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Karnatic Music Reader
Karnatic Music Reader
Description
About the Author

The present reader in Kamatic music is a systematic introduction of the study of karnatic music. The reader in four parts covers the different musical forms in karnatic music.

In the first part starting with simple introduction and the history of south Indian music the book ventures into the teaching of fundamentals notes Sarlivarisas janta varisas Alankara gitam svarajathi and jathisvaram. The lessons have been arranged in simple notation.

The second part covers the various aspects of vamam. The introduction gives a proper evaluation of various types of Varman and a not on different composer. The notations of about 40 different vamam in adi tala ata tala and pada varma have been notated in simple form for easy rendering. The varmans have been selected to represent the best from various composers of karnatic music.

The third part covers Kirtans. A detailed introduction on Keertanas and various composers have been added. The notation of about 40 popular Kirtans have been given in simple notation. Representative compositions of important composers has been selected.

The fourth part covers the musical forms like daru Varnam pada, tillanas tans varmas javali ragamilika utsava sampradaya keetanas tirupaugazh kavadi chindu etc. These compositions portray the varied facets of karnatic music all these forms have an introduction about them.

The complete reader in 4 parts will be a compendium of musical forms of karnatic music. The notations for the compositions have been in simplest form possible so that the student learner can learn them with minimal effort. The selection of compositions have been made to cover representative composers of karnatic music.

Preface

About ten years back my father advised me to prepare graded text books in music for the use of students. Consequent on his persistent advice I started preparing my graded lessons in music in Malayalam. These books took shape in the form Karnantaka Sangeetha Pretamala and were completed in six parts covering all the aspects of karnatic music. With the persistent of my well wishers and requests from teaching and student quarters I have planned these series in English.

In this second series of Karnatic music reader I have tried to present karnatic music lessons in a systematic manner 34 adi tala varnam 14 ata tala varnam and 5 pada varnam. These lessons help in achieving a fundamental base for the learners of karnatic music. The svara notation has been kept as simple as possible so that the learner can study the lessons with the minimal help from his teacher. I have also included a description of the different forms of varnam before each section treating in detail the nuances of each type at the beginning of the chapter so that the students can understand these musical forms. This will also help them in rendering them. It is suggested that the students take the lessons in graded way and karnatic them in a regular way so that they achieve a better knowledge of the fundamentals of karnatic music. Each composition has its own merit in understanding the tala raga etc so that it will be beneficial for the students to obtain proficiency in these aspects. This will put him in good stead in mastering the advanced lessons in karnatic music.

I have tried to the minimize the number of ragas so that the student is not put to very much technicalities of the raga rendering and its intricacies.

To a great extent I have been guided by the requirements of the music students of the colleges though this has not restrained me from keeping the paramount interest of the learners and listeners of karnatic music. Though these lessons are complete in its own way it will be helpful for the student to make use of a teacher in learning the fundamentals of the raga tala etc. this will instill in him a confidence in learning karnatic.

I have planned further graded lessons for the continuous learners of karnatic music in this series. The third second series will comprise of keertans and the fourth in the series will have advanced compositions for the practicing vocalist like Tillana Javeli padas Divynamakirtans Ragamalikas etc.

I use this opportunity to thank the students and teachers and lovers of music who have extended wholehearted support for my book. Without this continuous encouragement I would not have continued to write. When all is said it is not urban theoretician had the simple unsophisticated rustic village teacher who sustains the art form and saves it from extinction.

I am thankful to Sri M. Easwaran editor for his continued support in the editing of the manuscript and Smt. M. Ginja proprietor CBH publication for undertaking the publication of this series.

Lastly I place these series before the learners and lovers of music and ask for their critical comments about this venture and expect their wholehearted support in making this series success.

Contents

Adi Tala Varnam 1-56
1Yevari Bodha niAbhogi Patnam Subramonia Iyer1
2Ninnu Kori Mohanam Ramnad Srinivasa Iyengar2
3JalajakshaHamsadhvani Manambuchavadi Venkatasubba Iyer4
4Ninnu Kori Vasantha Tachur Singaracharya5
5Sri RajamatangiUdayaravichandrika Muthiah Bhagavathar7
6Semi Nee todiPantuvarali (kamavardhini) 9
7Saami NinnekoriSankarabharanam Vina Kuppayyar10
8Vanajakshiro Kalyani Ramnad Srinivasa Iyengar12
9SarasijanabaMayamlavagaula Swati Tirunal 13
10Yeraanaa pai Thodi Patnam Subramonia Iyer15
11Saami Dayajuda Kedaragaula Tiruvottiyur Tyagayya 17
12Sarasuda Saveri Kothavasal Venkatramayyar18
13Inda Modi Saranga Tiruvottiyur Tyagayya 20
14Karunimpa Sahana tiruvottiyur Tyagayya 22
15Yendo Prema Surutti Pallavi Gopalayaar23
16Pagavarri Hamsadhvani Patnam Subramonia Iyer25
17Intha Schaalamujestie Begada Patnam Subrmonia Iyer26
18Taruni Ninnukamboji Violin Ponnuswami28
19Intha ChaukaBilahri Veena Kuppayyar30
20Saraguna Madhyamavathi tiruvpttiyur Tyagayya32
21NinnekoriyunnaKaanada Tiruvpttiyur Tyagayya 33
22ChalamelajesivaDarbar Tiruvpttiyur Tyagayya 35
23SumukhaiSaraswathi Kesavanantha Bharathi 37
24MahishasuramardiniAndolika Muthiah Bhagavatar 38
25Sarasijaksha NinneNayaki Venkatramana Iyer40
26PalumaaruDevamanohari Patnam Subramonia Iyer41
27SarasakshiKamboji Vina Kupayyar43
28SarasijanabhamampahiNatta Parameswara Bhagavatar45
29SarsijamukhiroArabhi Pallavi Doraswamy Iyer46
30Saami NinneSri Karur Devudu Iyer48
31Valachi VaachiNavaragamalika Patnam Subramonia Iyer50
32Chelimikorivachyunathigaula Vina Kuppayyar52
33TamsimchakaAsaveri Patnam Subramonia Iyer53
34VanajakshaHindusthani Bihag Vina Kuppayyar55
Adi Tala Varnas 57-85
1Chalamelajese VuraSankarabharanam Swati Tirunal58
2Vanajakshi NinneKalyani Pallavi Gopalayyar60
3Vanajaksha nine Ritigaula Vina Kuppayyar62
4SarasijanabhaKambhoji Vian Swati Tirunal65
5Viriboni Bharivi12 Vian Kuppayyar67
6ViriboniKaanada Ramnad Srnivassa Iyenger70
7Kanakangi NeeThodi Pallavi Gopalayyar72
8CheliyaapaidayaPantuvarali Vina Kuppayyar74
9SaminipaiAnandabhairavi Vina Kuppayyar76
10IkanelaPoornachandrika Patnam Subramonia Iyer79
11SaaminiveganeNattakutinji Patnam Subramonia Iyer81
12ManomohanaMohanam Muthiah Bhagavatar83
Padavarna 86-104
1ChalamelajesuraNattakurinji 87
2Saava MaarushaKamas Swati Tirunal90
3Daanisammajendra Thodi Swati Tirunal94
4Saadhu VibhaataBhupala Swati Tirunal98
5Samiyai Vara Poorvikalyani 101

Karnatic Music Reader

Item Code:
IHL073
Cover:
Paperback
Edition:
2004
Publisher:
ISBN:
8185381127
Size:
9.5 Inch X 7.0 Inch
Pages:
103
Other Details:
a51_books
Price:
$20.00   Shipping Free
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About the Author

The present reader in Kamatic music is a systematic introduction of the study of karnatic music. The reader in four parts covers the different musical forms in karnatic music.

In the first part starting with simple introduction and the history of south Indian music the book ventures into the teaching of fundamentals notes Sarlivarisas janta varisas Alankara gitam svarajathi and jathisvaram. The lessons have been arranged in simple notation.

The second part covers the various aspects of vamam. The introduction gives a proper evaluation of various types of Varman and a not on different composer. The notations of about 40 different vamam in adi tala ata tala and pada varma have been notated in simple form for easy rendering. The varmans have been selected to represent the best from various composers of karnatic music.

The third part covers Kirtans. A detailed introduction on Keertanas and various composers have been added. The notation of about 40 popular Kirtans have been given in simple notation. Representative compositions of important composers has been selected.

The fourth part covers the musical forms like daru Varnam pada, tillanas tans varmas javali ragamilika utsava sampradaya keetanas tirupaugazh kavadi chindu etc. These compositions portray the varied facets of karnatic music all these forms have an introduction about them.

The complete reader in 4 parts will be a compendium of musical forms of karnatic music. The notations for the compositions have been in simplest form possible so that the student learner can learn them with minimal effort. The selection of compositions have been made to cover representative composers of karnatic music.

Preface

About ten years back my father advised me to prepare graded text books in music for the use of students. Consequent on his persistent advice I started preparing my graded lessons in music in Malayalam. These books took shape in the form Karnantaka Sangeetha Pretamala and were completed in six parts covering all the aspects of karnatic music. With the persistent of my well wishers and requests from teaching and student quarters I have planned these series in English.

In this second series of Karnatic music reader I have tried to present karnatic music lessons in a systematic manner 34 adi tala varnam 14 ata tala varnam and 5 pada varnam. These lessons help in achieving a fundamental base for the learners of karnatic music. The svara notation has been kept as simple as possible so that the learner can study the lessons with the minimal help from his teacher. I have also included a description of the different forms of varnam before each section treating in detail the nuances of each type at the beginning of the chapter so that the students can understand these musical forms. This will also help them in rendering them. It is suggested that the students take the lessons in graded way and karnatic them in a regular way so that they achieve a better knowledge of the fundamentals of karnatic music. Each composition has its own merit in understanding the tala raga etc so that it will be beneficial for the students to obtain proficiency in these aspects. This will put him in good stead in mastering the advanced lessons in karnatic music.

I have tried to the minimize the number of ragas so that the student is not put to very much technicalities of the raga rendering and its intricacies.

To a great extent I have been guided by the requirements of the music students of the colleges though this has not restrained me from keeping the paramount interest of the learners and listeners of karnatic music. Though these lessons are complete in its own way it will be helpful for the student to make use of a teacher in learning the fundamentals of the raga tala etc. this will instill in him a confidence in learning karnatic.

I have planned further graded lessons for the continuous learners of karnatic music in this series. The third second series will comprise of keertans and the fourth in the series will have advanced compositions for the practicing vocalist like Tillana Javeli padas Divynamakirtans Ragamalikas etc.

I use this opportunity to thank the students and teachers and lovers of music who have extended wholehearted support for my book. Without this continuous encouragement I would not have continued to write. When all is said it is not urban theoretician had the simple unsophisticated rustic village teacher who sustains the art form and saves it from extinction.

I am thankful to Sri M. Easwaran editor for his continued support in the editing of the manuscript and Smt. M. Ginja proprietor CBH publication for undertaking the publication of this series.

Lastly I place these series before the learners and lovers of music and ask for their critical comments about this venture and expect their wholehearted support in making this series success.

Contents

Adi Tala Varnam 1-56
1Yevari Bodha niAbhogi Patnam Subramonia Iyer1
2Ninnu Kori Mohanam Ramnad Srinivasa Iyengar2
3JalajakshaHamsadhvani Manambuchavadi Venkatasubba Iyer4
4Ninnu Kori Vasantha Tachur Singaracharya5
5Sri RajamatangiUdayaravichandrika Muthiah Bhagavathar7
6Semi Nee todiPantuvarali (kamavardhini) 9
7Saami NinnekoriSankarabharanam Vina Kuppayyar10
8Vanajakshiro Kalyani Ramnad Srinivasa Iyengar12
9SarasijanabaMayamlavagaula Swati Tirunal 13
10Yeraanaa pai Thodi Patnam Subramonia Iyer15
11Saami Dayajuda Kedaragaula Tiruvottiyur Tyagayya 17
12Sarasuda Saveri Kothavasal Venkatramayyar18
13Inda Modi Saranga Tiruvottiyur Tyagayya 20
14Karunimpa Sahana tiruvottiyur Tyagayya 22
15Yendo Prema Surutti Pallavi Gopalayaar23
16Pagavarri Hamsadhvani Patnam Subramonia Iyer25
17Intha Schaalamujestie Begada Patnam Subrmonia Iyer26
18Taruni Ninnukamboji Violin Ponnuswami28
19Intha ChaukaBilahri Veena Kuppayyar30
20Saraguna Madhyamavathi tiruvpttiyur Tyagayya32
21NinnekoriyunnaKaanada Tiruvpttiyur Tyagayya 33
22ChalamelajesivaDarbar Tiruvpttiyur Tyagayya 35
23SumukhaiSaraswathi Kesavanantha Bharathi 37
24MahishasuramardiniAndolika Muthiah Bhagavatar 38
25Sarasijaksha NinneNayaki Venkatramana Iyer40
26PalumaaruDevamanohari Patnam Subramonia Iyer41
27SarasakshiKamboji Vina Kupayyar43
28SarasijanabhamampahiNatta Parameswara Bhagavatar45
29SarsijamukhiroArabhi Pallavi Doraswamy Iyer46
30Saami NinneSri Karur Devudu Iyer48
31Valachi VaachiNavaragamalika Patnam Subramonia Iyer50
32Chelimikorivachyunathigaula Vina Kuppayyar52
33TamsimchakaAsaveri Patnam Subramonia Iyer53
34VanajakshaHindusthani Bihag Vina Kuppayyar55
Adi Tala Varnas 57-85
1Chalamelajese VuraSankarabharanam Swati Tirunal58
2Vanajakshi NinneKalyani Pallavi Gopalayyar60
3Vanajaksha nine Ritigaula Vina Kuppayyar62
4SarasijanabhaKambhoji Vian Swati Tirunal65
5Viriboni Bharivi12 Vian Kuppayyar67
6ViriboniKaanada Ramnad Srnivassa Iyenger70
7Kanakangi NeeThodi Pallavi Gopalayyar72
8CheliyaapaidayaPantuvarali Vina Kuppayyar74
9SaminipaiAnandabhairavi Vina Kuppayyar76
10IkanelaPoornachandrika Patnam Subramonia Iyer79
11SaaminiveganeNattakutinji Patnam Subramonia Iyer81
12ManomohanaMohanam Muthiah Bhagavatar83
Padavarna 86-104
1ChalamelajesuraNattakurinji 87
2Saava MaarushaKamas Swati Tirunal90
3Daanisammajendra Thodi Swati Tirunal94
4Saadhu VibhaataBhupala Swati Tirunal98
5Samiyai Vara Poorvikalyani 101
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