MY GURU

K.V. NARAYANASWAMY He illumined our paths Hemmige S. Prashanth

t is not often that one comes across only had to be carried out in various a classical musician who excels patterns and speeds, but also in Iequally as a performer and as a different ragas like Sankarabharanam, teacher. Indeed, it is something of a Mayamalavagaula and Todi. Mama rarity to find an individual adept at had great faith in the efficacy of both, since these two roles demand the morning sadhakam and often different kinds of expertise, focus supervised it closely. and involvement. As a performer, the To improve our sense of laya, Mama musician aims to share his experience developed simple exercises in various or vision of music with the rasikas; as talas. He made us sing geetams like a teacher, he takes full responsibility Kamalajadala in three speeds, first for the sishya, and is even authorised separately and then together, helping us to ‘sculpt’ the pupil in his own see for ourselves the tricky spots in the mould. Especially in the gurukula process. He also had his own system of system of learning, the sishya chittaswaras in Damodara tavaka and surrenders himself to the guru’s care, Dattatreya with many fine nuances. and hence can learn not only music Although he largely advocated and but valuable life-lessons as well. My practised sarvalaghu in swaram- guru, Palghat K.V. Narayanaswamy singing, he sometimes indulged the (KVN Mama to us), was one such KVN at a recording at AIR-Madras sishya with several permutations, rare musician who was not only a combinations and patterns in order to superlative performer worth emulating panchama to the middle panchama; underscore his lessons on laya. but also a deeply committed teacher then repeating the same in akara, we all looked up to. eekara, ukara, ekara, okara and omkara Mama, whose technique is I was fortunate to observe KVN in three speeds. This sadhakam not acknowledged to be one of the best Mama teach a wide spectrum of students, right from the sarali varisai K.V. Narayanaswamy singing at Tiruvaiyaru with his disciples. to the most advanced level. The (L to R) Balaji, Jayakumar, Karthik and Prashanth manner in which Mama taught them all, always ensuring that his teaching was pitched at just the right level, was an amazing lesson in itself. Mama’s teaching was comprehensive and included all aspects that a student needed to learn, such as voice culture, singing technique and laya. For voice culture, Mama devised a series of exercises that he expected students to practise early in the morning. This morning sadhakam involved singing in the lower octave, beginning at the mandra panchama and descending as low as possible; then holding each note for at least a single avartana from the mandra

26 l SRUTI May 2016 in Carnatic music, always advocated a full-throated style of singing. He encouraged his students to open up their voices and sing with energy and gusto, rather than feebly or shrilly. The manner in which he demonstrated the niraval to senior students, for instance, was extraordinary. He would painstakingly point out how the niraval had to be split and spliced across the tala, how the raga bhava was not to be compromised, how the transitions in speed from the first to the madhyama kala to the third had to be effected – and yet these instructions never amounted to spoonfeeding. In fact, Mama’s teaching methods were designed to illumine the student’s own trajectory and made him or her understand the whys and wherefores of singing rather than make him or Prashanth with his gurus – KVN and Padma Narayanaswamy her reproduce music mechanically, even as he was quick to point out Mama was a perfectionist and did simplicity, humility, vast knowledge, errors and corrective measures along not let go until he was satisfied. and unassuming nature – all blazed an the way. If a student did not get a complex exemplary path for us to follow. sangati right at first, he would Mama and Mami lavished When Mama took up a raga like readily split the sangati into tremendous affection on all their Sankarabharanam, Kharaharapriya smaller, simpler parts for the students, asking only that they sing or Natakurinji, he immersed himself student to grasp better. These well in return. Being a well-versed in it for several hours. He would begin were rich learning curves not just musician herself, Mami played an by slowly building up a raga, and for the student in question but the integral role in the gurukulavasam then ask the half-a-dozen students others present as well. And when the process, and often enriched our around him to both repeat it and student finally sang it in the manner education with valuable observations take it forward. The end result was Mama had envisioned, a gentle of her own. She cared for each one an exhilarating shared experience smile on his face was the sole of Mama’s students as if they were for teacher and student alike, and an giveaway. I recall how when teaching her own children, and often treated intense education in understanding us the Bhairavi kriti Balagopala, us to sumptuous meals through the and exploring the larger picture of Mama made us sing the kriti day, encouraging us to eat well so the raga. for several hours, driving us to that we sang well too. It was not exhaustion. Mami had to intervene Likewise, Mama’s swaram- uncommon to see at least four or to ‘protect’ her children! teaching was a joyous, challenging five sishyas at mealtimes along experience. Mama would commence For all that, Mama was never rigid with Mama. Truly a humbling with a swaram, and the students in his ways of teaching, and ever and memorable experience for us were expected to continue one after open to new ideas. If a student sang indeed. the other. If it was a one-avartana a new sangati or a phrase, he would swaram, you had to complete your To have been associated with first analyse it, and then, if convinced, turn within that cycle, else Mama KVN Mama in any manner is to wholeheartedly approve it too. would cut you short right there be fortunate; but to have been his and move on to the next student! For sishyas like me, our association sishya is to be truly blessed. Mama If it was Anandabhairavi, for with Mama went beyond music. and his music will continue to be a example, we were supposed to end His conduct in personal and beacon for us at all times, illumining every swara pattern with sgrgm. professional life, his utmost respect our paths and helping us stay on All this made for an unforgettable for and commitment to the Carnatic track now and forever. learning experience. sampradaya, his guru bhakti, his (The author is a Carnatic musician)

27 l SRUTI May 2016