The last one of the semester,
the  Nov 10 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> 6 adults and 2 children participated </i>
The highlight was Mridangam Gopalram from Jax.
Jam Moderator was  Meera Sitharam 

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

<p>
<hr>
***Session 1 (for children, but mostly adults participated): 
</hr>
<br>
Swara recognition exercise (we did a lot of this, starting from
2 swaras to 3 to 4 to entire prayogams, plus laid out some tricks
and general rules of thumb)
<p>
<hr>
***Session 2 (set pieces+ lecdems): 
</hr>
<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>
<br>
---Varnam in  Begada -- led by  Meera (vocal), Gopalram mridangam.
<br>
---Correction noted that Bhairavi adatala varnam sung the past jam, is not
by Kuppaiyar as previously noted, but Adhiappaiyar.
<br>
---Srimannarayana -- Bowli , Adi, led by Prasanna on Guitar, accompanied
 by Gopalram on mridangam.
<br>
---Ranga brought a CD of 2 ladies who sing padams and javalis (as candidates
for a spicmacay concert next semester) and 
we discussed how their sahana took a long time to descend down to 
the tonic sa, and the tense effect it created.
<br>
---Ragam recognition <a href = http://www.cise.ufl.edu/~sitharam/spicmacay/raga.txt> 
</a> by Meera; we moved from Shankarabharanam to Kalyani(madhyamam change) 
to Dharmavati (gandharam change)
to Simhendramadhyamam (dhaivadam change) to Shanmugapriya (nishadam change) 
to Bhavapriya (rishabham change) 
(and touched on Shubhapanthuvarali, no change of nishadham). 
All melakartas, changing only one note at a time, in principle, but
in reality a lot of the character changes with each raga change.
<br>
---We reiterated the importance of Raga Chaya or Sayal, for instance between
Darbar and Nayaki.
<br>
<hr>
</hr>
 Other Topics discussed (in the parking lot): 
</b>
<br>
--Shahid Parvez's Sitar concert intricacies(the Rag Bhageshri piece started
  with a 11 beat talam, split into 8 and 3 (2 X 1.5)!)
<br>
--We talked about the choice of Purnachandrika raagam (telisi rama is the famous
kriti in it) for the Rama scenes in Shobhana's concert.
<br>
--Concrete ideas on how to convert some of these jams to 
hindustani or jugalbandhi jam sessions
<br>
--Spicmacay budget and next semester's plans.