Friday, May 22, 2009

Notation & Carnatic Music

Note: Some of the points are already discussed in the posting “ Self Learing ”, in the interest of maintaining even flow of the topics.

The opinion in this posting is based on observation of certain individuals trying to play or sing Carnatic Music in Western style, of playing notes with modern musical instruments.

And of course , they are self-learners.

Carnatic music notation have been developed systematically, highlighting Tala, Akshara , Mathra Kalas. Of course, a complete notation will contain other details like Name of the Ragam, Talam [its Gathi or Nadai] Arohanam, Avarohanam, Anyaswara details if any, Vageyakkaras name [ Composers] , meaning of composition etc.

Ragalakshana is a separate chapter by itself, the learner is expected be familiar with , which deals with the style of singing or playing of various Swaras , Swara-passages, special Swara prayogas[Visesha Prayogas] Gamaka application, Sruthi stahana of Swaras and their position and application so as to bring the Swaroopa of Raga in its full glory.

Since the Swaras will normally not sound alone, they always have a tinge of adjacent Swaras embellished with Gamakas and Anuswaras. Then only the Raga will sound with full Bhava.

Carnatic music is to be played or sung with full of Bhakthi and Bhava.

It is a well known fact that there is no effective method of indicating mood , Bhava, Gamakas, Anuswaras in notation. The symbols suggested by some earlier authors is found to be complicated and not in use.

Therefore, a complete knowledge of the above not-possible-to-write factors is essential for playing or singing of Carnatic Music.

That is the reason for some of the learner’s failure to bring the full glory of song and Ragam in Carnatic Music .

The real beauty of Carnatic Music can be brought out only by learning through a Guru, rather than wholly depending on written Notations. .

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