Chords for Notations Episode 01 - Yadukulakambhoji

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_ _ _ _ [E] So 1987-88 there was this _ scholarship scheme that was conducted by the Maharajapuram Vishwanathaya Trust. _ _ _
_ So there were four of us, five of us that were selected for this scheme and there was a syllabus.
Every six months there was a review.
_ Some judges will come and we were asked to learn up certain things.
So one of the topics in the syllabus was to write music notation.
I had no idea about writing notation [N] because I had learnt violin and my guru used to write the notation and give it to me.
But I memorised the song so I never even referred the notation so I didn't know anything about the comma, semicolon, no idea.
_ So there was this test and then I kind of you know understood it, learnt [E] it a bit and then I went to the interview.
So for the interview there were three judges.
_ One was B.
Rajamayya, the other was _ TM Thyagarajan and somebody else.
[F#] _
_ Maharajapuram Santanam was also sitting there and supervising all of us.
We were five of us.
_ So Rajamayya, he sang a line.
Sa Ke Ta Na Ga Ra Na Ta Sa Ke Ta
He sang that line.
So we wrote it down.
Then the next line was Sa Ke Ta Na Ga Ra Na Ta
He sang that line.
_ I thought about it for a minute and then Santanam sir came and said _ _
Write it down.
Isn't it like that sir?
He _ tried to imitate him in that sense and sang the line.
And then we wrote it down.
The interview was over.
_ Rajamayya was reviewing all the notations and then he called me and said
There are two letters here and you have to write semicolon [E] for it.
You have written comma.
So you have made a mistake.
He said it in a very_
He was the principal of a music college.
So he was very official about it.
Santanam came and said Rajamayya, one minute. _
_ Look here.
_ _ _ You sing well.
_ Learn to write four lines. _ _
If you learn it, it will be very convenient.
It will be convenient to do it and it will be convenient to remember.
If you forget the song tomorrow, you can learn it once.
If you sing well, you can write _ it down and come back.
He said that and he just [A] sent.
_ After six months, we had another review.
For that, we had to learn the three _ Swarajithis.
Pansaratnam and Deekshadhar Navavarnam.
_ My grandaunt Rukmini Rajagopalan, she remembered Bairavi Thodi and she taught me. _
She had forgotten.
_ She called her daughter Sumitra Ratnam and said you sing.
He will record it and then he will sing.
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She came and sang.
_ _ She taught me. _ _ _ _ _ _ _
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I thought this is a chance to learn the Swarajithi and also get better at writing the notation.
So I started writing both. _ _
_ _ _ _ I did not know how to write _ the notation for the literature.
I just _ _ wrote Kamakshi, the lyric of Pallavi.
Then _ _ I wrote the _ Swarajithi.
From the recording of what my aunt had said.
I wrote the notation.
I thought _ _ she had forgotten some Swarams.
I tried to write it again. _
I missed _ one Swaram and decided to eliminate it.
I will sing only 8 instead of 9 or something like that.
The whole thing happened.
I wrote the notation and went to the review. _
_ _ _ Vedavalli was one of the judges.
_ I sang _ _ _ _ _ _ _ Kamakshi.
_ He asked me to stop for a minute.
_ _ He asked me if I should sing _ like this or to get rid of the throat. _ _ _
_ I did not understand anything.
I had only heard what he had said.
I wrote it and sang it.
_ I told _ my grandmother. _ _ _
She said I was _ singing like this because I was not getting rid of my throat.
_ _ _ _ _ I sang that and there was a concert after the scholarship.
I sang the _ _ same version that I had notated and finished it.
_ Somehow I was not happy with that version and the way I had _ notated it.
It slipped my repertoire and I stopped singing it after that.
For almost 30 years I had not sung it. _
During the pandemic, as I was going through my books,
there was this book of Shyama Shastri Kirti _ notated by Govind Rao. _ _ _ _
_ I remember the time when the book was released.
My guru said that you have done a very good job.
_ The Shyama Shastri Kirti is very authentic and the singing is perfect. _ _
Then I looked at the notation and realized that the first line is _ _ _ _ _ _
_ _ _ Shyama Akshi _
I had not heard it for so many years.
I could not even sing it. _ _
_ Then only I realized what had happened.
I relearned the entire piece from that notation.
You did not have to touch anything because it was so perfect the way it was laid out.
_ _ _ It was so easy to learn the whole composition again.
It was such a fulfilling experience to learn it from a written source like that.
With so much authenticity that comes from his own lineage and teachers. _
It was a fulfilling experience to learn the whole song and _ sing it once.
Then I realized that it is not enough if you learn a composition and sing it once.
You have to sing it every day, practice it every day, sing it multiple times.
Then you have to close the book, forget about the notation and internalize the song.
The entire process gets enhanced when you have that authentic source of music from the notation.
Not everything can be heard.
That is a method that happens.
This is a very important document of so much of historical record, stories
and the authenticity of the versions that come through with notations that are documented so well.
For me that was an eye opening moment to discover _ what notations were, how I could use it and how it helped me back [B] today. _ _
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Satsang _ _ with Mooji _ _ _
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