Many new facets of playback for the purpose of practise of a composition have been introduced. See Sarali as an example.

A summary of new features on Patantara released recently.

It’s now easy to find your documents of interest. Finally!

DEPRECATED! Sometimes you want to let a few people view a document without having them register with Patantara and having to explicitly give them permission through their email addresses. Link sharing is a way to do that without making your document public.

Sometimes when practicing, you just need that extra bit of a hint about the timing of the various svaras/lyrics that make up a line … before you take off on your own. With the new “hints” facility, Patantara will now highlight lyrics or svaras during playback, practice or recording using a bouncing ball.

Warning: This is work in progress and is subject to change.

We all have our own pace, rhythm and techniques of practice. When working with a teacher, repetition and alternation are two important ways to reinforce our learnings. The new “practice sets” facility of the Patantara player helps you set up such a repetition and alternation pattern of your choosing when you’re working on a composition.

A built-in tala player is now available for documents with audio tracks.

I’ve been exploring some ways to provide online teaching/learning aids for Carnatic music via the Patantara site. It is about time I captured some of the principles that we would like to stand by in a recognizable logo. While the finesse of the logo hasn’t been executed yet, here is a shape that has stuck with me for some time now.

Let me know what you think in the comments.

Patantara supports a notion of “collections” to help teachers maintain access permissions for a set of documents they give access to their students. This post describes how to use them.

For most compositions, the “svarasthana” notation which uses the letter SrRgGmMPdDnN for the 12 svara sthanas serves pretty well. For ragas which treat R as “ga”, for example, this doesn’t work as it creates a difference between how the svara is written and how it is sung. This also creates difficulties with typing out svaras where you know the raga isn’t going to change.

The “substitutions” feature in the Patantara editor helps with these situations and this post is about how to use it.