Selfless Dedication

SUBBALAKSHMI WITH HER GRANDSON 
Smt. Subbalakshmi Satyanand, well known as Meduri Subbalakshmi (child prodigy in Veena of the 70s) in one of her prayer-like Veena sessions in her residence. This most sattvik artiste who plays the acoustic Saraswati Veena is my cherished childhood friend right from early 70s. Precious as she is, her strict practice routine at home is charged by the power of Time. She maintains certain practice hours and never changes her timings. Such time-bound practice yields divine inner strength and ultimate tranquility. Smt. Subbalakshmi Satyanand exudes qualities imbibed through  her meditative Veena practice. 

UGADI (PLAVA-13/04/2021)

 

LIFE......Laugh Anyway

 2011- UNIVERSAL STUDIOS, LOS ANGELES, CA, USA

Acoustic Echoes

 

The Sun Rises

                                     RISING SUN                                     The transit of sun from Pisces to Aries (on 14th April, 2021) which is  round the corner is a much awaited event. Sun leaving the watery Pisces to enter its fiery comfort zone of Aries and that too in exaltation heralds sunny beginnings and a great surge of positivity!!

TRISHAKTHI

 1) HAMIRKALYANI THILLANA, 2) MANIKKA VEENAI ENDHUM, 3) CHANDRAKAUNS THILLANA 

KvanathKAANCHIdhaamaa.....

                                                                                                                                                                              

My meditation of the 7th sloka of Soundarya Lahari 10 years ago was a revelation! The “Kanchi” vibration of the first verse (Kvanathkaancheedhaama) in the sloka manifested itself and led me to Kanchipuram, to Kamakshi. Sloka 7 of Soundarya Lahari-“KVANATHKANCHEEDHAAMAA KARIKALABHAKUMBHASTHANANATHAA  PARIKSHEENAAMADHYE PARINATHASHARASCHANDRAVADANAADHANURBAANAAN PAASHAAM SHRUNUMAPI  DADHAANAA KARATHALAIHI PURASTHAADAASTHAAN NAHA PURAMATHITHURAAHO PURUSHEEKAA!” Seated with my Veena and speaker/amp in the cramped, limited area in Gayathri Mandapam I directly faced Goddess Kamakshi. While drinking in the beauty of Her dancing eyes in the glow of the bright oil lamps surrounding Her I lost myself in the overflowing emotions that poured out of my Veena. Seated in darkness  I was not visible to the long queue of ardent devotees lined up below the Mandapam. I was drenched in sweat as I performed in the hot summer afternoon but I was oblivious to the discomfort. Out of the corner of my eye I caught sight of devotees puzzled and searching for the source of Veena Naadham. That brought a smile to my lips.... while Her eyes continued to dance in the dazzling lights. 

I Can’t Tell You Why- Eagles

                                 SHREEJA 

WOOD VIBES-2

The above is an acoustic recording/presentation.

BHOGAVASANTHAM and SUDDHADHANYASI. The panchama varjya ragam Bhogavasantham becomes shadjyama varjyam (devoid of 'SA') when the scale changes to create Suddhadhanyasi. The 'RI' of the ragam is used as 'SA' for scale change (Sruthi Bhedam) to form the ragam, Suddhadhanyasi out of Bhogavasantham.

(ABOUT THE RECORDING:-TOWARDS THE END OF THE RECORDING A SLIGHT DISTURBANCE HAS OCCURED IN THE SRUTHI. I AM POSTING THE SAME EVEN WHEN I HAD THE OPTION OF RECORDING ONE MORE TIME IN PERFECT SRUTHI. I AM UPLOADING THE SAME AS THIS IS NOT A COMMERCIAL SITE AND STRICTLY FOR EXCLUSIVE AND SELECT PERSONS WHO ARE INTERESTED IN FACTS. ACOUSTIC VEENAS ARE PRONE TO ENVIROMENTAL AND SEASONAL FACTORS AS ONE CAN SEE IN THE RECORDING. ALSO DUE TO DISTANCE OF THE RECORDING MOBILE, THE VEENA IS SLIGHTLY SHARP AND FEEBLE IN TONE.)

WOOD VIBES-1

WOOD VIBES-This is recorded using a mobile phone. No contact mike/pickup has been attached to the Veena. I have started playing on this Veena from the third week of January, 2021. The budding resonance of pure jackwood grains (of an old, unused Veena which happened to reach my hands) is what one can hear in the following 2 video clippings. Please use earphones for volume.

SAALAGABHAIRAVI and ABHERI alapana no.1-

SAALAGABHAIRAVI and ABHERI alapana no.2 (slightly lengthier version) 

SARASWATI VEENA-20

 

Size of Veenas differs from one another. Either the kudam is bigger or smaller than the other, or the Veena 'dandi' is lengthier or wider than the other. It's not necessary to record particulars of the size of Veena with a measuring tape. 

A Veena has to be tested by using and trying out different gauges of strings. It's wrong to state that all Veenas must use same gauges for saarani and panchamam strings.

The gauge is determined by testing it's 'jeeva' or 'kaarvai' (sustenance and resounding naadham or resonance when the string is played upon). The sound should not be clipped, but sustained and continuous (like in the case of tambura).

In my experience the same gauge measures differently, going by the brands and music showrooms. It's important to try out different gauges to arrive at the point of honeyed sweetness only a Veena is capable of yielding.

ABOVE APPLICABLE TO ACOUSTIC VEENAS ONLY