Summer Workshop in Hyderabad by Hyderabad Brothers
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HeyNarayana
- Posts: 91
- Joined: 27 Oct 2007, 03:41
Came across somebody who attended recent workshop held by Hyderabad Brothers and heard it was productive session. Krithis were taught with notation and gamaka anuswarams which is relatively rare these days. There will be more sessions planned and for location and schedule please contact (044) 27504762.
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sadvimarsha
- Posts: 15
- Joined: 26 Feb 2009, 07:21
Very glad to note the Hyd Bros Workshop. Who is teaching? Raghavachary or Seshachary?
I heard a lot about these workshops conducted by Seshachary.. like, Varnams workshop, Thyagaraja Pancharatnas-(DKJ notations) workshop, Muthuswami Dikshithar Navavarana Kritis workshop, Annamacharya Keerthanas Workshop, and so on. My friends have participated in these, and I also heard that the fees is too high. But, the qualityof music he gives the participants is too high, It seems he teaches with genuine interest. these days nobody teaches with notations and gamaka anuswaras., and he sees that the student gets it in the right way.
Then the fee he charges is worth it.
I heard a lot about these workshops conducted by Seshachary.. like, Varnams workshop, Thyagaraja Pancharatnas-(DKJ notations) workshop, Muthuswami Dikshithar Navavarana Kritis workshop, Annamacharya Keerthanas Workshop, and so on. My friends have participated in these, and I also heard that the fees is too high. But, the qualityof music he gives the participants is too high, It seems he teaches with genuine interest. these days nobody teaches with notations and gamaka anuswaras., and he sees that the student gets it in the right way.
Then the fee he charges is worth it.
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HeyNarayana
- Posts: 91
- Joined: 27 Oct 2007, 03:41
I didn't attend so do not know who is teaching or what the fee is. Can't say high or low as we can only speak in relative terms compared to similar workshops conducted by same level vidwans, I feel it may not appropriate to discuss through this forum as we do not have facts. Best approaches is to contact them and get the information and decide if the work shop is the right one to attend.
Learning music is personal, what suits me may not suit others depending on many factors like teacher’s style, teaching methods and student's interests etc.
I can comment comfortably on quality of teaching as their music speaks for it self, can't imagine anything less. Wish I can attend one of their workshops soon.
Learning music is personal, what suits me may not suit others depending on many factors like teacher’s style, teaching methods and student's interests etc.
I can comment comfortably on quality of teaching as their music speaks for it self, can't imagine anything less. Wish I can attend one of their workshops soon.
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HeyNarayana
- Posts: 91
- Joined: 27 Oct 2007, 03:41
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hanumathodi.8
- Posts: 1
- Joined: 23 Apr 2009, 18:44
The workshop conducted from 13th April to 19th April. The subject was on different composers like Thyagaraja, Deekshitar, syamasastry etc..
The items taught were
1. Laavanya Rama (Thyagaraja) in Purna Shadjam,
2. Sadachaleswaram (Deekshitar) in Sudda Bhupala,
3. Paarvathi ninnu (syamasastry) in Kalagada,
4. Annamacharya krithi Ragamaalika (Nilambari, Abhogi, Hindola and Sri) Tolli yanu marraku,
5. Dasaradha Rama (Bhadrachala Ramadaasu) in Mukhari,
6. Bhaja Bhaja Manasa Hari Mana Varatham (Swathi Thirunal) in Sindhu Bhairavi and
Last 7th item was Haridaasulu Vedaliri mucchata (Thyagaraja Divyanaama Sankeerthana) in Yamuna Kalyani.
Nearly 12 candidates attended.
The items taught were
1. Laavanya Rama (Thyagaraja) in Purna Shadjam,
2. Sadachaleswaram (Deekshitar) in Sudda Bhupala,
3. Paarvathi ninnu (syamasastry) in Kalagada,
4. Annamacharya krithi Ragamaalika (Nilambari, Abhogi, Hindola and Sri) Tolli yanu marraku,
5. Dasaradha Rama (Bhadrachala Ramadaasu) in Mukhari,
6. Bhaja Bhaja Manasa Hari Mana Varatham (Swathi Thirunal) in Sindhu Bhairavi and
Last 7th item was Haridaasulu Vedaliri mucchata (Thyagaraja Divyanaama Sankeerthana) in Yamuna Kalyani.
Nearly 12 candidates attended.
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suswara
- Posts: 9
- Joined: 21 Apr 2009, 08:44
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kalambatti
- Posts: 2
- Joined: 26 Apr 2009, 23:24
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HeyNarayana
- Posts: 91
- Joined: 27 Oct 2007, 03:41
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HeyNarayana
- Posts: 91
- Joined: 27 Oct 2007, 03:41
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MohanaKalyan
- Posts: 5
- Joined: 27 Apr 2009, 22:48
Sri Seshachary Sir started workshop session with Tulasi Bilva - Kedara Gowla by Tyagaraaja Swamy. This was an innovative workshop with combination of students attending in person and on-line from USA. The weather was warm in Hyderabad but students were immersed in the lesson as soon as he started the session with alapana and the atmosphere has changed with the coolness of the raga.
He began with raga alapana focusing on the important and critical sancharams sticking to tradition. The intricate beauty of the raga was brought when he was demonstrating on sustaining gandharam during the sancharam around rGmr. Students were thrilled experiencing this level of detail.
Krithi went on well with the traditional sangathis and some of them are similar to Venuganalolane. The lesson continued with swarakalpana at Tulasi Bilva after 2-ara edam. He maintained the padhathi, tradition of first and second speeds.
Seshachary Sir did not limit to teaching by tune, he extended to notation based teaching, not an easy task during workshops. That was a nice surprise for the participants. This is a mixed crowd with different mother tongues so the English based notation was helpful and was well received.
It was a productive session as all the participants are at a level to understand the complexity and beauty of grammar behind the raga.
Participants are wondering if they will get to see the famous ragas sung by brothers like Todi or Kalyani. Have to wait and see what comes in next few days.
Tomorrow’s session is Rajitha Giri Nilaya - Tyagaraja - Maya Malava Gowla.
He began with raga alapana focusing on the important and critical sancharams sticking to tradition. The intricate beauty of the raga was brought when he was demonstrating on sustaining gandharam during the sancharam around rGmr. Students were thrilled experiencing this level of detail.
Krithi went on well with the traditional sangathis and some of them are similar to Venuganalolane. The lesson continued with swarakalpana at Tulasi Bilva after 2-ara edam. He maintained the padhathi, tradition of first and second speeds.
Seshachary Sir did not limit to teaching by tune, he extended to notation based teaching, not an easy task during workshops. That was a nice surprise for the participants. This is a mixed crowd with different mother tongues so the English based notation was helpful and was well received.
It was a productive session as all the participants are at a level to understand the complexity and beauty of grammar behind the raga.
Participants are wondering if they will get to see the famous ragas sung by brothers like Todi or Kalyani. Have to wait and see what comes in next few days.
Tomorrow’s session is Rajitha Giri Nilaya - Tyagaraja - Maya Malava Gowla.
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MohanaKalyan
- Posts: 5
- Joined: 27 Apr 2009, 22:48
Another good session was conducted well on second day by Sri Seshachary Sir with Rajitha Giri Nilaya, one of the rare krithis by Tyagaraja. It is just amazing how Tyagaraja could bring such a beauty to the pallavi 'Rakshimpave Rajitha Giri Nilaya' just with arohana and avarohana swaras SRGMPDNS and SNDPMGRS.
Similar krithis were composed by Dikishitar - Srinathadi Guruguho and Syama Sastri - AmbaKamakshi, Bhairavi swarajithi.
When Sri Seshachary Sir is teaching the notation followed by the sahithyam, it was just wonderful to see how these simple basic swaras could bring so much life with full of bhava. Could see the difference in learning with notation against just the tune,
Today he focused more on discussing the raga and gamakas followed by the krithi and ended the session with Swarakalpana in first and second speeds with variety of korvais done by every participant. Looking forward for third day’s session on Pankaja Lochana - Kalyani by SwathiThirunal.
Similar krithis were composed by Dikishitar - Srinathadi Guruguho and Syama Sastri - AmbaKamakshi, Bhairavi swarajithi.
When Sri Seshachary Sir is teaching the notation followed by the sahithyam, it was just wonderful to see how these simple basic swaras could bring so much life with full of bhava. Could see the difference in learning with notation against just the tune,
Today he focused more on discussing the raga and gamakas followed by the krithi and ended the session with Swarakalpana in first and second speeds with variety of korvais done by every participant. Looking forward for third day’s session on Pankaja Lochana - Kalyani by SwathiThirunal.
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MohanaKalyan
- Posts: 5
- Joined: 27 Apr 2009, 22:48
Third day's topic was Pankaja Lochana - Kalyani - Misra Chapu - Swathi Thirunal, much awaited session by participants. Hyderabad Brothers are known for Kalyani and their command on the ragam. The class started with raga alapana, made the participants forget the hot summer evening. Krithi was taught and Sri Seshachary sir once again demonstrated different koravis and encouraged the students to take turns in swara kalpana All the students are at performing level which helped the session maintain the tempo and mood. Another wonderful evening was well spent at the workshop.
Fourth day he taught Kaligi yunte kadaa - Keeravani - Adi - Thyagaraja
Fourth day he taught Kaligi yunte kadaa - Keeravani - Adi - Thyagaraja
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MohanaKalyan
- Posts: 5
- Joined: 27 Apr 2009, 22:48
Fifth day’s session was focused on once again one of the rare krithis, Sri Naarasimha - Phalamanjari - Adi - Thyagaraja. There are not many krithis in this raga. Few of them I know are Sanaathana Parama paavana - Thyagaraja and Palukutache Phalamemoo - Patnam Subrahmanya Iyer. Heard Brothers sing Palukutache in concerts.
Phalamanjari is one of the rare vakra raagas, a janya raga of Karaharapriya with arohana/avarohana is sgmpmds - sndpmgmrs, this is close to Kaanada.
Session started with ragam, krithis and ended with various koravais. This is definitely one of the ragas difficult to master and sing. Very few musicians can do justice especially with swara sancharam like ssmgM, ndPM, snN ndD dpP pmM.
This session was a challenge for the participants however they all handled it well which made it even more interesting.
Phalamanjari is one of the rare vakra raagas, a janya raga of Karaharapriya with arohana/avarohana is sgmpmds - sndpmgmrs, this is close to Kaanada.
Session started with ragam, krithis and ended with various koravais. This is definitely one of the ragas difficult to master and sing. Very few musicians can do justice especially with swara sancharam like ssmgM, ndPM, snN ndD dpP pmM.
This session was a challenge for the participants however they all handled it well which made it even more interesting.
Last edited by MohanaKalyan on 06 May 2009, 08:33, edited 1 time in total.
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MohanaKalyan
- Posts: 5
- Joined: 27 Apr 2009, 22:48
Last two days were Devi Brova Samayamide - Chinthamani - Adi - Syama Sastri and Paahi Rama Dutha - Shadvidha Margini - Rupakam - Thyagaraja.
Devi Brova is the only known krithi in Chintamani (srpmpdns sndpmgrgs), 56 Shanmukapriya janya. This is chaya pradhana raga with Chathusruthi Rishabham, Sadarana Gandharam, Prathi Madhyamam, Sudha Daivatham plus Chatusruthi Dhaivatham (anya swaram) kaisiki nishadam. Arohana and avarohana was created based on the krithi it self. Chatusruthi Dhaivatham is sung in arohana and Sudha Dhaivatham is sung in avarohana.
Example Chatusruthi Dhaivatam in PdN, DnS and Sudha Daivatham in dpM pdpd pmpdpd.
It will be nice to sing spm in avarohana compared to sndpm as there is no combination like sndp in this krithi. This is a rare and beautiful proyoga by Shyama Sastri and because of the him this raga was born and a beautiful krithi came out.
This piece was another challenge Sri Seshachary Sir threw at his students.
The workshop sessions were ended with Paahi Rama Dutha - Shadvidha Margini - Rupakam - Thyagaraja. Sri Seshachary likes to end the workshops in traditional way with geetharthamu - Anjaneeya uthsavam, Paahi Rama Dhutha. Prasadam was served, people enjoyed spicy Puliyogarai and Sundal.
The workshop focus was on krithis by different composers and different talas. Learning krithi is simple relative to raga alapana. Alapana shouldn’t be disconnected from Krithi’s snagathis, if one can do the alapana close to the krithi’s sangathis, they have mastered this art. This complexity of alapana and koravais with complex patterns were shown with meaningful examples and demonstrations. This sapthaham went fast and we are already looking for the next session. Hopefully we will see Thodi in next session, the topics could be ragalapana methods and improvisation based on Varnam's and krithis etc. and simple to complex patterns of Koravais.
I will try to load some of the audio clippings from the workshop.
Devi Brova is the only known krithi in Chintamani (srpmpdns sndpmgrgs), 56 Shanmukapriya janya. This is chaya pradhana raga with Chathusruthi Rishabham, Sadarana Gandharam, Prathi Madhyamam, Sudha Daivatham plus Chatusruthi Dhaivatham (anya swaram) kaisiki nishadam. Arohana and avarohana was created based on the krithi it self. Chatusruthi Dhaivatham is sung in arohana and Sudha Dhaivatham is sung in avarohana.
Example Chatusruthi Dhaivatam in PdN, DnS and Sudha Daivatham in dpM pdpd pmpdpd.
It will be nice to sing spm in avarohana compared to sndpm as there is no combination like sndp in this krithi. This is a rare and beautiful proyoga by Shyama Sastri and because of the him this raga was born and a beautiful krithi came out.
This piece was another challenge Sri Seshachary Sir threw at his students.
The workshop sessions were ended with Paahi Rama Dutha - Shadvidha Margini - Rupakam - Thyagaraja. Sri Seshachary likes to end the workshops in traditional way with geetharthamu - Anjaneeya uthsavam, Paahi Rama Dhutha. Prasadam was served, people enjoyed spicy Puliyogarai and Sundal.
The workshop focus was on krithis by different composers and different talas. Learning krithi is simple relative to raga alapana. Alapana shouldn’t be disconnected from Krithi’s snagathis, if one can do the alapana close to the krithi’s sangathis, they have mastered this art. This complexity of alapana and koravais with complex patterns were shown with meaningful examples and demonstrations. This sapthaham went fast and we are already looking for the next session. Hopefully we will see Thodi in next session, the topics could be ragalapana methods and improvisation based on Varnam's and krithis etc. and simple to complex patterns of Koravais.
I will try to load some of the audio clippings from the workshop.