False Voice - Kaushiki Chakraborty on Livdemy
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- Опубліковано 24 сер 2024
- Kaushiki Chakraborty, an eminent Indian classical vocalist & daughter of Pt. Ajoy Chakraborty , an iconic musician of the Patiala Gharana was initially trained by her parents at ITC Sangeet Research Academy Kolkata where she later became a scholar.
Her singing repertoire covers genres like Khayal, Thumri, Dadra, Chaiti, Kajri, Bhajan etc. to name a few. Kaushiki, otherwise called as The torch bearer of Patiala Gharana by many stalwarts started singing at a very tender age in various prestigious festivals like ITC Sangeet Sammelan, Spring Festival California, Sawai Gandharva Pune, Dover Lane Music conference Kolkata, Harballabh Music festival Punjab, Saptak Music Conference Ahmedabad etc.
She has been recipient of many national and international awards such as the 2005 BBC Radio 3 Awards for World Music in Asia/Pacific category, Sangeet Natak Academy Ustad Bismillah Khan Puraskar 2010, Aditya Birla Kalakiran Award 2013, WB Govt. Maha Samman 2019, India Govt. Nari Shakti Puraskar 2019.
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I was taught in my childhood not to use false voice.. I am greatful to all my childhood teachers for setting me on the right path. I was learning Hindustani as a kid and now learning Carnatic
Its better to know all the types of voices, including falsetto. Remember, while there are rules in music, the true beauty comes out by breaking a few rules tastefully.
Yes,for that there definitely forms like folk in which falsetto can be used but in classical falsetto is strictly prohibited and the true representation of classical comes out only through abiding by the rules
I can't believe Kaushiki cannot explain the upper register taar saptak which is head voice which you don't sing with vibration in your chest but rather the upper palate, head and sinus as air is pushed up and it resonates. In her demonstration of singing she clearly transitions from chest voice to head voice but fails to explain how and calls it natural voice. What is natural voice? The main thing is learning to transition the secondo passagio, which is the transition from chest/mixed voice to head voice. Falsetto is not a register (saptak), but rather a stylistic technique used with low air compression. Head voice is the true taar saptak or upper register where you can do all the harkats and murkis or other ornamentation. If you want to learn more study Western music, or watch UA-cam videos of Pandit Sanjay Patki who clearly explains in his videos that in Indian classical music the use of head voice is practiced. It's unfortunate that most gurus don't understand head voice which is a common western music technique. Pakistani classical singers use head voice all the time; just listen to Rahat Fateh Ali.
With my limited knowledge, I do agree with you and can sense her transitioning smoothly between head and chest voices. She has mastered the transition, probably by not giving it soo much of technical thought. I may be wrong. In fact I am still searching for a indian classical musician who can blend western concepts of voice culture with classical singing techniques. Modern day classical singing, in my opinion has gone through many transformations and with the advent of the microphone, what is considered melodious and soothing to the ear has changed over the years. On a separate note the terminology "falsetto" is a bad choice in my opinion. Anything that comes from the vocal chords cant be false, is my opinion! 😁 Btw, thanks for the pointer on 'Pandit Sanjay Patki'
Found this useful : ua-cam.com/video/jp2HzzyjvU0/v-deo.html
ua-cam.com/video/gBxO0Ad9J-E/v-deo.html
Thank you so much for this comment. As a student and performer of indian classical music I have seen a lot of criticism around the usage of head voice or "false" voice. Like you correctly mentioned while singing higher octaves notes the nasal passage and the head play a key role. Being able to produce good tonal quality requires a lot of practice and mastery of breath control while singing notes of the upper register.
The explanation in this video can be misleading for many. I myself tried to sing taar saptak notes with chest voice support and it's practically impossible and could also be ruinous for your voice in the long run.
I really hope music teachers and musicians put more leg work into understanding and explaining efficient voice production techniques.
@@srilakshmi6087 I am so glad that singers such as yourself understand the voice classification and how to sing in different registers flawlessly using proper technique.
Just unbelievable and masterpiece.
Pranaam to you, SUR-SARASWATI.
Wow!
That example of the collar bone resolved so many doubts instantly❤️
Thanks a bunch ma'am for these valuable lessons
Thx u so much mam...loads of love to u ❤️❤️❤️❤️
Shukriya mam🙏🏻aapki ek ek baat hum jaise bachon ke liye ... Bahut badi guru vidya hai ...
Financially strong na hone se hum kahin ache se seekh nahi paate jab aap jaise guru hum bachon ka sochte hain to...dil se izzat badd jati hai
2024 attendance please 😂
present 😂
😂😂@@lb_pritam_dey
You are right, madam. Karnatic vocalists always ignore the importance of voice culture. They give importance to the improvisation alone. No genre of music in the world is so careless about the sound of voice. At the same time no music gives so much importance to intuition and creativity as the Karnatic music.🙏
And to form and structure. Carnatic compositions are generally more formally intricate, and the mridangam takes equal part in expressing the energy in the form. Even the most artful khyal bandish doesn’t have the level of structural calibration of a Tyagaraja krithi, though their form is similar. Also Carnatic music is more formally-minded, meaning they tend to present a composition in a relatively compact way that maximizes the effectiveness of the form. Hindusthani music on the other hand is principally decorative in it’s mindset, we hindusthani musicians take a precious little bandish and play it long, play it loose, trying different ways of playing the line and doing boltaan before getting on to the antara. One is not better, both are sacred to us.
What do you mean think about KS CHITHRA?
I could not get rid of the transition to my head voice in carnatic music and it was bothering me. Yours was the best advice. As long as I can feel the vibration in my chest I can hit the high notes without feeling the breaik. Thank you very muich
Thanks
Mam Mera higher note nahi lagata aur aawaj fatati hai please help me
Need more videos of kaushiki mam
*माता सरस्वती~स्वरूप गुरूरानी सुश्री कौशिकी जी आपको शत शत नमन!*
❤
🙏🙏
Ma'am I have heavy vibrato how to bring to normal vibrato 🙏🙏
Thanku ma'am
Mam aapne jo akar liya hai kya uski sargam bata sakte ho, wo aakar mai seekhna chahti hu or is tarah ke aakar ke liye kon sa riyaz best rahega?
Didi upni banlate Bolben plz
Excellent explanation 👌 👏 👍 🙏🙏
Ma'am can I join your class.
Mam aap itni acchi artist h bharat me rhti h Hindi me hi gaati h Hindi me bolne me dikkat aati h kya
Just unbelievable tips
But Ustad Salamat ali khan sung much in falsetto with ease
And ustad ghulam mustafa khan also sung falsetto in taar saptak?
yes
Mam can i recavest plz talk a hindi?
🙏🙏🙏🙏🙏❤️❤️❤️❤️
Divine
🙏🙏🙏🙏❤️
प्रणाम 🙏🙏🙏
am from pakistan 🇵🇰 i want to meet u ❤
Rendition 😌❣️
❣❣
Speech in hindi mem
🙏🙏🙏
AAP TO AAP HO JI
आवाज़ की महारानी।
🙏🙏🙏🙏🙏
Means you should sing in your own voice..not artificial... don't afraid to sing high notes..❤
Didi English Hindi milakar boliye 🙏🙏
ম্যাডাম তুমি বাংলায় বলবে।আমি এত ইংরাজী জানি নাগো।
i have purchased course from livdemy but i m not able to log in because of websites issue i have complained through email but no reply from livdemy
Is this speech therapy
Bengoli bolbe aktu
Ma'am Please said Bengali 😖
Bhaalo kore dekhun madam....uni program taa bangla te korchhen naa....eta all india audience. Jokhon erokom kono programme bangla te korben, tokhon nischhoyi bangla te bolben....kintu ei khhetrey to aar taa korte paarben naa sudhu ei jonnae je uni bangali, sob somoy bangla te medium kore bolaa sombhob noe....taai ei request taa fulfill kora shombhob noe
Aapnaar jodi ichhaa thaake, onaake bengal er kono bhaalo auditorium e deke ei dhoroner similar programm koran na? Tokon joto khushi onaake banglaa te sun ben
very dangerous video. I came here searching the falsetto in singing. expecting a normal singer teaching. but came here which I can not even handle just listening. very dangerous video for person like me.
মাঝে মাঝে বাংলায় বললেও ভালো হয়
Bhaalo kore dekhun dada....uni program taa bangla te korchhen naa....eta all india audience. Jokhon erokom kono programme bangla te korben, tokhon nischhoyi bangla te bolben....kintu ei khhetrey to aar taa korte paarben naa....taai ei request taa fulfill kora shombhob noe
Hindi bolna sikho. Didi
Aapko english singer hona chahiye Tha..ho aap hindi singer lekin bole ja rhe english
Because english language is standard and indian classical music is global. Not only indians learns hindustani classical but also students are from worldwide. So her lessons are for global students not only indian. That is why brother. Take what you can, don't focus on criticising everytime.
First learn to type in Hindi, then contradict.
#swarswamiofficial
🙏🙏