Lesson 01 - Technical Terms

Sangita

Sangita

• It is music

• One of the performing & fine arts

• Gives melody and pleasant feelings to ears

• Called as Sangeetham

• Vocal, instrumental, and dance was once Sangeetham but now dance is separated from the two

Sruti

• The smallest interval of pitch that the human voice or a musical instrument can produce

• Key note or adhara shadja

Svara

That which is able to please of its own accord is svara.

Saptasvaras

The 7 sapasvaras are the seven basic building blocks of Carnatic music, and the other 6 svaras derive their positions in relation to Shadja.

Sa (full name)

Shadja

Ri (full name)

Rishabha

Ga (full name)

Gandhara

Ma (full name)

Madhyama

Pa (full name)

Panchama

Dha (full name)

Dhaivata

Ni (full name)

Nishada

Swarasthanas

5 svaras (Ri, Ga, Ma, Dha, Ni) have to varieties. Komal (1) lower note Tivra (2) higher note. Tivra swara produced on higher svarasthana and komal on the lower svarasthana. Sa and Pa are achala svaras bc they don’t have varieties

Komal ri

Suddha Rishabha

Tivra Rishabha

Chatusruti Rishabha

Komal Gandhara

Sadharana Gandhara

Tivra Ga

Antara Gandhara

Komal Ma

Suddha Madhyama

Tivra Ma

Prati Madhyama

Komal Dha

Suddha Dhaivata

Tivra Dhaivata

Chatusruti Dhaivata

Komal Ni

Kaisiki Nishada

Tivra Nishada

Kakali Nishada

Sa & Pa are ______ svaras because they don’t have varieties.

Achala

Arohana

The order or krama in which the notes ascend in a raga.

Avarohana

The order in which the notes descend in a raga.

Sthayi

It is the range of the voice or instrument (aka octave). There are 5 sthayis in carnatic music; Anumandra, Mandra, Madhya (normal), Tara, Ati Tara.

Dhatu

The Svara part of the composition is Dhatu.

Matu

The sahitya is the Matu.

Avarta

A complete tala. The completion of one round of angas is avarta.

Trikala

Kala is the speed of the musical piece, there are 3 kalas; Prathama Kala, Dwithiya Kala, & Trityia Kala

Prathama Kala

1st degree of speed. For every anga in a tala 1 akshara kala is sung.

Dwithiya kala

2nd degree of speed, twice faster than Prathama Kala. For every anga in a tala 2 akshara kalas are sung.

Tritiya Kala

3rd degree of speed, twice faster than Dwithiya Kala. For every anga in a tala 4 akshara kalas are sung.

Tala

The rhythmic framework comprising framework comprising structured beats and rests that govern the timing and rhythm of a musical composition.

Shadangas

The 6 distinct modes used to mueasure musical time. Each of the Shadangas are associated with specific akshara kalas, which serve as the units of measurement for the respective modes. Angas are Laghu, Drutham, Anddrutam, Guru, Plutam, Kakapadam.

Laghu (sign + # of aksharas)

(Sign Ɪ), (# of Aksharas 3/4/5/7/9)

Drutham (sign + # of aksharas)

(Sign O), (# of Aksharas 2)

Anudrutam (sign + # of aksharas)

(Sign U), (# of Aksharas 1)

Guru (sign + # of aksharas)

(Sign 8), (# of Aksharas 8)

Plutam (sign + # of aksharas)

(Sign Ɪ8), (# of Aksharas 12)

Kakapadam

(Sign +), (# of Aksharas 16)

Principle Thalangas

The 3 Talangas that are widely in use, Anudrutam, Drutam, & Laghu

Sapta Talas

The seven principle Talas aka the Suladi Sapta Talas (put table with tala name, sign, and akshara kala)

Dhruva Tala (sign + akshara kala)

sign (ꞮOꞮꞮ) akshara kala (14)

Matya Tala (sign + akshara kala)

sign (ꞮOꞮ) akshara kala (10)

Rupaka Tala (sign + akshara kala)

sign (OꞮ) akshara kala (6)

Jhampa Tala (sign + akshara kala)

sign (Ɪ7UO) akshara kala (10)

Triputa Tala (sign + akshara kala)

sign (Ɪ3OO) akshara kala (7)

Ata Tala (sign + akshara kala)

sign (Ɪ5Ɪ5OO) akshara kala (14)

Eka Tala (sign + akshara kala)

sign (Ɪ) akshara kala (4)

Jati

Only laghu has variations in number of kriyas. There are 5 Jati bedhs for Laghu in a Tala.

• Tisra Jati - 3 kriyas

• Chaturasra Jati - 4 kriyas

• Kanda Jati - 5 kriyas

• Misra Jati - 7 Kriyas

• Sankeerna Jati - 9 kriyas

Tauryatrikam

Vocal music, instrumental music, and dance combined

Nada

Two types:

Ahata Nada (music made by effort of man)

Anahata Nada (music of nature).

Ahata Nada types

Sariraja, Nakhaja, Dhanurja, Vayuja, Charmaja, and Lohaja

Nada variations

Atisukshma, Sukshma, Apushta, Pushta, Kritrima

Murchana

Arohana and Avarohana together

Raga

Combination of Svara patterns in melody which has a definite foundation

Abhyasagana

Practice music meant for the initial training of a student (Sarali Varasulu, Janta Svaralu, Datu varusalu, upper sthayi varusalu, alankaras)

Sabhagana

Music that is performed in front of an audience

vaggeyakara

One who composes the dhatu and matu of a composition.