Carnatic Music

Origin
India is very rich in varied culture and different states of country have their own forms of music and dance.
However, the unity in the diversity of the various styles owe their origin to a single root - the Vedas (the Hindu
holy scriptures). Even though the art in the form of the Sapthaswaras (seven notes), has been drawn from all the
four vedas, prime mention should be made of Sama Veda , as the inspirationational source for its rhythm.
"Ya Samagapi Sarveshu Brahmyamana Tatha Bhuvi"
meaning, by reciting the Samaganam (music derived from Sama Veda), the Lord pervades the entire universe,
including the blessed earth where we reside.

Present Age
Carnatic Music is rich in both Raagas(melody) and Talas and has to be expressed with Bhava (feeling). Carnatic
music lays great emphasis in Laya(rhythm) and has several patterns of rhythm called ‘Taala’. Each composition
has a set pattern of rhythm and it is performed at a particular speed.

Ancient Tamil (a South Indian language spoken in the state of Tamil Nadu) scriptures dating back to several
thousands of years, such as the Pasurams and Thevaram sung in the temples have strongly contributed to the
development of Carnatic music. Methodical presentation of Carnatic music was developed in the 15th century by
Purandara Dasa. He structured the various exercises of Carnatic music which facilitates both learning and
teaching the art with ease.

Composers of Carnatic Music
Devotion has been the main theme for all the composers. Though Purandara Dasa set out methodical practice of
music, Krithis (songs) have existed even before his time. Purandara Dasa also composed over 400,000 Krithis in
praise of Lord Krishna and other Hindu Gods mainly in Kanada (a South Indian) language.

Different states have different composers. The Trinities of Carnatic Music - Saint Thyagaraja, Shyama Sasthri
and Muthuswami Dikshathar have brought innumerable krithis. There are several other notable composers whose
songs are sung to date by musicians such as Gopalakrishna Bharathi, Muthuthandavar, Papanasam Sivan, Meesu
Krishna Iyer and others. Meesu Krishna Iyer - being an ardent devotee of Sadasiva Brahmendra (his Guru)
wrote songs on him. His Guru Bhakti (devotion towards teacher) stands out prominently in all his lyrics. These
songs were set to tune in rare raagas by Alathur Venkatesa Iyer who even composed intricate Chittaswaras for
them. Mrs. Sarojini Sundaresan is the only exponent in the Carnatic music world to have a complete repertoire of
the composer.

Scientific Aspects
Raaga can be defined as the swaras presented in the form of melody. Raaga lakshana (structure) is determined
by the Arohanam (ascending sequence of swaras) and Avarohanam (descending sequence of swaras). this sets the
scale of the Raaga. Basically Raagas can be grouped into two classes
1. Melakartha Raagas
2. Janya Raagas

Melakartha Raagas
The Melakartha scheme of Raagas was developed in the 16th century by Saint Venkatamukhi and they are 72 in
number. Melakartha ragas are also called Sampoorna Raagas. A Sampoorna or Complete Raaga has all the 7
swaras(notes) in its scale both in the ascending and descending order. Out of the 72 Melakartha raagas, the first
36 ragas are called "Suddha Madhyama" (natural fourth)Melakartha raagas and the other 36 are called "Prathi
Madhyama" (augmented fourth) Melakartha raagas.

Janya Raagas
The Janya Ragas are born out of the Melakartha ragas and are many thousands in number derived by permutation
and combination.
Janya Ragas are not Sampoorna Ragas i.e. they do not have all the seven swaras (notes) in their scale.

Taalam (Patern of rhythm)
Taalam indicates the rythm or beats in Carnatic music.
There are three different types of hand gestures that are used -
1. Thattu- downward beat with the palm facing
down,
2. Veechu - downward beat with palm facing up
3. Counts with the fingers.

There are 35 basic taalas. Each of these 35 taalas can further be presented in the five different Nadais or Gathi
(Beats) yielding a total of 175 taalas. Further the song could also start from the quarter/ half / three-quarters of a
beat.

Structure of a Carnatic Music Song
A typical Carnatic music song is composed of three parts:

1. Pallavi - the thematic line of the song.

2. Anupallavi - the second portion ellaborating the mood of Pallavi.

3. Charanam - the concluding portion of the song. A song may have one or more charanams.

Carnatic Music Concert
Varnam- a traditional Carnatic music recital opens with the Varnam. Varnam is normally sung in two speeds to
pep up the tempo of the concert. Apart from having Pallavi, Anupallavi and Charanam the varnam also has
swaras.

Krithis - Krithis are songs. The varnam is followed by several krithis. Commonly compositions of the Trinities
of Carnatic music - Thyagaraja , Muthuswami Dikshathar and Shyama Sashtri are sung. The heavier songs are
preceded by Aalaapanai, Neraval and swara prastharas. Aaalapanai is the improvisation of the raga of the song
with no lyrics or rythm. Neraval is the extempore rendition of a line of the song confining to the beats of the
taalam. Swara prastharas are extempore rendition of the swaras for a particular line of the song and has to
strictly follow the rythm.

Raagam - Taanam - Pallavi - is a major item of the Carnatic recital and is sung in important concerts.
Pallavi is rendered in different speeds and in the tisra gathi as well. The choice of Pallavi and the taalas depends
entirely on the level of expertise of the performer. The twin sections of this performance are the Anulopam and
Prathilopam. Anulopam is the rendering of the Pallavi in different speeds with the Taala at the same speed.
Prathilopam is where the Taala is in the third speed and the Pallavi is sung in three speeds. Top notch musicians
sing swara prastharas in diferent raagas for the chosen Pallavi. The Alathur style from which Sarojini Sundaresan
and Leela Rammohan Rao hail is very famous for rendering Pallavis in intricate and difficult rhythm patterns.

The recital’s latter half consists of Tukada (miscellaneous items)- which are compositions such as Bhajans,
Thirupugazh (in Tamil) etc. and may be in many languages.

Tillana is presented before the end of the concert and is an exposition of rhythm.

Mangalam - meaning an auspicious ending is sung in the raagas Madhyamavathy / Saurashtram / Suruti /
Manirangu / Sriraagam.