akAra sAdhaka

srkris · Post by **srkris** » 17 Sep 2006, 20:16

What is the role of akAra sAdhaka in ragavistAra? Does anyone employ it exclusively in today's concerts? How much do you think it contributes to purity of pitch?

drshrikaanth · Post by **drshrikaanth** » 17 Sep 2006, 20:24

It is akAra, not AkAra. AkAra means form/body shape

srkris · Post by **srkris** » 17 Sep 2006, 20:41

Thanks for the correction.

Radhakrishnan · Post by **Radhakrishnan** » 17 Sep 2006, 21:49

In Indian vocal music akAra sAdhaka has got immense importance. It helps to develop the voice.
After a student learns the sarali,janta,mEl sthAyi,dhATu varisas and alankArAs,he starts to practice them not only in akAra,but in ikAra,ukAra,ekAra and okAra as well,in different rAgAs.S.Rajam used to stress the point that akAra sAdhakam should be practiced in all the 72 mEla rAgAs.If you practice it in early morning,that will surely help.When you practice akAra,the there should not be any jaw movement,only the vocal chords should get the movement.
Listen to this Alapana by K.N.Ranganatha Sharma.This recording was done at my home.He was on the way to GuruvAyUr,where he was to perform at the temple later in the evening.
http://rapidshare.de/files/33459574/sha ... m.mp3.html

Vocalist · Post by **Vocalist** » 18 Sep 2006, 14:55

Radhakrishnan has summed it up pretty much - akAram is very important.

kaapi · Post by **kaapi** » 18 Sep 2006, 20:39

Proper akAra sAdhakam helps the singer to sing the madhyamakAla well. Otherwise the madhymakAla singing would not be crisp and this would affect adversely not only rAga alapanA but neraval and tAnam also.

Vocalist · Post by **Vocalist** » 19 Sep 2006, 15:31

Hmm!

I'm curious. Can you elaborate this connection between madhyamakAla and the 3 you mentioned; AlApana, neraval & tAnam.

kaapi · Post by **kaapi** » 20 Sep 2006, 20:18

I am uploading some excerpts of
a) neraval by SSi
b) tAnam by TKR.
Hope this helps.
Click here to download ssi.mp3
Click here to download TKR.mp3

Vocalist · Post by **Vocalist** » 21 Sep 2006, 16:37

thanks & kudos kaapi

The magnificent, but succinct tAnam sequence, was an especially convincing example. In the process, you've also convinced me that I want to hear more TKR...

jayaram · Post by **jayaram** » 10 Oct 2006, 04:52

Maharajapuram Santhanam used to love ikAram. Just listen to his singing, and you will find he would invariably switch to ikAram, regardless of the last syllable. Does anyone know if he picked this up from his father or is it his own idiosyncratic style?

cmlover · Post by **cmlover** » 10 Oct 2006, 07:58

In fact srkris once posted Chembai singing using pure anusvaram! I wonder whether he could post it again!

srkris · Post by **srkris** » 10 Oct 2006, 10:38

CML, here you are http://www.rogepost.com/dn/fpqh

cmlover · Post by **cmlover** » 10 Oct 2006, 20:15

Thanks! Sweet as ever!
Who's on the violin? (chowdiah?)

srkris · Post by **srkris** » 11 Oct 2006, 08:41

No MSG

vamshikrishna · Post by **vamshikrishna** » 12 Oct 2006, 05:12

kaapi wrote:Proper akAra sAdhakam helps the singer to sing the madhyamakAla well. Otherwise the madhymakAla singing would not be crisp and this would affect adversely not only rAga alapanA but neraval and tAnam also.

in my view akarasadhana is a must in order to do justice to chowkakala krithis. madhyama kala krithis contain akara within the krithi.. and one should have deffinitely done some akara sadhana before handling chowkakala krithis.

according to me , thyagaraja krithis(madhyama & duritha kala krithis) help one to get the priliminary subject for akara sadhana.