Nature of Carnatic music
The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as g?yaki) Like Hindustani music, Carnatic music rests on two main elements: r?ga, the modes or melodic formul, and t??a, the rhythmic cycles.
Today, Carnatic music is presented by musicians in concerts or recordings, either vocally or through instruments. Carnatic music itself developed around musical works or compositions of phenomenal composers (see below).
Important elements of Carnatic music
?ruti
Main article: ?ruti (music)
?ruti commonly refers to musical pitch.[19] It is the approximate equivalent of a tonic (or less precisely a key) in Western music; it is the note from which all the others are derived. It is also used in the sense of graded pitches in an octave. While there are an infinite number of sounds falling within a scale (or raga) in Carnatic music, the number that can be distinguished by auditory perception is twenty-two (although over the years, several of them have converged). In this sense, while sruti is determined by auditory perception, it is also an expression in the listener's mind
Swara
Main article: Swara
Swara refers to a type of musical sound that is a single note, which defines a relative (higher or lower) position of a note, rather than a defined frequency.[19] Swaras also refer to the solfege of Carnatic music, which consist of seven notes, "sa-ri-ga-ma-pa-da-ni" (compare with the Hindustani sargam: sa-re-ga-ma-pa-dha-ni or Western do-re-mi-fa-so-la-ti). These names are abbreviations of the longer names shadja, rishabha, gandhara, madhyama, panchama, dhaivata and nishada. Unlike other music systems, every member of the solfege (called a swara) has three variants. The exceptions are the drone notes, shadja and panchama (also known as the tonic and the dominant), which have only one form; and madhyama (the subdominant), which has two forms. A 7th century stone inscription in Kudumiyan Malai[21] in Tamil Nadu shows vowel changes to solfege symbols with ra, ri, ru etc. to denote the higher quarter-tones. In one scale, or raga, there is usually only one variant of each note present. The exceptions exist in "light" ragas, in which, for artistic effect, there may be two, one ascending (in the arohanam) and another descending (in the avarohanam).
Raga system
Main article: Raga
A raga in Carnatic music prescribes a set of rules for building a melody very similar to the Western concept of mode.[22] It specifies rules for movements up (aarohanam) and down (avarohanam), the scale of which notes should figure more and which notes should be used more sparingly, which notes may be sung with gamaka (ornamentation), which phrases should be used or avoided, and so on. In effect, it is a series of obligatory musical events which must be observed, either absolutely or with a particular frequency.
In Carnatic music, the sampoorna ragas (those with all seven notes in their scales) are classified into a system called the melakarta, which groups them according to the kinds of notes that they have. There are seventy-two melakarta ragas, thirty six of whose madhyama (subdominant) is sadharana (perfect fourth from the tonic), the remaining thirty-six of whose madhyama (subdominant) is prati (an augmented fourth from the tonic). The ragas are grouped into sets of six, called chakras ("wheels", though actually segments in the conventional representation) grouped according to the supertonic and mediant scale degrees. There is a system known as the katapayadi sankhya to determine the names of melakarta ragas.
Ragas may be divided into two classes: janaka ragas (i.e. melakarta or parent ragas) and janya ragas (descendant ragas of a particular janaka raga). Janya ragas are themselves subclassified into various categories.
Tala system
Main article: Tala (music)
Tala refers to a fixed time cycle or metre, set for a particular composition, which is built from groupings of beats.[citation needed] Talas have cycles of a defined number of beats and rarely change within a song. They have specific components, which in combinations can give rise to the variety to exist (over 108), allowing different compositions to have different rhythms.
Carnatic music singers usually keep the beat by moving their hands up and down in specified patterns, and using their fingers simultaneously to keep time. Tala is formed with three basic parts (called angas) which are laghu, dhrtam, and anudhrtam, though complex talas may have other parts like plutam, guru, and kaakapaadam. There are seven basic tala groups which can be formed from the laghu, dhrtam, and anudhrtam:
Dhruva tala
Matya tala[citation needed]
Rupaka tala
Jhampa tala
Triputa tala
Ata tala
Eka tala
A laghu has five variants (called jaathis) based on the counting pattern. Five jaathis times seven tala groups gives thirty-five basic talas, although use of other angas results in a total of 108 talas.
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