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Photo: N. Sridharan

Offering solutions: T.V. Gopalakrishnan and (right) his book.

Percussionist, violinist, vocalist, composer and teacher, he dons different caps with enviable ease.

Born into a family of musical stalwarts, he recounts that his father and guru Tripunithura Vishwanatha Bhagavathar was the palace musician of erstwhile Cochin state and professor of vocal music, SKV College, Thrissur.

“I began singing at three, also drumming in correct rhythm. My uncle, Narayanaswami Iyer, took me under his wing and imparted intensive training,” says TVG about the early days. “My debut in mridangam was at eight, accompanying my guru, the great Chembai Vaidyanatha Bhagavathar and my first vocal concert was at 12. An abiding interest in Hindustani music led to formal training in the idiom. By dint of hard work and perseverance, I gave my first Hindustani recital in just two years, in 1969,” he sums up his achievement.

And now, TVG has added yet another feather to his cap by turning author. His two recently released books, ‘Your Voice - Its history, use and training in Indian music,’ and ‘Mrdangam - The King of Percussions’ are the culmination of more than two decades of research. What prompted him to write about voice culture, a subject in which secrets are jealously guarded and seldom shared?

“At the age of 27, I was suddenly affected by arthritis and was out of action for about a year. I began giving serious thought to what went into the making of a good voice. Each discovery was a revelation. Even those naturally endowed with a superlative voice must work on it to achieve the best possible tone and articulation. Over the years, many of my disciples have benefited greatly from the knowledge gleaned from years of observation and application.”

TVG’s disciple database reads like a veritable who’s who of musical luminaries – T.V.Vasan, Kadri Gopalanath, Sivamani, V. Suresh, Ilayaraja, A.R.Rahman, Rajkumar Bharathi, Bhupinder and Mithali... a tribute to his accessibility and his willingness to share his expertise. As mentor, he has guided his students through the vicissitudes that mark every musician’s career.

“Through my book, I want to reach out to singers who may have voice problems and seek solutions. Also to those who may not be at liberty to talk about these problems,” he adds.

What are the most commonly encountered voice problems and the solutions? “Gastroesophageal reflux disease (GERD) could cause hoarseness and the urge to constantly clear the throat. Avoid this habit. Drink more water to counter acidity. Consult specialists. Each voice profile is unique and needs to be treated accordingly. Here, diet and vocal hygiene play an important part. This includes sathvic food, adequate sleep and regular sadhana, especially mandra stayi (lower octave) practice, preferably early morning. This can work wonders. Regarding food allergies, some can be overcome by including minute quantities of the substance in food, gradually increasing the amount till the allergy is overcome.

“Upper octave singing is often an issue, with complaints of limited reach and thin/strained tone. Throwing the head back in the tara sthayi is a strict no-no. This actually constricts tone. The secret is to achieve relaxed voice production without cramping head and shoulders. I have specified chromatic training exercises for range and accuracy. Again, open-throated singing in the upper register does not imply shouting. Aesthetics and modulation are equally applicable in all octaves.”

What about frequent susceptibility to colds and shortness of breath? “Correct breathing holds the key to overall health and strain-free singing. So, breathing exercises are essential. Steam inhalation clears breathing passages. The right posture should be maintained and excessive gesticulation avoided as it distances the musician from that inner core of stillness.”

No conversation with TVG is complete without a mention of his guru. So deeply ingrained is his guru bhakti. “Back then, there was little information about the scientific study of voice. Yet, my guru’s music was living proof of saarira samskaram. What guided him? Instinct, conviction and faith. What saarira shuddham and articulation!” TVG marvels.

“To know one’s voice, one must know oneself. That is why my book is titled ‘Your Voice…’ Each voice is different and special. It is up to every singer to make the best use of this wonderful medium.”

If you are a professional singer, how often have you prayed for divine intervention to cancel your concert before you called in sick with a sore throat? Chances are, more than once.

The voice is at once a boon and a bane for many vocalists, but following the correct approach and techniques in voice training can ensure that your voice will remain your friend for life.

Backed by his prolific achievements, impeccable credentials and extensive research, vidwan and guru T.V.Gopalakrishnan’s offering is a user-friendly guide to understanding voice, identifying problem areas and arriving at effective solutions.

The style is simple, conversational and reveals an empathy with all kinds of voice problems. Enlivened by touches of humour, the narrative offers practical, thought-provoking observations.

The author prefers the term saarira samskaram to ‘voice culture’, as the former encompasses the incorporation of principles and practices into the natural rhythms of everyday living. Drawing from ancient texts such as the ‘Brihaddesi’ and ‘Sangita Sara Samgraha,’ the initial chapters trace the philosophy and origins of sound and music in which the human voice is defined as pranava nada (pure sound).

Concise notes and diagrams clearly illustrate the anatomy of the voice, sound production and articulation.

The focus is on rediscovering one’s primal voice or sunada, i.e. the uninhibited, involuntary sound that results from emotional stimuli before the voice is first conditioned by speech and formal environment. Breathing, voice and posture exercises geared towards connecting to sunada are detailed. These bring the singer closer to a ‘voice print’ marked by individuality.

A particularly interesting chapter deals with case studies in which specific problems have been addressed and successfully resolved by the author. The mind-body connection is repeatedly emphasised, dwelling on the power of the mind in achieving phonation.

The book’s message is loud and clear. Singers must realise the difference between use of voice and abuse of voice. Incorrect tonal projection could lead to a flawed vocabulary and major problems. Therefore, awareness and prompt action are a must.

While a fortunate few can get away with ice-creams galore and endless telephone conversations, the rest need to adopt defence strategies. Merely reading the book and pursuing a short-lived routine in a bout of new-found enthusiasm is not a short-cut to permanent solutions. The idea is to sustain these healthful practices, until they become a way of life.

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