Hi,
I am just a beginner in carnatic music. I have learnt few varnams, but I think I am lacking something when rendering them either in 1st speed or 2nd speed either in vocal or in instrument. Great musicians render them in so simple manner which feels that sufficient weight is given to it and full due diligence is given to it.
Any methods where beginners can learn to start appreciating small small things right from initial stage ?
Thanks,
DivyaVinod
How to appreciate varnams and sing with Bhaavam ?
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DivyaVinod
- Posts: 31
- Joined: 18 Jul 2019, 11:57
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rrkaushik
- Posts: 17
- Joined: 11 Oct 2006, 20:16
Re: How to appreciate varnams and sing with Bhaavam ?
This is a very interesting question and one that I have been revisiting in recent years. What can one learn from varnams in practical terms to advance our music and rasikatvam? I'm sure everyone has different opinions on this depending on their aesthetics or styles but here are a few things based on my personal journey.
1. Carefully observe the movements between phrases that are essentially non-notatable. The movements may even include totally different notes. Not necessary or even advisable to notate all these but at least the student should try and reproduce accurately to convey the raga bhava.
2. Observe the transitions from one line (or pair of lines) which get repeated. Often the transition on repeat is totally different from transition to the next line. There is raga captured in these transitions.
3. Observe how the "gamaka-density" (sorry, my word coined) changes from slow speed to next speed. A phrase that is heavily ornamented in one speed may have to be truncated or rendered staccato in the faster speed.
4. Observe the chitta-svarams to see raga-phrases which are allowed and not allowed. Varnams often transcribe the raga-grammar in capsule form.
5. Observe the movements in karvais (gaps) within chittasvarams. Often these encapsulate raga-even-in-silences!
6. The third chittasvaram often has no karvais. This is intentional to cultivate breath control, stamina and full-range development.
There are many other laya aspects (different kala combinations for example) which I am not particularly qualified to speak about but hope these points helps a little. Of course, don't get paralyzed by thinking about all this while actually executing else no music will exit the machine!
I try to explain some of my own learning in videos like these. (https://youtu.be/YQ8rGPrd7_s)
(Sorry, not intended to promote or advertise here so please ignore if not of interest)
1. Carefully observe the movements between phrases that are essentially non-notatable. The movements may even include totally different notes. Not necessary or even advisable to notate all these but at least the student should try and reproduce accurately to convey the raga bhava.
2. Observe the transitions from one line (or pair of lines) which get repeated. Often the transition on repeat is totally different from transition to the next line. There is raga captured in these transitions.
3. Observe how the "gamaka-density" (sorry, my word coined) changes from slow speed to next speed. A phrase that is heavily ornamented in one speed may have to be truncated or rendered staccato in the faster speed.
4. Observe the chitta-svarams to see raga-phrases which are allowed and not allowed. Varnams often transcribe the raga-grammar in capsule form.
5. Observe the movements in karvais (gaps) within chittasvarams. Often these encapsulate raga-even-in-silences!
6. The third chittasvaram often has no karvais. This is intentional to cultivate breath control, stamina and full-range development.
There are many other laya aspects (different kala combinations for example) which I am not particularly qualified to speak about but hope these points helps a little. Of course, don't get paralyzed by thinking about all this while actually executing else no music will exit the machine!
I try to explain some of my own learning in videos like these. (https://youtu.be/YQ8rGPrd7_s)
(Sorry, not intended to promote or advertise here so please ignore if not of interest)