The Singing Veena: A Creative Showcase
A glimpse into my musical diary, featuring moments from live stages, spontaneous jams, and the ongoing process of finding that perfect balance between math and melody.
This is the essence of my music. I sing along with the veena to bring the sahitya, the lyrics, to life, making the melody more accessible and emotionally resonant for everyone.
A moment from a moonlight concert at Nisarga Art Hub. Sometimes, the music, the atmosphere, and the audience connect in a way that feels truly cosmic and takes us to another plane.
A teaser from my performance at the Darbar Festival in London. It was an incredible experience to play on such a beautifully arranged stage for a wonderfully receptive audience.
I believe the complex math or 'kanakku' in Carnatic music should be felt, not just heard. Here, I explore how to use arithmetic as a hidden paintbrush to color the raga Sahana, making the structure feel organic.
Pushing the boundaries of what the Saraswati Veena can do is a constant pursuit. This is an experiment in playing Ati Drut, or very high speeds, which presents unique challenges on this instrument.
A quiet moment of connection between my hands and the veena. This black and white shot captures the intricate relationship and the years of sadhana that go into producing every single note.
Honesty is a big part of my musical journey. I couldn't perfect a particular rhythmic pattern in a concert, so I came home and practiced it. This is me sharing that process of 'redemption' and constant learning.
Music is a universal language. Here is a spontaneous jam session with the brilliant guitarist Elden Kelly and the iconic mridangist Patri Satish Kumar sir, exploring where Bach and Carnatic music can meet.
About Featured
When I perform, I often sing along with my veena to make the instrument feel like an extension of the human voice. This approach isn't just about melody; it brings the sahitya, or lyrics, into the foreground, making the music more accessible and emotionally resonant for listeners, whether you are a connoisseur or new to Carnatic music.
My musical journey is built on the belief that Carnatic music should be felt, not just heard. The images here represent the two sides of my world: the precision of stage performances and the quiet intensity of the practice room.
Hiding the Math in Melody
People often assume the complex kanakku, or rhythmic calculations, in my music makes it rigid. My goal is the exact opposite. I treat arithmetic as a brush to paint the raga, masking the structure so effectively that you feel the emotion, not the calculation. Whether I am exploring a raga alapana or navigating an intricate swaram passage, the aim is always for the structure to feel organic.
The 'Singing Veena' Approach
I don't play the Saraswati Veena in isolation. By singing along, I bridge the gap between the instrumental and the vocal. This allows me to highlight the nuances of the lyrics, making the performance more engaging. It changes the dynamic of a private concert or chamber gathering, creating a dialogue rather than a monologue.
Performance Philosophy
Every concert, whether a solo recital or a jugalbandi, is a spontaneous conversation. You will see this reflected in the variety here—from moonlight concerts that focus on atmosphere to technical rhythmic explorations. I believe music is a constant exploration, and these captured moments are simply pages from that ongoing diary.
Ramana Balachandhran
I am Ramana. I treat the Saraswati Veena as an extension of my own voice, constantly searching for that balance between strict tradition and spontaneous exploration. Whether it’s a private concert or an intimate chamber gathering, I look for a deep, honest connection with the audience.
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