Karnatic Music Reader (Kritis of Various Composers With Notation) (Part 3)

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.

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.