The  Feb 16 08 spicmacay/<a href = http://www.cise.ufl.edu/~sitharam/spicmacay/ggs.html> ggs </a>  &nbsp;
jam(s) <a href = http://www.cise.ufl.edu/~sitharam/spicmacay/aboutjams.html> (What are these?) </a>
took place at <a href = http://www.kineticnet.net/icec/general.html> 
ICEC </a>
upstairs, meditation room:

<p>
<i> 10 adults participated including 3 first-timers; towards the end,
joined by another adult and 1 child</i>
Jam Moderator was  Meera Sitharam 

<p>
We followed 
<a href = http://www.cise.ufl.edu/~sitharam/spicmacay/aboutjams.html>
the Jam format.   
</a>

<hr>
***Session 2 (set pieces+ lecdems): 
</hr>
<br>
<i>Please go to <a href = http://www.karnatik.com/lyrics.shtml> karnATik website
</a> to get any of the below lyrics (nearly 2500 lyrics) 
and also go to  
<a href = http://www.ecse.rpi.edu/Homepages/shivkuma/music/>
really good audio archive  
</a> by
Shivkumar Kalyanaraman which include his and others'
renditions of many pieces </i>
<p>
---Varnam in  Mohanam, 2 speeds -- by Prasanna, Aniruddh, Deepak  (vocal);
and Meera (veena) 
<p>
--Gopika manoharam (Mohanam, Adi, Dikshitar) (partial) --by Prasanna
<p>
--Alapanai, Thanam -- Meera
<p>
--Melakarta system; how to number a melakarta by listening to it and
figuring out its notes. Illustration of different ragas gamakas and prayogas;
and how scale is only a skeleton.  
 (Shanmugapriya; 
Simhendramadhyamam; Vachaspathi; Dharmavati; Kalyani;  Harikambhoji, 
Natabhairavi; and some others) 
<p>
--Since we have done Raga changing many times in the past, 
the <a href =  
http://www.sandeepranade.com/html/ClassicalSinging/raga-morphing.htm>
Raga morphing link </a>
supplied by Subhajit was mentioned
<p>
---Break with tea and snacks courtesy UF SG
<hr>
***Session 3 (Improv + other): 
</hr>
<p>
--Raga identification and mere Scale vs. Chaya (personality of ragam)
(Janya ragas: Abheri, Bhairavi (key gamakas and prayogas 
that natabhairavi does not have), 
Kambhoji (key gamakas and prayogas that Harikambhoji does not have)
<p>
Correction from last time:
Getting the 5 ragas from the black notes, not by transposition as mistakenly
written last time, but
by change of tonic -- shruthi bedam. Spacing of 3, 2, 2, 3, 2  in 
Shudha dhanyasi becomes 2, 2, 3, 2, 3 in Mohanam, becomes
2,3,2, 3, 2 in Madhyamavathi, 3,2, 3, 2, 2 in Hindolam, and
finally 2, 3, 2, 2, 3 in Shudha saveri.
"Transposition" means keeping the relative spacing sequence, i.e the scale, 
but just shifting
the whole scale to a different tonic, so you actually get different
absolute notes. "Shruti bedam" is keeping the same absolute 
set of notes, but shifting
the tonic, so that the spacing sequence (scale) is cyclically shifted.
<p>
--Muddy waters (Chess album from the 60's) Blues in Shudha dhanyasi (sketch)
</a>
<hr>
</hr>
 Other Topics discussed : 
</b>
<br>
--Personell change at Spicmacay and training the new personnell
<br>
--Dates, Lec dem and Workshop interest and choices
<br>
--Greens and Mullangi were distributed - freshly harvested from the 
UF organic garden coop. Krithika, please inquire about the recipe 
for vazhaithandu thayir pachadi. It is yummy.
Fresh homegrown vegetables fit the music.
<br>