Know the modifications that Palakkad Sreeram has made within the flute

Whereas some males stroll on the trail laid by their predecessors, others attempt to enhance and make it extra snug. This fixed striving in direction of perfection has been the explanation for mankind’s steady betterment. Like in different fields, nice experiments have been made within the subject of music, too.

A flautist produces magic with only a bamboo reed that has no strings, frets or keys. You may hear a clean sound, however getting the proper gamakas and glides are usually not straightforward. And, it isn’t potential to play all of the sangathis utilizing the identical flute. That’s the reason a flautist makes use of completely different varieties throughout a efficiency.

Palakkad Okay.L. Sreeram, vocalist, multi-instrumentalist and self-taught flautist (he considers N. Ramani his ‘manasika guru’), spent loads of time modifying his flute in the course of the lockdown. His makes an attempt at altering the outlet used for shuddha madhyamam and including one other for antara gandharam fetched the specified outcome. For gliding notes, he added a gap within the house obtainable for madhyamam. As there are already seven holes, he used his thumb for the eighth and his little finger for grip. Thus, it appeared simpler to supply the specified swaras and sangathis.

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When he mentioned his experiment with veteran mridangist Srimushnam Raja Rao, the latter authorised and prompt he ought to carry out a full-length live performance with this new flute.

Sreeram not too long ago carried out below the auspices of Madhuradhwani that was a form of an ‘arangetram’ for this instrument.

The live performance was vigorous all through, starting with the Saveri varnam ‘Sarasooda’ and that includes pretty raga delineations of Ranjani (‘Durmarga charadhamulanu’ – Tyagaraja) and Kalyani (‘Etavunara, Tyagaraja). The Arabhi Pancharatnam ‘Sadinchane’ and Syama Sastri’s ‘Marivere’ in Anandabhairavi additionally shone distinctly. The niravals and swara repartees with Embar Kannan’s violin have been pleasant. Kannan’s raga essays flowed like fountains of melody.

Srimushnam Raja Rao on the mridangam and N. Guruprasad on the ghatam enhanced the attraction vastly. The intricately woven thani was pleasing. ‘Maname unakku kavalillai’ (Varamu) by T.M. Thyagarajan was one of many compositions introduced after the tani avartananam.

Throughout an interplay with the viewers, Sreeram defined the modifications that he has made and the way they assist in bringing out the glides and gamakas with assurance and ease. He has no plans of getting a patent for the brand new flute, and says he can be pleased if anybody else finds it handy to make use of.

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The reviewer writes on Carnatic music.

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