chinnapapa

GHATAM

Ghatam is one of the oldest carnatic instrument used in the percussion side. However this is made up of clay and iron ore which makes it a good solid body to play.



Ghatam is an earthern pot where player used all there fingers to produce the sound. However the sound is a metallic sound.



TH Vinayakram plays the Indian clay pot called the Ghatam. During performance he keeps his belly exposed to facilitate the use in creating tones on the mouth of the Ghatam. He plays fast rhythms of knuckle-cracking intensity using different parts of the Ghatam from the mouth to the bottom of pick up different resonant tones due to thickness of the clay. He is featured in the Taal Ensemble and in the Shakti recordings of Zakir Hussain and John McLaughlin.



ghatam is made with special metal ores such that it gives a good sound and it can be used as an instrument.



ghatam is of two type madras ghatam and maana madurai ghatam. The earlier madras ghatam is light and the maana madurai ghatam is a heavy ghatam and tone is beautiful in both the ghatams




A good quality South Indian Ghatam/Clay pot made of special resonant fire treated clay for high quality sound.

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MRIDANGA



Mridangam is a South Indian version of the pakhawaj. It bears a strong superficial resemblance to pakhawaj but there are major differences in construction and technique. The tone of the instrument is quite different. This is due to differences in construction.

Temporary Application of
Flour to Left Side



The construction of the mridangam is interesting. It has heavy annular membrane around the right side, and a number of pieces of straw which are placed radially between the annular membrane and the main membrane. The right side has a permanent application, known as soru or karanai. The left side uses a mixture of flour and water to provide a proper tone. This application must be removed after each performance. The lacing and heads are all placed upon a barrel shaped wooden shell. The wood is usually of jackwood.




The instrument is usually tuned with a small wooden block and a heavy stone. The block is placed against the rawhide weaving and struck with the stone. The manner of striking may either raise or lower the pitch. It is generally tuned to the tonic of the piece being performed.



The sitting and playing technique is shown below. One sits cross legged with the left foot below and the right foot over and slightly extended. The mridangam rests upon the right foot and ankle. Since the instrument is very heavy it is also cushioned by some rolled up cloth placed at the right foot. The right hand plays the smaller head, while the left hand plays the head with the temporary application of flour.




Sitting and playing Position


The mridangam is an indispensable component of the south Indian classical performance. In these performances, the artist plays very intricate patterns to accompany south Indian vocalists, vina, violin, or gottuvadyam players. It is a very demanding art and requires many years to master.

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VIOLIN



The four major instruments in the string family, the violin, the viola, the cello and the double bass, are built the same way. The instruments are made of many pieces of wood which are glued - never nailed - together. The body of the instrument is hollow, thus becoming a resonating box for the sound. Four strings (sometimes five on the double-bass) made of animal gut, nylon, or steel are wrapped around pegs at one end of the instrument and attached to a tailpiece at the other. They are stretched tightly across a bridge to produce their assigned pitches.



The violin is the soprano voice in the string family. It is held under the chin, resting on the shoulder. The violin has a lovely tone that can be soft and expressive or exciting and brilliant.



Violin is known as the king of strings, since it is next to the human voice.Overview. A vibrating string can produce a motion that is rich in harmonics (different frequencies of vibration). Bowing the string not only allows a range of expressive techniques, but also supplies energy continuously and so maintains the harmonic richness. However, a string on its own makes little sound (think of an electric guitar that's not plugged into an amplifer). The bridge and body of the violin, and other related instruments, serve to transmit some of the vibrational energy of the string into the air as sound. The way in which they do so is important to the sound of the violin family of instruments.




If you put your finger gently on a loudspeaker you will feel it vibrate - if it is playing a low note loudly you can see it moving. (More about loudspeakers.) When it moves forwards, it compresses the air next to it, which raises its pressure. Some of this air flows outwards, compressing the next layer of air. The disturbance in the air spreads out as a travelling sound wave. Ultimately this sound wave causes a very tiny vibration in your eardrum - but that's another story.




Strings
The pitch of a vibrating string depends on four things.
Thicker, more massive strings vibrate more slowly so the strings are thicker as (on a violin) you go down from the E to A to D to G strings, even though the length of the string doesn't change, and its tension does not change much.
The frequency can also be changed by changing the tension in the string using the tuning pegs: tighter gives higher pitch. This is what the player does when s/he tunes up.
The frequency also depends on the length of the string that is free to vibrate. The player changes this by holding the string firmly against the fingerboard with the fingers of the left hand. Shortening the string (stopping it further up the fingerboard) gives higher pitch.
Finally there is the mode of vibration. When you play harmonics, you induce the string to produce waves which are a fraction of the length of those normally produced by a string of that length.

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FLUTE



flute is one is the oldest carnatic instruments. Flute comes under the wind instruments. Flute is a very simple instrument to invest



MAKING THE SOUND you want on the flute depends not only on what the flute is made of, but also how it is played



As with many other wind instruments, good flute technique is all down to two key elements: embouchure and breath control. Anna Pyne gives some tips on getting it right



Aside from being a masterfully handcrafted flute, the High Spirit flutes are a true work of art that play as well as they look. Made from a solid piece of the finest cedar, walnut, birch and other fine domestic plantation-grown woods or recycled lumber, finished with three coats of a non-toxic hardening oil for durability and clarity of sound, each is precision-tuned so that it will blend perfectly with other instruments.



All the flutes are based on the minor pentatonic scale. This allows virtually anyone, regardless of their musical experience, to be able to sound fantastic in a matter of minutes!


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CARNATIC INSTRUMENTS

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VEENA


F LUTE


VIOLIN


MRIDANGAM


GHATAM


KANJEERA


MORSING


MANDOLIN


SAXOPHONE

VEENA



About the Saraswati Veena:

The Saraswati Veena is one of the most ancient and revered of South Indian instruments. Together with Bansuri flute this form of veena may be seen in many sacred pictures of Saraswati, goddess of music.



Have you ever seen "Rudra Veena"? The Rudra Veena is an instrument that is rarely heard on the concert stage now. Although,two centuries ago it was regarded as the king of all instruments. The duration of these veena's notes is incredibly long. The sound produced by rudra veena composed of regular, uniform vibrations. The Rudra Veena is considered the mother of all string instruments. Around since very ancient time, Lord Shiva is said to have played this instrument when he created whole Brahamanda . The belief is that Shiva and Parvati used to dance to the music that emanated from this instrument.



Melody is produced on four metal strings that run above the frets. These are stretched over a wide bridge that sits on the body of the veena. Three other strings run alongside the neck of the instrument. These are used for maintaining time and for playing the drone. The performer, who sits cross-legged on the stage, rests the small resonator on the left lap. The fingers of the left hand are used to press, pull and glide on the frets, while the fingers of the right hand are used to pluck and twang the strings.



The veena is one of the most ancient string instruments of India. Its origin can be traced back to the ancient yazh, a stringed instrument, similar to the Grecian harp. Bharata, in his Natya Shastra, explains the theory of the 22 sruti-s in an octave with the help of two experimental veena-s.




The veena is a complete instrument and provides the basic components: sruti, laya and sahitya. Its main attraction is the mellow tonal quality which is capable of evoking a meditative atmosphere


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TK Govinda Rao

17, 11th Street, Indira Nagar,
Chennai 600 020. Tel: +44-24413589



Sangitha Kalanidhi T.K.Govinda Rao is a musician's musician and a musicologist. He trained extensively under Musiri Subramania Iyer for about 15 years-- a period he recalls with fondness and gratitude as a 'great boon' in his musical life-- and also under Tirupambaram Sri Swaminatha Pillai, and Brindamma. He is known for his sahitya shuddham, laya gnyaanam and bhaava-pradhaana neraval singing.



He has also had a parallel career working at the Madras Music College as a teacher, at AIR Chennai as a Producer and at AIR Delhi as Chief Producer. He is a veteran teacher and has trained a number of students. His books on the compositions of the Trinity and other Carnatic composers are extremely well regarded. The Carnatic music community eagerly looks forward to his upcoming book, "Varnamanjari", a collection of 400 Tana, Pada, Chauka and Daru Varnams in different Talas.



Veteran musician Shri T K Govinda Rao performed at HTCC Bothell on September 8, 2007. The accompanists were Nishanth Chandran on the violin, Shriram Bhramanandam on the mridangam and Ravi Balasubramanian on the ghatam.



The concert started with the popular varnam (Ninnu kori) in Mohanam. It was amazing to hear Shri Govinda Rao render the pallavi, anupallavi and chittaiswaram in 5 speeds including tisram and mel-tisram! It demonstrated his innate mastery over layam and was flawlessly executed.




Before a detailed alaapana of Kambhoji, Shri TKG presented another rare krithi-- "Ananda saagara", a Thyagaraga composition with a beautiful chittaiswaram, in the ragam Garudadhwani. The krithi chosen for Kambhoji was the Dikshitar masterpiece, "Shree subramanyaya namaste". While I was expecting this to be the main piece of the concert, the song was not elaborated with any neraval or swaras. He then presented "Nagumomu" in Abheri ( immortalized by his guru Musiri Subramanya Iyer) after a short alapana. I was a bit disappointed in not hearing a neraval for "jagamella paramatma", but I understand the artists had to comply with time constraints and close in time for the temple pooja. The concert ended with a Ragamalika piece of Purandaradasar and a Thillana.

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CARNATIC VOCALISTS PAGE 1


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DK PATTAMMAL


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KJ YESUDAS


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SUDHA RAGHUNATHAN


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M Balamurali Krishna

Balamurali Krishna
3, Kanakasri Nagar, Chennai 600 086.
Tel: 00-91-(0)-44-28110192


M. BALAMURALI KRISHNA, an icon of durability, has held his head high in the ever demanding, swirling, deep waters of the ocean of South Indian music, due to several attributes. In spite of advancing years, the amazing power, fluency and range of the vocal chords, the superb breath control, stellar enunciation and the extraordinary ability to communicate with the audience, bring a touch of the grandiose to his performing calibre.



His concert for the Vijay TV music festival, comprised four songs, three compositions of his own, and an utsava samprayada kriti of Tyagaraja, "Nagumomu" in Madhyamavati.



"Pari pari nee padhame" in Hamsadhvani with Swarakshara poruthams aplenty, and the ingenious permutations and combinations in the kalpanaswaras proved the statement that winners do not do different things, they do things differently



It was a very welcome alapana of Karaharapriya that made the evening for the audience. Strictly conforming to the treasured traditional prayogas of the raga, Balamurali created an environment of outstanding classical excellence.



"Unnai ninaindurugayile" with an unusual structure, in praise of Lord Muruga, the easy swara flow, and the Rishabha Kuraippu with the singer's individual brilliance coming to the fore, were effulgent attempts that left the rasikas enchanted. Raghavendra Rao the violinist has a commendable musical head on his shoulders, and his Karaharapriya expansion and the answering swara statements showed that he is knocking on the doors of recognition assertively.

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