 I was just going to say, I don't know if you've ever made this mistake, but it would suck to reach for the toilet paper and it's been replaced with a Brillo pad. That's an intro. Or a sandpaper. Or a cheese grater. Actually, that's just kinky. Or a mandolin. And you could follow us on Instagram. It's good. Good job. It's so good. Happy birthday. Today we are doing a video. What? This is called How to Sing Gamakas. Ah well, back when I was a kid, we used to sing it like this. That is not gamakas. Gamakas. Hey, I didn't tell you to start yet, you nice lady. I've never heard that word before. I think it's part of Rob. I think it's like, she's going to be teaching us the basics of, I think, I'm going to show it in the video. I don't know much about it. I'm dumb. Never heard the word before, or at least in my head. I think it'll be very interesting. So here we go. You're going to learn. Gamakas. This is the backbone of Indian classical music. Wow. In fact, it is gamakas that differentiates our music from the rest of the world. So let's learn a little more about this. We probably heard about it. What is a gamakas? A gamakas is basically a connector between two notes. So instead of singing notes in a plain manner like Samagamanidhanipadhanisa We add some curves and slides. Right. Make it sound like Samagamanidhan Adds a lot more lines to the notes. I didn't know that name. Me too. It brings out the essence of the raga. Music. So what are the types of gamakas that you can find? This is awesome. Well, karnatic music recognizes 15 different types of gamakas. But today we're going to look at the four most common types that you can easily recognize when you listen to us. I literally just got chills. I'm so excited. The first type is the sliding gamakas where you simply slide from one note to another. So instead of singing it plainly like Samaa we slide between the notes like Samaa For example, instead of we sing slide is called jaru in karnatic music. But you can find these slides even very prominently in live music as well. For example, that was a slide. Sometimes an entire line will be full of slides like Did you see how every syllable was sliding to the next? There were no straight notes at all. So you really need to master this art of sliding from one note to another. The second type of gamakas is in the form of a wave or oscillation. So we take a note and keep oscillating back and forth. Let's take Raga Shankarabharanam for example. Now, if we try to sing the notes without any gamakas it would sound like Now, even though we sang the notes of Raga Shankarabharanam it did not bring out the essence of the Raga, right? It sounded more like the western major scale. Absolutely. So in order to bring out the essence we're going to add some wavy gamakas between the notes. Now it sounded like Raga Shankarabharanam. And this wavy gamakas technique is called Kampitham in karnatic music. So that type of gamakas is based on Janta Swara or double notes. How do you learn that? So whenever you see the same Swara coming twice, like here the second Swara will always get an extra push or force from there. So when we sing how every second Swara we gave an extra force from a lower note and that is a type of gamaka. Take the song for example Finally the last type of gamaka for today which I call the vibration gamaka also known as Spuritam in karnatic music. Now Spuritam is also based on the concept of Janta Swara where the first Swara is plain and the second Swara gets an extra push. But in case of Spuritam the notes move so fast that it just sounds like a quick vibration. For example, those two Spuritams in that line you will find this very commonly across songs and you might need some classical training to get it right. Usually a song will have a combination of all these types of gamakas. So the next time you listen to your favourite song try to break down each and every syllable of the song and observe how does one syllable move to the next one. Is it through a sliding gamaka or is it through a wave or a Spuritam and so on. So on that note I'm going to leave you to explore the beautiful world of gamakas. For more such videos, download So we've been doing classical stuff for at least a year and a half at least, right? Now I thought I was like, okay we've seen a lot and then she just like shattered my entire world I was like, oh that stuff that I just thought was their style was actually part of the track. How do you even study for that? I just thought it's like an inflection. I remember when we first started to look at classical music a lot of stupid baby sending messages that were explaining some of the things and obviously I there's no way I can retain it but the amount of first of all just the amount of information that you would need to learn and then practice it to be able to do it as effortlessly as she can do it and I'm sure they would feel the same way if they'd never been exposed to western music which is very interesting because what my experience has been is that people who come from an eastern background learn western music or at least some of it whereas most westerners don't you know, well it's also it's probably easy to do it Western compared like as you've learned what eastern there's many it seems like much less rules and so it's like in the same notes and you don't have these gamakastas in the middle of them we learned this not too long ago where initially you and I both thought understandably if you've not been if you're ignorant we thought it was like jazz just pure improvisation and everybody's just going to know how many beats per measure and we'll see at the other end there's a lot more rules and we talked about that in one of the last ones where I said it's kind of like the freedom you get from iamic pentameter because the rules actually release a different kind of creativity for me whereas if I'm just free writing that's one thing but being constrained to 10 beats per line and only 14 lines which I break that rule a lot but at least having to do the 10 beats per line it changes the way I think about my phrasing which is the same thing musically here but the complexity of vocalization here western European which is considered the western foundation like operatic stuff there's a lot they do with power there's a lot they do with grace notes there's a lot they do with vibrato and feeling and expression but this is transcendently more complex just way more complex even the instrumentation that we see that comes out of the east is a far more complex kind of instruments that come out of the east than what we're accustomed to in the west absolutely that was great very cool informative and just blew our minds that there was just another part of that we just thought was I thought it was the singer's style right me too and the visuals really helped seeing the letters where she was going that was excellent man we're done we're very done but we're learning we're getting edumacated which is a great channel too so if she has more videos like this that are very informative please send them our way so we can be less stupid yep look mother