BASIC LESSONS OF CARNATIC MUSIC & ITS SIGNIFICANCE PART1

BASIC LESSONS OF CARNATIC MUSIC AND ITS SIGNIFICANCE- PART 1

It is the practice in the world of Carnatic Music  learning to follow a format  during initial training, with specific chapters  as  listed below.

1 SWARAVALI VARISAI IN MAYAMALAVA GOWLA  RAGAM

2 JANDAI VARISAI

3 TARA STHAYI AND MANDARA STHAYI VARISAI

4 ALANKARAS

5 GEETHAM

6 SWARA JATHI

7 JATHISWARAM

8 NOTTU SWARA SAHITHYAS

Further analysis in subsequent postings……………

MUSICAL INSTRUMENT PART 2

Musical Instrument Part 2

Roll of Musical Instruments in Carnatic Music Concerts

It will be interesting to make an analysis on how the Musical instruments are finding its place in Carnatic Music Concerts:

Veena-----------------------as Main Instrument

Violin-----------------------as Main Instrument as well as accompaniment

Guitar-----------------------as Main Instrument

Mandolin-------------------as Main Instrument

Thambura------------------as Supporting Instrument

Nadaswaram---------------as Main Instrument

Clarionet--------------------as Main Instrument

Saxophone-------------------as Main Instrument

Flute---------------------------as Main Instrument

Mukaveena------------------as Main Instrument

Mrudangam-----------------as accompaniment

Kanjeera----------------------as accompaniment

Ghatam------------------------as accompaniment

Thavil--------------------------as accompaniment

Jalatharangam---------------as Main Instrument

Cymbal-------------------------as accompaniment

Konnakol-----------------------as accompaniment

Morsing-------------------------as accompaniment

R.V RAO

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.