LEVEL 2 SINGING

Purvangam

First part of a composition

Uttarangam

Second part of an composition

Graha swara

Start note of any raga phrase or part of composition or swara phrase

Graha in tala

Place where the tala starts

Sama Graha

Talam and the song starts at the same time

Anagata Graha

When talam starts first and the song follows

Ateethagraha

song starts first, then tala

Vishamagraha

Anagata and Ateethagraha grahas together

Amsa

Dominant swara (Jeeva or life giving note of a raga)

Vaadi

Compared to king in the realm of a raga

G - Sankarabharanam

M - Hindola

N - Kalyani

Nyasa

Ending note of a raga-phrase or part of a composition or the entire composition

Vinyasa

Ending note of each phrase of raga alapana/ swara kalpana

Samvadi SWARAM

Are in pairs of 9 or 13

Apanyasa

Irregular ending notes of raga alapana/swara kalpana

Sanyasa

Ending note of last phrase of raga alapana/swara kalpana

vivadi swaras

4 swaras, 2 Srutis higher

S, P

Shadjam, Panchamam

R1, R2, R3

Shudda Rishabam, Chatusruti Rishabam, shatsruti Rishabam

G1, G2, G3

Suddha Gandharam, Sadharana Gandharam, Antara Gandharam

M1, M2

Suddha Madhyamam, prati madhyamam

D1, D2,D3

Suddha Dhaivatam, Chatusruti Dhaivatam, Shatsruti Dhaivatam

N1, N2, N3

Suddha Nishadam, kaisiki nishadam, kakali nishadam

Anuvadi Swar

A note that follows Vadi swara,

gati/nadai

gati or movement of a tala, indicating the subdivisions of a beat

- 3- tisra, 4- chaturasra, 5 - khana, 7- misra, 9-sankeerna

chittaswara

artistic swara phrases in 4-8 avartams that enhance a kriti (tyagaraja and varagalaya)

Madhyamakala

Medium tempo

. Tana varnas sung in madhyama Kala

. Kritis in medium tempo are madhyama Kala

. A portion of the sanity's is set to madhyama Kala, which is double the basic tempo, called madhyama Kala sahitya

Sangati

melodic variation on a musical theme of a composition to bring out a raga , tyagaraja excels in sangati

- the repetitions of a pallavi.

Teermanam

mathematic, aesthetically woven bunch of svara configurations that give a good ending, combinations swara/jati patterns in sets of 3,4,5,6,7 and so on

Muktayi

Combination of aesthetic patterns of either jatis (to end a composition) or svaras to end an kalapana swara, the structure for both purvangam and uttrangam are different

Swara

A musical note and has a natural instinct to please the minds of the listeners by itself due to innate upper partials or harmonies in it

Harmonies

Are called swayambhu swaras

SWARA TABLE

Sa - doh - sa

Ri - re - re

Ga - me - ga

Ma - so - ma

Pa - fa - pa

Da - la - dha

Ni - ti - n

Carnatic - western - Hindustani

Nada

The origin of Nada is way before the humans existence, it originated in Vedic era, and later developed into Santa swaras, many of these sounds relate to animal sounds

Sounds of the swaras

S - peacock

R - cow

G - goat

M - heron

P - kokila

D - horse

N - elephant