncopated with Jati - Adi (medium-tempo)-Sarojadalanetri-Shankarabharanam (6.4.2):

3.04-01-01-J-.mp4: http://youtu.be/ZEAYcAjmaVQ
3.04-01-01-S-.mp4: http://youtu.be/UqOZvpbWLI8
3.04-01-02-J-.mp4: http://youtu.be/KnX84ha9mFk
3.04-01-02-S-.mp4: http://youtu.be/KhPWRcnYzec
3.04-01-03-J-.mp4: http://youtu.be/Ug4meNLcVmE
3.04-01-03-S-.mp4: http://youtu.be/h9o4sv1M82M

3.04-02-01-J-.mp4: http://youtu.be/0DGf9mP2qLo
3.04-02-01-S-.mp4: http://youtu.be/B2okmMNDYgI
3.04-02-02-J-.mp4: http://youtu.be/q50MnK5t3EI
3.04-02-02-S-.mp4: http://youtu.be/AvaaHzKJstc
3.04-02-03-J-.mp4: http://youtu.be/sRvvGiFkhzY
3.04-02-03-S-.mp4: http://youtu.be/w9b85IYfLkY

3.04-03-01-J-.mp4: http://youtu.be/GjmsZRT0bXs
3.04-03-01-S-.mp4: http://youtu.be/Pi7XfUUu9vo
3.04-03-02-J-.mp4: http://youtu.be/1Q-lHhqNJLk
3.04-03-02-S-.mp4: http://youtu.be/bZRFE44Q3so
3.04-03-03-J-.mp4: http://youtu.be/4QYf7573YmM
3.04-03-03-S-.mp4: http://youtu.be/dArc1GfSVUA

Total number of files = 18

[msakella]

Hi all, Having successfully been uploaded by our brother-member, vasanthakokilam, now the relevant pdf files of the AMS-Kalpanasvaras-1, 2 & 3 both in English and Telugu are available from http://www.sangeethamshare.org/chandra/ ... hods-2007/ for the benefit of our aspirants. They all can avail them as per their requirement. amharma

[msakella]

Hi all, In my extensive research ran for several years experimenting regularly on the aspirants who are handy in our music-institutions I have worked, I have, ultimately, found that, among the five divisions, Ragam, Tanam, Pallavi, Niraval and Svarakalpana of Manodharma Sangita, Svarakalpana, which is a mixture and rich texture of very high level intricacies of both Laya and Note, alone is the main entrance for Manodharma Sangita. In our Manodharma Sangita, while the Laya in different patterns is maintained in singing Ragam, it is in a fixed pattern every time in Tanam and it has even been metered in the remaining three divisions, Pallavi, Niraval and Svarakalpana. Thus, while the Laya is the indispensible part of it, the knowledge of Manodharma Sangita must be inculcated by an efficient teacher not only to get much acquaintance but also reasonable control over both Laya and Shruti. Even though the seeds of both Swarakalpana and Ragalapana have already been sown even in the primary Alankaras and Varnas by our ancestors, most unfortunately, the original track has been lost in the present ritualistic and quantitative method which helps only to elongate the process of teaching music to squeeze more money from the aspirants.

Only in reviving the situation, for the first time in the history, in respect of the intricacies of Laya the Jati-alankaras and 28-Special-laya-exercises have been introduced in getting proper acquaintance with different gaps of units while singing and even with changing the Gatis. And in respect of the intricacies of different oscillations of notes they all have efficiently been symbolised and taught right from the crucial Varnas. At this juncture, even though many of our musicians or music-teachers, however great they may be, never like to recommend the practice along with either the precise rhythm of the Metronome or the fixed and plain notes provided in ‘Casio’, I sincerely feel with all my experience that this ‘Casio’ is 100 times more reliable than the music-teacher in the regular practice of the aspirant. Even though many may not be aware of it or may not even agree with me it has undoubtedly been proved that the regular drill made in the form of different Laya-exercises and the primary exercises in all the 32-avivadi-melas has efficiently and sufficiently paved the way to very quickly arrive at the rich texture of Svarakalpana and Ragalapana to the kids. To serve the purpose of this regular drill some easy muktayis including the muktayis obtained from the ‘Mullapudi School of Mridangam’, which have even been symbolised, have been furnished in my book, ‘Sangita Svararaga Sudha’ for all the six popular Talas to be taught to the aspirants just like the mathematical-tables to which the kids are initiated to get them by heart even without knowing their implications. Even in respect of the Ragalapana Alapana of 36 Ragas are notated with symbols and cut into segments and all these segments are sung once in Svara and twice in Akara and supplied along with a mp3 CD along with this book for the benefit of the aspirants. Thus, while the tradiltional quantitative method in teaching is facilitating the teachers to conveniently escape from the responsibility of inculcating the knowledge of Manodharma Sangita this novel and qualitative method in teaching assures to inculcate this knowledge in the aspirants within a very short time.

Due to my inabilities in following the relevant technicalities I could not bring the muktayis in an understandable and followable manner in the 1st, 10th & 11th posts of this thread. By this, even though many have enthusiastically followed this thread in the beginning, ultimately, they all have dispersed later gradually. Since then I have been working on this to make this more enthusiastic and knowledgeable to our kids, in particular. Now, in this process, having also included another kind of Prastara-muktayis, I have uploaded all of them along with the respective pdf files to ‘Sangeethamshare’ for the benefit of the aspirants.

Here, it is very important to note that the kids who can render the primary Alankaras both in Chaturashra and Trisra-gatis efficiently and also render both the Purvanga and Uttaranga of the Varnas @ 4, 6 & 8-units successfully, can very easily get through these muktayis efficiently. More over, most of such able kids can very efficiently manage with the intricate mathematical Svarakalapana and also Ragalapana within a maximum span of one year even before learning Kritis. It is also very important to note that all such kids have to gradually increase their abilities basing upon a strict plan by regularly practicing along with the Metronome by periodically increasing their speed in singing or playing. For the guidance of the aspirants both the method of singing all the Alankaras in Chaturashra and Trisra-gatis and also the Adi-tala-varna in Natakuranji-raga @ 4, 6 & 8-units have been furnished along with notation and uploaded to ‘Sangeethashare’ in the form of audio and pdf files.

Here at Hyderabad, in our music-institute, Svarabhangima, the only music-institute of its kind on the globe, I can proudly tell that this novel and qualitative method of teaching and learning is being followed successfully with amazing results. While there were only 8 kids learning Vocal music in 2009, now, there are nearly 90 kids of very high standards. While each one of them is able to render both Chaturashra and Trisra-gatis of all the Alankaras efficiently, 30% of the students are able to render both Purvanga and Uttaranga of all the 9 Varnas they have learnt @ 4, 6 & 8-units and 12 students of them are able even to demonstrate the Varnas writing the symbolised notation for the first time in the history, 30% of the students are able to render all the 28 Special-laya-exercises and all the Alankaras @ 1, 2, 3, 4, 6, & 8-units per beat efficiently, 12 students are able to sing a concert of 30 to 45 minutes with Ragalapana and intricate mathematical Svarakalpana and 2 students are able to sing a 2 hr. concert with Ragalapana and intricate mathematical Svarakalpana efficiently (visit <eswar sampradaya> of Facebook for respective photos and Videos).

The audio and pdf files of some of the respective exercises pertaining to Kalpanasvaras and Ragalapanas are recently uploaded to http://www.sangeethamshare.org/chandra/ ... hods-2007/ and the video-files also have been uploaded to ‘Youtube - msakella’s Youtube’ for the benefit of the aspirants. In co-ordination with the details furnished in the sub-thread ‘AMS Easy Methods-2007-Teaching & Learning Methods by A.M.Sharma’ of the main-thread Music School, interested aspirants can go through all the above mentioned files and get benefited.

While all the stalwarts, without any exception, are always used to harp on learning a reasonable number of Kritis in each Raga to sing that particular Raga efficiently I can’t and don’t agree with them but tell that this obviously reveals only the inability of these stalwarts to give the full picture of that particular Raga by any means to the aspirant even after learning themselves a reasonable number of compositions in it. To tell the fact, if the Raga is compared to a rich texture of a fine cloth the compositions are the garments stitched out of that cloth only. In such case, I do not understand what is the use in collecting a number of garments to know the characteristics of that cloth instead of studying the texture of the cloth itself in detail. The same thing applies to the Raga also and I do not understand what is the use in learning a number of Kritis to know the characteristics of the Raga instead of studying the details of that Raga itself in detail. Instead of supplying 100 litres of milk it will be helplful if the aspirant of ghee is properly trained in getting the ghee out of only half-a-litre of milk. In the same manner, it is desirable if the aspirant of music is trained to get the Raga out of a composition than compelling him/her to learn a number of compositions in it. Most unfortunately, as no musician or teacher is ready to give out the Raga in a properly symbolised notation along with a pre-recorded CD the poor aspirant, having no other alternative, is compelled to follow the teacher’s advice only and learn a number of compositions like his/her teacher. If the father doesn’t maintain a proper account of his property and give it to his son, his son also has to undergo the same hardship in earning like his father or beg in the streets. This has been happening in respect of the poor aspirant of music also since many centuries due to the sheer negligence of the elders. Even though we have plenty of Sangitakalanidhis or Sangita Samrats or Sangita Sarbhaumas etc., etc., to perform most efficiently, most unfortunately, we are unable to find any Acharyakalanidhis or Acharyasamrats or Acharyasarvabhaumas who are efficient, honest and reliable in teachaing music possibly quickening the process in a time bound plan thus, possibly saving the time and energy of the poor aspirant and the money of their respective parents. Even though I have visited a number of Music-colleges and Music-departments of Universities to my surprise, I have found that all the teachers are interestred only in getting their salaries regularly but not in teaching efficiently or honestly or reliably to the aspirants. Even though their plight has never been removed even after the availability of the modern gadgets like tape-recorders or cassette-recorders or CDs or DVDs either to record or reproduce or preserve music, I don’t find any logic in publishing music-books by any author with or even without notation but, certainly, without a cassettee or CD or DVD even in this modern age. To fulfill this void, even nearly 20 years back, I have notated all the 70 Kritis of the Certificate & Diploma examinations of Andhra Pradesh and supplied the xerox copies of them along with three pre-recorded mp3 CDs to all our students. Later, I have even printed them in a book form and brought out ‘Sangita Vidya Bodhini (Telugu/English)’ and supplied in the same manner along with three pre-recorded mp3 CDs to all the aspirants all over our State. Later, I have also brought out another set of 60 Kritis in “Sangita Vidya Lochani’ in the same manner and supplied along with two pre-recorded mp3 CDs.

While many of our musicians are against notating the compositions Late Subbarama Dikshitar was the only person having ventured not only to notate hundreds of compositions in his monumental ‘Sampradayapradarshini’ but also to symbolise them even up to some extent. But, pitiably enough, all our great stalwarts are very well satisfied only in praising him very highly for his venture but not in continuing and developing the same process in standardising the things of our music like our western counterparts for the posterity. Many a time even though I have requested some of our stalwarts to do the needful in properly symbolising the oscillations of our music nobody had evinced any interest in it. Every musician, without any exception, is bothered about his/her own self aggrandisement only but not about the aspirants welfare. Ultimately, as doing something is far better than doing nothing, I had myself ventured to symbolise all the oscillations and furnished in my ‘AMS Easy Methods-2007-CD’ along with the respective phrases and audio-files sung by me.

While understanding the characteristic picture of a particular Raga the inter-relation of its notes and their respective oscillations only make a difference with any other Raga than its name or compositions composed in it. If an efficient teacher initiates the aspirant to go through all the different oscillations and the relevant phrases of a particular Raga with the help of a properly symbolised notation followed by a pre-recorded CD or DVD of the same notation the poor aspirant doesn’t need to learn more than a single composition in each Tala of his choice in that particular Raga. This has very well been proved in my extensive research beyond any doubt. But, none of this highly selfish musicians come out open either to condemn my novel methods in teaching or to bring out more effective methods in teaching for the benefit of our kids. This is the most pitiable state of affairs of our music.

I hereunder furnish the respective URLs of AMS-Ragalapana-exercises-1, 2 & 3 for the benefit of the aspirants. amsharma

AMS-Ragalapana-exercises-1:

01.01.Shankarabharana.wmv http://youtu.be/CU4uUjU8fvI
01.02.Shankarabharana.wmv http://youtu.be/ugqWs1dE-Qc
01.03.Shankarabharana.wmv http://youtu.be/FzpZX1bh2LI
01.04.Shankarabharana.wmv http://youtu.be/MOzFBm8o1dg
01.05.Shankarabharana.wmv http://youtu.be/ZpJJkXkqipg
01.06.Shankarabharana.wmv http://youtu.be/7oCxRuKUYAk
01.07.Shankarabharana.wmv http://youtu.be/d_e1iqiAGSk
01.08.Shankarabharana.wmv http://youtu.be/S5EC0D7EbAc
01.09.Shankarabharana.wmv http://youtu.be/xAlfanwv8Us
01.10.Shankarabharana.wmv http://youtu.be/L63GTdJx_FI
01.11.Shankarabharana.wmv http://youtu.be/E0ZBETFx-s4
01.12.Shankarabharana.wmv http://youtu.be/nK-d4YreJdk
01.13.Shankarabharana-Full.wmv http://youtu.be/at5HzGUCAfs


AMS-Ragalapana-exercises-2:

02.01.Todi.wmv http://youtu.be/qGywcdiH-0Y
02.02.Todi.wmv http://youtu.be/cl1zKLy6DJY
02.03.Todi.wmv http://youtu.be/NWAnnIX0ipI
02.04.Todi.wmv http://youtu.be/0K1Cdm7hjmQ
02.05.Todi.wmv http://youtu.be/1TDtTy9Nxms
02.06.Todi.wmv http://youtu.be/PLK6RLrF-Mg
02.07.Todi.wmv http://youtu.be/pd3PjSk30i8
02.08.Todi.wmv http://youtu.be/39iRLbtXH2g
02.09.Todi.wmv http://youtu.be/IAtyqPOI68U
02.10.Todi.wmv http://youtu.be/4PQqthdbHc8
02.11.Todi.wmv http://youtu.be/k6RA7i6PYyk
02.12.Todi.wmv http://youtu.be/PdE_arCzuvs
02.13.Todi.wmv http://youtu.be/1MKTlQbM3U0
02.14.Todi.wmv http://youtu.be/ENQJ45XTU6U
02.15.Todi.wmv http://youtu.be/yxCxyqN6ZQs
02.16.Todi.wmv http://youtu.be/JmN1jJgKmoc
02.17.Todi.wmv http://youtu.be/0ZsDpfJtAS
02.18.Todi.wmv http://youtu.be/XvM1HeiNP-E


AMS-Ragalapana-exercises-3:

03.01.Bhairavi.wmv http://youtu.be/7CFfAaFIxRk
03.02.Bhairavi.wmv http://youtu.be/8UA48ZPHf8Q
03.03.Bhairavi.wmv http://youtu.be/QaVwsV1AS28
03.04.Bhairavi.wmv http://youtu.be/zM2A6pzAp3o
03.05.Bhairavi.wmv http://youtu.be/KZAFHNpQ370
03.06.Bhairavi.wmv http://youtu.be/fwnMGrb1f2E
03.07.Bhairavi.wmv http://youtu.be/iow71ME9K_4
03.08.Bhairavi.wmv http://youtu.be/0GHfu8icsUk
03.09.Bhairavi.wmv http://youtu.be/5SQNdWpsV8c
03.10.Bhairavi.wmv http://youtu.be/Aw1hgFukloo
03.11.Bhairavi.wmv http://youtu.be/N8APigk9qPk
03.12.Bhairavi.wmv http://youtu.be/NS6TsiH1ujQ
03.13.Bhairavi.wmv http://youtu.be/SgP7MQTN1X0

[msakella]

To tell the fact, if an efficient, honest and reliable music-teacher properly assesses the level of the rhythmical instinct of the aspirants and initiates them to work on their own in varying rhythmical intricacies right from the first day of his/her music lesson more than 80% of the aspirants can very easily sing mathamatical-kalpanasvaras even before 3 months after the completion of select Varnas which later leads to sing even Ragalapana on their own within another 3 months in the novel and qualitative method in teaching. But, this is possible only to the aspirants who can ably sing the Alankaras in 7 Talas @ 4 & 3 units i.e., in Chaturashra and Trisra-gatis and both the Purvanmga and Uttaranga of all the Varnas @ 4, 6 & 8-units. While 5, 6, 7, 8, 6 & 8 varieties of bits are furnished for Trisra-rupaka, Rupaka, Triputa, Adi (medium-tempo), Adi (Trisra-gati) and Adi (slow-tempo) respectively of which the audio and pdf files could be obtained from http://www.sangeethamshare.org/chandra/ ... hods-2007/, the 2nd variety, in particular, of all these varieties have to be practised vigorously properly understanding the mathematical implications of them. Able aspirants who can regularly practice for a minimum of four hours a day in total along with the Metronome can very easily proceed further in this respect. amsharma

[msakella]

As mentioned by me in the last post it is the primary duty of each and every music-teacher to inculcate the knowledge dealing with both Chaturashra and Trisra-gatis efficiently in each and every aspirant exposing him/her to rhythmical different aids. All these different aids should be formulated and brought out by the able music-teacher basing upon different levels of deficiency of the aspirants. In spite of all these aids if an aspirant is unable to proceed further he/she will be stranded there and I don’t teach him/her further.

Here is a very important point to note. While the duty of the music-teacher is to follow certain norms in strictly maintaining the standards and to teach the same to all the aspirants the success of the aspirants remains in the hands of the Almighty only. If an apirant is succeeded in this attempt it obviously reveals that the aspirant is fortunate enough to receive the grace of the Almighty. In such case the teacher should not feel great.

In this manner when I have started initiating a 6 years old kid Chi.Sankeerthana from 10-09-2012 in doing things on her own with the help of Casio and Metronome attending the classes twice in a week on Skype. She was able to successfully render all the Special-laya-exercises and learn all the 9 Varnas and 1 Svarajathi in two degrees of speed within 8 months. Now, she is also able to render both the Poorvanga and Uttaranga of the Varnas @ 4, 6 & 8-units efficiently and the URL links of her Natakuranji-Varna are furnished hereunder. amsharma.

Natakuranji-Adi-Varna-Poorvangam-@4-6-8-units per beat:
http://youtu.be/aM1W0SGKEDg
Natakuranji-Adi-Varna-Uttarangam-@4-6-8-units per beat:
http://youtu.be/JtPrjFTpqS8

[msakella]

In the olden days when there were no facilities at all either to record or re-play or carry or listen to the required music all the legends and maestros, who are great only in performing but not teaching at all, are always used to resort to teaching also to make money even in their lean time making the poor aspirant dependant upon them to learn the compositions only by listening them whenever they sing at their will and pleasure. Also to maintain the status quo since many centuries they have even blatantly obstructed or discouraged in each and every possible manner either to notate the compositions or even to standardise the Gamakas of our Music. However, some great people like K.V.Srinivasa Iyyengar, Nadamuni Panditar, Tacchoor Singaracharya Brothers, Rangaramanuja Iyyengar etc., etc., have, with great heart, ventured to bring out volumes containing hundreds of notated compositions. Even in those days Subbarama Dikshitar gone ahead of all of them bringing out hundreds of compositions in his ‘Sangita Sampradayapradarshini’ even utilising a limited number of symbols for the first time in the annals of our music literature. Even then, our so called great legends and maestros merely praised Subbarama Dikshitar very highly for his venture but did nothing either in continuing the same symbolised-notation or to develop the same to cater our needs. Even though very few people like me have even ventured to bring out a symbolised-notation along with pre-recorded CDs of the same neither of these so called legends nor the maestros have never even cared to encourage them or to condemn them even for the benefit of the poor aspirants and their respective parents in making the process of learning music fast and efficient. They always like to perennially continue the same status quo by selling all the compositions of the great composers for a price in the guise of helping the aspirants instead of making the aspirants learn the compositions on their own basing upon the symbolised-notation and modern gadgets of audio and video appliances. Honest teacher always teaches the barest minimum but initiates the aspirant to do the maximum in making him/her independent in all respects. But all our music-teachers, without any exception, are always used to sing or play themselves asking the aspirant simply follow them just imitating their music without defining it. If select Varnas are properly demonstrated in detail and taught to the aspirant he/she himself/herself can proceed further efficiently in learning Kritis on his/her own with the aid of notation and pre-recorded CD. Even after the invention of these audio and video-gadgets if a teacher goes on teaching a number of compositions in music without furnishing the audio or video aids he must only be called a ‘cheater’ but not a teacher at all.

But, even now, in this modern age having umpteen facilities either to record or re-play or preserve or carry or listen to the required music any number of times at any place and even while the markets are flooded with the CDs or DVDs having plenty of cinema-songs, most unfortunately and shamefully, our so called legends and maestros are still bringing out volumes containing hundreds of compositions but without a pre-recorded CD or DVD making the public fools. As there is no other go even the poor aspirants and their respective parents are compelled to bear with all their mis-deeds. Had any of these so called legends or maestros been true legends and maestros even in teaching they would have long ago quickened the process of teaching for the benefit of the poor aspirants and their respective parents. I shall extremely be happy if any of the so called legends or maestros proves his/her efficiency in teaching also by producing kids ably singing the Varnas they have learnt @ 4, 6 & 8-units per beat like the 6 years old kid, Chi. Sankeerthana mentioned in my last post and also by uploading their videos to the Youtube. amsharma

[msakella]

Today I have uploaded the videos as per the following details.

Nandikeshwaran (7 years old cousin of 6 years old Sankeerthana of 343rd post): A resident of USA. He started learning Karnataka-music Vocal on 01-06-2011 right from the basics by twice a week on Skype. Became able to render most of all the Special-laya-exercises and learnt playing Casio and singing 9 Varnas (8-Adi-tala-varnas & 1-Ata-tala-varna in Bhairavi) @ one note per second and 1 Svarajati in Bhairavi efficiently within one year. Having already acquainted with western system of Violin-playing, he even started learning to play Karnataka-music on Violin on 14-10-2011. Now, he is able to sing both the Purvanga and Uttaranga of all these Varnas @ 4, 6 & 8-notes per each beat and intricate mathematical Svarakalpana for all the 6 popular Talas, Trisra-rupaka, Rupaka, Chapu, Adi (medium-tempo), Adi (Trisra-gati) and Adi (slow-tempo) of daily usage. Simultaneously, having learnt some specially formulated finger-techniques in Violin which possibly quicken the process of learning, he is also able to play Violin in two degrees of speeds of all these 9 Varnas efficiently and both Purvanga and Uttaranga of some of these Varnas even @ 4, 6 & 8-notes per beat. The respective URLs of the same are furnished hereunder. amsharma

Nandikeshwaran-Vocal-Natakuranji-Adi-Varna @ 4, 6 & 8-notes per beat:
http://youtu.be/WvQspORIIHM

Nandikeshwaran-Vocal-Kalpanasvara-Bits & Muktayees in Rupaka-tala
http://youtu.be/FhtrqJrNDAw

Nandikeshwaran-Violin-Kambhoji-Adi-Varnam @ 4, 6 & 8-notes per beat:
http://youtu.be/AsPqSlvSQOM

Nandikeshwaran-Violin-Sri Guruguha-Shuddhasaveri-Rupakam:
http://youtu.be/mODnrYBKamo

Sankeerthana & Nandikeshwaran-Vocal-Taruni-Kambhoji-Adi-Varna @ 4, 6 & 8-notes per beat:
http://youtu.be/Rr4QwT38SXc

[msakella]

With the kind help of our brother-member, vasanthakokilam, finally, I was able to modify the ‘AMS Easy Methods-2007’ into two mp3 CDs, CD-1 & CD-2 which have been uploaded to http://www.sangeethamshare.org/chandra/ ... hods-2007/ furnishing more useful information for the benefit of the aspirants to learn things mostly on their own upto 9 Varnas and one Svarajati in Bhairavi-raga which pave way for singing Svarakalpana and Ragalapana of Manodharma Sangita basing upon their most regular and meticulous practice making the entire process of learning, amazingly and unbelievably, fast and efficient. Talented and hard-working kids can even approach me through Skype for proper guidance if needed. amsharma

[GNB_LGJ_PR]

AMS Sir, Hats off to you!!! - May your tribe increase!!!

Fortunate are those who have learnt from teachers like you!

I wish I was thirty years younger so that I could learn from you. I am forty years now and I have still not lost hope to learn and play
decently well for self-satisfaction and happiness. I started learning when I was ten years old but the master was irregular. He suddenly vanished
and resurfaced after three years. I started learning from him again. Again he vanished - this time for good. On both these spells of learning,
I got through the varisais and the dhruva tala alankaram. I could play them okay in two speeds.

When I was eighteen, I found a good teacher and I started from the varisais again. I got to the Malahari geethams this time and then
my teacher relocated.

Are there exercises that I can work on to get back the dexterity and play well (so that neighbours don't complain of cacophony)?

Even a NO from you will not deter me from trying out the exercises in your CDs :tmi:

Thanks in advance.

[msakella]

Dear brother-member, GNB_LGJ_PR (What a nice combination of giants - G.N.Balasubrahmaniam+Lalgudi G.Jayaraman+Palghat Raghu ? After seeing your pen-name I could recollect the fortune once I had by accompanying the Great Vidwan Late Palghat K.V.Narayanaswamy along with another Great Vidwan Late Palghat Raghu), Thank you for your kind appreciation.

I feel very sad to read the list of obstructioins you had while learning Violin. Age is no bar in trying. If you come online by Skype and show me your Violin-playing I may be able to discuss things and guide you properly. My Skpe ID is ‘msakella2002’ and you are welcome to speak to me. amsharma

[msakella]

In continuation of my last post I forgot to add the following.

Even though you have sincerely wished for the increase of my tribe in teaching music I have my own experience which I would like to narrate here. In this connectiion, I think you have, somehow, missed to observe that, since last four years, in spite of my repeated requests through a number of my previous posts of this thread to the teaching community none of the music teachers could ever upload even a single video of their talented kids to Youtube. Even though this system of teaching music is highly beneficial to both the aspirants and their parents, by all this, it is obvious that none of the music-teachers like to follow this system as:

1. they all, according to the traditional methods of teaching, have always been used to sing themselves and ask their students sing or play along with them by which imitative abilities only increase but not knowledge at all. None of them is ever used to initiate the aspirant to sing or play on his/her own by any means without singing or playing themselves to make the aspirants more knowledgeable,

2. they all have always been used only to elongate the process of teaching without looking into any logic by teaching a number of compositions like Saralees-one dozen, Jantas-one dozen, Datus-one dozen, Alankaras in 35 Talas (unfortunately one less to three dozens and fortunately not in 108 Talas), Saamaanya-geetas-two dozens, Lakshana-geetas-two dozens, Jati-svaras or Svara-pallavis-one dozen, Svarajatis-one dozen, Varnas-four dozens, Pancharatnas of all kinds, Navavaranakritis, Navagrahakritis, Panchalingasthalakritis, Ragamalikas of all kinds including 72 Melaragamalika inevitably and each one or two dozens, at the least, of Padas, Javalis, Thillanas, (K)Ashtapadis, Tarangas etc., etc., all sung by legends and maestros running to hundreds of compositions but finally throwing them out to struggle themselves for Svarakalpana and Ragalapana,

3. none of them is ready to loose their incomes by quickening the process of teaching,

4. they all have always been used to feel and claim themselves as great teachers even though they have always been used only to perform but not teaching at all. Had any one of them been a knowledgeable, efficient, honest and reliable music-teacher he/she should have successfully made the process of teaching fast and time-bound like me and uploaded the videos of their talented kids to Youtube long long ago,

5. none of them wants to minimize the number of items like Saralees etc., in quickeining the process of teaching basing upon the logic in teaching,

6. all the music-teachers feel that the greater number of years their students learn music from them the higher fame they will, in turn, get,

7. all the music-teachers have always been used to start with the varnas in Mohana and
Ha(i)msadhvani but neither to teach Varnas filled with Gamakas nor to properly demonstrate them magnifying and defining their respective oscillations by singing or playing them @ one note per second,

8. none of the music-teachers are used either to teach the Alankaras both in Chaturashra and Trisra-gatis, at the least, or to train their students to sing both the Purvanga and Uttaranga of the Varnas they have learnt @ 4,6 & 8 notes per Kriya which instill enormous confidence in the aspirants in dealing with the different rhythmical intricacies.

9. Even though many kids are able to sing intricate mathematical Svarakalpana and later Ragalapana also even before the completion of learning select Varnas none of the music-teachers are ready to newly take the responsibility of inculcating the knowledge of singing Svarakalpana and Ragalapana in the aspirants.

10. now-a-days, each and every music-teacher is highly interested only in selling the compositions of the great composers for a price utilizing the modern technology but not to utilize the same to make the process of teaching much faster and easier to the aspirants.

So, ultimately, you can understand that it is not that easy to get your wish fulfilled. amsharma

[GNB_LGJ_PR]

AMS sir, I agree with you entirely.

I wish to state what came to my mind. Probably, many performing artists did not have a scientific bent of mind. However, to produce gems like LGJ or MSG(who I consider as the greatest violinists in different aspects of violin play in CM) their gurus must have approached the subject scientifically. However the sad part is that it was not documented OR it was documented but not disseminated. The same holds good for other gurus who have produced great violinists in CM. This is my opinion.

[msakella]

Shape your kid as a musician on your own:

There are many similarities in the process of teaching either for cooking or motor-cycle-driving or music to the aspirant. Without cooking himself/herself unless the teacher initiates the aspirant to perform cooking on his/her own it is not possible to learn cooking efficiently. In the same manner, even while teaching the driving of a motor-cycle, the teacher, himself/herself siting on the pillion rider and making the aspirant sit in the driver’s seat, must initiate the aspirant properly in driving the motor-cycle. In the same manner, even though all are well aware that music also is a performing art, pitiably enough, none of the music-teachers, as they all are performers only but not teachers at all, are used to make the process of teaching or learning of music performance oriented and fast. Had even a single person of them been an efficient music-teacher he/she would have certainly and successfully made some of his/her students, at the least, sing the intricate Svarakalpana and brief Ragalapana like some of my students. More over, I sincerely feel, the duty of the efficient music-teacher is to arrange and initiate the aspirant to do things on his/her own even in the absence of the teacher and also to instill sufficient confidence in the aspirant to proceed further and further day by day.

We South Indians are generally used to hate either Harmonium or modern Casio either in teaching or learning or singing our Karnataka music as they do not allow playing our different Gamakas. It is also the truth up to some extent. To tell the fact, I was also of the same opinion for many years. But, only after my retirement, in my various experiments on the modern methods in teaching music to kids (but not to elders, of course) I have found the musical-instrument, ‘Casio’ helps the kids a lot far more than a teacher in learning up to the crucial Varnas. If the parents are also knowledgeable in music it helps still more to the kid. Even if the parents are not knowledgeable enough in music but if the kid himself/herself is talented and brilliant he/she can proceed further and further very fast in learning music basing upon the Casio. Even if an intelligent kid starts learning music in this novel method of teaching around his 5th year of age, no doubt, he/she can become able to successfully sing a one hour concert even before 10 years of his age with minimum dependence upon his efficient teacher. In this respect there is a proven plan to be implemented meticulously by the vigilant parents and this is furnished hereunder in detail.

This initiation could even be started to 1 or 2 years old kids by exposing them only to listen to the inspirative instrumental music furnished in the first 2 tracks of my CD, AMS Easy Methods-2007 which could be down loaded from http://www.sangeethamshare.org/chandra/ ... hods-2007/. Among them the 1st track is of one kind (Chaturashra-gati) and the 2nd track is of another kind (Trisra-gati). It is desirable to expose the kid to only one kind of them on a single day and to another kind on the next day but not both on the same day in the beginning. After exposing him/her to the videos, AMS Kids’ Rhythmelodies furnished in the featured list of items in ‘youtube - msakella’s youtube’ the musical-instrument, Casio could also be provided if the aspirant shows positive inclination to handlle the same. It will be helpful if the kid follows the videos observing the hands of the player in the videos. Interested parents can very well implement this and are welcome to approach me even through Skype for proper guidance and help, if needed.

In fact, any electronic musical-instrument having two octaves along with a Metronome can well be used for this purpose. In general, in such musical-instrument, in each octave, twelve notes with a key for each note i.e., 12 keys are provided. Among these twelve notes while 1-3-5-6-8-10-12 are white-keys being in the same line the remaining in-between 2-4-7-9-11 are black-keys being in the upper-line. At the first instance, the kid has only to play the white-keys of this instrument according to the beat of the Metronome and, only later he/she also has to sing along with the notes of the instrument according to his/her own Shruti. While the Metronome serves the purpose of rhythm the Transpose allows the player to play only the white keys pertaining to the notes of Shankarabharana irrespective of the Kids’ choice of Shruti. Thus, Casio-MA-150 in which both these facilities of Metronome and Transpose are furnished or any other similar instrument could very well be used for this purpose.

1.Put on the electronic-musical-instrument having minimum two octaves i.e., 15 white-keys on the lower line and 10 black-keys on the upper-line and arrange to emanate the sound continuously without any interruption.

2.Take an adhesive tape and apply it to the 1st white-key the Shadja of the lower octave pressing it down and not to get up again to bring out the basic Shruti continuously.

3.Put on the Metronome at 120 bpm (beats-per-minute) which runs @ two beats per each second.

4.Write figures 1S, 2R, 3G, 4M, 5P, 6D, 7N, 8S serially on the 8 white-keys of the next higher octave from 8th to 15th pertaining to Shankarabharana-raga (Shankarabharana having more independent notes is only preferable to start with unlike Mayamalavagaula having only pairs of notes).


01.Chaturashra-gati:

01.Tell your kid to press these 8 white-keys serially one after the other from 8th to 15th and back again from 15th to 8th each one 4 times and @ one note per each beat of Metronome.

Numbers of keys: 1111 2222 3333 4444 5555 6666 7777 8888
Notes of keys: SSSS-RRRR-GGGG-MMMM-PPPP-DDDD-NNNN-SSSS

Numbers of keys: 8888 7777 6666 5555 4444 3333 2222 1111
Notes of keys: SSSS NNNN DDDD PPPP MMMM GGGG RRRR SSSS

But, tell him/her not to sing along with that music at the first instance. Let him/her play for 5 or 10 minutes minutes each time and, in total, for one hour or even more daily in this manner. Later, also encourage him/her to sing along with all these notes.
http://youtu.be/3XutrVugTKI

02.Later, let him/her play @ one note per each beat of Metronome.

11 22 33 44 55 66 77 88 88 77 66 55 44 33 22 11
SS-RR-GG-MM-PP-DD-NN-SS-SS-NN-DD-PP-MM-GG-RR-SS
http://youtu.be/LumzXHiRn1A

03.SS-RR-GG-MM-RR-GG-MM-PP-GG-MM-PP-DD-MM-PP-DD-NN-PP-DD-NN-SS
SS-NN-DD-PP-NN-DD-PP-MM-DD-PP-MM-GG-PP-MM-GG-RR-MM-GG-RR-SS
http://youtu.be/EidxXd9faIA

04.SS-RR-GG-RR-SS-RR-GG-MM-RR-GG-MM-GG-RR-GG-MM-PP
GG-MM-PP-MM-GG-MM-PP-DD-MM-PP-DD-PP-MM-PP-DD-NN
PP-DD-NN-DD-PP-DD-NN-SS-SS-NN-DD-NN-SS-NN-DD-PP
NN-DD-PP-DD-NN-DD-PP-MM-DD-PP-MM-PP-DD-PP-MM-GG
PP-MM-GG-MM-PP-MM-GG-RR-MM-GG-RR-GG-MM-GG-RR-SS
http://youtu.be/rYQnL1zLZHo

05.SS-S,-RR-R,-GG-G,-MM-M,-PP-P,-DD-D,-NN-N,-SS-S,
SS-S,-NN-N,-DD-D,-PP-P,-MM-M,-GG-G,-RR-R,-SS-S,
http://youtu.be/vdjoZCFz7Kg

06.SS-S,-SS-R,-SS-G,-SS-M,-SS-P,-SS-D,-SS-N,-SS-S,
SS-S,-SS-N,-SS-D,-SS-P,SS-M,-SS-G,-SS-R,-SS-S,
http://youtu.be/SqV7BHXlR2Q

07.SS-GG-RR-MM-GG-PP-MM-DD-PP-NN-DD-SS
SS-DD-NN-PP-DD-MM-PP-GG-MM-RR-GG-SS
http://youtu.be/vypIRbjqITk

08.SG-RM-GP-MD-PN-DS-SD-NP-DM-PG-MR-GS
http://youtu.be/fgyLq9gD3UQ


02.Trisra-gati: Later, let him/her play with a single hand @ 3 notes per each beat of 60 bpm of Metronome following the videos.

01.SSS-RRR-GGG-MMM-PPP-DDD-NNN-SSS
SSS-NNN-DDD-PPP-MMM-GGG-RRR-SSS
http://youtu.be/36LjRKPczmA

02.SSS-SSR-SSG-SSM-SSP-SSD-SSN-SSS
SSS-SSN-SSD-SSP-SSM-SSG-SSR-SSS
http://youtu.be/H_p0GYpts3c

03.SRG-RGM-GMP-MPD-PDN-DNS
SND-NDP-DPM-PMG-MGR-GRS
http://youtu.be/0MQ8k5jXDWg

03.Khanda-gati: Later, let him/her play with both the hands @ 5 notes per each beat of 60 bpm of Metronome following the videos.

01.S,S,S-R,R,R-G,G,G-M,M,M-P,P,P-D,D,D-N,N,N-S,S,S
S,S,S-N,N,N-D,D,D-P,P,P-M,M,M-G,G,G-R,R,R-S,S,S
http://youtu.be/PwDuvgNrGpU

02.S,S,S-S,S,R-S,S,G-S,S,M-S,S,P-S,S,D-S,S,N-S,S,S
S,S,S-S,S,N-S,S,D-S,S,P-S,S,M-S,S,G-S,S,R-S,S,S
http://youtu.be/xm8OFuHAEdg

03.SSS,S-RRR,R-GGG,G-MMM,M-PPP,P-DDD,D-NNN,N-SSS,S
SSS,S-NNN,N-DDD,D-PPP,P-MMM,M-GGG,G-RRR,R-SSS,S
http://youtu.be/rXTos88w5OA

04.SSS,S-SSS,R-SSS,G-SSS,M-SSS,P-SSS,D-SSS,N-SSS,S
SSS,S-SSS,N-SSS,D-SSS,P-SSS,M-SSS,G-SSS,R-SSS,S
http://youtu.be/oHIpsSUtYKo

05.SGR,G-RMG,M-GPM,P-MDP,D-PND,N-DSN,S
SDN,D-NPD,P-DMP,M-PGM,G-MRG,R-GSR,S
http://youtu.be/hbSukr_NTtM

Later, he/she can very well be initiated to follow the lessons furnished in the AMS Easy Methods-2007 CD. msakella

[GNB_LGJ_PR]

AMS Sir,
I went through the lessons on youtube and they are simply awesome!!!
Will come back if and when I have any specific doubt.

Thanks a ton!!!

[msakella]

Dear brother-member, GNB_LGJ_PR, Thank you for your kind appreciation. I have been striving hard in making the process of teaching or learning our music much easier and fast and also in making our kids self-dependents. I shall always try to clear off any of the doubts of the interested persons in this respect. amsharma

[msakella]

Shape your kid as a musician on your own:

Today I have uploaded three videos pertaining to three kinds of rhythms, Trisra-gati, Chaturashra-gati and Khanda-gati. The interested parents can arrange to their kids even right from their age of 1 year to follow them with the help of two cane-sticks. This helps them a lot in stabilising their rhythmical abilities which are very useful in learning different rhythmical intricacies of music in furture. The respective URLs are also furnished hereunder. msakella

AMS-Kids’ Rhythms 01.Trisra-gati: http://youtu.be/4su9Xo6wKs0

AMS-Kids’ Rhythms 02.Chaturashra-gati: http://youtu.be/dyICGwTFVR0

AMS-Kids’ Rhythms 03.Khanda-gati: http://youtu.be/8v5Rlseh1Jw

[vasanthakokilam]

Wonderful, akellaji. I highly recommend everyone to take a few minutes to watch this. Young and Old. This can be the laya bAla pADam even before formal musical lesson starts, as akellaji states. Experiment with kids and see if they imitate all this over time.

[msakella]

Dear brother-member, vasanthakokilam, What you wrote is absolutely right. They are the bAla pADams to which all the parents who are truly interested in shaping their kids as musicians must initiate their kids to follow and imitate them regularly right from their younger age.

Long long ago, had our ancestors took serious interest in this respect they would have certainly imposed this kind of excercises like our mathematical-tables to all our kids and the scenario of our present day music would have entirely been in a different way. Unfortunately, this did not happen due to the selfish, parasitical and conservative attitudes of many of them. In the same manner, than merely singing some Ragalapana, Kriti, little Niraval and Kalpanasvaram, had singing both Purvanga and Uttaranga of a critical Varna @ 4, 6 & 8-notes been made compulsory either for the Radio auditions or music-competitions or music-examinations or slections for the Scholar-ships or appointments as Teachers etc., the music-standards of the present day would have been very high.

Any musician who basically cannot sing both the Purvanga and Uttaranga of a critical Varna @ 4, 6 & 8-notes per each second should never be declared to have passed any one of the above and any musician who cannot also demonstrate the same Varna @ one note per each second in detail along with singing the same @ 4, 6 & 8-notes should not even be selected for the Teacher’s post. Unfortunately, due to the selfish, careless and negligent attitude of the ‘efficients’, the ‘inefficients’ in the society are dominating and helping to deteriorate the standards in the guise of their ‘reservations’ and the entire society is gradually becoming impotent. God alone must save our community. amsharma

[msakella]

Today I have uploaded two videos of the Poorvangam and Uttarangam of Kambhoji-Adi-Varna sung by 7 years old kid, Chi. Samkeerthana @ 4, 6 & 8 per beat and the respective URLs of Youtube are also furnished hereunder. amsharma

Kambhoji-Varna-Purvangam :
http://youtu.be/_JqGv2swFi4

Kambhoji-Varna-Uttarangam :
http://youtu.be/MralML1xH0k

[msakella]

Hi all, In the 3 kinds of easy Muktayis of Kalpanasvaras furnished in the Addendum of AMS Easy Methods-2007 uploaded to http://www.sangeethamshare.org/chandra/ ... hods-2007/ , serial numbers have been furnished to the 2nd variety of Prastara-muktayis only and the same have not been furnished to the other two varieties as it involves much concentration and hard work to get them and my physical condition, at this old age, is not allowing me to do it. But, recently, my disciple Chi. Vijaya Raghava of Bangalore, who could swallow this entire topic of ‘Talaprastara’ within 4 days only, designed a programme to get all the required details of the Prastaras. Basing upon it, now, I could obtain all the required serial numbers of the Muktayis of the remaining other two varieties also and furnished hereunder for the benefit of the aspirants. Among them, while the 1st figure is the serial-number of the Muktayi, the 2nd figure is the serial-number of the respective rhythmical-form and the 3rd figure is the total number of Prastaras obtained in the process of the respective permutation as per the ‘Talaprastara’.

Consider the first one listed below. Kalpanasvaras-01, 5(10) pertains to Khanda-chapu or Trisra-rupaka, 01(a) is the 1st variety carrying ‘5 1 1 1 1 1’, 497 is its serial-number and 512 is the grand-total number of the prastaras or permutations obtained in the process of permutatioin of 10-units. amsharma

Kalpanasvaras-01:

5(10);
01(a)-497/512
01(b)-521126897/536870912
01(c)-549740069873/549755813888
02(a)-481/512
02(b)-504333281/504333281
02(c)-549723276257/549755813888
03(a)-449/512
03(b)-470746049/536870912
03(c)-514256208833/549755813888
04(a)-385/512
04(b)-403571585/536870912
04(c)-443322073985/549755813888
05(a)-257/512
05(b)-269222657/536870912
05(c)-301453804289/549755813888

06(12):
01(a)-1889/2048
01(b)-31691509601/34359738368
01(c)-131801288150881/140737488355328
02(a)-1985/2048
02(b)-33302515649/34359738368
02(c)-138503048138689/140737488355328
03(a)-1921/2048
03(b)-32228511617/34359738368
03(c)-136268591140737/140737488355328
04(a)-1793/2048
04(b)-30080503553/34359738368
04(c)-127332911156993/140737488355328
05(a)-1537/2048
05(b)-25784487425/34359738368
05(c)-109461551189505/140737488355328
06(a)-1025/2048
06(b)-17192455169/34359738368
06(c)-73718831254529/140737488355328

7(14):
01(a)-7489/8192
01(b)-2010301611329/2199023255552
01(c)-33191868297657665/36028797018963968
02(a)-7553/8192
02(b)-2027482529153/2199023255552
02(c)-33475559478541697/36028797018963968
03(a)-7937/8192
03(b)-2130568036097/2199023255552
03(c)-35461380563812097/36028797018963968
04(a)-7681/8192
04(b)-2061844364801/2199023255552
04(c)-34326615840275969/36028797018963968
05(a)-7169/8192
05(b)-1924397022209/2199023255552
05(c)-32057086393203713/36028797018963968
06(a)-6145/8192
06(b)-1649502337025/2199023255552
06(c)-27518027499059201/36028797018963968
07(a)-4097/8192
07(b)-1099712966657/2199023255552
07(c)-73814001191338651649/147573952589676412928

8(32 & 64):
01(a)-126/128
01(b)-539035009278/549755813888
01(c)-35463637321482494/36028797018963968
02(a)-59/64
02(b)-251263615099/274877906944
02(c)-16530858831413371/18014398509481984
03(a)-30/32
03(b)-126705565758/137438953472
03(c)-8371395922591806/9007199254740992
04(a)-16/16
04(b)-66574057504/68719476736
04(c)-4397632048824352/4503599627370496
05(a)-8/8
05(b)-32213270544/34359738368
05(c)-2128171328569360/2251799813685248
06(a)-4/4
06(b)-15032877064/17179869184
06(c)-993440968441864/1125899906842624
07(a)-2/2
07(b)-6442680324/8589934592
07(c)-426075788378116/562949953421312
08(a)-1/1
08(b)-2147581954/4294967296
08(c)-142393198346242/281474976710656

8(48):
01(a)-30/32
01(b)-495179838/536870912
01(c)-2059395127358/2199023255552
02(a)-16/16
02(b)-260175904/268435456
02(c)-1082055063584/1099511627776
03(a)-8/8
03(b)-125892624/134217728
03(c)-532299184144/549755813888
04(a)-4/4
04(b)-58750984/67108864
04(c)-248697092104/274877906944
05(a)-2/2
05(b)-25180164/33554432
05(c)-106896046084/137438953472
06(a)-1/1
06(b)-8394754/16777216
06(c)-35995523074/68719476736

Kalpanasvaras-02:

01.01-462/512
01.02-471/512
01.03-472/512
01.04-478/512
01.05-479/512
01.06-293/512
01.07-366/512
01.08-376/512
01.09-451/512
01.10-455/512

02.01-1902/2048
02.02-1912/2048
02.03-1968/2048
02.04-1887/2048
02.05-2014/2048
02.06-1880/2048
02.07-1886/2048
02.08-1915/2048
02.09-1997/2048
02.10-1998/2048

03.01-7282/8192
03.02-7412/8192
03.03-7534/8192
03.04-8031/8192
03.05-8046/8192
03.06-7217/8192
03.07-7351/8192
03.08-7515/8192
03.09-7519/8192
03.10-7607/8192

04.01-32307/32768
04.02-31988/32768
04.03-32248/32768
04.04-30688/32768
04.05-31710/32768
04.06-24048/32768
04.07-25028/32768
04.08-25544/32768
04.09-21141/32768
04.10-32768/32768

Kalpanasvaras-03: (along with 5 only)

05(10):
01.01-562932807090208/562949953421312
01.02-562933836106021/562949953421312
01.03-551218556995721/562949953421312

06(12):
02.01-576443161190596640/576460752303423488
02.02-576460752287694368/576460752303423488
02.03-576460236549294217/576460752303423488

07(14):
03.01-577994550133434351136/590295810358705651712
03.02-590278921344348883081/590295810358705651712
03.03-590277795994539130912/590295810358705651712

08(32):
04.01-730728561455169176328227957373290372443278393376/
730750818665451459101842416358141509827966271488
04.02-715522595463745136451204212299256875597425051785/
730750818665451459101842416358141509827966271488
04.03-730729911078133785935627615478938009719337385504/
730750818665451459101842416358141509827966271488

08(48):
05.01-604445075535781771643017/604462909807314587353088

05.02-618951740071689821880879241/618970019642690137449562112

05.03-25906841307411074127860032271753810137739144196316363845509923720361848/
883423532389192164791648750371459257913741948437809479060803100646309888

08(64):
06.01-1045737444817521695826839835335233188786542948514013342512254632988172231017188124332715895931424/ 1067993517960455041197510853084776057301352261178326384973520803911109862890320275011481043468288

06.02-1067962941195765548994425931955581726498039025909621634125509987354288605085194807542464614271113/ 1067993517960455041197510853084776057301352261178326384973520803911109862890320275011481043468288
06.03-1045737445745829041657671585951270111887037978079747497726439071213118424275057346859648892307593/ 1067993517960455041197510853084776057301352261178326384973520803911109862890320275011481043468288

[vasanthakokilam]

Thanks very much Akellaji. This very clearly brings together many topics you have been writing about for the past several years. The name 'kalpanaswara' only indicates that it is the manodharma/improvisation on the swara front. May be it should have been called Swaralayakalpana or Layaswarakalpana but that ship had sailed long time back. Many members of our forum who pay attention to this kind of stuff know how much laya-centric the kalpanaswara part is. I wonder how many rasikas out there in the general world know this basic aspect about our music.

What you have provided above, with the help of your software savvy disciple, clearly shows the relationship between the Talaprastara perfected many centuries back and kalpanaswaras practices of the present day. The treasure trove of audio examples provided by you brings theory and practice together into a coherent whole, bringing the past to the present so to say, using the technologies that are at our disposal today. These things were not possible in prior generations and we are indeed living in interesting times.

Thanks very much for the enormously significant work you have undertaken. I wish I can stand on the CM roof top and shout out 'Pay Attention.'

Thank you, sir.
(P.S. added some bold and underline to make the sections standout )

[msakella]

Dear brother-member, vasanthakokilam, Thank you for your kind appreciation. As you wrote, this topic Prastara has been lost much of it and as per my guess and the available evidence, in the history of our Karnataka music, since many centuries, Tacchur Singaracharya Bros. only knew the screts of this topic. But, unfortunately, they have not given these clues even in any one of their 5 or 6 treatises they wrote. There is no other topic in our music than this which is more absorbing, even than the 22 Shrutis having no precision. That is why I have invested more than 40 years of my life to find and give it to our kids in tact as this is part of our great culture and, I sincerely feel, it is our primary duty to find and pass it on to our kids properly. There may be some people who may not like it just like a person who does not like sweet. But, that does not mean to throw all sweets out of all shops. However, there are people like my disciple Chi. Vijaya Raghava to do all the needful in this respect and also to heartily appreciate like you. This itself shows that my toil has not been wasted and this is far more than enough to get full satisfaction. amsharma

[msakella]

In continuation to the 354th post of this thread the further details pertaining to the same topic are furnished hereunder for the interested parents. They are welcome to contact me to my Skype address ‘msakella2002’ if they need.

Every person who knows only s, r, g & m of the seven notes thinks that he can not only sing music well but also teach well and starts both. Any aspirant works hard only with a selfish motive to become a performer. But, many such aspirants who cannot shine as performers will be compelled to live on music by teaching others what they know even though they do not fit to teach. But, the persons who can shine as performers will also resort to teach to earn something more in their lean time even though they themselves do not know that they are not fit to teach. The real problem is the parents can neither assess the quality of the music-teacher, nor the quality of the lesson taught to the aspirant nor the quality of music the aspirant attained. Taking advantage of all this, every musician, though inefficient in teaching, resorts to teach and the poor aspirants and their parents become the prey of him/her. Among these two categories of performers and teachers while the performer strives hard only for his/her self aggrandizement the teacher strives hard to serve the society which is very noble and ideal. However, very sadly, most of the honours or titles or awards will be given to the selfish performers only.

In any country R & D (Research & Development) goes on continuously in standardizing things and achiving higher standards in all kinds of fields saving the invaluable time, human energy and money. But, in respect of our music, while the dogmatic conservatives do not like to standardize some of the aspects the music-teachers never want to quicken the process of teaching as it very badly affects their regular earnings. Presently, eventhough we are highly blessed in many ways with the modern technology, unfortunately, this is facilitating more to spread their tentacles all over the globe and earn more money etc., than properly utilizing it to quicken the process and enhance the quality of learning for the benefit of the aspirants and their parents. Even though the aspirants and their parents sincerely wish to learn in these modern methods they all are compelled to rely upon all these honourable music-teachers only. In spite of repeated requests to some of the Chennai-based-musicians to do something to properly symbolize our system of notation bringing the like minded people together nobody did anything even after the lapse of more than one year. They all talk very high of Subbarama Deekshitar for symbolizing the notation in his Sampradaya Pradarshini but do nothing either to continue it or to develop it or even to condemn it.

I also have worked as Lecturer and Principal for 35 years in the Govt. Colleges of Music & Dance of Andhra Pradesh and only after 5 years after my retirement I fully realized that I was not an efficient and reliable teacher, though honest. From then onwards, to pay back to the society, I have given up even my lucrative artistic life and, only by the grace of the Almighty, having found a reliable method in teaching music, taken its propagation as the mission for the rest of my life.

In fact, in which way we are able to save our invaluable time or energy or money by quickeing the process of our travel by utilising the modern conveyance facilities like motor-cycle or car or train or aero-plane or helicopter etc., the process of learning music could also be quickened by properly symbolizing the system of our notation and utilising the modern gadgets like CDs or DVDs or mp3 players or ipods etc., etc. As all are aware that music can neither be taught nor learnt, the needed technicalities which pave way to arrive at the destination in learning music must be taught very quickly to the aspirant. As the music is a performance-oriented art many experiments revealed that the process of learning must also be made performance-oriented by initiating the aspirant to perform accordingly. Even while teaching the needed technicalities to the aspirant an efficient, honest and reliable teacher only can quicken the process by minimizing the items to be taught and properly initiating the aspirant towards Manodharma Sangita on his/her own right from the first day of learning by performing and learning simultaneously.

All are aware that even without the basic knowledge of music and even without a music teacher to guide many aspirants are able to efficiently and accurately reproduce a cine-song by mere listening to a pre-recorded song many a time. This obviously reveals that anybody can very easily reproduce the pre-recorded, fixed and un-changed music by continuous listening of it even without any guidance and this is the base for all my experiments not only in successfully quickening the process of teaching music but also in making it ‘time-bound and result-oriented’ unlike in the past for the benefit of both the aspirants and their parents in particular.

In the age old method of quatitative teaching a number of items or compositions are serially sung for half-an-hour or 1 hour in the class by the teacher himself/herself and the aspirant is asked to follow singing along with him/her by imitation. After the class nothing remains to rely upon in his/her regular practice to the poor aspirant in the absence of the teacher to give him/her self-confidence. More over, even after 5 or 10 years of learning several compositions the aspirant is unable to sing Swarakalpana or Ragalapana efficiently with self-confidence. Now, in the modern method of qualitative teaching all the items or compositions to be learnt are given both in notation and pre-recorded audio and video files to the aspirant even in the beginning. Later, the aspirant has to go through them repeatedly, practice them along with the Casio machine which never goes wrong and reproduce it in the class in the presence of the teacher. Even the teacher, very simply, has to verify and point out the mistakes. Then the aspirant has to go through the notation, audio & video files again, practice them again along with the Casio machine, correct himself/herself and sing in the next class. For this purpose to minimise the dependence of the aspirants upon the teachers a number of notated compositions, audio & video files are provided in www.sangeethamshare and www.youtube. Thus, by going through the notation, audio & video files a number of times while the kids, having no other avocations, can progress very quickly the aged persons can progress very slowly. Just like making the aspirant knowledgeable in the co-ordination of the hands and legs in driving a cotor-cycle, even in music, instead of teaching a number of compositions, it is very important to make the aspirant knowledgeable and self-confident dealing with the intricacies of both the rhythm and different oscillations of notes to efficiently manage with the different problems of them in the process of learning music.

The following method works well effectively and efficiently for the kids between 6 & 8 years of age who can very easily finish most of the learning and even perform the technicalities efficiently even before the completion of 12 years of age. Kids even before 6 years of age could also be encouraged to learn music in this method.

The following is the general method to be adapted to all the kids. But, basing upon the level of their individual instinctive rhythmical sense necessary modifications could be made by the efficient teacher (not performer please) to get good and quick progress.

01. Download the contents of AMS Easy Methods-2007-CD-1 & 2 from http://www.sangeethamshare.org/chandra/ ... hods-2007/
http://sangeethamshare.org/chandra/AMS- ... PerSecond/. From CD-1 play the track 001. Instrumental music-4, which is in Chaturashra-gati, repeatedly on a CD player and arrange speakers in different rooms of your house to make the kid listen to it continuously.

02. Alternatively, play the first video of AMS-Rythmelodies also, which is available from ‘youtube.com/user/msakella’ in the same manner and encourage the kid to follow providing two cane-sticks. This could be followed for 15 days or one month or even more depending upon the progress of the kid.

03. If the kid is able to follow the first video successfully the track 002.Instrumental music-3, which is in Trisra-gati, should be played in the same manner. Along with it alternatively, the second video of AMS-Rhythmelodies should be played to enable the kid follow it along with the cane-sticks.
Important-note: Until the kid becomes able to follow it successfully he/she should not be allowed to preceed further.

04. If the kid is able to follow the second video also successfully the third video of AMS-Rthythm, which is in Khanda-gati, should be played to enable the kid follow it along with the cane-sticks again. Even if the kid cannot follow it he/she should be allowed to proceed further.

05. Later, in Casio-MA-150, in which mainly two facilities of Metronome and Transpose are also furnished, the 13 notes located between the 15th and 22nd white-keys of the 3rd octave among the keys of the four octaves of the instrument should be marked with abbreviations.Among them the white-keys should serially be marked with S, R2, G2, M1, P, D2, N2 & S and the upper-black-keys should serially be marked withy R1, G1, M2, D1 & N1. Later, the 1st video of AMS-Rhythmelodies should be played and the kid should be encouraged to do the same playing the Casio along with the Metronome 120 bpm (beats-per-minute) independently. While doing so press ‘09’ of ‘Elec.Organ-3’ of sounds, keep the 8th white-key of the Shadja of the 2nd octave pressed and apply adhesive tape to the key to continuously produce the sound of basic “Shadja’.

06. Thus.the kid should be encouraged to observe the 01.01.Rhythmelodies pertaining to Chaturashra-gati and later, to play the same on the casio along with the Metronome 120 bpm. In the same manner the kid should be encouraged to follow all the following 16-videos serially. It helps a lot if the kid is exposed to this music regularly for 3 or 4 hours daily.

01.Chaturashra-gati:

01.ss-ss-rr-rr-gg-gg-mm-mm . . . . . . (@ 2 notes per second)

02.ss-rr-gg-mm . . . . . . . . . . . . . . . . . .(@ 2 notes per second)

03.ss-rr-gg-mm . . . . . . . . . . . . . . . . (@ 4 notes per second)

04.ss-rr-gg-rr-ss-rr-gg-mm . . . . . . . . . ( -do- )

05.sss,-rrr,-ggg,-mmm, . . . . . . . . . . . .( -do- )

06.sss,-ssr,-ssg,-ssm, . . . . . . . . . . . . ( -do- )

07.ss-gg-rr-mm-gg-pp . . . . . . . . . . . . .( -do- )

08.sg-rm-gp-md-pn-ds . . . . . . . . . . . . ( -do- )


02.Trisra-gati:

01.sss-rrr-ggg-mmm . . . . . . . . . . . . . .(@ 3 notes per second)

02.sss-ssr-ssg-ssm . . . . . . . . . . . . . . .( -do- )

03.srg-rgn-gmp-mpd . . . . . . . . . . . . . .( -do- )


03.Khanda-gati

01.s,s,s-r,r,r-g,g,g-m,m,m- . . . . . . .. . .(@ 5 notes per second)

02.s,s,s-s,s,r-s,s,g-s,s,m- . . . . . . . . . . ( -do- )

03.sss,s-rrr,r-ggg,g-mmm,m- . . . . . . . ( -do- )

04.sss,s-sss,r-sss,g-sss,m- .. . . . . . . .( -do- )

05.sgr,g-rmg,m-gpm,p- . . . . . . . . . . . ( -do- )


07. Later, the 15th white-key, the basic ‘Shadja’ of the 3rd octave should be pressed accordingly along with the upward and downward arrows of ‘Transpose’ either to increase or decrease the pitch to select suitable Shruti of the kid. This Shruti should be used in the regular practice of the kid to play and sing along with Casio regularly.

08. Later, the aspirant could follow the contents of the CD-1 & 2 along with the videos available from ‘youtube.com/user/msakella’ and proceed further. amsharma

[msakella]

In my view, the GURU is just like mother who gives only very highly protiened food to her kid even without any iota of husk. Such an efficient, honest and reliable Guru not only feeds his student with the barest needful material but also instills self-confidence making him/her efficient and independent in working on his/her own in the process of getting the knowledge of Manodharma Sanigita, the crux of our music, within the most minimum span of time.

But, as we have only professional performers who mostly prefer to perform but will also resort to teach the aspirants to earn more money even in their lean time but not professional teachers at all, they (they themselves do not know that they are not teachers at all) un-knowingly tax the aspirants right from the first day of the music-lesson singing themselves all the umpteen Saralees, Jantas, Datus, Hecchu-sthayi-swaras and Taggu-sthayi-swaras each one-dozen or even more, Alankaras in all the 35 Talas, 2 or 3 dozens of Gitas, one-dozen of Svarajathis, 4 or 5 dozens of Varnas and hundreds of Kritis or Keertanas and making the aspirant follow them singing all those items unnecessarily elongating the process for many years to squeeze more money from the poor aspirants and their ignorant parents. An efficient teacher sings only the minimum but initiates and makes the aspirant sing the maximum.

Most unfortunately, I have also been taught in the same manner by all my teachers and I too also, in turn, have un-knowingly taxed my poor students in the same manner for 35 long years of my Govt. service as Lecturer in Violin and Principal. Only after 5 years after my retirement while writing my first book, Sangita Svararaga Sudha, when, at the first instance, I casually wrote the 12 Saralees, 12 Jantas, 6 Datus and later writing the Alankaras started with the first Alankara in Dhruva-tala the first tube-light went on in my brain opening my eyes. Is it justifiable to an experienced teacher like me to start the Alankaras to a small kid with one of the most complicated Dhruva-tala, which has absolutely been avoided by 99% of our composers? By doing this un-justifiable act which is absolutely suicidal in respect of a litlle kid just started learning music I have acted like an in-experienced cheater only but not as an experienced teacher. Is it not the duty of the so called teacher to minimize the toil for the sake of his/her poor student? This has become the first-step for the introspection of my entire teaching-life particularly in respect of the methodology of teaching of both Vocal and Violin about which nothing has ever been written in any book nor been made clear by any professional teacher till now. Then only, I have realized that the basic duty of an efficient, honest and reliable teacher is to directly teach only the important technicalities of this performing-art and to always initiate the aspirant much in doing things on his/her own either in the presence or even in the absence of the teacher not only to minimize the toil of the student but also either to make him/her independent in all respects instilling self-confidence in the aspirant by enhancing his/her abilities or to make the process of teaching possibly ‘time-bound and result-oriented’ unlike in the past. In the high interests of our kids I have possibly minimized their toil and simultaneously energiged their talents making the following modifications in teaching only the usual items but finding amazing results unlike in the past.

01. Among the Shruti and Laya while the Shruti is Rakthi and the Laya is Shakthi the Shruti is constant and there will not be any regular increase in it. But the aspirant has to work hard to increase his abilities in respect of Laya with the help of a Metronome to get a well disciplined increase in different speeds and enough self-confidence in proceeding further on his/her own. All the interested parents must realize that even little kids could very well be exposed to the videos of ‘AMS-Kids’ Rhythms’ available in ‘youtube.com/user/msakella’ to increase their rhythmical sense, knowledge and abilities simultaneously.

As all know, in the aspect of rhythm, we have been provided with 5 varieties of Gatis among which there are only one even and four odd-numbers of value of Gatis at 1:4 ratios indicating the four-time importance of odd among them. This obviously reveals that each and every musician must become able to manage with the minimum number of odd i.e., 3-Trisra-gati also, at the least, in addition to the only one even, Chaturashra-gati. But, as our elders have not given the needed preference to the odd-gatis but for the even Chaturashra-gati, our abilities have never been exposed to the odd-gatis much somehow leaving us as impotents in this respect. That is why, basically being a Mridangist in the beginning, I have included the least odd Trisra-gati also along with the Chaturashra-gati and accordingly formulated 28-Special-laya-exercises to which the kid must certainly be exposed right from the first day of the lesson. To help the aspirants in this respect I have uploaded two CDs to ‘sangeethamshare’ along with written pdf files and audio-files and nearly 700 videos to ‘youtube’ which are free and open for one and all on our globe.

Unless the aspirant is able to basically manage with rendering of the seven-jati-alankaras both in Chaturashra and Trisra-gatis he/she should never be allowed at all to start even the Saralee-svaras just like a non-MBBS not allowed to make a surgical-operation.

02. More over, in respect of Alankaras I have made many experiments on the kids and accordingly while there are four implications, 1.Maintaining the rhythm efficiently 2. Rendering the different Angas of the Tala properly 3.Pronouncing the respective syllables of the seven notes and 4.Singing the respecative sounds of these seven notes, in singing these Alankaras of seven Talas, to make the learning easier, for the first time in the history, I have newly formulated the seven-jati-alankaras bringing them down to only two implications, 1.Maintaining only the rhythm efficiently with the beats of both the hands but without rendering the Talangas and 2.Pronouncing only the Jati-syllables. More over, to make it easier, I have also divided the seven Alankaras into two groups, first group containing only short-syllables in increasing order of the total of units in each cycle consisting of 4, 6, 10 & 14-units of Eka, Rupaka, Mathya and Dhruva-talas respectively and the second group containing the longer and odd-number of syllables consisting of 10, 14 & 7-units of Jhampa, Ata and Triputa-talas respectively. As teaching the kids all the Alankaras in all the 35-talas in Chaturashra-gati only is useless like purchasing 3 or 4 dozens of hand-kerchiefs only and sending the kid out with hand-kerchiefs only I have prescribed to render the seven Alankaras @ 1, 2, 3, 4, 6 & 8-syllables per beat to strengthen their rhythmical abilities. The aspirants can go through the respective pdf, audio and video-files mentioned above for their guidance.

It is very important to note that many of the kids are able to efficiently sing even a cine-song by constantly listening to it many a time and even without any guidance. In the same manner if the audio-files of these CDs are also loaded into a mobile ipod or mp3 player to enable the kid listen to them many a time wherever he/she goes he/she can very efficiently reproduce them as they are. All the parents must mind that the tender age up to 12 years of the kid is most invaluable and it is very easy to finish off the learning of the needed technicalities of the classical-music even before the completion of 12 years of age by the proper initiation of an efficient, honest and reliable teacher.

03. Later, I have restricted with 6 or 8 Nos. of Saralee-svaras, 4 Janta-svaras, 3 Datu-svaras and the aspirants must be initiated to practice strictly in Shankarabharana (visit ‘AMS-Kids’ Rhythmelodies’ furnished in ‘youtube.com/user/msakella’) consisting of six independent notes (s, r, g, p, d & n) as against the usual Mayamalavagoula having only one independent note (n). Later, in the seven-svara-alankaras, as each and every Alankara carries 10-avartas of music, I have modified reducing each of them to 8-avartas by singing all of them in a Panchama-varja-raga which makes the process easier to the kid while singing them in 3 degrees (8-4-2 avartas and without any remainder) of speed. Later, the aspirants must be initiated to regularly practice all the above in all the 32 Avivadi-melas with plain notes only playing and singing along with the Casio. The aspirants can go through the respective pdf, audio and video-files mentioned above for their guidance. All the aspirants and their parents must realize that regular practice relying upon the Casio-MA-150 even in the absence of their teacher helps them a lot amazingly in their progress.

04. Later, while teaching the Gitas, I have restricted them to only 6 numbers i.e., 5 Sadharana-gitas and only 1-Lakshana-gita, only to get reasonable acquaintance with all the 12 notes. Taxing the aspirants with 2 or 3 dozens of Gitas is not at all desirable as these Gitas are neither helpful to the aspirant like Varnas nor allowed to sing on the dais. More over, like a small kid who is just trying to stand on his/her own legs should not at all be encouraged to run, only plain notes must be taught up to Gitas and the different kinds of oscillations should only be demonstrated and taught beginning only from the Varnas but not from the Gitas. The aspirants can go through the respective pdf, audio and video-files mentioned above for their guidance. All the aspirants and their parents must realize that regular practice relying upon the Casio-MA-150 even in the absence of their teacher helps them a lot amazingly in their progress.

05. To make the aspirants able enough to deal with the different kinds of oscillations they must be initiated to listen to the Varnas in the Ragas Natakuranji, Kambhoji and Darbar giving more importance to the three notes i.e., Sadharana-gandhara, Shuddha-madhyama and Kaishiki-nishada which have more radius of Gamaka than all other notes. Later they have to follow the Varnas in the Ragas Shankarabharana, Kalyani, Begada, Todi and Saveri in Adi-tala and one Varna in Bhairavi-ata-tala followed by famous Bhairavi-Svarajati of Shyama Shastry. This particular seriatim is formulated giving importance to the inter-relation of Gamakas of different notes. At the first instance, the aspirants must only be initiated to listen to all these Varnas many a time following the respective audio and video-files @ one nps (note-s per second) magnifying all the Gamakas to get proper acquaintance with all the intricacies of them. It helps a lot to the aspirants in getting the proper knowledge of notation if they very strictly sing the Svara, at the first instance, later Akara and lastly the lyric. In their regular practice they must very strictly sing both the Purvanga and Uttaranga of each and every Varna @ 4, 6 & 8-nps (visit singing of kids in youtube). All the aspirants and their parents must realise that this is the very highly protiened food to the aspirants of music. But, unfortunately, most of the music-teachers not only avoid to teach or demonstrate all these intricacies to the aspirants but also discourage them to sing these intricacies telling some cock and bull stories as they themselves are not efficient enough either to sing or demonstrate or explain them properly. The aspirants can go through the respective pdf, audio and video-files mentioned above for their guidance. All the aspirants and their parents must realize that regular practice relying upon the Casio-MA-150 even in the absence of their teacher helps them a lot amazingly in their progress. Simultaneously practice of different rhythmical exercises along with the respective svara-exercises later helps the aspirant sing the mathematical-svara-kalpana on his own in which way the chanting of the mathematical-tables later makes the kids efficient in dealing with mathematics. By all this at the end of the completion of all these Varnas the aspirant must become able to sing Kalpana-svaras on his own paving way to sing Ragalapana also later. If not the method of teaching must be presumed defective. Even though many of the fanatic, lunatic and conservative music-teachers oppose these methods of teaching in their self-interests, this is a well proven novel method of teaching music making the kid deal with the Manodharma Sangita efficiently and successfully within a very short time without learning even a single Kriti.

For an average kid it takes a maximum of two years duration to learn all the above items if he/she very regularly practises for a total duration of two hours daily upto Gitas and 4 hours after Gitas.

If any efficient, honest and reliable music-teacher comes out and proves this method defective and gives any other effective method with evidences which reasonably quickens the process of learning without compromising with the standards I shall certainly withdraw my method and follow his/her method. amsharma.

[msakella]

Today two respective videos pertaining to the Purvanga and Uttaranga of Chalamela-Darbar-Adi-Varna sung @ 4, 6 & 8-units per beat by 8 year old Sankeerthana are uploaded to ‘AMS-Kids’ Singing or Playing Varnas’ of ‘youtube.com/user/msakella’ for the benefit of the aspirants. amsharma

[msakella]

Today with the kind help of our brother-member, vasanthakokiilam, the English and Telugu pdf files of 5-Varnas mainly utilizing Kaishiki-nishada are uploaded to the 2nd CD of AMS Easy Methods-2007 to sangeethamshare to be helpful for the kids learning the crucial varnas.

http://www.sangeethamshare.org/chandra/ ... nglish.pdf
http://www.sangeethamshare.org/chandra/ ... Telugu.pdf

amsharma

[suhasm]

Is it possible to download the 2-CDs in bulk at a time from Sangeethamshare? It's rather cumbersome to download file by file.

[msakella]

Dear b/s-member, suhasm, Very sorry, as I am not much acquainted with the computer-technology I cannot suggest you anything in this regard. However, having uploaded this material to this site, our brother-member, vasanthakokilam may be able to give you the needed guidance in this regard. amsharma

[vasanthakokilam]

I have had this request from one other person before as well. I need to get in touch with our good friends at sangeethapriya for some guidance on this. Please stay tuned.

----------------
Personal Opinion:
On the other hand, let me state this without getting preachy. This kind of focused learning material requires continuous and steady practice and not casual listening. Downloading everything has its advantages but there is also the risk of forgetting about it after downloading.
So in a convoluted sense, not having them all in one shot ( either self imposed or situation like this which is imposed on people ) may force someone to organize a daily work flow where they get one or two at a time and focus on just those few topics and then move on to the next item when needed.

It is not that different from getting one or two books from the library, read them, return them and then get a few more. People who have a home library with a lot of books may take it easy and not read them on the premise that they can always get to them. A lot of people in that situation never do. It is one of those things where scarcity is a great motivator and work-flow organizer!! ( this is not to say having a home library is necessarily bad. )
-------------

Having said all this, I will see what can be done to make it easier to download.

[padmapada]

I agree completely with what member vasanthakokilam has said here. Sharma-garu has packed a LOT in each lesson and very systematically, he takes the student step by step into more and more complexity. While I do understand that it might seem exasperating to download numerous, short files, please be patient - it will all be worth it. Sometimes it takes me a few days to feel confident enough to move on to the next lesson, so I feel it is okay if you download just a few files each time.

[Nick H]

Unless you plan to take a laptop to a deserted island and work through the material without interuption

Seriously, though... there are more realistic reasons. Being without internet could be very conducive to spending time on study, and certainly study could be combined with some sort of retreat.

suhasm, I'm not a regular user of Sangeethamshare and I do not know what will work, but you could look at software which is designed to handle individual files as one task, eg the DownThemAll addin for Firefox.

[suhasm]

@Nick

It is sadly not possible to use a batch downloader. I have already tried. But Sangeethamshare is too clever. I suppose they don't want to tax their servers.
[ Rightly so-otherwise many would have downloaded the entire Sangeethamshare collection offline by now ]

And as you said, there are various reasons for wanting to download it at once. My reason being that I'm a student in IISc,Bangalore and we do not get internet in our hostel rooms. So, it is not possible for me to download files one at a time when I'm practising. That is why I want to download the whole gamut of files at once.

[vasanthakokilam]

Alright Nick, you tell me when you are going to a deserted island and I will make an exception for you ( btw, some deserted islands can still get a shower of music over cellular internet, so they need not be musical deserts..Ha..)

suhasm, understood. Let us see what our friends at sangeethapriya say. I can definitely zip them up in logical chunks and upload as a few files. But such duplication has its own problems. Akellaji provides periodic updates to some of the files and I would like to avoid accidental errors like forgetting to update the zipped archive etc. So I am looking for a more elegant method.

[eesha]

@Nick
But Sangeethamshare is too clever. I suppose they don't want to tax their servers.
[ Rightly so-otherwise many would have downloaded the entire Sangeethamshare collection offline by now ]

You are correct, intentionally bulk downloading has been disabled in sangeethapriya/sangeethamshare. We had some bitter experience in the past when there was mass leeching. We exhausted our bandwidth quota and had to pay a lot for excess bandwidth. Also, the heavy load affected other sites that were hosted in the same box and the hosting company was not happy about it. We had to move to a dedicated server due to this.

Having said that, as a special consideration for AMS folder, I will explore a way to download a set of files in one go, instead of downloading 1 file at a time .

I will come back on this shortly.

[Nick H]

My suggestion was tactless, but anyway suhasm was ahead of me, and you have the situation covered. I'm sorry that I entirely forgot the implications for a site like yours of such mass downloading.

[msakella]

Dear b/s-member, suhasm, If you are in Bangalore I can very well send the entire material by courier.
If you send me your postal address along with your phone number and I shall send them by courier if you want. amsharma

[suhasm]

@eesha, Thank you
I'm sure many would benefit if you allow one-time downloading of Akellaji's CDs.

Also, if not on the Sangeethamshare servers, perhaps you could create a google account for this purpose and upload the CDs on it's Google Drive. Google Drive has no bandwidth limits. It will provide an easy solution to this problem.

Offtopic: Is there any way at all for one to obtain the entire (or a large part) of the Sangeethamshare collection offline?
I have searched long and hard for someone with an extensive Carnatic music collection (non-copyrighted, of course). But so far such a collection has eluded me. Sangeethamshare seems to be closest thing, though it is online.

@msakella
Thank you for that magnanimous offer Akellaji. But, let me wait till eesha gets back to us about the uploading.