Ananthakoti namaskaarams Sir! For a Maestro like you, getting down to the standard of the beginners and imparting your knowledge is amazing! Your ability to simplify the methods of teaching to give high quality music is awesome!
Guruvugaru, first our humble pranams. Your lessons selection are not only thoughtfully done but also the playing demonstration for skill development is really exceptional. We consider ourselves fortunate in knowing the several essential aspects of veena playing from an accomplished vainika Guruji.🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏
Infinite pranams to your teachings sir. During this lockdown your each and every invaluable lessons are a treat. Please post lessons on semitones and quatertones of swaras too sir. Humble request from your worshipper. 🙏🙏🙏
Thank you very much Sir. I learnt veena for one year that Was 15years back. I forgot some. By your videos I am remembering everything. I don't have veena at present. But I am going to bye soon. If you don't mind please make videos of the daatu svaras alankaras and geethams so that we can have practice. Thank you sir
Sir in Veena,for the fluency in the fingers all the Veena players use oil,Vaseline,ghee etc..But can u suggest me what's the best one to use? Can I know What do u use sir..🙏
Thankyou so much Sir for the explanations . I am a Veena teacher but struggle teaching kampitham gamakams to students . You made it very simple and neat ! Beautifully taught ! One request . Desperate to learn the super fast meettus used for Thillana words like tharikitathom thrikutathaka ..also some Vainikas play it in one stretch ...perhaps using ring finger of right hand or top to bottom and bottomto top pluck. Could you show it in close proximity to the main string with the video ..from slow speed gradually progressing to super fast speed like you showed the gamakas . Would be very very grateful! Not able to play a good Thillana just for thesake of few jathis that are in the Thillana
Sujatha Thiagarajan I did exclusive plucking practice atleast 30 mins in my 4 to 6 hours of veena playing everyday for 10 years when i was young. I use to practice the various patterns of 3s 4s 5s 6s 7s & 8s for many years There is no short cut to music. Practiced The up& down plucking with two fingers for 3 years 1 hour a day So practice is the only way out to pluck fast with metronome. Also try singing the modulations of the jathis with metronome to get the feel of the patterns
Wonderful lesson sir! you make it so simple !! From the video it looks like you are not sitting in traditional (cross legged) manner on floor because i notice that the left resonator of your veena is raised higher than your left thigh. Maybe you are sitting on an elevated platform like a cot. Is it possible to play the veena in other comfortable positions? i ask this because i have arthritis of the leg joints. it makes it difficult for me to sit for long periods in cross legged position. Many Thanks 🙏
Ok . It was not so evident in the video. That is why I asked. Thank you for caring to reply. So from your answer I'm assuming that the traditional cross legged posture is best for veena playing, right ?
I use two pick ups one is fishman bp 100 acoustic pick which put on the centre of the board and the second one is tulsi bridge pick up. The seller is venkoba sha you can find him in fb
Sir, can you please teach why in the second and third strings in veena, not all fret positions are used just as we do in main, 1st string? Why only certain portions of the octave from these middle strings are used? I have been waiting for years for online sessions from you. Thanks to Godess Saraswati for making my prayers come true!
Malini Aravindan The expression of the music is almost same as the speech modulations we do For example Generally we speak at normal voice level while talking to others and dont shout at high pitch or speak with very low pitch to communicate our point. Similarly music is the expression of feelings through musical notes They normally range in one & half octaves to two octaves and in some songs less than a octave. We play in 3rd and 4 th strings or at high octave in 1st string in ragalapana , thanam and in swara kalpana to make full use of the instrument
@@LearnVeena Okay, Sir. In humans our chest voice or naabhi is considered to be aadhara shadjam. Then in case of Veena, which string is ideally the aadhaara shadjam? Do we assume it to be in the first string? If one plays all songs in a concert in 2nd string, the listener's ears and mind would have got tuned to the shadjam in that frequency only. Then, if something is played in 1st string, is it considered as a shift in aadhara shadjam or the same? Hope my question is clear.... Sir, I have also been waiting for the release of your two books in English on gamakas. When will those two be released, Sir. I am very eager. Thank you, Sir!
Thank you very much for a wonderful session sir. I always find it difficult to do two & three note pulls. e.g in Panthuvarali, Shadjama from Suddha Dhaivatam. It is hit or a miss most of the times. Can you suggest a way to practice. I practise using my phone app, that gives me frequency of the note, when i pluck. Is there any other way, that helps ?
In darbari kanada, it is said that the gandhara is ati komal...in such cases, without a guru beside while playing, how do we know we are hitting the right frequency in veena which doesn't have a dedicated fret of that specialized note...?
Darbari kanada is a hindusthani raga. The gandharam is always associated with madhyamam the slide or pull from ma to ga is the frequency of the gandharam one should practice clean slides and one to three or four notes pull practice everyday ear judgement is the key here
Respected sir, I watched your videos for Gamakas lessons in Carnatic music. It is very good. But I have doubt in the following Ragas Thodi ,kalyani,hindolam ,suddadanyasi etc.In Thodi there is no Chathusruti Rishaba&Chathusruti Daiyata.But Musians used as Anuswaras in the Gamaka of g=RMRM or RgRg and d=DSDS or DnDn.Can we use this notes asAnuswaras of Gamakas of g and n.In Kalyani raga there is no suddamadhayamam .But this note used as Anuswara of Gamaka of G=GMGM.Is it right Approach?.In case of Janta Swaras in Hindolam&SuddaDanyasi etc gg=gRg,MM=MGM ,dd=dPd,SS=SNS,nn=nDn etc.Some Musians Said that We Should only Same Raga music notes as Anuswara in Gamakas & Jantas.Foreign notes Should not be used. Is it correct method or not?.Clarify my doubt. Thanking you Sir.
The gamaka for ga is MRMR / MR,M / rgrg The beauty of carnatic music is the combination of frequencies (sruthis) Sadharana gandharam in carnatic music is derived as 1. Ga clean , 2. GA + Ga with the help if R ( which we call as janta prayoga 3 Rgrg 4 MRMR 5. M R,M 6. Rmgm 7 MG , M 8 Ga with little vibration Same rupe applies to Kaisiki nishadam The janta prayogam itself is a twin note presentation with the help of immediate lower note Or with the raga scale note EX: in mohana Ga ga can be played with the help of lower note sadharana gandaharam Or the raga scale note of R 2 Each has a beauty No other tradition has these many Anu swara combinations or sound combinations that Carnatic has Hope u understood what i am trying to say
Wonderful explanation sir. I am learning a lot about how to.play thanam with the help of your videos. My pranams to you
Very much useful Sir 🙏
before watching the lesson, let me thank you sir, your lessons and so valuable, seeking your blessings sir...
So far I have not seen such great explanatory lesson with practical demo. Great ,Hat off .Hoping for more such demos.
Thank you Sir, for your wonderful teaching of the gamakas explaining all those minute details..
Legends like you teaching , I thank you from my heart. Thank you so much sir
Sir!...I.was your student...glad to see you on u.tube...enjoying your videos
Knowledge galore in you Sir...🙏🙏
Ananthakoti namaskaarams Sir! For a Maestro like you, getting down to the standard of the beginners and imparting your knowledge is amazing! Your ability to simplify the methods of teaching to give high quality music is awesome!
I’m
I’m
Thank you so much sir... I really felt happy to watch you teach a series on Gamakas , the heart and soul of Carnatic sangeetham!!!!
Wonderful guruvugaru,,
We should be blessed to have your teachings 🙏🙏
Pranam. Wonderful teaching.
Guruvugaru, first our humble pranams. Your lessons selection are not only thoughtfully done but also the playing demonstration for skill development is really exceptional. We consider ourselves fortunate in knowing the several essential aspects of veena playing from an accomplished vainika Guruji.🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏
🙏🙏🙏
Guru ki vandanamulu very important lessons sir
Infinite pranams to your teachings sir. During this lockdown your each and every invaluable lessons are a treat. Please post lessons on semitones and quatertones of swaras too sir. Humble request from your worshipper. 🙏🙏🙏
Thank you so much Sir for your valuable videos..
Simply wonderful. God bless.
Thanks a ton, sir. It gives a lot of understanding to amateurs like me who use meetu or jaru for every swaram :)
Thank you so much sir.. can't wait for your next video ... eagerly awaiting... 🙏🙏🙏
Thank you so much, for detailed explanation
Thank you very much Sir. I learnt veena for one year that Was 15years back. I forgot some. By your videos I am remembering everything. I don't have veena at present. But I am going to bye soon. If you don't mind please make videos of the daatu svaras alankaras and geethams so that we can have practice. Thank you sir
Hi sir i have questions how to fix veena really speaker with mic
Good lesson sir,Thanks.
Tq very much Sir for your valuable video. 🙏🙏
Thank you Sir
You're really good ..
Thank you sir 🙏🙏🙏
Namaste sir
Can u please teach brochevarevaru ra kriti through Veena with notes and gamakasa🙏🙏🙏
Thank you sir.
Thank you sir. Well explained. Please do not put background music
Also, do you custom make veena for your concert needs or would you suggest names of select veena makers?
Sir in Veena,for the fluency in the fingers all the Veena players use oil,Vaseline,ghee etc..But can u suggest me what's the best one to use? Can I know What do u use sir..🙏
Namaskaram Sir.
The way of your teaching is really excellent. Please advise, whether these rules could be applied on Flute too?
Thanks.
Ofcourse its same for all instruments
@@LearnVeena Thanks a lot Guruvu garu🙏🙏🙏
Mee antha goppa & manchi Carnatic flute instructors evarainaa vunte dhayachesi theliyacheyakalaru.🙏🙏🙏
According to some old treatise, there are 23 different gamakas (glissandos).
Sir kharahara priyaragam slow ga detailed ga nerpinchandi please
🙏🙏🙏
Thankyou so much Sir for the explanations .
I am a Veena teacher but struggle teaching kampitham gamakams to students .
You made it very simple and neat !
Beautifully taught !
One request .
Desperate to learn the super fast meettus used for Thillana words like tharikitathom thrikutathaka ..also some Vainikas play it in one stretch ...perhaps using ring finger of right hand or top to bottom and bottomto top pluck.
Could you show it in close proximity to the main string with the video ..from slow speed gradually progressing to super fast speed like you showed the gamakas .
Would be very very grateful!
Not able to play a good Thillana just for thesake of few jathis that are in the Thillana
Sujatha Thiagarajan Do you play with plectrums or nails?
@@LearnVeena I play with plectrums ..not nails ..
But I can play without using plectrums also ..but not nails .
Sujatha Thiagarajan
I did exclusive plucking practice atleast 30 mins in my 4 to 6 hours of veena playing everyday for 10 years when i was young. I use to practice the various patterns of 3s 4s 5s 6s 7s & 8s for many years There is no short cut to music. Practiced The up& down plucking with two fingers for 3 years 1 hour a day So practice is the only way out to pluck fast with metronome. Also try singing the modulations of the jathis with metronome to get the feel of the patterns
@@LearnVeena Sir may i know what is meant by 3s 4s 5s and so on..
Thank you.
Renu VM
Whatsapp me at 91 9347204313.
🙏🙏🙏👌💐
Wonderful lesson sir! you make it so simple !!
From the video it looks like you are not sitting in traditional (cross legged) manner on floor because i notice that the left resonator of your veena is raised higher than your left thigh. Maybe you are sitting on an elevated platform like a cot. Is it possible to play the veena in other comfortable positions? i ask this because i have arthritis of the leg joints. it makes it difficult for me to sit for long periods in cross legged position.
Many Thanks 🙏
I sat on the floor on a carpet in a traditional cross legged manner
Ok . It was not so evident in the video. That is why I asked. Thank you for caring to reply.
So from your answer I'm assuming that the traditional cross legged posture is best for veena playing, right ?
Interesting sir. 🙏🏼 Sir what is the pickup u use sir. The sound value is so clear that we can clearly listen every note.
I use two pick ups one is fishman bp 100 acoustic pick which put on the centre of the board and the second one is tulsi bridge pick up. The seller is venkoba sha you can find him in fb
@@LearnVeenaohk .. and amplifier u use.?
Lakshmi Sruthi
Venkoba sha. Pick up seller
+91 89394 84402
Chennai
Sir, can you please teach why in the second and third strings in veena, not all fret positions are used just as we do in main, 1st string? Why only certain portions of the octave from these middle strings are used? I have been waiting for years for online sessions from you. Thanks to Godess Saraswati for making my prayers come true!
Malini Aravindan
The expression of the music is almost same as the speech modulations we do
For example
Generally we speak at normal voice level while talking to others and dont shout at high pitch or speak with very low pitch to communicate our point. Similarly music is the expression of feelings through musical notes They normally range in one & half octaves to two octaves and in some songs less than a octave.
We play in 3rd and 4 th strings or at high octave in 1st string in ragalapana , thanam and in swara kalpana to make full use of the instrument
@@LearnVeena Okay, Sir. In humans our chest voice or naabhi is considered to be aadhara shadjam. Then in case of Veena, which string is ideally the aadhaara shadjam? Do we assume it to be in the first string? If one plays all songs in a concert in 2nd string, the listener's ears and mind would have got tuned to the shadjam in that frequency only. Then, if something is played in 1st string, is it considered as a shift in aadhara shadjam or the same? Hope my question is clear....
Sir, I have also been waiting for the release of your two books in English on gamakas. When will those two be released, Sir. I am very eager. Thank you, Sir!
Thank you very much for a wonderful session sir. I always find it difficult to do two & three note pulls. e.g in Panthuvarali, Shadjama from Suddha Dhaivatam. It is hit or a miss most of the times. Can you suggest a way to practice. I practise using my phone app, that gives me frequency of the note, when i pluck. Is there any other way, that helps ?
Jagannadha Bhamidipati
Richness of the music lies in gamakas
No shortcuts. Practice is the key
Thank you
In darbari kanada, it is said that the gandhara is ati komal...in such cases, without a guru beside while playing, how do we know we are hitting the right frequency in veena which doesn't have a dedicated fret of that specialized note...?
Darbari kanada is a hindusthani raga. The gandharam is always associated with madhyamam the slide or pull from ma to ga is the frequency of the gandharam one should practice clean slides and one to three or four notes pull practice everyday ear judgement is the key here
@@LearnVeena Thank you very much for clarifying, Sir. My several years doubt got cleared.
Thank U so much Sir.
Respected sir, I watched your videos for Gamakas lessons in Carnatic music. It is very good. But I have doubt in the following Ragas Thodi ,kalyani,hindolam ,suddadanyasi etc.In Thodi there is no Chathusruti Rishaba&Chathusruti Daiyata.But Musians used as Anuswaras in the Gamaka of g=RMRM or RgRg and d=DSDS or DnDn.Can we use this notes asAnuswaras of Gamakas of g and n.In Kalyani raga there is no suddamadhayamam .But this note used as Anuswara of Gamaka of G=GMGM.Is it right Approach?.In case of Janta Swaras in Hindolam&SuddaDanyasi etc gg=gRg,MM=MGM ,dd=dPd,SS=SNS,nn=nDn etc.Some Musians Said that We Should only Same Raga music notes as Anuswara in Gamakas & Jantas.Foreign notes Should not be used. Is it correct method or not?.Clarify my doubt. Thanking you Sir.
The gamaka for ga is MRMR / MR,M / rgrg
The beauty of carnatic music is the combination of frequencies (sruthis) Sadharana gandharam in carnatic music is derived as
1. Ga clean ,
2. GA + Ga with the help if R ( which we call as janta prayoga
3 Rgrg
4 MRMR
5. M R,M
6. Rmgm
7 MG , M
8 Ga with little vibration
Same rupe applies to
Kaisiki nishadam
The janta prayogam itself is
a twin note presentation with the help of immediate lower note
Or with the raga scale note
EX: in mohana
Ga ga can be played with the help of lower note sadharana gandaharam
Or the raga scale note of R 2
Each has a beauty
No other tradition has these many Anu swara combinations or sound combinations that Carnatic has
Hope u understood what i am trying to say
@@LearnVeena Thanks for giving good reply.
Heartful and mind blowing teaching sir i want to contact you sir
You can WhatsApp me at 91 9347204313
🙏🙏
🙏🙏