Carnatic music system

HAPPY NEW YEAR

2007-12-31T01:17:00.000-08:00

I wish all the readers a Happy and Prosperous New Year. Sorry for not writing for the last four months. Since I was very busy with my profession, I could not spare time to concentrate on this subject. From the New Year 2008, readers can see new information every week and in addition, there will be some useful information in the middle days. At present, there are carnatic music musicians everywhere in the world and I trust this would be very interesting for them to read these blogs. I once again wish all the readers a very very happy New Year!

FACTS ON GAMAKAS IN CARNATIC MUSIC

2007-08-22T01:04:00.000-07:00

Gamaka is one of the most beautiful aspects of Indian Carnatic Music. Only carnatic music has gamakas. Gamakas are used to beautify the swaras. If the music is without gamaka, it would not be good. The music without gamakas is described as a pond without water, the sky without stars and the garden without flowers. This special aspect gamaka provide the required life and bhava to the raghas of carnatic music. The name gamaka, could have been used in ancient days to mention about two different topics. The other one could have been used to mention about the ways of forming the phrases, which is important to create sancharas in ragha alap and kalpana swara rendering.
In this topic, the gamakas are the ways to form the phrases in carnatic music system. At present, ten types of gamakas are used in carnatic music. These are the ways to form the phrases. This is the grammar to combine swaras and when they are combined together according to the grammar, many wonderful phrases are created. Creativity never comes by itself. In the beginning stage, there should be some phrases in the mind for the development of phrases. This method of gamakas shows the way to combine swaras.
Ten Gamakas used in carnatic music:
1. Aarohanam
2. Avarohanam
3. spuritham
4. Thriputcham
5. Aahatham
6. Prathyahatham
7. Daalu
8. Gampitham
9. Aandholam
10. Moorchai or Moorchanai

Aarohanam:
This is the ascending part of the ragha. Generally, scale of the ragha means the Aarohanam and Avarohanam.For example, S R G P D S is the Aarohanam of Ragha Mohanam.
Avarohanam:
This is the descending part of the ragha. For example, S D P G R S is the Avarohanam of Ragha Mohanam. The sacle of Mohanam is S R G P D S - S D P G R S.
Spuritham:
This is also known as Jandai. This is the combination of two same swaras. For example, S S S is Spuritham.
Thriputhcam:
This is the combination of three same swaras. For example, R R R is a Spuritham.
Aahatham:
This is the combination of two swaras in Aarohanam. That is, one swara followed by the next swara in Aarohanam is Aahatham. For example, S R, R G, M P are Aahathams.
Prathyahatham:
This is the combination of two swaras in Avarohanam. That is, one swara followed by the next swara is Prathyahatham. For example, S N, N D, P M are Prathyahathams.
Daalu:
This is the combination of two swaras both in Aarohanam and Avarohanam. That is one note or swara followed by any swara other than the next swara is Daalu. It is used in Aarohanam and Avarohanam. For example, S G, S M, S P, P G, P R are Daalu gamakas.
Gampitham:
This is the combination of a long swara, followed by two Jandai Sets. For example, GA - G G G G is a Gampitham.
Aandholam:
This is the combination of a note followed by the next note, again the previous note, followed by a Jandai. Swaras used to form the first phrase should not be used to form the Jandai. For example, S R S G A G A, R G R M A M A are Aandholam gamakas.
Moorchanai or Moorchai:
This is an unfinished phrase in Aarohanam and Avarohanam. For example, S R G M P D N, S R G M P D, S R G M P, S R G M are Moorchai gamakas.
All the above gamakas are based on the given scale of the ragha. That is, the gamaka will change according to the Aarohanam and Avarohanam of the ragha.
For example, In Mohanam, G P, D S are Aahatham, since P is the next swara to G and S is the next swara to D. In a Melakartha Ragham Sankarabaranam, the same G P, and D S are not Aahatham and they are known as Daalu, since P is not the next swara to G and S is not the next swara to D in Sankarabaranam, since the scale of Sankarabaranam is S R G M P D N S - S N D P M G R S
With the above ten gamakas, thousands of phrases can be created by imagination. Creativity never comes by itself. Only by creating many phrases with the above ways, it is possible to play or sing many phrases. These phrases combine together to form the alap. When the same phrases are created according to the thalam, they form the kalpana swaras.

MUDHRAS USED IN COMPOSITIONS

2007-08-16T07:07:00.000-07:00

Generally, the composers use one of the Mudhras in the compositions they create. Many composers have their own Mudhra to identify them. Vaakeyara Mudhra is very commonly used in songs. There are other types of Mudhras also in the compositions. Detailed information about the Mudhras would be provided later.
Mudharas used in songs:
1. Vakkeyakara Mudhra
2. Ragha Mudhra
3. Thala Mudhra
4. Guru Mudhra
5. Poshakar Mudhra
6. Vamsa Mudhra
7. Prapantha Mudhra
8. Nayaka Mudhra
9. Sthala Mudhra
10. Rasa Mudhra
11. Virudhu Mudhra
12. Lakshana Grndha Mudhra
13. Chandha Mudhra
14. Bakthi Mudhra
15. Chakra Mudhra
16. Samvathsara Mudhra
17. Linga Mudhra
18. Graha Mudhra
These are known as Ashtadasa Mudhras.

TRADITIONAL WAY OF CARNATIC CONCERTS

2007-08-14T10:49:00.000-07:00

The traditional way of presenting carnatic music concerts
The concert should start with a Varnam. It may be in Adhi Thala or in Ata Thala. Other thala varnams may also be taken. The traditional way is to render the first part of the varnam in two kalams. This may be done in Thisram also according to the situation. The second part of the varnam may be played in two kalam. Since this is the first item of the concert, it should be rendered at the highest level. Some students may think that the varnams are used for warm up. This is not true. All the varnams have been composed with artistic work and Bhava.
After varnam, a composition on Lord Ganapathi is taken with a small glimpse of the Bhava of the ragha, before the song. After the song, a few Kalpana swaras are rendered for that song.
Then, one of the Pancharathna Krithis of Sri Thyagaraja is rendered. This should be presented as the musicians present in Thiruvaiyaru.
After this Pancharatham, a brief alapana is presented with the complete Bhava of the ragha. After the alap from the main artist, the violin player would render a brief alap in the same way. It is important to render sancharas based on the song that is going to be rendered after the alap. A krithi in Rupaka Thalam or a krithi in One Kalai Adhi Thalam would be presented. Then, kalpana swaras would be presented with mathematical artistic work. Speical korvais would be presented.
Then, one or two small krithis are performed with fast tempo.
Here comes the major alap of one of the main raghas of the concert. This is the highlight of the concert. The alap would be presented with full colors of the ragha with all the important phrases that are meant for the ragha. After the alap, the violin player would present the alap in his own style. A krithi in Two Kalai Adhi Thalam would be presented with Niraval and detailed Kalpana swaras are presented. After the Kalpana Swaras, Thani Avarthanam is rendered by all the accompanying artists. It would be highly enjoyable.
After Thani, one or two Padams are rendered with importance to the Bhava of the ragha. After finishing the padams, a Javali is presented. After this, a Bhajan or a Slowka is presented. Generally, the last item before the Mangalam would be a Thillana. After the Thillana, no other songs would be presented. The final item is the Mangalam. The traditional way is to perform the Mangalam in Ragha Sourashtra, by Sri Thyagaraja. The most traditional way to end the concert is performing Madhyamavathi, a very brief alap, which would be the outline of the ragha.

Information About Varnams

2007-08-13T11:22:00.000-07:00

Varnam is the most important lesson to gain knowledge of Bhava and Gamaka. Generally, there will be less Sahithya in Varnams. Varnams are composd with different beautiful phrases of that ragha and they care composed with the laya Bhava and Ragha Bhava. There is a lot of difference between a Krithi and a Varnam. When we see an article in a particular angle, it would be possible to see that portion of the article only. Krithis are composed in that manner. That is, one particular angle of the Ragha is taken and improvised to create life to that ragha. Varnam is different. It is like seeing that article in the hands and seeing all the angles of the article. In varnams, all the life giving phrases are combined together and that is the reason there are many beautiful phrases in varnams. Since all the lines of the varnams are entirely dfieerent, it will take time to render without book. Krithis are easy to render without book, since the structure of the krithi is based on the first line, followed by different sangathis, without changing the structure of that song.
There are different types of Varnams in carnatic music. Thana Varnam, Padha Varnam, Padha Jathi Varnam, Ragha Malika Varnam.
Parts of Varnam:
Pallavi, Anuppallavi, Mukthayiswaram, Charanam, Charana Swaras. These Charana Swaras are also known as Ethukadaiswaras.
Thana Varnam or Tharu Varnam:
This is a type of varnam where Sahithayam are composed for Pallavi, Anuppallvai and Charanam. Importance is given both to Laya and Bhava in this type of varnam. Varnams are available in Aadhi Thalam, Ata Thalam, Jampai Thalam and other Thalams also. These varnams should be played in two or three Kalams to gain strength in Thalam. Since the varnams are played at the beginning of the concerts, it is very important to perform the varnam neatly.
Padha Varnams are composed mainly for dance. They are artistically constructed and beautifully designed. In some Padha Varnams, there will be Jathis and these are known as Padha Jathi Varnams.
Ragha Malika Varnams will have different raghas for Pallavi, Anuppallavi, Mukthayiswaram, Charanam and Charana Swaras. A detailed article with the Lakshana and structure of the varnams would be posted later.

The Facts of Swara and Sahithya

2007-08-12T09:06:00.000-07:00

Swara and Sahithya are the two eyes of our Carnatic Music system. It is always very important to have thorough knowledge of Swara and Sahithya. Generally, all the students are taught the swaras in the beginning stage. All the first stage basic lessons have only swaras. These lessons help the vocal and instrument students to realize the positions of the swaras. After Sarali Sets, Jandai Sets, Top notes sets, Base notes sets, and Dhattu sets, the first lesson with the Sahithya starts, this is Geetham. In this lessons, students are taught the swaras first and then the Sahithya. When they start to practice the swaras and Sahithya repeatedly for many times, they start to get the knowledge of the combination of swara and sahithya. Here, there is a difference between the instrumentalists and vocalists. All the other instrument students will learn the swara and sahithya together, except the wind instrument players. They cannot do it at the sametime. First they have to play the swaras and then they have to sing the sahithya. It would be difficult for the wind instrument students to understand the relationship between the swara and sahithya, of course, in the beginning stage of learning Swara and Sahithya together. It may take a little time for them to understand. After the stage of the Geethams, all the students would start to realize the position of the Swara and Sahithya. After the Geethams, students would be taught Swarajathis. In these lessons, they would start to learn the long duration of Swara and Sahithya. This is the lesson to get fluency over Sahithya and Swara. Although the swarajathi KaMakshi Kama Koti in Bairavi is the swarajathi lesson, it would be very difficult to get the BhaVa of Bairavi in that stage. The composition is too good to understand the structure of the composition.
After the above stage, the next lesson is varnam. It is the best lesson to get the realization of Swara and Sahithya. Different types of varnams are available for the students to learn. All the students would be provided with the Adhi ThaLa varnams to start with. After learning about ten Adhi ThaLa varnams, students would be taught the Ata ThaLa varnams. While rendering the varnams, students would be taught the swara and sahithya, whenever necessary, until they get perfection. This is the most important stage to get the swaragnanam, that is, the knowledge of swaras. There is a difference between listening singing Swaras and Sahitha. In swaras, there is no sahithya, whereas the swaras are hidden inside the sahithya. Therefore, all the music students should be able to know the swaras of the sahithya. After learning the above lessons, students start to learn Krithis. Here, the BhaVa is very important. There are three aspects in rendering a Krithi. The first one is to sing with perfect swarasthanas for vocal students and to know the sahithya perfectly for the instrument students. The second one is to get the meaning of the song and the real feeling of the song. This will help the students to get the BhaVa of the ragha of the song with perfection. The third one is to render with proper gamakas. Gamaka is the most important factor to get the BhaVa of the ragha. To get this, students should listen to the songs many times with complete dedication. Since our music is entirely based on Bakthi, it is very important to have the situation accordingly. At the end, the swaras and sahithya merge together to provide the best result for the performer.

Fixation of Sruthi with Aadhara Shadjam

2007-08-11T12:17:00.000-07:00

Fixation of the Pitch (sruthi) in carnatic Music
It is one of the interesting aspects in carnatic music system. Total music produced is always based on the sruthi. It is very important to understand one’s sruthi. Generally, in group learning, the common sruthi is fixed. This is generally, five kattai. The term kattai is used to mention about the sruthi. Although many children have different sruthis, it would be easy for them to sing in five sruthi. It is known as G scale in western music. Male singers would be having the sruthi as one in group singing and learning, since it would be convenient for them to sing and the female singers would fix the sruthi as five or five and half. This is the normal procedure.
Individual sruthi:
This is the most important aspect of learning advanced stage of carnatic music. In the beginning stage, most of the students would have sung in the common sruthi five kattai. When a person wants to sing individually, first he or she should verify the sruthi perfectly. Of course, the teacher knows it very well than the student. The most important factor in fixing one’s sruthi is Aadhara Shadjam.
First, a singer has to understand about the lowest sound and highest sound he or she can produce with melody and perfection. The lowest sound could be taken as base shadjam. When he or she slowly sings the notes one by one in any ragha, he or she would arrive to Shadjam. When he or she continues further note by note, he or she would reach top shadjam. When he or she goes to the top, he or she would be able to sing next top Shadjam without strain. In this process, the sound of the Aadhara shadjam would be between one and one and half. For some male persons, it would be less than one and for some persons above one and half. Generally, the sruthi of male is between one and one and half and the sruthi of female is between five and five and half.
The sruthi system is arranged as one, one and half, two, two and half, three, four, four and half, five, five and half, six, six and half and seven. After this, again the sruthi one comes. It is in the same cycle and there are no any other scales in the entire music system. Once you are regular with the changed sruthi for individual singing, you can fix this in your mind very easily. Whenever you sing shadjam, directly it will land there without any support. That is your natural sruthi. Then, you have to find exactly where your sruthi is, and tune your sruthi box according to your sruthi. In those days it was very easy to tune the manual sruthi box. Most of the singers would be having this sruthi box, since it is easy to tune the sruthi. Of course, it is easy, when you have knowledge. When there is a very small difference in the sruthi, it is very difficult to tune the sruthi box. Manual operating sruthi boxes are available generally with the sruthi one and five. Most of the buyers would change the sruthi to their comfort by tuning them. I will write a separate article for tunning the sruthi box, since it is a very delicate job. Electronic sruthi box is now available with complete range and singers can gradually increase or decrease the sruthi according to their Aadhara shadjam. A few have the doubt about the sruthi since they are not aware of the fact there are no other sruthis in music system. Each sruthi is corresponding to that sruthi only. When a singer’s Aadhara shadjam is less than one sruthi, it would be above seven and below one. For our remembrance sake, we can say the sruthi as three-quarter or one and quarter. It is always better to mention as less than one or just above seven. The scale starts from C, which is one sruthi and ends in B, which is seven. After seven, again the C scale comes. These twelve sruthis are the same as Shadjam, suddha rishabham, chathusruthi rishabham, sadharana gandharam, andhara gandharam, suddha madhyamam, prithi madhyamam, panchamam, suddha daivatham, chathusruthi daivatham, kaisiki nishadham and kakali nishadham.
There is a vast difference between the voice and the instruments in fixing the sruthi. For example, if a singer’s original sruthi is one and if he happens to sing in a group with one and half sruthi, immediately he will tune his voice for a few seconds and will start to sing with them with one and half sruthi, without any problems. It is not the same case with instruments. They have to tune the instruments and in the case of flute, it is also not possible. All the notes will change and only the tune will be the same. If they are singing Mohanam, they will be singing as:
Shadjam, chathusruthi rishabham, andhara gandharam, panchamam, daivatham and shadjam with one and half sruthi. When you are having one sruthi flute, then, you have to increase half sruthi for all the notes. With the one sruthi flute, if you play suddha rishabham, sadharana gandharam, suddha madhyamam, suddha daivatham, kaisiki nishadham and suddha rishabham, it will be perfect a perfect Mohanam. A detailed article in this topic would be provided later.

RAGHA LAKSHANA OF RASIKAPRIYA

2007-08-11T07:20:00.000-07:00

Ragha Lakshana of Rasikapriya
This is the seventy second and last Melakartha. It is the last chakra, which is Adhithya. It is in the last position of the chakra, which is Shaa.
Aarohanam and Avarohanam of Rasikapriya:
S R G M P D N S – S N D P M G R S
Swaras used in this ragham:
Shadjam, shadsruthi rishabham, andhara gandharam, prithi madhyamam, panchamam, shadsruthi daivatham and kakali nishadham.
The signs for the swaras:
Aadhithya – Shaa – RU – GU – MI – DHU – NU
Jeeva swaras: gandharam and daivatham
Nyasa swaras: gandharam and panchamam
Graha swaras: shadjam and panchamam
Special aspects of this ragham:
This is one of the vivadhi melakarthas. This is a moorchanakaraka ragham. That is, through graha betham, we derive other melakarthas. Gandhara moorchana of this ragha gives Simhendhra madhyamam and nishadha moorchana of this ragha gives Mayamalava Gowlai. That is, when you keep gandharam as shadjam, you get Simhendhra madhyamam and when you keep nishadham as shadjam, you get Mayamalava Gowlai. Vivadhi and suddha Melakarthas have no enmity in-between them and this vivadhi Melakartha Rasikapriya produces the Melakartha, Mayamalava Gowlai, which is a suddha Melakartha. It also produces the suddha Melakartha Simmhendhra madhyamam.
Important phrases for Rasikapriya:
PA..... PA MA GA RI....GA.... RI...SA.... S N DA.... PA.... PA DA NI.... SA. ... PA DA...PA... PMGA... SA RI GA.. MPDPDA... PA..DA..NI SA... SNDA...PA... MA PA MA GA... RI....SA....
SA....SRGRSA.... SRGRGA...RGMGMA...DDPMGMPMGMGRSA.... SNDA...PA...PAMA..GA...MA PA... PA DA NI....RI.....SA.......

Introduction to Special Aspects of Thala

2007-08-10T11:21:00.000-07:00

There are ten important points in Thala of Carnatic Music. They are known as Thala Dasapranas.
They are: Kaalam, Angam, Kiriyai, Graham, Jathi, Yadhi, Layam, Kalai, Margam and Prastharam.
1. Kaalam: This is the relationship between the tempo of the thalam and the speed of the notes. One note in one beat is first kaalam, two notes in one beat is second kaalam and four notes in one beat is third kaalam.
2. Angam: This is the part of the thalam. Lagu, Dhrutham and Anudhrutham are the three important parts of thala and there are thirteen more parts in thala.
3. Kiriyai: This is the action of the thalam. There are two different types of actions in thala. The first one is the action with sound and the second one is the action without sound.
4. Graham: This is the place where the song starts. There are three types of Grahams. The first one is the same place for the thala and the song. Second one is that the thala comes first and then the song. The third one is the song comes first and then the thala.
5. Jathi: This is the countings of the beats. There are five types of Jathis. This is used only for Lagu.
6. Yadhi: This is various options and designs of the approach of the thala. There are many types of Yadhis such as Sama Yadhi, Srothovaka Yadhi and others. Whatever design we create, the structure of the thala would remain same.
7. Layam: This is the tempo of the thalam. Slow, Medium and fast are the tempos.
8. Kalai: This is the small part of the beat of the thala. There are three types of Kalais. When one beat contains one note, it is single kalai. When one beat contains two notes, it is two kalai and when one beat contains four notes, it is four kalai.
9. Maargam: This is the way of composing songs and other basic lessons. There are six types of Maargams. This indicates in which speed the song is composed.
10. Prasthaaram: Prasthaaram is the variations that could be created in the different parts of the thalam. For example, a chathusra jathi Lagu contains four notes and this could be created as 2+2, 2+1+1, 1+2+1, 1+1+2, and 1+1+1+1.
The above article is just the introduction. In the beginning stage, this subject is a little difficult to understand. Detailed information about this subject with clear explanation and examples would be provided later.
I request all the readers to go through completely and provide your valuable views and suggestions.

SRUTHIS IN CARNATIC MUSIC

2007-08-09T12:41:00.000-07:00

SRUTHI SYSTEM IS ONE OF THE INTERESTING ASPECT OF CARNATIC MUSIC. THIS COMMON FOR THE ENTIRE MUSIC SYSTEMS. THE TERM KATTAI IS USED FOR MENTIONING SRUTHI IN CARNATIC MUSIC. ALL THE SRUTHIS ARE PROVIDED HERE.

C SCALE IS ONE SRUTHI, WHICH IS SHADJAM
C SHARP SCALE IS ONE AND HALF SRUTHI, WHICH IS SUDDHA RISHABHAM
D SCALE IS TWO SRUTHI, WHICH IS CHATHUSRUTHI RISHABHAM
D SHARP IS TWO AND HALF SRUTHI, WHICH IS SADHARANA GANDHARAM
E SCALE IS THREE SRUTHI, WHICH IS ANDHARA GANDHARAM
F SCALE IS FOUR SRUTHI, WHICH IS SUDDHA MADHYAMAM
F SHARP IS FOUR AND HALF SRUTHI, WHICH IS PRITHI MADHYAMAM
G SCALE IS FIVE SRUTHI, WHICH IS PANCHAMAM
G SHARP IS FIVE AND HALF SRUTHI, WHICH IS SUDDHA DAIVATHAM
A SCALE IS SIX SRUTHI, WHICH IS CHATHUSRUTHI DAIVATHAM
A SHARP IS SIX AND HALF SRUTHI, WHICH IS KAISIKI NISHADHAM
B SCALE IS SEVEN SRUTHI, WHICH IS KAKALI NISHADHAM
THESE ARE THE SCALES AVAILABLE IN THE MUSIC SYSTEM.
GENERALLY, WE SAY THAT THE SRUTHI IS BELOW ONE. THIS MEANS THE SRUTHI IS SEVEN IN THE BASE. SOMETIMES, WEHN THE SRUTHI IS BELOW ONE AND ABOVE SEVEN, WE CAN SAY THAT THE SRUTHI IS BETWEEN ONE AND SEVEN.

MUSIC IS THE SAME ALTHOUGH WE CALL BY DIFFERENT NAMES. CARNATIC MUSIC IS THE COMPLETE MUSIC AND IF YOU KNOW CARNATIC MUSIC, YOU CAN PLAY ANY MUSIC FLUENTLY. WE CAN IDENTIFY THE OCEANS ONLY IN THE MAP. IT IS NOT POSSIBLE FOR US TO IDENTIY THEM WHEN WE TRAVEL IN A SHIP. NOBODY CAN SAY THIS IS RED SEA, AND THAT IS INDIAN OCEAN. IT IS THE SAME WITH MUSIC. WITHOUT ENTERING INTO THE MUSIC, WE CAN SAY THIS IS WESTERN CLASSICAL, AND THAT IS CARNATIC AND SO ON. ACTUALLY WHEN WE ENTER INTO THE WORLD OF MUSIC, THEY ARE SAME.

RAGHA LAKSHANA OF KANADA

2007-08-08T09:35:00.000-07:00

RAGHA LAKSHANA OF KANADA
AAROHANAM: S R G M D N S
AVAHONAM: THERE ARE MANY AVAHONAMS FOR THIS RAGHA KANADA. THEY ARE:
1. S N P M G R S
2. S N P M G M R S
3. S N D P M G M R S
4. S N S D P M P G M R S
THIIS IS A JANYA RAGHA OF TWENTY SECOND MELAKARTHA KHARAHARAPRIYA. THIS IS A SHAADAVA VAKRA SAMPOORNA RAGHAM.
PANCAHMAM IS VARJYAM IN AAROHANAM. SHADJAM, CHATHUSRUTHI RISHABHAM, SADHARANA GANDHARAM, SUDDHA MADHYAMAM, PANCHAMAM, CHATHUSRUTHI DAIVATHAM AND KAISIKI NISHADHAMS ARE THE SWARAS IN THIS RAGHAM.
JEEVA SWARAS:
THESE ARE THE SWARAS WHICH GIVE LIFE AND BHAVA TO THE RAGHA. GANDHARAM, DAIVATHAM AND NISHADHAMS ARE JEEVA SWARAS FOR KANADA.
NYAASA SWARAS:
THESE ARE THE SWARAS THAT ARE CREATED TO PLAY LONG PHRASES. SANCHARAS CAN BE END WITH THESE SWARAS. REST OF THE NOTES IS NOT ALLOWED AS PER THE LAKSHANA OF KANADA. RISHABHAM, GANDHARAM, PANCHAMAM AND DAIVATHAM ARE NYAASA SWARAS FOR KANADA.
GRAHA SWARAS:
THESE ARE THE SWARAS IN WHICH THE SONGS START. WHEN COMPOSERS COMPOSE SONGS, THEY HAVE TO FOLLOW THIS LAKSHANA TO FIX THE STARTING SWARA FOR THE SONG. RISHABHAM AND NISHADHAM ARE THE TRADITIONAL GRAHA SWARAS ACCORDING TO THE SAMPRADHAYAM.
OTHER SPECIAL ASPECTS OF KANADA:
DAIVATHAM IN AAROHANAM AND GANDHARAM IN AVAROHANAM ARE THE STRONG SWARAS. THESE ARE THE DHEERGA SWARAS. THESE SWARAS ADD BEAUTY TO THE RAGHA KANADA.
M P G A…, N S D A N PA… SANCHARAS PROVIDE THE LIFE TO THIS RAGHA. S N P A…, D N P A… ARE THE SPECIAL PHRASES FOR KANADA.
THERE WILL BE RESAMBLANCE OF ANDHARA GANDHARA AND KAKALI NISHADHAM IN SOME PHRASES ON RARE OCCASIONS.
THIS IS ONE OF THE BEST RAGHAS TO REALAIZE DIFFERENT POSTITIONS OF SRUTHIS, WHICH ARE VERY DELICATE TO UNDERSTAND. KANADA IS THE RAGHA WHERE MANY SRUTHIS OF GANDHARAM ARE USED. READERS CAN UNDERSTAND THE POSITION OF GANDHARAM IN DIFFERENT PHRASES.
THIS IS THE RAGHA WHERE THE USAGE OF SADHARANA GANDHARAM IS AT ITS BEST. SIX SRUTHIS OF GANDHARAM IS USED IN THIS RAGHA. MANY SCHOLARS HAVE HANDLED THIS RAGHA TO ITS HIGHEST LEVEL. LISTENING THIS RAGHA WILL HELP TO REALAIZE THE DELICATE SRUTHIS. WE HAVE TO UNDERSTAND THAT THERE ARE MANY SRUTHIS, APART FROM THE TWENTY TWO SRUTHIS. MANY SCHOLARS HAVE DERIVED THAT THERE ARE NINETY SIX SRUTHIS AND MORE.
TO UNDERSTAND THE POSITIONS, THE LOWEST POSITION IS MENTIONED AS NUMBER ONE AND THE HIGHEST POSITION IS MENTIONED AS NUMBER SIX.
1. NUMBER ONE SADHARANA GHANDHARAM IS USED IN THE PHRASE NI SA RI…RI PA PMGA… THIS POSITION IS JUST ABOVE THE CHATHUSRUTHI RISHABHAM AND BELOW KOMALA SADHARANA GHANDHARAM.
2. NUMBER TWO SADHARANA GHANDHARAM IS USED IN THE PHRASE RI GA MA RI SA….. THIS IS THE KOMALA SADHARANA GANDHARAM.
3. NUMBER THREE SADHARANA GANDHARAM IS USED IN THE SANCHARA GM DA DA….. THIS IS JUST ABOVE THE KOMALA SADHARANA GANDHARAM BUT BELOW REGULAR SADHARANA GANDHARAM.
4. NUMBER FOUR SADHARANA GANDHARAM IS USED IN THE SANCHARA GA..MA….RI…SA…, WHERE THE MADHYAMAM IS LONG. THIS POSITION IS ABOVE THE SADHARANA GANDHARAM.
5. NUMBER FIVE SADHARANA GANDHARAM IS USED IN THE SANCHARA NI SA RI..RI.. SA RI GA……., WHERE GANDHARAM IS USED SHORT.
6. NUMBER SIX SADHARANA GANDHARAM IS USED IN THE PHRASE NI..SA..RI..SA …RI..GA…………, WHERE THE DURATION OF GANDHARAM IS LENGTHY. THE GANDHARAM IS REPEATED TWICE OR THRICE TO GET THE BHAVA OF KANADA. THIS POSITION IS JUST BELOW ANDHARA GANDHARAM AND ON RARE OCCASIONS, THE RESEMBLACE OF ANDHARA GANDHARAM WILL BE THERE.
THE USAGE OF NISHADHAM IS ALSO VERY IMPORTANT. IN THE PHRASE DA NI PA…., NORMAL KAISIKI NISHADHAM IS USED.
IN THE PHRASE, SRSSAS DNI…DA, RESEMBLANCE OF KAKALI NISHADHAM IS THERE IN THE PHRASE, SRSSAS AND IN THE DNI…DA, THE POSITION OF THE KAISIKI NISHADHAM IS JUST ABOVE THE NORMAL NISHADHAM. ANOTHER ABOVE POSITION OF NISHADHAM IS ALSO USED IN KANADA. IT IS USED TO PRODUCE LONG NISHADHAM SEPARATELY. THIS POSITION IS ACHIVED BY PLAYING DSADSD. WHEN DSADSD IS PLAYED, ONLY N IS HEARD. WHEN WE ROTATE FAST A MULTI COLORED DISC, ONLY WHITE WILL BE VISIBLE AND NOT THE COLORS INSIDE THE DISC. THE SAME PRICIPLE IS APPLICABLE HERE. RAGHA LAKSHANA OF KANADA IS STILL DEEP AND IT CAN BE GAINED WITH MORE LISTENING TO THE RAGHA AND BY PRACTICAL EXPERIENCE.

IMPORTANCE OF THEORY IN MUSIC

2007-08-07T00:30:00.000-07:00

There is no difference between theory and practical parts of carnatic music. Theory says about the grammar of the musical aspects and when they are implemented, the best result is achieved. Unless a person has the theoretical knowledge, it would not be possible for him to produce the best in carnatic music.
Raghas very difficult to handle and it needs deep intensive practice. Ragha Lakshana is the main aspect of presenting a ragha. It is necessary to have knowledge of grammar of the raghas that are rendered. Without the knowledge of theory, surely it would not be possible to render a ragha with full Bhava.
Bairavi is a very special ragha, which has all the seven swaras in Aarohanam and seven notes in Avarohanam. In Aarohanam, Chathusruthi Daivatham is used and in Avarohanam, Suddha Daivatham is used. In the phrase P D N S NI..., Suddha Daivatham is used. This is a rare sanchara for Bairavi and it is an important sanchara for Bairavi.
Kanada is a very delicate ragha. It is highly essential to know the Ragha Lakshana, before playing or singing. Six different positioned Sadharana Gandharams are used in this ragha. These delicate and accurate positions could be realized only after deep knowledge of Kanada, since these positions are beyond the Twenty Two sruthi System.
In the beginning stage of the Swaras, we know that the distance between one swara to the next swara is one note in Sapthaswaras. When we go further, with the twelve swarasthanas, the distance is half note. Going further deep, the distance between two swaras become quarter with the Twenty Two sruthi system. In fact, our carnatic music is entirely different from other music systems and there is no gap between swaras. That is, all the gaps have been filled with different positions. It is just like siren.
In Kanada, different types of Sadharana Gandharams are used in different sancharas and it is very important to register them in mind and implement them while rendering the alap to get the real life of Kanada. A detailed Ragha Lakshana of Kananda would be provided separately.

TWENTY TWO SRUTHI SYSTEM

2007-08-04T11:35:00.000-07:00

In Indian Carnatic Music, there are seven notes or Swaras, which are known as Sapthaswaras.
They are:
Shadjam, Rishabham, Gandharam, Madhyamam, Panchamam, Daivatham and Nishadham.
Shadjam and Panchamam are constant notes and the other five swaras have two different positions.
With the above, we derive twelve different positions. These are known as twelve Swarasthanas.
They are:
Shadjam, Suddha Rishabham, Chathusruthi Rishabham, Sadharana Gandharam, Andhara Gandharam, Suddha Madhyamam, Prithi Madhyamam, Panchamam, Suddha Daivatham, Chathusruthi Daivatham, Kaisiki Nishadham and Kakali Nishadham.
In the above twelve swarasthanas, we know that Shadjam and Panchamam are constant notes and they never change. Rest of the notes have different positions, which are known as Sruthis. These positions are very delicate to understand, since the distance between two notes is very small. So, in total there are twenty two different positions in Carnatic Music System and it is known as Twenty two sruthi system.
Twenty Sruthis:
1. Shadjam
2. Eka sruthi Rishabham
3. Dhuvi sruthi Rishabham
4. Thiri sruthi Rishabham
5. Chathu sruthi Rishabham
6. Komala Sadharana Gandharam
7. Sadharana Gandharm
8. Andhara Gandharam
9. Theevira Andhara Gandharam
10. Suddha Madhyamam
11. Theevira Suddha Madhyamam
12. Prithi Madhyamam
13. Theevira Prithi Madhyamam
14. Panchamam
15. Eka sruthi Daivatham
16. Dhuvi sruthi Daivatham
17. Thiri sruthi Daivatham
18. Chathu sruthi Daivatham
19. Komala Kaisiki Nishadham
20. Kaisiki Nishadham
21. Kakali Nishadham
22. Theevira Kakali Nishadham
These twenty two sruthis are used in Raghas to get the perfect Bhava or Life to the Raghas.

PARTS OF THALAM IN CARNATIC MUSIC

2007-08-04T00:48:00.000-07:00

In Indian Carnatic Music, the Thala system is very interesting. There are three important parts in Thala, which are known as Lagu, Dhrutham and Anudhrutham. These are used in the Sooladhi Thalas. Apart from the above three parts, there are more parts in thala, which are used in Hundred and Eight Thalas. It would be interesting to know the names and the number of Aksharas in each of these parts.
The Major six divisions of Thalas are known as Shadangams. They are:
1. Anudhrutham
2. Dhrutham
3. Lagu
4. Guru
5. Pulutham
6. Kakapadham
A single Akshara part, Viramam is used with the above six parts and we get sixteen parts in total.
These sixteen parts are known as Shodasangams.
They are:
1. ANUDHRUTHAM AKSHARAS -- ONE
2. DHRUTHAM AKSHARAS -- TWO
3. DHRUTHA VIRAMAM AKSHARAS -- THREE
4. LAGU AKSHARAS -- FOUR
5. LAGU VIRAMAM AKSHARAS -- FIVE
6. LAGU DHRUTHAM AKSHARAS -- SIX
7. LAGU DHRUTHA VIRAMAM AKSHARAS -- SEVEN
8. GURU AKSHARAS -- EIGHT
9. GURU VIRAMAM AKSHARAS -- NINE
10. GURU DHRUTHAM AKSHARAS -- TEN
11. GURU DHRUTHA VIRAMAM AKSHARAS -- ELEVEN
12. PULUTHAM AKSHARAS -- TWELVE
13. PULUTHA VIRAMAM AKSHARAS -- THIRTEEN
14. PULUTHA DHRUTHAM AKSHARAS -- FOURTEEN
15. PULUTHA DHRUTHA VIRAMAM AKSHARAS -- FIFTEEN
16. KAKAPADHAM AKSHARAS -- SIXTEEN

WAYS TO FIND MELAKARTHAS

2007-08-03T05:21:00.000-07:00

In Indian Carnatic Music system, there are seventy two melakarthas. Two different sign languages are used to find the swaras in the Melakarthas. It is very interesting and easy to remember. The following chart would help the readers to know about the system clearly.

CHAKRA
MELA SANGYA SIGN
MELA SWARA SANGETHA SIGN
NAME OF MELAKARTHA
1
INDHU
PAA
RA-GA-MA-DHA-NA
KANAKANGI
2
INDHU
SRI
RA-GA-MA-DHA-NI
RATHNANGI
3
INDHU
KO
RA-GA-MA-DHA-NU
GANAMOORTHY
4
INDHU
BHOO
RA-GA-MA-DHI-NI
VANASPATHI
5
INDHU
MAA
RA-GA-MA-DHI-NU
MANAVATHI
6
INDHU
SHAA
RA-GA-MA-DHU-NU
THANAROOPI
7
NETHRA
PAA
RA-GI-MA-DHA-NA
SENAVATHI
8
NETHRA
SRI
RA-GI-MA-DHA-NI
HANUMA THODI
9
NETHRA
KO
RA-GI-MA-DHA-NU
DHENUKA
10
NETHRA
BHOO
RA-GI-MA-DHI-NI
NATAKARIYA
11
NETHRA
MAA
RA-GI-MA-DHI-NU
KOKILAPRIYA
12
NETHRA
SHAA
RA-GI-MA-DHU-NU
ROOPAVATHI
13
AGNI
PAA
RA-GU-MA-DHA-NA
GAYAKAPRIYA
14
AGNI
SRI
RA-GU-MA-DHA-NI
VAKULABHARANAM
15
AGNI
KO
RA-GU-MA-DHA-NU
MAYAMALAVA GOWLA
16
AGNI
BHOO
RA-GU-MA-DHI-NI
CHAKRAVAGAM
17
AGNI
MAA
RA-GU-MA-DHI-NU
SOORYAKANTHAM
18
AGNI
SHAA
RA-GU-MA-DHU-NU
HATAKAMBARI
19
VEDHA
PAA
RI-GI-MA-DHA-NA
JHANKARADHWANI
20
VEDHA
SRI
RI-GI-MA-DHA-NI
NATABAIRAVI
21
VEDHA
KO
RI-GI-MA-DHA-NU
KEERAVANI
22
VEDHA
BHOO
RI-GI-MA-DHI-NI
KHARAHARAPRIYA
23
VEDHA
MAA
RI-GI-MA-DHI-NU
GOWREE MANOHARI
24
VEDHA
SHAA
RI-GI-MA-DHU-NU
VARUNAPRIYA
25
BHANA
PAA
RI-GU-MA-DHA-NA
MAARARANJANI
26
BHANA
SRI
RI-GU-MA-DHA-N-
CHARUKESI
27
BHANA
KO
RI-GU-MA-DHA-NU
SARASANGI
28
BHANA
BHOO
RI-GU-MA-DHI-NI
HARIKAMBOJI
29
BHANA
MAA
RI-GU-MA-DHI-NU
DHEERA SANKARABARANAM
30
BHANA
SHAA
RI-GI-MA-DHU-NU
NAAGAANANDHINI
31
RUDHU
PAA
RU-GU-MA-DHA-NA
YAAGAPRIYA
32
RUDHU
SRI
RU-GU-MA-DHA-NI
RAGAVARDHANI
33
RUDHU
KO
RU-GU-MA-DHA-NU
GAANGEYA BHOOSHANI
34
RUDHU
BHOO
RU-GU-MA-DHI-NI
VAGADHEESWARI
35
RUDHU
MAA
RU-GU-MA-DHI-NU
SOOLINI
36
RUDHU
SHAA
RU-GU-MA-DHU-NU
CHALA NAATTAI
37
RISHI
PAA
RA-GA-MI-DHA-NA
SAALAGAM
38
RISHI
SRI
RA-GA-MI-DHA-NI
JALAARNAVAM
39
RISHI
KO
RA-GA-MI-DHA-NU
JHAALAVARALI
40
RISHI
BHOO
RA-GA-MI-DHI-NI
NAVANEETHAM
41
RISHI
MAA
RA-GA-MI-DHI-NU
PAAVANI
42
RISHI
SHAA
RA-GA-MI-DHU-NU
RAGHUPRIYA
43
VASU
PAA
RA-GI-MI-DHA-NA
GAVAAMBODHI
44
VASU
SRI
RA-GI-MI-DHA-NI
BHAVAPRIYA
45
VASU
KO
RA-GI-MI-DHA-NU
SUBHAPANTHUVARALI
46
VASU
BHOO
RA-GI-MI-DHI-NI
SHATVIDHAMAARGINI
47
VASU
MAA
RA-GI-MI-DHI-NU
SUVARNAANGI
48
VASU
SHAA
RA-GI-MI-DHU-NU
DHIVYAMANI
49
BRAMMA
PAA
RA-GU-MI-DHA-NA
DHAVALAMBARI
50
BRAMMA
SRI
RA-GU-MI-DHA-NI
NAAMANAARAAYANI
51
BRAMMA
KO
RA-GU-MI-DHA-NU
KAAMAVARDHANI
52
BRAMMA
BHOO
RA-GU-MI-DHI-NI
RAAMAPRIYA
53
BRAMMA
MAA
RA-GU-MI-DHI-NU
GAMANACHRAMA
54
BRAMMA
SHAA
RA-GU-MI-DHU-NU
VICHVAMBARI
55
DHISI
PAA
RI-GI-MI-DHA-NA
SYAAMALAANGI
56
DHISI
SRI
RI-GI-MI-DHA-NI
SHANMUKHAPRIYA
57
DHISI
KO
RI-GI-MI-DHA-NU
SIMHENDHRAMADHYAMAM
58
DHISI
BHOO
RI-GI-MI-DHI-NI
HEMAVATHI
59
DHISI
MAA
RI-GI-MI-DHI-NU
DHARMAVATHI
60
DHISI
SHAA
RI-GI-MI-DHU-NU
NEETHIMATHI
61
RUDHRA
PAA
RI-GU-MI-DHA-NA
KAANTHAAMANI
62
RUDHRA
SRI
RI-GU-MI-DHA-NI
RISHABAPRIYA
63
RUDHRA
KO
RI-GU-MI-DHA-NU
LATHAANGI
64
RUDHRA
BHOO
RI-GU-MI-DHI-NI
VAACHASPATHI
65
RUDHRA
MAA
RI-GU-MI-DHI-NU
MECHA KALYANI
66
RUDHRA
SHAA
RI-GU-MI-DHU-NU
CHITHRAAMBARI
67
ADHITHYA
PAA
RU-GU-MI-DHA-NA
SUCHARITHRA
68
ADHITHYA
SRI
RU-GU-MI-DHA-NI
JYOTHISWAROOPINI
69
ADHITHYA
KO
RU-GU-MI-DHA-NU
DHAATHUVARDHANI
70
ADHITHYA
BHOO
RU-GU-MI-DHI-NI
NAASIKAABOOSHANI
71
ADHITHYA
MAA
RU-GU-MI-DHI-NU
KOSALAM
72
ADHITHYA
SHAA
RU-GU-MI-DHU-NU
RASIKAPRIYA

2007-08-02T06:38:00.001-07:00

MELA SWARA SANGETHAM TO FIND NOTES

2007-08-01T11:07:00.000-07:00

In Indian Carnatic music system, a language known as Mela Swara Sangetham is being used to identify the swaras. Since Shadjam and Panchamam are constant notes, the language is used for the other fourteen variable swaras.
The signs used to find the swaras are:
RA --- RI --- RU
GA --- GI --- GU
MA --- MI
DA --- DI --- DU
NA --- NI --- NU
RA --- SUDDHA RISHABHAM
RI --- CHATHUSRUTHI RISHABHAM
RU --- SHADSRUTHI RISHABHAM
GA --- SUDDHA GANDHARAM
GI --- SADHARANA GANDHARAM
GU --- ANDHARA GANDHARAM
MA -- SUDDHA MADHYAMAM
MI --- PRITHI MADHYAMAM
DA --- SUDDHA DAIVATHAM
DI --- CHATHUSRUTHI DAIVATHAM
DU --- SHADSRUTHI DAIVATHAM
NA -- SUDDHA NISHADHAM
NI -- KAISIKI NISHADHAM
NU -- KAKALI NISHADHAM
This system helps to know the swaras used in a particular ragha and especially in Melakarthas.
Since it is very difficult to remember all the swaras in all the Melakarthas, this single sound helps to find the swaras, which is very systematically designed.
Example:
The sign for the first Melakartha is RA GA MA DA NA.
In this, RA is for Suddha Rishabham, GA is for Suddha Gandharam, MA is for Suddha Madhyamam, DA is for Suddha Daivatham and NA is for Suddha Nishadham. This is very easy to remember and to handle.

CHAKRAS IN MELAKARTHA SYSTEM

2007-07-24T00:47:00.000-07:00

The Melakartha system of Carnatic Music is very interesting. If you know the melakarthas, you can identify all the notes in all the tunes that you hear. The Melakarthas have been divided into twelve groups, which are called Chakras. Each Chakra has six Melakarthas and in total there are seventy two Melakarthas.
Names of the Chakras:
1. Indhu Chakra
2. Nethra Chakra
3. Agni Chakra
4. Vedha Chakra
5. Baana Chakra
6. Rudhu Chakra
7. Rishi Chakra
8. Vasu Chakra
9. Bhramma Chakra
10. Disi Chakra
11. Rudhra Chakra
12. Aadhithya Chakra
Indhu and Rishi Chakras have Suddha Rishabham and Suddha Gandharam.
Nethra and Vasu Chakras have Suddha Rishabham and Sadharana Gandharam
Agni and Bhramma Chakras have Suddha Rishabham and Andhara Gandharam
Vedha and Disi Chakras have Chathusruthi Rishabham and Sadharana Gandharam
Baana and Rudhra Chakras have Chathusruthi Rishabham and Andhara Gandharm
Rudhu and Aadhithya Chakras have Shadsruthi Rishabham and Andhara Gandharam.
To know about Daivatham and Nishadham, a system is being used, which is known as
Mela Sangya Sangetham. There are six positions of Daivatham and Nishadhams and they are noted by the Mela Sangya Sangetham. They are:
1. Paa, Sri, Ko, Bhoo, Maa and Shaa.
Paa is for Suddha Daivatham and Suddha Nidhadham
Sri is for Suddha Daivatham and Kaisiki Nishadhamm
Ko is for Suddha Daivatham and Kakali Nishadham
Bhoo is for Chathusruthi Daivatham and Kaisiki Nishadham
Maa is for Chathusruthi Daivatham and Kakali Nishadham
Shaa is for Shadsruthi Daivatham and Kakali Nishadham.
The above chart will help to find the melakartha and it will show the swaras used in that Melakartha.

Thalas in Indian Carnatic Music

2007-07-08T01:28:00.000-07:00

THIRTY-FIVE THALAS OF CARNATIC MUSIC SYSTEM
Sruthi Maatha and Layam Pitha; means that the basic shadjam is the mother and the rhythm is the father of our Indian carnatic music. The special aspect of carnatic music is the thala system. It is very interesting to learn about the thalas of the carnatic music.
There are seven major thalas in our Indian carnatic music system. They are:
1. Dhuruva Thalam
2. Matya Thalam
3. Rupaka Thalam
4. Thrupudai Thalam
5. Jampai Thalam
6. Ata Thalam
7. Eka Thalam
Each thala has its own structure and formula, which cannot be changed. There are three important parts in the thalas. They are:
1. Lagu 2. Dhrutham 3. Anudhrutham
Lagu:
Counting after the first beat is lagu. When you count, the first beat is always included. How much to count? It depends on the type of lagu. For this, we have to understand the types of lagus. There are five types of lagus and they are:
1. Thisra Jaathi Lagu
2. Chathusra Jaathi Lagu
3. Kanta Jaathi Lagu
4. Misra Jaathi Lagu
5. Sankeerna Jaathi Lagu.
Thisra Jaathi lagu has three beats. That is, the first beat and the two counting beats. Total - 3 beats.
Chathusra Jaathi lagu has four beats. That is, first beat and the three counting beats. Total – 4 beats.
Kanta Jaathi lagu has five beats. That is, the first beat and four counting beats. Total – 5 beats.
Misra Jaathi lagu has seven beats. That is, the first beat and six counting beats. Total – 7 beats.
Sankeerna Jaathi lagu has nine beats. That is, the first beat and eight counting beats. Total – 9 beats.
The symbol of lagu is
Dhrutham:
Dhrutham has two beats. The first beat and the turning beat. It is always fixed as two beats. In fact, the first beat is followed by the throwing beat. Since it is difficult to maintain the same tempo because of the throwing distance, we use the second beat as turning beat. So, in total, we have only two beats for Dhrutham.
The symbol for Dhrutham is 0
Anudhrutham:
It is just a single beat without counting and without throwing. It is always fixed as one beat.
The symbol for Anudhrutham is a half moon.
Coming back to the seven major thalams, we have to understand the formula for all the seven major thalams.
1. Dhuruva Thalam - Lagu – Dhrutham – Lagu – Lagu
2. Matya Thalam – Lagu – Dhrutham – Lagu
3. Rupaka Thalam – Dhrutham – Lagu
4. Thrupudai Thalam – Lagu – Dhrutham – Dhrutham
5. Jampai Thalam – Lagu – Anudhrutham – Dhrutham
6. Ata Thalam – Lagu – Lagu – Dhrutham – Dhrutham
7. Eka Thalam – Lagu
Since there are five different types of lagus, we can form five different types of Dhuruva Thalams. The five different types of Dhuruva Thalams:
1. Thisra Jaathi Dhuruva Thalam:
Thisra jaathi lagu + Dhrutham + Thisra Jaathi lagu + Thisra Jaathi lagu
2. Chathusra Jaathi Dhuruva Thalam:
Chathusra Jaathi lagu + Dhrutham + Chathusra Jaathi lagu + Chathusra Jaathi lagu
3. Kanta Jaathi Dhuruva Thalam:
Kanta Jaathi Lagu + Dhrutham + Kanta Jaathi lagu + Kanta jaathi lagu
4. Misra Jaathi Dhuruva Thalam:
Misra Jaathi Lagu + Dhrutham + Misra Jaathi lagu + Misra Jaathi lagu
5. Sankeerna Jaathi Dhuruva Thalam:
Sankeerna Jaathi Lagu + Dhrutham + Sankeerna Jaathi lagu + Sankeerna Jaathi lagu
In the same way, we can make five different types of thalams with the other six major thalams.
So, in total, we derive thirty-five thalas in our Indian carnatic music system with seven major thalams and five different types of lagus. This is the introduction to the thirty-five thalas system in our Indian carnatic music system and in future, a detailed theory of the thalams would be provided. These thirty-five thalas are also known as Soolaadhi Thalas.

SIXTEEN NOTES THEROY IN CARNATIC MUSIC

2007-07-03T00:04:00.000-07:00

In Indian Classical Carnatic Music System, there are seven notes or swaras. They are Shadjam, Rishabham, Gaandhaaram, Madhyamam, Panchamam, Daivatham and Nishaadham. These are Sapthaswaras in Carnatic Music. Out of these seven swaras, Shadjam and Panchamam are constant swaras. Other five swaras have different types. Suddha Rishabham, Chathusruthi Rishabham, Saadharana Gaandhaaram, Andhara Gaandhaaram, Suddha Madhyamam, Prithi Madhyamam, Panchamam, Suddha Daivatham, Chathusruthi Daivatham, Kaisiki Nishaadham and Kaakali Nishadham. In total we have twelve swaras. These are known as Suddha Swaras. Apart from the above suddha swaras, there are four more swaras in Carnatic Music System. They are known as Vivaadhi Swaras. They are Shadsruthi Rishabham, Suddha Gaandhaaram, Shadsruthi Daivatham and Suddha Nishadham. There are only twelve Swarasthanas or posistions and the additional four Vivaadhi Swaras take place within the twelve swrasthanas. That is, Shadsruthi Rishabham is Saadharana Gaandhaaram, Suddha Gaandhaaram is Chathusruthi Rishabham, Shadsruthi Daivatham is Kaisiki Nishaadham, and Suddha Nishaadham is Chathusruthi Daivatham. So, in total we have sixteen notes in our Indian Carnatic Music System.

SUDDHA SWARAS IN CARNATIC MUSIC

2007-07-02T10:13:00.000-07:00

Shadjam, Suddha Rishabham, Chathusruthi Rishabham, Saadharana Gaandharam, Andhara Gaandharam, Suddha Madhyamam, Prithi Madhyamam, Panchamam, Suddha Daivatham, Chathusruthi Daivatham, Kaisiki Nishaadham and Kaakali Nishaadham are the twelve swaras. These are Suddha Swaras in Carnatic Music System.

Carnatic Music System

2007-06-25T23:51:00.000-07:00

In our Carnatic Music system, we have two different types of Raghas. The first one is Janaka Ragha and the other one is Janya Ragha. Janaka Ragha has many names like Mother Ragha, Melakartha. In all the scale of the raghas, we have two parts. One is the ascending (aarohana) and the other part is decending (avarohana). Mother Ragha is a scale in which all the seven notes are arranged in perfect ascending and the same seven notes are arranged in the perfect decending. That is, SRGMPDNS - SNDPMGRS.
In our music system we have sixteen notes in total. With different combinations of these sixteen notes, the melakarthas are formed. In this system, there are 72 melakarthas. These 72 melakarthas are divided into two groups. The first 36 melakarthas are suddha madhyama melakarthas and the 2nd 36 melakarthas are prithi madhyama melakarthas. In the other way, 1 to 36 melakarthas are with Suddha Madhyamam and 37 to 72 melakarthas are with prithi madhyamam.
The 72 Melakarthas are devided into 12 Chakras. Each chakra has 6 melakarthas. So, in total we get 72 melakarthas. The first 6 chakras are suddha madhyama chakras and the second 6 chakras are prithi madhyama chakras.
Shadjam and Panchamam are constant notes. In Rishabham, Gandharam, Daivatham and Nishadham, there are three different types. In Madhyamam we have two different types.
With all the lowest positioned notes, the first melakartha is formed and with all the highest positioned notes, the 72nd melakartha is formed. This is the introduction of the 72 melakartha system.
Apart from the above Seventy Two Melakarthas, all the other Raghas are Janya Raghas. We have many different classifications in this section. We have to deal them separately.
Theory of carnatic music is very very ancient and this subject has been handled by many many different educationists. The subject is the same because they are fixed and the way of approach only would change. I have also written books in the same subject.