Abhishek Raghuram at Balavinayakar Temple, Chennai

Organizer and venue: Balavinayakar temple, D’Silva road, Mylapore

Vocal: Abhishek Raghuram
Violin: H.N. Bhaskar
Mrudangam: Anantha R. Krishnan

List of songs:
1) calamEla (varNam) – darbAr (S)
2) vinAyakA – hamsadhvani (S)
3) Ananda naTana – kEdAram
4) raghuvIra – husEni (A)
5) jagadIshvarI – mOhanam (AN)
6) Ananda naTEsA – tODi (OS)
7) rAgam tAnam pallavi – gauLa – tisra aTa (2 kaLai) (T)
eDuppu – 2 counts before samam, arudi 10 counts
pallavi wordings: “shrI mahAgaNapatiravatumAm, sidhi vinAyakO, pancamAtanga mukha”
pallavi sung in rAgAs gauLa, aTANA, AbhOgi, nATTai
8) sharaNu sidhi vinAyakA – hamIrkalyANi (A)
9) nI nAma rUpa mulaku (mangaLam) – saurAshTram

(Key: O=raga outline, A=raga alapana, t=tAnam, N=neraval, S=kalpanaswaram, T=taniavartanam)

T.M. Krishna at Vani Mahal, Chennai

Organizer: Sri Thyaga Brahma Gana Sabha
Venue: Vani Mahal, T. Nagar, Chennai

List of songs:
* bhavanuta – mOhanam (otS)
* ElAvatAramu – mukhAri (ANST)
* paripUrNa – pUrvikalyANi (AS)
* sukhi evvarO – kAnaDA (AtNST)
* jagadAnandakArakA – nATTai (O)
* varAlandu – gurjari

(Key: O=raga outline, A=raga alapana, t=tAnam, N=neraval, S=kalpana swaram, T=taniavartanam)


TM Krishna for Dr S Balachander Trust, Chennai

What an experience! Still in a trance more than an hour after the concert got over.  The joy of experiencing TMK’s music in a mic-less concert at such close quarters!

Organizer:  Dr. S. Balachander Trust
Venue: Sastri Hall, Mylapore, Chennai

Vocal: T.M. Krishna
Violin: Akkarai Subbulakshmi
Mrudangam: Manoj Siva
Khanjira: Anirudh Athreya

List of songs:

* mundu vENuka – darbAr (ANS)
* tAnam – mukhAri
* tAnam – sArangA
* inta mODi (varNam) – sArangA (S)
* mauLau gangA (viruttam) – gauLipantu
* kuvalayAkSirO – gauLipantu
* dinamaNi vamsha – harikAmbOji (ANST)
* mOdi jEsEvElarA – khamAs (tNS)
* shrI subramaNyAya namastE – kAmbOji (AN)
* mangaLam kOsalEndrAya – kAmbOji

(Key: O=raga outline, A=raga alapana, t=tAnam, N=neraval, S=kalpana swaram, T=taniavartanam)

(Apologies for missing out the other artists in the photo below. Was literally sitting right in front of TMK and couldn’t get the entire team from that angle)


Laya chatura – Kanjira Quartet in Chennai

Kanjira quartet magic today at the Parthasarathy Swami Sabha.

First B.S. Purushotham and Anirudh Athreya played a 88 count talam (kanDa triputa with the each beat of lagu substituted by tisra, catusra, kanDa, misra and sankIrNa and dhrutam in 2 kalais). They played all 5 nadais.

Then Shree Sundarkumar and K.V. Gopalakrishnan played kuraippu and mOrA kOrvai in the same 88 counts but in a tala where they put kanDa aTa with the 4 sashabda kriyA (sounding beats) replaced by tisra, kanDa, misra and sankIrNa. 

Then they together played a talam which had in one Avartanam kanDa ekam in 2 kaLai followed by catusra Ekam in 1 kaLai followed by tisra Ekam in 0.5 kaLai

All in all a rhythm ragaLai!


Lec dem by Gayatri – A few perspectives on grahabhedam

Gayatri (of Ranjani Gayatri duo) gave a wonderful lecture demonstration titled “a few perspectives on grahabhedam” today morning at the Music Academy, Chennai. What absolute command over the elements of her art! Totally bowled over by the presentation. Here are some notes from the same:

* Grahabhedam is the process of shifting the tonic note (AdhAra shruti) to another note in the same raga, thereby arriving at a different raga. The pure positions of the notes are maintained but they assume different colors. It is like a new raga within the old raga.

* Grahabhedam is very subjective and an area open to interpretation. What works and seems right to one musician may not do so to another.

* Certain anchor notes cannot be compromised. For example, gamakas cannot be used for sa and pa.

* It is not necessary to show the length and breadth of the second raga arrived at. It is enough if we can present a convincing picture of the second raga.

* It is not necessary to always think which note becomes the new sa. Many a times it is a phrase in a raga that leads you organically to a phrase in another raga.

* It is essential to have perfect control over pitching of notes to attempt successful grahabhedams. In Hindustani music, it is used as a tool for practice to improve ones pitching.

* When grahabhedam is done in kalpana swarams, both ragas run as twin tracks. When done in alapana, we slide to the skin of the second raga with the gamakam and aesthetics of that second raga at play but with the awareness of the first raga so that no wrong note is touched.

* She took simhEndramadhyamam. Sang pa to pa to show mAyAmALavagauLa

* The grahabhedam shift is highlighted well when there is a change in the structure of the raga itself i.e., not from one sampUrNa to another sampUrNa raga or from one auDava to another auDava raga.  She changed ri of simhEndramadhyamam to pa of bauLi. Shifted from sampUrNam to auDava shADava raga.

* She demonstrated shift from simhEndramadhyamam to sAvEri. sAvEri ga corresponding to ni of bauLi has to be handled differently – ga is slightly lower and ni is slightly higher

* She demonstrated partial grahabhedam using shanmukhapriyA as the original raga. Ri of shanmukhapriyA as the dha of kAnaDA. She also demonstrated shift from shanmukhapriyA to nATTakurinji as done by Tanjore S. Kalyanaraman earlier

* She demonstrated the shift from vAgadIshvari to kurinji

* Grahabhedam done cannot be said to be correct when the second raga’s identity is in question and doesn’t emerge clearly. This was demonstrated by trying to do to kIravANi what was done to simhEndramadhyamam earlier

* She gave an example of doing grahabhedam from nATTakurinji to nIlAmbari where without dropping any note both ragas come out well in unison as well as stand out individually. The laya of the phrases also make the raga stand out – sprightly and crisp in nATTakurinji, languorous in nIlAmbari

* Sa – Ma connection. Sa of nATTakurinji gives mA of nIlAmbari. pa of nIlAmbari gives sa of nATTakurinji. Reciprocal relationship. Ma has a very special relationship with sa and this is exploited by many grahabhedam combinations. For example, Abhogi ma to valaji sa. This is easier to show in kalpana swarams than in the raga alapana. Other examples are Arabhi ma to mOhanakalyANi sa and jOg ma to brindAvani sa. All of this was demonstrated by singing

* Ga – Sa shift with reciprocal shift from Dha. She demonstrated this by shifting from Abheri ga to mOhanakalyANi sa and from mOhanakalyANi dha to Abheri sa

* Ni – Ri shift with reciprocal shift from Ri. She demonstrated this by shifting from amritavarshini ni to karnATaka sudha sAvEri sa and from karnATaka sudha sAvEri ri to amritavarshini sa.

* Some shifts may look good on paper but may not translate well practically. Example, Abheri ma to ma can give kEdAragauLa scale and sALagabhairavi ri to ri can give dhanyAsi scale, but doesn’t preserve gamakas and also we can’t shake sa and pa which are anchor notes

* She demonstrated a group of 5 auDava ragas which can be derived from each other through grahabheDam and have a special relationship with each other. These ragas are mOhanam, madhyamAvati, sudha sAvEri, sudha dhanyAsi and hindOLam. For example, mOhanam ri to madhyamAvati sa.

* Varjyam of sa and pa or both is a common way of doing grahabhedam and a very safe way as there is no chance of any gamakam needs in these anchor notes. Among sampUrNa ragas, when we remove sa and pa from 6 ragas, we get the above group of 5 auDava ragas. These 6 ragas are tODi, bhavapriyA, pantuvarALi, shubapantuvarALi, kalyANi and gamanAshramA.

* Grahabhedam can be done in any aspect of manOdharma singing – alApana, neraval, tAnam or kalpanA swara. She took the example of shubapantuvarALi, did sa/pa varjyam and derived the five ragas listed above. From shubapantuvarALi ri to madhyamAvati (but she sang brindAvana sArangA). This was done in alapana. Then she shifted from shubapantuvarALi ga to hindOLam while singing tAnam. Then she shifted from shubapantuvarALi ma to sudha sAvEri while singing neraval for the line “vAsudEvuni priya sOdarI” from GNB’s composition “nI samAnamevaru”  She then shifted from shubapantuvarALi dha to sudha dhanyAsi while singing kalpana swaram. She also demonstrated shift to all the 5 auDava ragas from shubapantuvarALi while singing kalpana swaram.

* Musicians have used grahabhedam as the focal point in their compositions. Examples are M. Balamuralikrishna’s tillana in kalyANi, Tanjore S. Kalyanaraman’s composition in sindhubhairavi and Lalgudi G. Jayaraman’s swarajati composition in sindhubhairavi. She sang Lalgudi G. Jayaraman’s composition.

* A common feeling about grahabhedam is that it is inaccessible to general listeners who may not have an intimate knowledge of swarams. But even without our realizing it, grahabhedam operates at a very fundamental level – our ear usually tends to hear the most familiar tune/stuff. She demonstrated this by saying that in her childhood, she was learning sudha dhanyasi and when her mom hummed mA ramaNan in hindOLam at that time, she actually got the picture of sudha dhanyAsi (tonic was not played by a drone and was not evident). She also gave the example of the dvi-madhyama pancama-varjya raga lalit that she sings in concerts which many people think is shubapantuvarALi, which is again an example of grahabhEdam at play.

* In concerts, it is better to use familiar ragas for presenting through grahabhedam so that for the audience, additional effort doesn’t go into understanding the raga itself apart from the effort to understand the grahabhedam done.


Lec Dem by D. Balakrishna on Pallavis performed by stalwarts of yesteryears

This year’s morning academic sessions at the Music Academy, Chennai started with well known veena vidwan D. Balakrishna’s lecture demonstration on pallavis performed by stalwarts of yesteryears. He demonstrated the following 9 pallavis in 40 minutes and also sang trikAlam, pratilOmam and kalpana swarams for some of them:

1) Pallavi played by Veena Seshanna – “cakkani sAmikidi manci samayamura, nEDu” – rAgA tODi – misra jampa 2 kaLai. eDuppu 0.5 beat before samam. arudi 3.5 beats.

2) Pallavi played by Tirukodikaval Krishnaiyer. Taught to his father, well known vainika Doraiswamy Iyengar, by Mysore Vasudevachar – “elarA nAtO calamu, jEsEvurA srIkrishna” – rAgA kAmbOji – Adi 4 kaLai. eDuppu 3 beats after samam (3/4 iDam). arudi 7 beats.

3) Pallavi sung by Mazhavarayanendal Subbarama Bhagavathar who was known for elaborating rare ragas. Told to D. Balakrishna’s father by Alathur Srinivasa Iyer – “nAmoralu vinavE, nA kannatalli” – rAgA kuntalavarALi – tisra tripuTa tisra gati. eDuppu – 1 count (1/3 beat) before samam. arudi 4 counts (1 + 1/3 beats)

4) Pallavi performed by Karaikudi brothers – “palukavE patita pAvani nIvu, cinnari cilukavE ambA” – rAgA mOhanam – catusra rUpakam kanDa gati. eDuppu – after 1 beat (5 counts) in lagu. arudi – 4 counts (in dhrutam)

5) Pallavi performed by Doraiswamy Iyengar – “cakkagani bhajana, jEsE vAriki, takkuva bhuvi galadA, rAmA dina dinamu” – rAgA shankarAbharaNam – Adi 2 kaLai 2 Avartanam. eDuppu 1 beat after samam (1/2 iDam) in first Avartanam and 1.5 beats after samam (3/4 iDam) in second Avartanam. arudi 1.5 beats after mid point in first Avartanam and 3.5 beats after mid point in second Avartanam

6) Pallavi performed by Alathur Srinivasa Iyer – “ninnu nammiti nIvE gati nIraja daLa nEtrA, harE rAmA” – rAgA hEmavati – kanDa jampa kanDa gati. eDuppu 3 counts before samam. arudi 3 counts

7) Pallavi performed by Chingleput Ranganathan – “venkaTa ramaNA sankaTa haraNA pankaja nayanA, tirupati tirumalai saptagiri vAsA” – rAgA shankarAbharaNam – Adi misra gati. eDuppu 1 count after samam. arudi 5 counts

8) Pallavi performed by Alathur Brothers – “kadir vaDivElA unadu pAdam tuNayE, OrArumuganE dEvadi dEvanE” – rAgA shanmukhapriyA – Adi sankIrNa gati. eDuppu 3 counts after samam. arudi 6 counts.

9) Pallavi performed by T.R. Subramaniam – “dasharatha tanayuni maravaka manasA, dinamu kSaNamu” – rAgA shankarAbharaNam – Adi 2 kaLai. eDuppu 0.5 beat before samam. arudi 4 beats. Has trikAlam in pallavi line itself.




T.M. Krishna for Naada Inbam

Vidwan Sethalapathi Balasubramanian remembrance day concert

Organizer: Naada Inbam
Venue: Ragasudha Hall, Mylapore, Chennai

Vocal: T.M. Krishna
Violin: R. Hemalatha
Mrudangam: T.K. Murthy and K. Parameswaran

List of songs:
1) sarasijanAbha (varNam) – kAmbOji
2) samugAnanilva – kOkilavarALi (OS)
3) dorakuNA – bilahari (ANS)
4) amba paradEvatE – rudrapriyA  (AS)
5) kANa kaN kODi – kAmbOji (AtST)
6) peTra tAi (viruttam) – varALi, hamsadhvani, kApi, sindhubhairavi
7) jAnakI patE – kharaharapriyA  (O)
8) bhaja gOvindam – rAgamAlikA

9) nI nAma rUpa mulaku (mangaLam) – saurashTram

(Key: O=raga outline, A=raga alapana, t=tAnam, N=neraval, S=kalpana swaram, T=taniavartanam)


Abhishek Raghuram at R.A. Puram, Chennai

Venue: Siddhi Buddhi Sametha Sri Karpaga Vinayakar Temple, R.A. Puram, Chennai

Vocal: Abhishek Raghuram
Violin: L. Ramakrishnan
Mrudangam: Patri Satish Kumar

List of songs:
1) gajAnanayutam – chakravaham (O)
2) gaNarAjEna – Arabhi (AS)
3) kari kaLAbha mukham – sAvEri (ANST)
4) shrI vAtApi – sahAnA (O)
5) angArakam – suruTTi (AN)
6) sidhi vinAyakam – cAmaram (AST)
7) tEruvadeppO – khamAs (O)
8) irakkam – behAg
9) candrashEkharA – sindhubhairavi
10) ni nAma rUpa mulaku (mangaLam) – saurAshTram

(Key: O=raga outline, A=raga alapana, t=tAnam, N=neraval, S=kalpana swaram, T=taniavartanam)


Sounds, Spaces and Singing

Here is part 6 of the series I am writing on the science behind music in “Saamagaana – The First Melody“, a monthly magazine on Indian Classical Music. The intent is to help readers understand a bit more about the science behind music and musical instruments and to enhance their appreciation of the same.

This is from the September 2015 issue of the magazine

Sounds, spaces and singing

Confined spaces give one a feeling of being surrounded by music, but step out into the outdoors and what you hear changes, writes R RAMKUMAR

I went to a violin concert in the morning in a park. The volume seemed a lot lower than in a chamber concert by the same artiste a week back. Why?

Let us assume that the level of sound amplification was similar in both cases.
A chamber concert mostly happens in a room or in a small hall. Sound from the loudspeakers or from the violin directly travels to your ears. In addition, the sound that doesn’t come to your ears directly gets reflected from the walls, the ceiling, the floor, etc., and also reaches you from all directions. The violin thus sounds louder and you also get a feeling of being surrounded by music.

In an open space, like that in a park, you get the sound that reaches you directly and probably the sound that gets reflected from the floor. The rest of the sound dissipates in the open space. Thus the volume seems a lot lower.

Doesn’t a large auditorium also have a lot of space like a park? Why then are the sounds loud enough in the former and not the latter?

An auditorium, however large it might be, is still different from a park in that it is a closed space. This means that even though the direct sound that reaches you in a large auditorium might be a small percentage, the rest of the sound gets reflected from the walls, from the seats around you and from other surfaces and at least some percentage of it comes back to your ears. How the surfaces in the auditorium reflect this sound determines how the auditorium sounds.

In an acoustically well-designed auditorium, great care is taken that this “indirect sound” is handled properly. The loudspeakers in such auditoria generate a direct sound that is comfortably loud. This direct sound is complemented with early reflections which reinforce the direct sound and help us hear the same better. Our hearing system treats them as part of the same sound, thus the reinforcing action.

Late reflections (for example, echoes) are distinguishable from direct sound and, as their name suggests, arrive late after getting reflected from a surface farther away. Good auditoriums are designed to either absorb these or disperse these into quieter reflections that do not interfere with the understanding of what is being performed.

Does this reflection of sound in the auditorium also affect the performers?

Yes. It definitely could. Let us take echo as an example. It usually happens from the back wall of the auditorium. Since the performers on stage are usually the farthest from the back wall, the echo for the performers would be the most delayed. Echoes affect the perception of timing in what is being performed. The performers can get affected if the echoes are delayed and strong enough.

Why does my singing usually sound better in my bathroom than in my living room?

The space in a bathroom is usually less than that in a living room. The surfaces are also usually covered by tiles and are hard. This means that the sound you create keeps bouncing off from the surfaces, reinforcing and lasting longer. Contrast that to your living room that may have a lot of furniture and curtains. These absorb sound and the sound dies away quickly. Thus your singing usually sounds better in the bathroom.

(R Ramkumar is a mridangam artiste and a senior management professional. He blogs at https://ramsabode.wordpress.com and can be reached at rramkr@gmail.com)

(Image courtesy: Saamagaana – The First Melody)

Abhishek Raghuram at Bala Vinayakar Temple, Warren Road, Chennai

Venue: Bala Vinayakar Temple, Warren Road, Mylapore, Chennai

Vocal: Abhishek Raghuram
Violin: Mysore Srikanth
Mrudangam: Anantha R. Krishnan

List of songs:
1) giri rAja sutA – bangALA (O)
2) gaNarAjEna – Arabhi (AS)
3) vallabha nAyakasya – bEgaDA (ANS)
4) pAlintuvO – kAntAmaNi (S)
5) budhamAshrayAmi – nATTakurinji (N)
6) gaNapatE mahAmatE – kalyANi (ST)
7) kArtikEya – tODi
8) tiruvum kalviyum – sarasAngi (ANST)
9) sodanai – kApi
10) maitrIm bhajata – rAgamAlikA
11) nI nAmA rUpa mulaku (mangalam) – saurAshTram

(Key: O=raga outline, A=raga alapana, t=tAnam, N=neraval, S=kalpana swaram, T=taniavartanam)

Abhishek Raghuram – Ambujam Krishna compositions concert

Venue: TTK Auditorium, The Music Academy, Chennai

Concert of Ambujam Krishna compositions 

Vocal: Abhishek Raghuram
Violin: Mysore Srikanth
Mrudangam: Sumesh Narayanan
Tabla: Anantha R. Krishnan

List of songs:

1) kaNamum maravAdE – sAmA (A)
2) enna solli – kAnAdA (A)
3) ini Agilum – pUrvikalyANi (ANS)
4) tyAgarAja svAmI – aTANA (A)
5) mari Emi – kannaDA (AS)
6) kahO rAm nAm – bAgEshrI (A)
7) un padamalarinai – kalyANi (ANST) (Taniavartanam on mrudangam)
8) aravinda padamalar – kApi (O)
9) nayan sE nayan – behAg (AST) (Taniavartanam on tabla)
10) nI nAma rUpa mulaku (mangalam) – saurashtram

(Key: O=raga outline, A=raga alapana, t=tAnam, N=neraval, S=kalpana swaram, T=taniavartanam)

Abhishek Raghuram at Kalakshetra, Chennai

Venue: Rukmini Arangam, Kalakshetra, Chennai
Organizer: Kalakshetra and Asthika Samajam, Thiruvanmiyur

Vocal: Abhishek Raghuram
Violin: Mysore Srikanth
Mrudangam: Anantha R. Krishnan

List of songs:

1) unnai anRi (varNam) – kalyANi (A)
2) sAmikki sari – kEdAragauLa (S)
3) jaya jaya padmanAbha – sarasAngI (S)
4) dEvi brOva – cintAmaNi (AS)
5) mAnamulEdA – hamIrkalyANi (ANST)
6) rENukAdEvi – kannaDabangALA (A)
7) rAgam tAnam pallavi – rudrapriyA – kanDa tripuTa (2 kaLai)
pallavi wordings: “dEvatE paradEvatE amba paradEvatE, anAdi shivasahitE”
eDuppu: 2 counts; arudi 14 counts
8) kalyANa gOpAlam – sindhubhairavi (O)
9) iTu sAhasamulu – saindhavi
10) tillAnA – khamas
11) nI nAma rUpa mulaku (mangaLam) – saurAshTram

(Key: O=raga outline, A=raga alapana, t=tAnam, N=neraval, S=kalpana swaram, T=taniavartanam)


Not so sound

Here is part 5 of the series I am writing on the science behind music in “Saamagaana – The First Melody“, a monthly magazine on Indian Classical Music. The intent is to help readers understand a bit more about the science behind music and musical instruments and to enhance their appreciation of the same.

This is from the August 2015 issue of the magazine

Not so sound

Howling, feedback and echoes tell musicians that all’s not sound in the auditorium. RAMKUMAR R explains all about mics and monitors on stage, padding on walls, earpieces and other things music

Why are the walls of an auditorium usually panelled with cork-like material?

Reflection of sound from the walls of an auditorium can cause echoes and undue prolongation of sound. One of the most effective ways to prevent this is by padding or panelling the walls of the auditorium with materials like cork. These absorb sound effectively and prevent echoes and unwanted reverberations.

Why are loudspeakers placed on stage in concerts even though there is no audience on stage?

The loudspeakers on stage, also known as stage monitors, are meant for the performing artistes. When a group of musicians perform on stage, especially on different instruments, it might be difficult for them to hear themselves distinctly from the other musicians around them. Hearing oneself clearly helps a musician feel the good music (s)he produces. Hearing co-artistes clearly gives comfort that the team is performing well as a whole. Stage monitors help achieve this and are thus supposed to help musicians give their best.

I sometimes hear a howling sound coming from the audio system. What is this sound and how does it get produced when no one seems to be actually howling on stage?
This is called feedback. It is caused when sound from a loudspeaker enters a microphone and gets amplified back to the loudspeaker again. It can occur, for example, if the monitors on stage are closer to the microphone and angled towards it. This creates a loop with amplification happening over and over and as a result, produces a howling sound.

How can feedback be avoided?
A few simple ways to avoid feedback are to position the loudspeakers as far away from the microphones as possible, to angle the speakers away from the microphones (and to angle the microphones away from the speakers), to place the microphones as close to the sources of music as possible and to keep the sound levels from the speaker to the lowest levels required.

I have seen some musicians perform with a earpiece or even a pair of earpieces. What would they use them for?
They could be using them to hear the pitch better. Or, most likely, they could be using them to hear the monitor mixes, instead of using loudspeakers on stage. With this kind of in-ear monitoring, the sound can go directly where it is needed, instead of getting spilled all over the stage from the stage monitors and sometimes even getting undesirably spilled into the audience area as well. One drawback of this, though, is that musicians with a pair of earpieces can get aurally disconnected from their surroundings and isolated from their audience.

(R Ramkumar is a mridangam artiste and a senior management professional. He blogs at https://ramsabode.wordpress.com and can be reached at rramkr@gmail.com)

(Image courtesy: Saamagaana – The First Melody)

Shri T.N. Seshagopalan’s Kamba Ramayanam Isai Perurai

Madhuradhwani is organizing Kamba Ramayanam Isai Perurai by the living legend Padma Bhushan Sangita Kalanidhi Madurai Shri T.N. Seshagopalan from 14th to 22nd Aug at Arkay Convention Center, Mylapore. The program starts at 6PM everyday. Having heard Shri Seshagopalan’s discourses earlier on this as well as other topics, I would urge fellow rasikas to not miss this opportunity.


(Image source: Madhuradhwani facebook page)

Palakkad Sreeram, Shertalai Sivakumar and Anantha R. Krishnan for Musiri Chamber Concerts

Venue: Musiri House, Mylapore, Chennai
Organizer: Musiri Chamber Concerts

Vocal: Palakkad Sreeram
Violin: Shertalai Sivakumar
Mrudangam: Anantha R. Krishnan

The multi-talented Palakkad Sreeram switched effortlessly between vocal, keyboard  and flute. He sang and played so well! Shertalai Sivakumar was very good on the violin. Anantha R. Krishnan was a class apart!

List of songs:

I missed the first two songs
* entani vina vinturA – UrmikA (OS)
* bhuvinidAsuDanE – shrIranjani (AS)
* talli ninnu nera – kalyANi (ANST)
* rAma kathA sudhA – madhuvanti (A)
* entamuddO – bindumAlini  (O)
* bhaja bhaja mAnasa – sindhubhairavi  (A)
* bhajarE yadunAtham – pIlu (O)
* tum bin mOrE – varamu
* bhAgyada lakSmi – madhyamAvati (O)

(Key: O=raga outline, A=raga alapana, t=tAnam, N=neraval, S=kalpana swaram, T=taniavartanam)