Truthfulness in Reproduction: Self-Learning a Krti from an Authentic Source

Singing or playing krti requires a heightened sensitivity to listening – both at macro and micro levels – to render them with precision. While a small number of individuals possess this sensitivity naturally, approaching what we often call “genius”, the same level of refined perception can be cultivated by any dedicated student through sincere and sustained practice.

Reproducing a composition truthfully is not merely “copying”. It reflects a capacity to align with the inner flow of its micro-rhythmic structure – a subtle experience of laya that emerges from careful listening and attentive practice. When a student has a Guru who is both experienced in performance and patient in teaching, the nuances of a composition are absorbed organically and holistically. When such access is limited, the student needs a systematic way of learning.

Learning a krti with precision becomes deeply enjoyable when a student has an enquiring mind – one who wants to learn how to learn. The goal should not be to reach the stage quickly. Such urgency can restrict growth. Stage experience will arise naturally when learning is thorough. One composition learnt well becomes a lifelong treasure. All improvisational skills ultimately depend on the precise, internalised rendering of compositions.

Authentic rendition is non-stylistic at its core. Long-time disciples of a guru may acquire stylistic elements, but the foundational act of learning begins with understanding the internal dynamics of "time, tone, text and tune". Emotional expression arises only after the composition has been absorbed, contemplated and rendered holistically. Enjoyment is woven into the very process of rigorous practice, beginning with the basics.

The logic behind learning unfolds step by step, through attentive repetition, awareness of detail and mindful performance. Every performance element found in basic exercises must be highlighted and pursued systematically. Only a performing musician who can analyse and parse musical complexities can guide a student through the fundamentals with sensitivity to individual strengths and needs.

Here is an example of a student, Mathuriga, who has absorbed the COMET approach to understanding the creative and structural principles of Karnatak music. This student, born in Denmark to Sri Lankan parents, did not grow up in a typical Karnatak music environment. She undertook the self-learning of the padam “Ekkadi Nestamu” in the raga Saranga, as interpreted by Sangita Kalanidhi Dr. Sripada Pinakapani, who is known for his intricate and unexpected sangati progressions. She learnt the padam entirely on her own and presented it to her guru for corrections. This effort demonstrates her growing maturity, heightened listening sensitivity and technical command of the instrument.

Brhaddhvani welcomes advanced learners of Karnatak music to a four-day in-person workshop, The Foundation for Self-Learning, conducted by Karaikudi S. Subramanian. For details and registration, please visit: brhaddhvani.com/workshop2025