as an american western classical musician in love with Carnatic music, the comparisons against western musical terms were very clear and useful for me to deepen my appreciation of this art form, and her demonstrations are so beautiful and precise. Very illuminating, and also soothing! Thank you 🙏🏼
21:57 so well said, "not very aesthetic." Actually, if every swara has heavy gamakas, listener (rasika) would miss or not appreciate that significant gamaka which beautifies the whole phrase. My analogy is, it is like drawing on a plain canvas vs drawing on a newspaper. SP Balu garu also explained it once in Paduta teeyaga!🙏
Thanks for ur notes and guidance, really this is a great guruisam. All those how don't think thier songs are not to project, yes most of us do think so, boost me so this is my first comment in web
Amazing lecture, I have now a whole new perspective on this important part of music expressiveness that so rich in Indian music! I had to stop the video several times and try to replicate the examples you gave on my keyboard. Also, what's your opinion on the pitch bend wheel of a keyboard to do gamakas? Do you think appropiate? To what extend do you think is possible? Is the closest thing in western music to gamakas, pitch bend and vibrato techiques? You awnsered many questions, and brought a few as well! Thank you so much Dr Lakshmi!
complicated . Still mam made it as easier as possible as we understand that Swara with Gamaka creates embellishment.Perhaps , we need one more class to feel confident about our comprehension.
Hello Madam, I learned quite a lot about Gamakams from this video. We who are learning instruments were told that Gamakams should be applied in such a way that an instrument should sound as close as possible to the corresponding vocal music. Is this true? If then one should not be applying Gamakams at some notes even though Raga permits it because of the context of the lyric and it's vocal rendering. Is this correct to say? Thank you.🙏
In my humble opinion, there are two things at play here. If an instrumentalist is playing a composition and the composition does not allow a particular gamaka by way of how the composition is structured, then be it an instrumentalist or a vocalist, they should avoid the gamaka to justify proper rendering of composition. Further to this, if an instrumentalist is attempting to play gayaki style ie sound like a singing voice, then further refinement needs to be considered while playing the instrument. In the case of a Veena, this will include avoiding plucking at vowels, being gentle with plucks at certain locations depending on how the word is enunciated when spoken, consideration of “vallinam” and “mellinam” etc.
I also always wonder why our people do this. We were having a parampara without ABCDE for the longest possible time. Why is it needed now to explain our things?
as an american western classical musician in love with Carnatic music, the comparisons against western musical terms were very clear and useful for me to deepen my appreciation of this art form, and her demonstrations are so beautiful and precise. Very illuminating, and also soothing! Thank you 🙏🏼
Finally understand the gamakas concept after so many videos So much Thanks for that..!
It's as if it's a language all on it's own.
music language and culture are all linked
Gem on the internet. Thank you for the lessons
21:57 so well said, "not very aesthetic." Actually, if every swara has heavy gamakas, listener (rasika) would miss or not appreciate that significant gamaka which beautifies the whole phrase. My analogy is, it is like drawing on a plain canvas vs drawing on a newspaper. SP Balu garu also explained it once in Paduta teeyaga!🙏
Thanks for ur notes and guidance, really this is a great guruisam. All those how don't think thier songs are not to project, yes most of us do think so, boost me so this is my first comment in web
Thank you for this video....learnt so many things...look forward to more
Very informative explonations. Thank you very much
❤❤❤❤❤❤
Thanks for your beautiful explanation of gamaka
Amazing lecture, I have now a whole new perspective on this important part of music expressiveness that so rich in Indian music!
I had to stop the video several times and try to replicate the examples you gave on my keyboard.
Also, what's your opinion on the pitch bend wheel of a keyboard to do gamakas?
Do you think appropiate? To what extend do you think is possible?
Is the closest thing in western music to gamakas, pitch bend and vibrato techiques?
You awnsered many questions, and brought a few as well! Thank you so much Dr Lakshmi!
bruh Learn guitar
complicated . Still mam made it as easier as possible as we understand that Swara with Gamaka creates embellishment.Perhaps , we need one more class to feel confident about our comprehension.
Please make a vedio on how to practice gamakas for dumpsters like me.🙏🙏🙏
Excelent.
What a great Bhairavi in the begining
Thank you very much. Great information and explanation.
Speaker has done a great job in this lecture.
அது வந்துங்க நான் 1988லகத்துக்க ஆரம்பிச்சேன்ங்க இன்னிக்வறிக்கும் கத்துக்க முடீலிங்க அதுல பாருங்க ரெண்டு ஸ்வரத்ல கமகம் சொன்னீங்க கொஞ்சமா புறி துங்க நன்றிங்க
Thank you mam useful lesson 😍👍
Thank You Master!
Very nice!
Very nice
Thank you so much madam i request you madam I have learn music, please madam,how please
could you tell us what is nom tom tara nom
Just sounds, no special meaning.
@@vnr1995 Reverse ofநா- ர - த "is
Tha_ra_naa_Guru of Sangeetham
❤️🥺❤️
Mother will explain lessons in Telugu
Hello Madam, I learned quite a lot about Gamakams from this video. We who are learning instruments were told that Gamakams should be applied in such a way that an instrument should sound as close as possible to the corresponding vocal music. Is this true? If then one should not be applying Gamakams at some notes even though Raga permits it because of the context of the lyric and it's vocal rendering. Is this correct to say? Thank you.🙏
In my humble opinion, there are two things at play here. If an instrumentalist is playing a composition and the composition does not allow a particular gamaka by way of how the composition is structured, then be it an instrumentalist or a vocalist, they should avoid the gamaka to justify proper rendering of composition. Further to this, if an instrumentalist is attempting to play gayaki style ie sound like a singing voice, then further refinement needs to be considered while playing the instrument. In the case of a Veena, this will include avoiding plucking at vowels, being gentle with plucks at certain locations depending on how the word is enunciated when spoken, consideration of “vallinam” and “mellinam” etc.
@@raghugopalan6139 Thank you sir for the explanation. Make sense. 🙏
Thanks madam🙏
why suddenly English
So that more people can understand, dummy.
Can not we come out of ABCDE and stick to swras
I also always wonder why our people do this. We were having a parampara without ABCDE for the longest possible time. Why is it needed now to explain our things?
Dr.Nagaraja Sharma it may be for the western folks to understand the concept
Why don't you simply ignore the video then. There are so many others who benefit from her excellent explanation.
Sa ri do not have an absolute pitch value. C, D, E are absolute pitch values.