Vocal backing artists may not attract the audience’s attention, but they can enhance or break a concert performance.
Vocal backing artists may not attract the audience’s attention, but they can enhance or break a concert performance.
At concerts, they occupy the space behind the lead artist, sometimes with a tambourine in hand. Although backing vocalists are not expected to capture the attention of the audience, providing vocal support is an art in itself. It demands not only commitment and perfection but reverence for the Guru. The quality of the latter ensures that the back up is not used only as a buffer; It echoes the main artist’s thought process, style and approach.
A supporting cast can’t steal the show, but can enhance or break a concert performance. The challenge for such artists is to take their work seriously. They must learn to harmonize and mix with the voice of the lead artist, be aware of his improvisation skills, know the lyrics and compositions by heart, understand the feeling and nuance of a composition, fill in the gaps during swara segments , should assess the mood. Build a rapport with the audience, and co-stars on stage.
important aspect
In classical music, assimilating the technical aspects of a raga or kriti is as important as internalizing its aesthetic nuances. For example, ‘Chakni Raja’ in raga Karaharpriya is a beautiful composition with lots of accompaniments and successive raga motifs. This may be one of the most sought after pieces at a concert. Learning such works can help increase a vocal backing artist’s knowledge and confidence. ‘Dharini Telusu Konti’ in Shuddha Saveri, and ‘Koluvamare Gada’ in Thodi are huge works with back-to-back accompaniments that adorn the raga and also help in understanding it.
A vocal backing artist must also ensure a smooth flow of musical ideas that enhances aural pleasure. ‘Shruti Mata and Layam Pita’ should be the guiding principle. Palai CK Ramachandran, while providing vocal support to Semmanagudi Srinivasa Iyer, was called ‘Shruti Bhagavatara’ because of his allegiance to Shruti.
Guru’s side
Semmanagudi Srinivasa Iyer with V Subrahmanyam. , Photo Credit: The Hindu Archives
Most previous masters had a strong ‘vocal support system’. It was like an internship for his formidable line-up of disciples to prepare for the performance. Ariyakudi Ramanuja Iyengar, who is said to have practiced modern music, is named after B. Rajam Iyer and KV Narayanaswamy. V. Subrahmanyam and Palai Ramachandran served Semmanagudi for the longest time. VR Krishnan, KR Kedaranathan, TM Thiagarajan, PS Narayanaswamy and Kumara Kerala Varma have also assisted the maestro. The list is very long, but it is not possible to mention all the names. DK Pattammal sang the song with his brother DK Jayaraman.
DK Pattammal with DK Jayaraman
Men sing in lower Shruti while female singers prefer higher Shruti. Yet Jayaraman sang in unison, and the rasiks who heard him are truly blessed. Melody queen MS’s daughter Radha Viswanathan and Vijaya Rajendran accompanied him. He was accompanied by many disciples in MLV, the most prominent being Sudha Raghunathan. Sisters Brinda and Mukta sang together, complementing and complementing each other’s music.
Sometimes, in a concert the disciple may be asked to sing an alapana or a part of swara repartees to provide relief to the lead performer. The instrumentalist must maintain the flow of the melody being sung, and follow the vowel pattern, as the case may be. However, the most cherished moments are when they are able to match the master’s expectation and standard of music and garner applause from the audience.
The supporting cast should be unobtrusive and not overpower the lead voice. V. Subrahmanyam used to say that he learned a lot while sharing the stage with Semmanagudi. This learning is vital to making a complete and successful artist. Many eminent musicians started out as vocal backing artists for their mentors. His life and journey is an inspiration for young learners.
The Chennai-based writer is a connoisseur of music.