THE CRITICS EYE Fully open FOUR

I was working at NCPA archives.I realised one thing . Asar or impression impact are very importance..Bhimanna and Roshan Aara Begum had immense possibilities of improvisation. But they  never killed the mood or impact.. I hear some recordings and find that a song thats popular and witu the tune that is established is broken mutalilated and performed.. Abhangs Light music are songs that people relate to.They should not loose singability..We hear songs sung and composed by babuji..These were rendered effortlessly by him and notes singers . Unfortunately no one wants to establish the tune of a song....Improvisation cant be stylistics...The line one including opening aalap need not be a lengthy improvisation ..Sometimes Iv seen just a single lengthy liner in Carnatic..But thats a part of parallel Nom Tom in hindustani. So I heard a recording..partially of a song known to me that is singable and even a two year old repeats it..Its sung by Bharat Ratna Bhimanna..He was capable of singing the most unimaginable varieties.but he knew where not to sing them and so he didnt..He never had this greed of stamping his tayyari on the heads of the audience..One must sing a line simple and slowly go on to the next level.
How can one absolutely not establish the tune. Also why go in a tempo that may be fast but kills the emotion of a song ? Like Amir Khan Saheb and Veena tai Sahasrabudhdhe they had nice ways of establishing the tune. Did people join music field to show their high pitched voices range and Speedy tempos ? Dont they want people also to relate to them and hum these songs..Is that not why Bhimanna also has sung his light music in parts where the tune is purely established. Pt Yashwant Deo said sing any song aa though it is your own.. Tayyari is an ornament of music and not music by itself.. We cannot hide the face and structure of a Melody by totally ornamenting it so much so that a first time listener says what is the basic tune ? I can not get it..
Borkar Buwa ( Harmonium maestro ) could play at the highest and speediest of levels but hw stuck to this concept of you must establish the bundish . Be it any form or genre.If this is not done there is crowd and not a clear picture..
Any person also has a peraonality . One cannot just decorate so much that you have to search for the face..
So listening to a known artist doesnt happen if such characteristics are present..Also words shouldnt be grabbed and thrown ..Best example of how a peaceful Devotional can be are wither songs of D V Paluskar, Indrayani Kaathi.and Babuji who had the  toughest of basic compositions but yet the basic tune was easily understood . The emotions vowels and every single word was understood and not grabbed and thrown..A song cant be sung like words are nothing..No Saint even if he was a notes singer would just improvise and not establish the basuc tune. And the tempo should give comfort both to the listener and performer.A comfortable tempo to the singer cam be too fast and the words may seem like not sung but crowded. This is not right. Also to reach the height of emotion singing simple with grace notes and glides or slurrs can be tried. Iv heard super fast sequences of Amir Khan saheb and he hasnt influenced the mood or not mispronounced a single word. A non hindi speaker or a non marathi speaker should easily be able to pick up the basic tune and also the embellishments the basic ones.
   I dont care attitude is wrong. We are not stocked with people who are notaters or even who know basic notations those who listen and learn.  How would they understand a tune...Nandini Borkar

The Critics Eye Fully Open 2

Some Random observations as a Student of MUSIC
   When I look at different genres in Indian and World music I find This. The approach , the sylistics , neccessity , the balance of rhythm, vocals and instruments varies .The voice culture to be able to sing any form is different . The parallel of guru in some is tentative and is the music director. the importance and length of synopsis. lnsertion the presence or absence of simultaneous background score can be seen . Also the requirement and timbre of voices changes. The History and evolution of each forms is another factor . some can be traced centuries behind. Also few of this music lacks non national influence. Certain Styles stick to what is taught may be presented as it is.  while others  do not. Aesthetics of each is different. Some music is not performed at a stretch it is subjected to modification and takes that are also sung separately .Classical music is performed in a single take whether in studios in.auditoriums or outdoors. Certain kinds and forms of music is precomposed when at studios and modified when in auditoriums. Music such as western classical is based on diversion and Harmony . Each category of voices are given importance. these are few of the many points .Non classical music is not subject to temporal change in a single performance once its begun such as in hindustani music .we tend to modify tempos to help the performer play at a desired tempo..In non classical styles this may not happen. Parallel additions and sutractions of rhythms chorus and instruments are part of non classical forms .....Nandini Borkar

The Critics Eye fully open

 A music critic's eye is fully open and while writing reviews tries to only mention the positive .Many a times there is nothing to point out that waant right.But facts also have to be kept covered. I follow this principle the reason is each person at some time or other in his or her practice session or at a concert may have performed in a certain way. Listener undertands and so does the organiser and the musician since he too is an active listener . It is okay to ask why havent you praised me didnt I sing well ? I say THAT in the Shanmukha review here its brief..😊
I always like all concerts. Strangely each artist has something to give ...Its am embroidery within the melody . Even if a singer with closed eyes seems like How come. ( the great ....is here and with open eyes oh its his son , daughter or disciple but sounds like him/her yet each one has his individual touch , contribution.and approach. Also they cam answer the whys ...Why did I do this or that. Isnt this nice we are a fleet of thinkers and then we perform. We dont carbon copy style ,  the slow or fast patterns ,the embellishments. No one does.  How nice this is..So when some say it was not so good.The point is do not wait to look for not so good and think over how come this small mistake ?  Travel every moment with the performer dont miss the Points where he waits and creates patterns designs . Dont miss the better and best in the process of pointing and thinking over a small skip..There may be so much to absorb and remember than some small skip than mistake.....
Nandini Borkar ( Nandini Borkar )

The questions of a music student

Questions I had as when I was in class 7-8th

  Any foreign nation doesnt use something like Pandit or Ustad or does it...and why dont ladies have any such respectful way of being addressed..What is the Qualification for Panditya on the basis of getting more concerts or actual intellect..?

Same about hand gestures.That are conditioning..secondly producing voice like guru than just his or her stylistics..Even that is a question...Why do people not take just the sylistics ?

A female singer has the feminine aspect and a male singer has a masculine feel..would it be a good idea for a female singer to copy her male teachers broad voice? If a guru finds that rather than singing in his or her voice copying the exact voice of guru is happening... what is the result ? You will never know who it is ...Just by listening to that person.All is good but they all sound alike all disciples people then say..except the thought process..also does a guru say ...Do not sing in a male voice or a broad voice take everything else but continue to sing in your modified voice that you have developed now than like your male / female guru if it is a boy also..

One must listen in his or her own voice ..Yashwant Deo said and not sound like anyone else He used to give examples also ..You sing in your voice he said to me also ..when he saw how much I sounded like Ashaji..which was not her voice but voice culture though..Once I sang a raga to Borkar Buwa ( Harmonium wadak and not Bakibaab ) He said so and so chya gaanyachi bhrasta nakka ..Although it was impossible I have learnt from Sadalatai and she used to have rounded notes glides Slurrs in her style ..Then I cant copy a Jaipur Atrauli singer...Its not easy..I just sing with a lot of smoothness since that was a daily two hour 'sanskaar ' on our batch and not just me.Post that I learnt from Mukta tai Bhide still I didnt drop what I learnt from Saralatai..So Mukta tai used to say What you learnt or picked from her style sing aa she taught and what I taught you sing ..my wave . But it did not have a very vast difference except for the too smooth voice approach of Saralatai with grace notes rounded notes and slurrs... Nandini P Borkar ( Nandini Borkar )