How much you know about Carnatic Music - Page 5

Collection of scented flowers of Carnatic Music



Bhajana: Group singing in a congregational setting. It is a religious cum musical ritual and the Bhajana sampradaya or practices were mainly prevalent among the Saivites or followers of The teachings of Adi Sankara. During bhajans or bhajana rituals, singing is also followed by dancing. This practice of dancing along with singing was brought to Southern India by Chaitanya, a Northern Indian philosopher.



Bharatha: Was a saint and is credited with creating and providing structure to classical Indian dance. The book that Bharatha wrote is called the Natyasastra (150 B.C.) or the theory of dance. In this book, he also describes the instruments that should accompany a dance and in particular, explains the technique of playing Veena, the ancient string instrument.



Mangala Vadyams or Instruments for Sacred occasions: Nadaswaram (the long wind instrument) and Thavil (the drums that accompany the Nadaswaram) are considered Mangala Vadyams and are used during the temple rituals as well as during occasions such as Marriage, birth anniversaries, etc.



Navaratna Malika: Nine compositions that Syama Sastri composed in praise of Goddess Meenakshi of Madurai Temple. Since they are like nine gems in a necklace, they are called Navaratna (nine gems) Malika (necklace or garland).



Navavarna Kritis: A group of nine compositions by Sri Muthuswamy Dikshitar in praise of Goddess Parvathi. There are at least three such groups of nine kritis composed by Muthuswamy Dikshitar; Kamalamba Navavarna kritis in praise of Goddess Kamalamba, Abhayama Navavarnam in praise of Goddess Abhayama and Shiva Navavarnam in praise of Lord Shiva. Kamalamba, Abhyamba, Devi, are all incarnations of Goddess Parvathi.



Pann: Is the equivalent of raga in Tamil. Pann have been created and used by Tamil poets for a long time and there are significant references to these in Silapathikaram and other Tamil literature.



Panchalinga Kritis: Literally means five compositions, each in praise of one Shiva Lingam. In Hindu mythology, Shiva Lingams are used to represent the five forces of nature – Earth, Water, Fire, Air, and Atmosphere. The great composer, Muthuswamy Dikshitar composed five songs in praise of each lingam that represents one of these forces and collectively, they are called the Panchalinga Kritis. The lingams are worshipped as Earth in Kancheepuram; Water in Thiruvanaikkaval; Fire in Thiruvannamalai; Air in Kalahasti, and Atmosphere in Chidambaram.



Sama Veda: There are four main Vedas or ritual scriptures that Hindus compiled over 2,000 years ago. Sama Veda is one of them (the other three being Rgveda, Atharvana Veda, and Yajur Veda). Sama literally means "to be level or in unison." It also means a song. Sama Veda is credited with contributing the following to the Indian music:

Music scale

Principles of aesthetics such as melody, creativity, etc.

Principles of thala or rhythms and timing

Notations or writing the music


Sangitaratnakara (AD 1230): is a treatise on Indian music system. Sangitaratnakara was written by Sarangadeva (from Kashmir). He was an Accountant General by Profession. In this book, Sarangadeva describes all the aspects of a raga, thala, prabhanda (composition) and vadya (instruments).



Sthala Kritis: Means kritis or compositions either composed in a specific town (during the visit of a composer to that place) or the deity of that town. Saint Thyagaraja. as well as several others have composed such sthala kritis. A few examples are given below:



Veena Kuppayyar in praise of the Lord of Kalahasti, a temple town near Thirupathi:

Koniyaadina napai (Kamboji)

Nanu brova rAda (Sama)

BirAna nannu brova (Hamsadvani)

Sama Gana Lola (Salagabhairavi)

Sevitamu rAramma (Sahana).



Thyagaraja Swami in praise of Lord of Thirupathi, Sri Venkateswara.

Thera dheeaga radha (Gowli Bantu)



Thyagaraja Swami's Lalgudi (a town near Trichy) Pancharathnams or five gems.

Isa Pahimam (Kalyani),

Deva Sthree tapa Thirtha (Madhyamavathi),

Lalithe sri pravriddhe (Bhairavi),

Mahitha Pravriddha (Kambodi),

Gati nee vani (Thodi)



Thyagaraja Swami's Kovur (a small temple town near Madras) Pancharathnams

Sundareswaruni (Sankarabharanam)

Eva Sudha (Sahana)

Kori Sevimpa rAre (Karharapriya)

Nammi Vachina (Kalyani)

Sambho Mahadeva (Panthuvarali)



Thyagaraja Swami's Thiruvottiyur (a suburb of Madras city) Pancharathnams.

Kanna Thalli (Saveri)

Sundari nee divya rupa (Kalyani)

Sundari Ninu varnimpa (arabhi)

Sundari Nannindarilo (Begada)

Daarini Thelusu Konti (Sudha Saveri)



Thyagaraja Swami's Nagapattinam sthala kritis

Karmame Balavanthamayya (Saveri)

Evaru Teliya Boyyeru (Todi)



Thyagaraja Swami's Srirangam (the famous temple town near Trichy) Pancharathnams

O Ranga Sayee (Kambodi),

Chootamu Raare (Aarabhi),

Vinaraadhaa (Deva Gandhaari),

Raju Vedala (Thodi),

Karuna Joodu Maiyya (Saranga).



Various Swaras:

Vadi Swara: An important or predominant note in a raga. This note will repeated several times and emphasized during the rendering of a raga

Samvadi Swara: The next important note after Vadi swara. If two notes are related to each other as Sa or Shadjam and Pa or Panchamam, they are called samvadi swaras; consonance of the fifth or the fourth note. For example, Shadja and Suddha Madhyama, Suddha Rishabha and Suddha Dhaivata, Suddha Gandhara and Suddha Nishadha, Sadaharana Gandhara and Kaisiki Nishada, Antara Gandhara and Kakali Nishada, Suddha Rishaba and Prati Madhyama are samvadi swaras (Prof. Sambamurthy).

Vivadi Swara: If between two swara, there is only one sruti (conflicting), they are called Vivadi Swaras.



Venkatamakhi: Is the person who codified the Indian music ragas into 72 melakarta or parent ragas. He provided a framework that allows ragas to be classified into precise mathematical and arithmetical scales. He formulated the raga scheme in the sixteenth century. Please read the article on Melakarta scheme available in Carnatic Basics webpage.



Western and Indian music systems: What differentiates Indian music system from its Western counterpart are the notes or the swaras. In Indian music, the swaras are of varying frequency unlike in Western music where it is fixed tone intervals. Because of the varying note frequency intervals, Indian music is able to create its raga scheme and thala scheme and no other music system in the world has this unique feature. Because of the variability or changeability in the tones, in Indian music system, the harmony is horizontal as opposed to vertical in the Western system. Consequently, during a performance or a concert, there is no need to changes the keys.

Taran, I agree, music cannot and should not be determined by domicile, but by ears and heart.

Normally, in the growing up years, the leaning is towards the one of your culture, the one which is normally followed in your state/ area. Though from Bombay, we have a huge south Indian community here who keep the traditions alive and by sheer fact that our area has majority south indians, the classical music teachers belong to the same line. I did have an interest in Hindustani Classical, so I studied it for a while, but I whole heartedly agree with you, having learnt both styles, that Carnatic is far more complex and very very rich compared to Hindustani.

Dolly definitely deserves kudos for making this wonderful posts and then contributing in great detail, with her own personal comments and additions and inputs. Good work 👏

Thank you priya ji and egghatcher ji for ur kind words...thanks for all ur input.I will add few more things later today or tommrow.

22.What are musical forms? Why do we need them? Give at least two different musical forms in Carnatic music.

23.What is the difference between abhyasa ganam and Sabha ganam?

24.What is the difference in characteristic between a varnam and a Geetham?

25.What are the two types of varnams?

Musical forms or structures can be classified into two basic formats: Abhyasa Ganam or those useful for the purposes of learning and practicing music and Sabha Ganam, those useful for the purposes of performing such as, in a concert or public gathering. Those of us who have learnt to sing or play instruments such as violin, flute, or similar instruments would have gone through the rituals or various steps during the process of such learning. For example, early music lessions begin with Sarali Varisai (S R G M P D N) , Jantai Varisai (SS RR GG MM PP DD NN SS), Thara Sthayi and thakku sthayi varisais, Thattu Varisai, Alankaram, Geetham, Swarajathi, Jatiswaram, and Varnam. Similarly, at the next higher stage, we begin learning Varnams, Kritis, Padam, Javali, Thillana, RTP, Ragamalika etc. These are Sabha Ganam.

below are two of many music forums in carnatic music

Varnam: Is the bridge between the two musical forms, Abhyasa Ganam and Sabha Ganam. Learning many Varnams and in many ragams makes a student of music very proficient in the art. Varnams, not only bring out the lakshana or characteristics of a raga but, they also render the voice flexible and mellifluous and trained in handling complex swara patterns and in obtaining control over layam or timing. Varnams are divided into Pallavai, Anupallavi, Cahranam, Muktayi Swaras and Charana Swaras. Two major varnams forms are: Tana varnam and Pada varnam; sub-classification of these include: Padajati varnam, and Ragamalika varnams.

Geetham: is one of the simple musical forms and permits a student to learn a composition without the complexities of Pallavai, Anupallavi, Charanam etc. It is a stepping stone for the next higher musical form, the Kriti. Usually Geetham is sung from start to finish without a break. Learning Geetham is very helpful in voice training. Geethams themselves come in various forms such as Sadharana or ordinary Geethamm; Sanchari Geetham and Lakshana Geetham (highlighting the characteristics of ragas, both Janya and Janaka ragas).

26.What is the difference between a thana varnam and a pada varnam?

Taana varnam, as the name implies, are in the form of tanams. In taana varnam, sahityam and lyrics are used only in the Pallavi, anupallavi, and charnam. Taana Varanams are used primarily for musical practice and are often set in madhyama (middle) or Duritha (fast) tempo. In contrast, PadaVarnam, also known as ChaukaVarnam, is sung in slow tempo (chaukakaala meaning vilamba or slow tempo) and hence gives ample scope. Some of the well-known Taana varnams include Sarasijaakshhaa in Kedara Gowlam, Saarasakshi in Kalyani, and Mahishaasura Mardhini in Andolika (composer: Muthia Bhagavathar).

Pada varnams are very often used during dance. Padams, when repeated, allow a dancer to exhibit footwork and various expressions. Some of the well-known pada varnams include: Chalamela in Natakurunji, Pankajakshi in Kamboji, Sami Ninnekori in Atana.

27.Give on common characterstic and one differentiating charactistic between a kirtana and a kriti.

Keertana is a precursor to the kriti form of music.Keerthanas are generally in praise of God, pleading to God or narrating some mythological events. In Keertana, the lyrics are more important than the swaras or niravals.

whereas Kriti is the highest musical form. . Most of the great composers's creations would fall under kritis.kriti give much scope for a musician to engage in creative embellishments such as niravals, sangatis, etc. It also gives scope for thala or rhythm expositions.

similarity between Kriti and Keertana is they both have Pallavi, Anupallavi, and Charanam divisions(although some kritis do not have aunpallavis).

Carnatic Music Basics, Geethams & Varnams Audio Lessons Archive

this is a web site where u can get some lessons

http://www.ecse.rpi.edu/Homepages/shivkuma/personal/music/va rnams/index.html#geethams

28.What are maguda swarams in a ragamalikai?

Ragamalikai: Is a composition set in several ragas or a garland (malika) of ragas. Ragamalikas are not restricted only to Kriti form but also extends to Geethams, Swarajatis and Varnams. Each unit of a ragamalika will be set to a different ragam and at the end of each unit, it will be denoted by Chitta Swarams set in the same raga as that of the Pallavi. This type of signature is called Maguda Swarams. The Sahityam or lyrics used duri ng the Maguda Swaram is called the Maguda Sahityam and is useful for connecting the various units of a Ragamalika with the Pallavi.