I saw “Gravity” today. You’ve made a really engaging film that made me want to watch it again. What made me a little sad is that this was such a wonderful opportunity for you to have made your mark in film-making history. No, I’m not talking about the usual physics nitpicks, but the squandered opportunity of making and releasing this film in HFR 3D … in IMax.Read on →
In part-2 of How to Practice Carnatic Music with a Metronome, I described some beginning exercises for the vina that combine meditation with practice of basic right hand plucking techniques that need early mastery. I described five such exercises for anchoring the flow of musical time in the body through breathing.
One problem with having so many exercises is that it isn’t clear to beginner students which one to pick that’s right for them .. and, to be fair, neither did I have a clear idea of which one would be good for beginners – if I were to pick one. Now that some time has passed since I came up with those exercises and some students have had the chance to try them out, I do have a better idea and I can suggest one.Read on →
In part-1 and part-2, I covered some very basic techniques for “anchoring time in the body”. In this part, I illustrate a technique for practice that I call “role inversion” with a pallavi as an example.
Pallavis tend to have rhythmic structures that make it interesting and challenging to perform them at different speeds and nadais. A programmable metronome such as Tala Keeper can be used for pallavi practice to great effect.
A metronome can serve as an aid to pallavi practice in two different ways - by playing just the tala along with you-the-student singing or playing your instrument along with it, or by playing the rhythmic pattern of the pallavi so you can play the tala and/or sing along. Both these modes of practice are useful and since the role played by you and the metronome are being switched, I call this approach “role inversion”.Read on →
Part 1 presented internalizing “layam” or musical time as the practice goal for working with a metronome. In the course of teaching vina, I realized that practice with a metronome already requires a sense of time and if this has not been nurtured initially, it can lead to an aversion to practicing with one to gain mastery over time and an unhealthy reliance on it, even if warned as I did with Part 1.
In this post, I describe a few exercises we’ve been experimenting with at Brhaddhvani that can better serve students before they are introduced to practicing with a metronome. Though I’ve included this post in the “how to practice with a metronome” series, these exercises do not involve a metronome! This is because I’m beginning to think that before you can benefit from advanced training with a metronome, you need to anchor time in your body at a more basic level.
Disclaimer: I address the needs of adult vina students here rather than children. This is ongoing work, where I make certain hypotheses about how students are dealing with the situation they’re given and tailoring exercises to address potential issues therein.Read on →
Krti by Sri Muttusvāmi Dīkshitar
in raga Ārabhi,
tala Misra Cāpu.
This post is rendered using the Carnot,
Carnatic music notation rendering engine. To see the underlying
notation itself, view the source of this post and look at the