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Books > Performing Arts > Karnatic Music Reader (Part 4) (Containing Concert, Compositions In Notation)
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Karnatic Music Reader (Part 4) (Containing Concert, Compositions In Notation)
Karnatic Music Reader (Part 4) (Containing Concert, Compositions In Notation)
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 starting from the fundamental lessons like Saralivaris, Jantavarisa, Alankaram, Gitam, Swarajathi, Jathiswaram etc. comprising into 4 parts part 1 contains fundamental lesson second part consists of Varnas of different composers, part 3 contains Keertans of various composers. The present part consists of Daru Varna, Pada Tillana, javali, Ragamalika, Divyanamavali, Thiruppugazh, Thevaram, Kavadi chindu and Utsava sampradaya keertans. The compositions are representative in nature and the literature and compositions are so cast that it is not possible to include them in this small volume on musical forms. However the compositions present a good selection of these forms, 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 various musical forms at the beginning of the notation section so that the students can understand the musical forms. This will also help them in rendering them. It is suggested that the students take the lessons in a graded way and practice them in a regular way so that they achieve a better knowledge of the fundamentals of Karnatic Music.

In each group simple notation with the text has been given for the easy rendering of these compositions. A thorough learning of these fundamentals will give a strong base for the students in their coming year. It is suggested that the student master the compositions each group before attempting the next group. It is also suggested that they should not try to skip the lessons in each group before going to the next group. 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. I have tried to the minimize the number of ragas so that the students is not put to very technicalities of the raga rendering and its intricacies. This will put him in good stead in mastering the advanced lessons in Karnatic Music.

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 music.

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

Musical Forms 1
Daru Varna 1
1 Maathe Malayadhwaja Khamas Adi2
2 Sri Rajarajeswari Kapi M. Chapu5
Padam 9
1 Valaputalavasama Atana M. Chapu12
2 Aligithe Huseni Triputa14
3 Anthakana Begesri Chappu16
4 Alarsaraparitapam Surutti Chappu18
5 Dayamato Kalyani Adi20
6 Yemmanitelupudu Anandabhairavi Triputa22
7 Aliveni Kurinji Chappu23
8 Aduvum Saurashtram Adi26
9 Kaalai Tooki Yadukulakamboji Adi28
10 Yaro Ivar Bhairavi Adi29
Javali 32
1 Apadooruku Khamas Madhyadi33
2 Cheli Nenelu Paras Madhyadi34
3 Nirupamana Hindusthani Behag Rupuka36
4 Idu Sahasamulu Saindhavi Adi37
Thillana 39
1 Dhi Dhi Tirana Thodi Adi40
2 Tanom Tanatana Paras Adi42
3 Dhimtara Hamsamandi Adi44
Ragamalika 46
1 Pannagendra Sayana Rupuka47
2 Chaturdasa Ragamalika Adi52
Utsavasampradayakritis 61
1 Seetha KalyanaKurinchi Chappu62
2 NagumomuMadhyamavathi Adi63
3 PathikiSurutti Adi64
4 Jo Jo RaamaReethigaula Adi65
5 MelukovayyaBauli Chappu66
Divyanaamavali 67
1 ThavadasohamPunnagavarali Adi68
2 RaamanaamaMadhyamavathi Adi69
3 Sree rama JayaramaYadukulkamboji Chappu70
4 Sree rama ramaSaveri Adi71
5 MamavaSaranga Rupuka72
Thirupugazh 73
Thevaram 77
Thirupugazh 80
Utsavaprabandha 84

Karnatic Music Reader (Part 4) (Containing Concert, Compositions In Notation)

Item Code:
IHL067
Cover:
Paperback
Edition:
2007
Publisher:
CBH Publications
ISBN:
8185381496
Size:
9.5 Inch X 7.1 Inch
Pages:
89
Other Details:
a51_books
Price:
$20.00
Discounted:
$15.00   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 starting from the fundamental lessons like Saralivaris, Jantavarisa, Alankaram, Gitam, Swarajathi, Jathiswaram etc. comprising into 4 parts part 1 contains fundamental lesson second part consists of Varnas of different composers, part 3 contains Keertans of various composers. The present part consists of Daru Varna, Pada Tillana, javali, Ragamalika, Divyanamavali, Thiruppugazh, Thevaram, Kavadi chindu and Utsava sampradaya keertans. The compositions are representative in nature and the literature and compositions are so cast that it is not possible to include them in this small volume on musical forms. However the compositions present a good selection of these forms, 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 various musical forms at the beginning of the notation section so that the students can understand the musical forms. This will also help them in rendering them. It is suggested that the students take the lessons in a graded way and practice them in a regular way so that they achieve a better knowledge of the fundamentals of Karnatic Music.

In each group simple notation with the text has been given for the easy rendering of these compositions. A thorough learning of these fundamentals will give a strong base for the students in their coming year. It is suggested that the student master the compositions each group before attempting the next group. It is also suggested that they should not try to skip the lessons in each group before going to the next group. 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. I have tried to the minimize the number of ragas so that the students is not put to very technicalities of the raga rendering and its intricacies. This will put him in good stead in mastering the advanced lessons in Karnatic Music.

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 music.

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

Musical Forms 1
Daru Varna 1
1 Maathe Malayadhwaja Khamas Adi2
2 Sri Rajarajeswari Kapi M. Chapu5
Padam 9
1 Valaputalavasama Atana M. Chapu12
2 Aligithe Huseni Triputa14
3 Anthakana Begesri Chappu16
4 Alarsaraparitapam Surutti Chappu18
5 Dayamato Kalyani Adi20
6 Yemmanitelupudu Anandabhairavi Triputa22
7 Aliveni Kurinji Chappu23
8 Aduvum Saurashtram Adi26
9 Kaalai Tooki Yadukulakamboji Adi28
10 Yaro Ivar Bhairavi Adi29
Javali 32
1 Apadooruku Khamas Madhyadi33
2 Cheli Nenelu Paras Madhyadi34
3 Nirupamana Hindusthani Behag Rupuka36
4 Idu Sahasamulu Saindhavi Adi37
Thillana 39
1 Dhi Dhi Tirana Thodi Adi40
2 Tanom Tanatana Paras Adi42
3 Dhimtara Hamsamandi Adi44
Ragamalika 46
1 Pannagendra Sayana Rupuka47
2 Chaturdasa Ragamalika Adi52
Utsavasampradayakritis 61
1 Seetha KalyanaKurinchi Chappu62
2 NagumomuMadhyamavathi Adi63
3 PathikiSurutti Adi64
4 Jo Jo RaamaReethigaula Adi65
5 MelukovayyaBauli Chappu66
Divyanaamavali 67
1 ThavadasohamPunnagavarali Adi68
2 RaamanaamaMadhyamavathi Adi69
3 Sree rama JayaramaYadukulkamboji Chappu70
4 Sree rama ramaSaveri Adi71
5 MamavaSaranga Rupuka72
Thirupugazh 73
Thevaram 77
Thirupugazh 80
Utsavaprabandha 84
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