MUSICAL INSTRUMENTS

MUSICAL INSTRUMENT

Musical Instruments occupy an important position in field of Carnatic Music. It is to be noted that selected Instruments only are in strong position in the world of Carnatic Music. Since Carnatic Music is Krithi based art form,Kritis are played in Musical Instruments too, similar to Vocal rendition.. Of course, the Monodharma component of the Music are introduced at appropriate places during the concert. One cannot expect exact reproduction of Voice in the Musical Instrument playing and vice versa. Both styles are having their own individuality which are fine and graceful on their own. As mentioned earlier, Carnatic Music is Kriti based, Vocal rendition or Instrument playing are combined with Alapana, Niraval, Swara Kalpna , which are Monodarma or impromptu improvisation component of the Music.

Some of the instruments are played as main instrument in the concerts and some are as accompaniments only. There are some instrument which are played as both main and accompaniment ones.

The Musical Instruments are classified as:

            String Instruments

            Wind Instruments

            Percussion Instruments

            Other types of Instruments.

String Instruments: Veena, Violin, Chitra Veena,Guitar, Mandolin Thambura

Wind Instruments: Nadaswaram,Clarionet, Saxophone,Flute, Mukaveeana

Percussion Instruments: Mrudangam, Kanjeera, Ghatam,Thavil
Other Types of Instruments: Jalatharangam,Cymbal,[Konnakaol]

Other types of Instruments: Jalatharangam, Morsing, [Konnakol]

MUSIC APPRECIATION PART 2

            In  one sense the Rasikas of Carnatic Music are also musicians because by their continuous listening of many professional artist’s performances, and their rich musical knowledge acquired due to the above.

            Keeping their interest in mind, this posting and many more to follow has been aptly titled as MUSIC APPRECIATION.

            To start with, various elements and aspects of Carnatic Music has been listed below and they are discussed in the subsequent postings.

1. Kriti
2. Keerthana
3. Virutham
4. Katcheri
5. Pakka Vadyam.
6. Sabha
7. Rasika
8. Vidwan
9. Vocal Rendering
10. Musical Instruments and Playing Techniques
11. Samanya Sangeetham
12. Pamara Sangeetham
13. Folk Music
14. Cinema Music
15. Goshti Ganam
16. Vaadya Vrundha
17. Aalapanai
18. Sangathi
19. Niraval
20. Geetham
21. Swarajathi
22. Jathiswaram
23. Nottu Swara Sahithyas
24. Varnam
25. Ragam
26. Raga Malika
27. Ragam Thanam Pallavi
28. Thalam Nadai or Gathi
29. Thala Malika
30. Vaggeyakaras
31. Thani Aavarthanam
32. Composers
33. History of Music
34. Thillana
35. Padham
36. Jaavali
37. Bhajan
38. Sampradaya Sangeetham
39. Divyanama Sangeetham
40. Devara namas
41. Kavadi Chindu
42. Patriatic Songs
43. Thukkada
44. Thambura
45. Sruthi
46. Mallari
47. Kalpana Sangeetham
48. Kalpitha Sangeetham
49. Chittai Swaras
50. Saadakam
51. Bhakthi Bhavam
52. Arangetram

Etc

Swaras - Part III

To write musical notations , there are a number of symbols and nomenclature for each of the 16 Swaras of Carnatic music. The format of a Kriti or Keerthana contains these details which make it easy to render Swara in its designated Swarasthana. Along with, of course, the Gamakas , Anuswaras and other Swara ornamental elements ,are to be mastered for rendering Raga and Kriti or Keerthana with Raga’s full glory.

Nomenclature of 16 Swaras are given Below:

1. Shadjam ………………………….S

2 Sudda Rishabam…………………….Ra………….R1

3 Chatusruthi Rishabam ………………Ri………….R2

4 Shatsruthi Rishabam ………………Ru ……...…..R3

5 Sudda Gandaram……………………Ga…………….G1

6 Sadarana Gandaram…………………Gi ………….. G2

7 Anthara Gandaram…………………..Gu……………G3

8 Sudda Madyamam…………………..Ma…………..M1

9 Prathi Madyamam…………………...Mi…………..M2

10 Panchamam…………………………..P

11 Sudda Daivatham……………………Da…………..D1

12 Chatusruthi Daivatham………………Di…………. ..D2

13 Shatsruthi Daivatham ……………….Du……...……D3

14 Sudda Nishadam…………………….Na……………N1

15 Kasiki Nishadam…………………….Ni…………….N2

16 Kakali Nishadam…………………….Nu……………N3

By using systematic combination of the above Swaras , 72 Melas are obtained with the following conditions:

1) The seven Swaras must be present in Arohanam and Avarohanam.

2) The sequence of Swaras in Arohanam and Avarohanam should be in ascending and descending order respectively.

3) Each Swara should occur in the same variety in both Arohanam and Avarohanam.

4) The two Swaras sounding in the same Swarasthanam should not find place in one Ragam.

Swara Part II

SWARA PART II

Carnatic Music Ragas is based on an important formula called “ 72 Melakartha Scheme”. A Mela is the combination 7 Swaras taken in order , S R G M P D N both in Arohanam [Ascending order] and Avarohanam [Descending order], using one Swara out of two [already available the posting on Swaras. There can be 32 combination arrived at.

But there, still remains scope for more of such combinations, if both varieties of the Swaras , except S and P, are used.

The rule of 72 Melakartha recommends not to use both varieties of Swaras except S and P ,which are having no variations.

Finding solution for this :

the Swara Chatusruthi Rishabam is assigned another name, Sudda Gandaram,

Sadarana Gandaram is assigned another name, Shatsruthi Rishabam,

Chatusruthi Daivatham is assigned another name , Sudda Nishadam, and

Kaisika Nishadam is assigned another name Shatsruthi Daivatham.

In other words, the Swara Chatusruthi Rishabam and Sudda Gandaram will sound the same Swarasthana.

Sadarana Gandaram and Shatsruthi Rishabam will sound in the same Swarasthana.

Chatusruthi Daivatham and Sudda Nishadam will sound in the same Swarasthana.

Kaisika Nishadam and Shatsruthi Daivatham will sound in the same Swrasthana.

Now, there are a total of 16 Swaras sounding in the place of 12 Swarasthanas.

The Swaras , Sudda Gandaram, Shatsruthi Rishabam, Sudda Nishadam and Shatsruthi Daivatham are called Vivadi Swaras.

Normally these Swaras are played or sung without Gamakas.

It is to be noted that the Swaras Chatusruthi Rishabam and Sudda Gandaram will not find place in a Sampoorna Ragam,

Similarly, Shatsruthi Rishabam and Sadarana Gandaram will not find place in a Sampoorna Ragam,

Chatusruthi Rishabum and Sudda Nishadam will not find place in a Sampoorna Ragam, and

Shatsruthi Daivatham and Kaishiki Nishadam will not find place in a Sampoorna Ragam,

Sampoorna Ragam is one in which 7 Swaras are there, taken in order both in Arohanam and Avarohanam.

The Swaras can now be summarized as follows:

Shadjam 1 No

Rishabam 3 Nos

Gandaramm 3 Nos

Madyamam 2 Nos

Panchamam 1 No

Daivatham 3 Nos

Nishadam 3 Nos.

Now the Swara Chart assumes different style:

1. Shadjam

2. Suddha Rishabam

3. Chathusruthi Rishabam…&… 4 Sudda Gandaram.. at the same Swarasthanam

5 Sadarana Gandaran …&…6 Shatsruthi Rishabam.. at the same Swarasthanam

7. Anthara Gandaram

8. Suddha Madyamam

9 Prathi Madyamam

10 Panchamam

11 Suddha Daivatham

12 Chatusruthi Daivatham…& 13. Suddha Nishadam.. at the Swarasthanam

14. Kaisiki Nishadam……& 15. Shatsruthi Daivatham.. at the same Swarasthanam

16. Kakali Nishadam.

By using one Swara, viz, S R G M P D N, from the above list , 72 combinations can be arrived at ,still satisfying the requirement of “ 72 Mela kartha” scheme.

For the self- learners , this theory may appear a bit complicated.

Each of the combination so arrived is called a Mela Kartha and is the basis of the entire Raga System in Carnatic Music.

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. .