Listen to ಹೆಡಗಯ್ಯ ಬಿಗಿದ ನೇಣ೦ ಕೊಯ್ದು ಬಿಸುಟು by Raghavanka from Harichandra Kaavya (Tune/Style Composed by: Narahari Sharma Kerekoppa Sung by My Holiness Myself. Listened by Her Highness Prabha
Thing about above recording is that I sung to SaPaSa! So, technically incorrect. Sounds good though. I am sure I have used more than five notes especially Pa seems have come. This is in Yakshagana shruti. Very high (.B). I will die of Highpitchilocis if I sing few more of these. Enjoy while I am alive.
Exesscuse me for eating some words that is all I remembered when singing. This full lyric above is an after thought!
(That is Lakshmisha for you - at his best - in Narahariyanna's voice !)
Gamaka or Kaavya Vaachana is a style of reading Kannada poems. To keep it interesting it is sung. But, the crux of it is literature, not music. Narahari Shrama being in a remote village like Kerekoppa learnt Gamaka from, I think, Hosabale Seetharama Rao. But he taught himself the music! His reading and splitting compounds is very clear. Emphasis on meanings and expressions is spot on. He brings right emotions to reading. Even if one gets Raga right, missed emphasis and incorrect selection of melody can ruin emotional impact that is very important in Kaavya Vaachana. When I hear Karnataki musicians singing Gamaka rather than reading poems I miss following things:
Simplicity of melody demanded by a particular phrase being read. Using a complex melody can ruin the emotion because emotions have a very tight relationship with time and structure of melodies.
Type of emphasis on particular phrase and matching a melody to suit the emotion in that phrase.
Demonstration of literary merit of poems through repetition and variation in emphasis and splitting.
I miss rhythm less flow of melody. Shatpadis (some meters [prosody]) are called Taala Rahita. i.e they do not have an inherent rhythm flow. Any reading should reflect lack of rhythm. This is particularly true with Maarta meters unlike Amsha meters.
Narahari Sharma gets them right. You feel as if you part of the whole thing that is going on in the poem. Even though musicians might have a thing or two to say. I do not care! They always do. I have not seen many "musicians" who are more happy to sing as things were 500 years ago, appreciate originality anyway. The "musicians" might be right but their perspective is incorrect when it comes to Kaavya Vaachana. Does Narahari Sharma get it all right? Yes, he does as long as HE decides what is right NOT you or me!
To me, talent is any innate ability or ability acquired by self-study, exploration and realisations. Who trained the first mason or was it just his talent ? Which is first, the grammar theory or the language ? Which is first, melody or music theory ? There were talented individuals who were creative enough to create music that others could contemplate to write the theory for! The thing about real talent is, it is original. If everyone sung Hindustani there wont be Yakshagana. Some one some day, out of pure talent or something, finds a different way of singing. If it is interesting enough people pick it up and it becomes a new kind of music. Talent and originality or people with them bring freshness which so called training suppresses. Therefore creative individuals must be preferred over copy cats. Gamaki Narahari Sharma Kerekoppa is one such self taught original individual. Have a good listen.
Note: This is a cell phone recording with too much volume for Harmonium. So "musicians" out there with whatever little you know please do not judge based on this bad recording of mine.
I have tried to emulate Gamaki Narahari Sharma Kerekoppa. I last heard him demonstrate this in December in Kattinakere. It was such a nice opportunity. He was in a very good mood. This went on till 1.30 in the night with me on Harmonium bellows for shruti (This is after 3-4 hrs of Yakshagana from 5 PM or so and a good dinner of course). It is because of people like him we guys know something about Kannada poets/poems and Gamaka. I am nowhere near his style - uh somewhat sound like that from a good distance! I am posting it because I feel like and because it is better than just posting the poem. Enjoy if you can!
Click to listen to Prasthuthadologeda MumbeLagamala :
As always some errors have crept in. It should be Amala damtada gabhasthi, Pombisilodane and Makuta.There should not be any other error.
My translation:
ಪ್ರಸ್ತುತದೊಳ್ ಒಗೆದ ಮು೦ಬೆಳಗು ಅಮಲ ದ೦ತದ ಗಭಸ್ತಿ
= His white tusk(ದ೦ತ) is now like a mild ray of light (ಗಭಸ್ತಿ).
ನವ ಪೂರ್ವ ಸ೦ಧ್ಯಾ ಅರುಣ೦ ಭಾಳ ವಿನ್ಯಸ್ತ ಸಿ೦ಧೂರ೦
= Twilight sun is placed on his forehead as Tilaka.
ಅ೦ಕುರಿಪ ಪೊ೦ಬಿಸಿಲಿನೊಡನೆ ಮೂಡುವ ಎಳೆ ನೆಸರ ಎಸೆವ ಆ ಮಸ್ತಕದ ಮಣಿ ಮಕುಟ೦ ಆಗಲ್
= And when the raising sun of golden tender rays has become the jewel on his crown
ಉದಯಾಚಲದ ವಿಸ್ತಾರದ೦ತೆ ಭದ್ರಾಕೃತಿಯೊಳ್ ಒಪ್ಪುವ
= Adorned like the spread of eastern morning mountains (ಪೂರ್ವಾಚಲ)
ಸಮಸ್ತ ಸಿಧ್ಧಿಪ್ರದಾಯಕ ವಿನಾಯಕ ಮಾಳ್ಪುದು ಎಮಗೆ ನಿರ್ವಿಘ್ನತೆಯನು
= The blesser lord Vinayaka may remove all impediments.
Lakshmisha indeed is the Dandi of Kannada. What elegance of meaning and play of words! English translation is just a waste of space and time. It in no way can show the real beauty of the poets expression. People like him born only once in thousand years (as they say in Kannada - saavira varshakomme huttuttare anthavaru).I will write a separate post on Gamaki Narahari Sharma.
Skip this if you usually get headache after reading 3-4 lines of rant and scroll down to listen to shoutings right away! Otherwise go ahead. It is my day :) I learnt whatever I know from my mother. She reads in pure folk style (pure as in more folkish than I). Mine is all mixed up; I listen to Karnataki and Hindutani. Whatever knowledge of style and melody I have is by listening to Narahari Sharma Kerekoppa and to less extent Hosabale Seetharama Rao. Their Vaachana is professional, passionate and impressive. Their vaachana is a real reading/narration where both power of poet and intended effect of expression is appropriately presented. This is unlike people obsessed with raga and no emphasis on bhaava or emphatic narration. Some guys are out there turning everything in to music especially Karnataka sangeetha. If left only to these evangelists, they will ensure the slaughter of rest of forms that have anything to do with melody (Yakshagana/Gamaka/Doddatada pada/Folk drama etc). Do not mistake this as my excuse not to learn, to use raga, or a kind of hate towards Karnataki. I love Karnataki, listen quite often and remain impressed by the sheer amount refinement. I do not like the superstitious approach there as much. But, with more involvement and practice it is possible to sing in a melody that evokes only one kind of emotion. Frameworks that define these melodies are codified as different ragas. Many folk artists have created many ragas in their life time with unbelievable involvement.
Gamaka is not a form of singing. It is a reading form with complete emphasis on meaning and splitting compounds (vaachana pradhaana). In Bengaluru, Mysore and some other parts of Karnataka with more Tamil influence, Gamaka has become a form of singing where Karnataka sangeetha style is heavily applied.
I am bit nasal at this pitch level in white five/G and this is my way of making your day worse. An audiophile? I am one too, but cool down, these are crappy laptop recordings......err ....you could buy me a studio if you want better quality! Listen to these shoutings and go whatever ............
1) Shree pathige sobaganu 2) Surapathiya Bhoga
Click to listen to Surapathiya Bhoga:
3) Bidudaleya Bitta kangala 4) Hodeda kadugada baaya
Click to listen to Hodeda kadugada baaya:
5) Bisudadiru bisudadiru bEdabEdakatakata 6) Muraham bandanabjaasanam banda
Listen to Muraham bandanabjaasanam banda:
Click on the play button to listen to all:
There are many mistakes in pronunciation such as, Eeekshu instead of Ikshu many more. Bear with me there I will get them right next time!
