This invariably meant compromising on one’s musical talent. The challenges faced, especially during collaborations, led him to modify the Carnatic flute, which is originally ‘defective’ with very sharp notes. With a non-conventional training, by observing his father’s fingering techniques on the flute, and through concerts with Hindustani musicians, Jazz artistes, and other collaborations, Shashank brings uniquely, advanced techniques to flute playing. Subramanyam, Shashank very ably adapted his vocal learnings to flute playing, thus establishing his very own style. Narayanswami laid the foundation for his musical prowess. His early lessons in vocal music under Palaghat K. Shashank Subramanyam is a self-taught flautist. Mahalingam, continued their Guru’s legacy, further broadening the performance scope for the Carnatic flute. Mahalingam was able to bring to them, thus gaining acceptance amongst the lovers of vocal music. Unlike the Hindustani Bansuri, the Carnatic flute as a tradition has been played in the ‘gayaki’ style, as audiences expect to hear the vocal music through the flute. Mahalingam who popularised the Carnatic flute and brought it to centre-stage as a solo instrument. Did you know, the Carnatic flute has had a historical reputation of being an accompanying instrument to vocalists?
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