Comprehensive Study Notes on Carnatic Musical Theory, Instruments, and Composers

Fundamental Musical Definitions and Concepts

• Krama: This refers to the specific order or sequence of notes within a scale, dictating how swaras are arranged in ascending or descending movement.

• Moorchana: A process of creating a new sequence of notes by starting a scale from a different swara while maintaining the identical note pattern. This is functionally similar to changing the tonic ($Sa$) and results in the production of different ragams. An example is taking the original ragam Shankarabharanam and shifting the tonic to $Ma$. This transformation results in the ragam Kalyani due to the revised positioning of the swaras.

• Jati (Jaathi): An ancient classification system utilized for melodies and ragas before the establishment of the modern melakarta system. It organized music into different categories based on specific note patterns, the number of swaras, and distinct melodic characteristics.

• Ashtapathy: A devotional composition consisting specifically of eight verses. These are derived from the Gita Govinda, authored by the poet Jayadeva.

  • Themes: Primarily describe the divine love between Radha and Krishna, expressing profound bhakti (devotion).

  • Features: Renowned for emotional expression and poetic beauty; they are sung across various ragas.

  • Applications: Frequently used in Carnatic concerts and classical dance, notably Bharatanatyam.

  • Example: Lalita Lavanga Lata Parishilana from the Gita Govinda.

• Jaavali: A light classical composition focused on sringaara rasa (romantic love and feelings).

  • Content: Lyrics typically document emotions such as longing, teasing, disappointment, or love between partners.

  • Structure: Generally shorter, simpler, and lighter than padams, featuring catchy melodies and accessible language.

  • Applications: Suitable for abhinaya (expressive storytelling) in dance recitals.

  • Example: Sāramaina Mātalento in the raga Behag, composed by Dharmapuri Subbarayar.

• Ragamalika: Meaning "garland of ragas" (raga = melody, malika = garland), this is a composition where multiple ragas are used within a single piece.

  • Structure: Each section is rendered in a different raga to create variety and emotional depth.

  • Example: Kurai Ondrum Illai by Rajaji.

• Pancharatnam: Known as the "five gems" of Carnatic music, these are five celebrated compositions by Saint Tyagaraja in praise of Lord Rama. They are prized for their rhythmic beauty and devotional depth. The five krithis and their respective ragas are:

  1. Jagadanandakaraka – Raga Nata

  2. Dudukugala – Raga Gaula

  3. Sadhinchene – Raga Arabhi

  4. Kanakana Ruchira – Raga Varali

  5. Endaro Mahanubhavulu – Raga Sri

Taladasapranas: The Ten Elements of Musical Time

1. Kriyai (Action/Timing) Kriyai refers to the physical actions used to demonstrate the Angams of a Thalam. It is divided into two categories:

• Sasabda Kriyai: External sounds made during the thalam, such as the beat of the hand. This is seen during the Anudrutam, the first aksharam of Drutam, and the first aksharam of Laghu.

• Nissabda Kriyai: Silent parts of the thalam cycle. This includes finger counts during Laghu and the wave of the hand, known as Visarjitam.

2. Angam (Parts of Thalam) There are six types of Angams, collectively known as Shadangams. The specific details are summarized below:

• Anudrutam: Symbolized by $U$ or $a$, count of $1$ Aksharakalam.

• Drutam: Symbolized by $O$, count of $2$ Aksharakalams.

• Laghu: Symbolized by $|$, counts of $3, 4, 5, 7, 9$ (depending on the Pancha Jaathis).

• Guru: Symbolized by $8$, count of $8$ Aksharakalams.

• Plutam: Count of $12$ Aksharakalams.

• Kakapadam: Symbolized by $+$, count of $16$ Aksharakalams.

• Note: Guru, Plutam, and Kakapadam are part of the system of $108$ Thalams, which are no longer in common use.

3. Jaathi (Internal Rhythm) Jaathi determines the number of beats specifically within the laghu portion of a talam. The five main jathis are:

• Tisra jathi: $3$ beats in the laghu.

• Chathusra jathi: $4$ beats in the laghu (e.g., Adi talam).

• Kanda jathi: $5$ beats in the laghu.

• Misra jathi: $7$ beats in the laghu.

• Sankeerna jathi: $9$ beats in the laghu.

4. Graham/Eduppu (Starting Point) Graham defines where the music begins within the Thala Avarthanam. It is split into two main types:

• Sama Graham: The music and the thalam start simultaneously. Example: The keerthanam Sadha Paalaya.

• Vishama Graham: The music and thalam do not start together. It has two sub-types:

  1. Anahata Graham: The music starts after the thalam. Example: The Charanam of Thulasi Dala.

  2. Atita Graham: The music starts before the thalam. This is rare. Example: Sivagama Sundari.

5. Layam/Kalam (Tempo) Layam refers to the speed of the music. There are three categories:

• Vilambita Layam: Slow speed, also called Chowka Kalam. Used for specific Keerthanams and Kritis.

• Madhya Layam: Medium speed.

• Druta Layam: Fast speed.

6. Yati (Rhythmic Patterns) Yati describes the visual or rhythmic shape of a Talam's patterns. There are six kinds:

• Sama Yati: An equal, constant pattern. Example: $N N D D - P P M M - G G R S - N P D S$ (groups of $4$ swaras throughout).

• Gopuchcha Yati: Shaped like a cow's tail; it starts wide and narrows down. Example: $S R M P D N - R M P D N - M P D N$.

• Srotovaha Yati: Shaped like a river; the opposite of Gopuchcha, it starts narrow and grows wider.

• Mridanga Yati: Starts small, widens in the middle, and narrows again, shaped like a miruthangam. Example: $P D N - M P D N - G M P D N - R G M P D N - G M P D N - M P D N - P D N$.

• Damaru Yati: Starts wide, narrows in the middle, and widens again, shaped like a damaru drum. Example: $R G M P D N - G M P D N - M P D N - P D N - M P D N - G M P D N - R G M P D N$.

• Vishama Yati: A pattern where Angams have no definite or predictable order. Example: $S, R G M, P D N S N D, P M G, R S$.

7. Kalai (Fractional Units) Kalai refers to the swaras per Aksharam:

• Eka Kalai: $1$ swaram per aksharakalam.

• Dvi Kalai: $2$ swaras per aksharakalam.

• Chatush Kalai: $4$ swaras per aksharakalam.

8. Kalam (Musical Speed)

• For Varnams, Keerthanams, or Kritis:

  • $1\text{st}$ speed: $4$ swarams per aksharakalam.

  • $2\text{nd}$ speed: $8$ swarams per aksharakalam.

  • $3\text{rd}$ speed: $16$ swaras per aksharakalam.

• For Varisais (Swara Varisais or Melsthayi Varisais):

  • $1\text{st}$ speed: $1$ swara per aksharakalam.

  • $2\text{nd}$ speed: $2$ swaras per aksharakalam.

  • $3\text{rd}$ speed: $4$ swaras per aksharakalam.

9. Margam (The Path of Reckoning) There are six paths, known as Shanmargams, for accurate Talam reckoning:

• Used in Pallavi: Dakshina Margam, Vartika Margam, Chitra Margam.

• Used in Kritis: Chitratara Margam, Chitratama Margam, Atichitratama Margam.

• Examples:

  • Chitratara: Sarojadala (Sankarabharanam by Syama Sastri).

  • Chitratama: Vathaapi (Hamsadhvani by Muthuswami Dikshitar).

  • Atichitratama: Ramayika (Sahana by Pattinam Subramaniya Ayyar).

10. Prastharam (Expansion) Prastharam refers to splitting a Tala Angam into its component parts. For a Chatusra Laghu ($4$ beats), there are eight ways to expand/Prastharam:

1. $4 = 4$

2. $3 + 1 = 4$

3. $2 + 2 = 4$

4. $2 + 1 + 1 = 4$

5. $1 + 3 = 4$

6. $1 + 2 + 1 = 4$

7. $1 + 1 + 2 = 4$

8. $1 + 1 + 1 + 1 = 4$

Dasavidha Gamakams: Orchestral Ornamentation

Gamakam is the particular shake or oscillation of a swaram that defines a ragam's uniqueness. There are ten main types, known as Dasavidha Gamakams:

• Arohana Gamakam: The ascending scale, often executed as long, rapid runs of beauty. Example: $s r g m p d n s r g m$.

• Avarohana Gamakam: Moving down from a higher note to the next lower note. Example: $m g r s n d p m g r s$.

• Ahata Gamakam: Ascending notes paired with the preceding or following note. Example: $sr rg gm mp pd dn ns$ or $gmg rgr srs$.

• Pratiyahata Gamakam: Descending notes paired with the following note. Example: $sn nd dp pm mg gr rs$ or $sns ndn dpd$.

• Sphurita Gamakam: Emphasizing the second swaram in Jantai varasais. Example: $sS rR gG mM pP$.

• Tripuscha Gamakam: Playing swarams in triplets. Example: $sss rrr ggg mmm ppp$.

• Daatu Gamakam: Jumping or skipping notes while using one note as a base. Example: $sr sg sm sp sd sn ss$.

• Andola Gamakam: A swinging effect used on instruments like the Veena. Example: $srs R r - srs G g - srs M m$.

• Kampita Gamakam: Shaking a swaram to emphasize it. Different ragas require different swaras to be shaken. In Kannada, the Gandaram is emphasized: $pmpG gmrs$.

• Moorchana Gamakam: Repeating an ascending order while shifting the base note each time. Example: Starting Madhya Sthayi Shadjam and ascending to Nishadam, then starting on Rishabam to ascend to Tara Sthayi Shadjam ($n s r g m p d - s r g m p d n - r g m p d n s$).

Physical Construction and Functions of Musical Instruments

Flute (Venu)

• Materials: Traditionally made from a single hollow cylinder of seasoned bamboo. It features a knotted end (closed) and an open end, with one blowing hole and seven fingering holes.

• Function: Accompanies vocalists and dancers and serves as a solo concert instrument. It produces a soothing sound by vibrating air through the tube.

Kanjira

• Materials: A frame drum made from jackfruit tree wood. The face is made of goat skin (replacing the endangered lizard skin used originally). A slit in the frame contains small metal discs for jingling.

• Function: A percussion instrument used to support the mridangam. Performers change pitch by pressing fingertips near the skin's rim.

Violin

• Materials: The body is made of maple, spruce, or jackfruit wood. The fingerboard is ebony. It has four steel strings. The bow is wooden, strung with horsehair, and treated with rosin to maintain sound quality. The bridge and pegs are often ebony or hardwood.

• Function: Highly melodic and flexible (allowing for Jaaru/Gamakam); functions as both a solo lead and an accompanying instrument.

Miruthangam

• Materials: Barrel-shaped body made of jackfruit wood. Drumheads are layered goat or cow skin. A black spot ($Karanai$), made of rice paste, carbon, and iron filings, provides tone. Straps are cowhide leather.

• Construction: The right head ($வலந்தலை$) is smaller with a higher pitch; the left head ($துண்஡லை$ or $இதந்தலை$) is bigger with a low bass sound.

• Function: The primary percussion instrument in Carnatic music used to maintain thalam.

Veenai

• Materials: Strings are steel and brass. The resonator ($Kudam$) and small resonator are jackfruit wood. The fretboard has 24 brass frets. The neck ($Dandi$) is wood or animal horn.

• Function: A main melody instrument capable of expressing rich tones and complex gamakas.

Tambura

• Materials: The resonator ($Kudam$) is jackfruit or teak wood. The neck ($Dandi$) has four wooden tuning knobs. It uses four strings, plucked to create a buzzing sound via a flat bridge.

• Function: Provides a continuous drone ($Sa - Pa - Sa - Pa$) to help performers maintain a steady pitch; it does not play melodies.

Raga Lakshanams: Detailed Technical Analysis

• Gowlai: A Shadava Ragam (ascending) and Vakra (descending). Janya of Mayamalavagowla.

  • Arohanam: $S R_1 M_1 P N_3 S$

  • Avarohanam: $S N_3 P M_1 R_1 G_3 M_1 R_1 S$

  • Swaras: Shadjam, Shuddha Rishabham, Antara Gandharam, Shuddha Madhyamam, Panchamam, and Kakali Nishadam.

• Naatai: A Sampoorna Ragam and Janya of Chalanata.

  • Arohanam: $S R_3 G_3 M_1 P D_3 N_3 S$

  • Avarohanam: $S N_3 P M_1 G_3 M_1 R_3 S$

  • Swaras: Shadjam, Shatshruthi Rishabham, Antara Gandharam, Shuddha Madhyamam, Panchamam, Shatshruthi Dhaivatham, and Kakali Nishadam.

• Kaanada: A Vakra Sampoorna Ragam and Janya of Kharaharapriya.

  • Arohanam: $S R_2 P G_2 M_1 D_2 N_2 S$

  • Avarohanam: $S N_2 P M_1 G_2 M_1 R_2 S$

  • Swaras: Shadjam, Chatushruthi Rishabham, Sadharana Gandharam, Shuddha Madhyamam, Panchamam, Chatushruthi Dhaivatham, and Kaisiki Nishadam.

• Shaana (Sahana): A Vakra Sampoorna Ragam and Janya of Harikambhoji.

  • Arohanam: $S R_2 G_3 M_1 P M_1 D_2 N_2 S$

  • Avarohanam: $S N_2 D_2 P M_1 G_3 M_1 R_2 G_3 R_2 S$

  • Swaras: Shadjam, Chatushruthi Rishabham, Antara Gandharam, Shuddha Madhyamam, Panchamam, Chatushruthi Dhaivatham, and Kaisiki Nishadam.

• Shanmugapriya: The $56\text{th}$ Melakarta Ragam; categorized as Sampoorna.

  • Arohanam: $S R_2 G_2 M_2 P D_1 N_2 S$

  • Avarohanam: $S N_2 D_1 P M_2 G_2 R_2 S$

  • Swaras: Shadjam, Chatushruthi Rishabham, Sadharana Gandharam, Prati Madhyamam, Panchamam, Shuddha Dhaivatham, and Kaisiki Nishadam.

• Reethigowlai: A Vakra Shadava–Sampoorna Ragam and Janya of Kharaharapriya.

  • Arohanam: $S G_2 R_2 G_2 M_1 N_2 N_2 S$

  • Avarohanam: $S N_2 D_2 M_1 G_2 M_1 P M_1 G_2 R_2 S$

  • Swaras: Shadjam, Chatushruthi Rishabham, Sadharana Gandharam, Shuddha Madhyamam, Panchamam, Chatushruthi Dhaivatham, and Kaisiki Nishadam.

• Saaranga: An Audava–Sampoorna Ragam and Janya of Kharaharapriya.

  • Arohanam: $S R_2 M_1 P N_3 S$

  • Avarohanam: $S N_3 D_2 P M_1 R_2 G_3 M_1 R_2 S$

  • Swaras: Shadjam, Chatushruthi Rishabham, Antara Gandharam, Shuddha Madhyamam, Panchamam, Chatushruthi Dhaivatham, and Kakali Nishadam.

• Ataana: A Vakra Sampoorna Ragam and Janya of Shankarabharanam.

  • Arohanam: $S R_2 M_1 P N_3 S$

  • Avarohanam: $S N_3 D_2 P M_1 G_3 R_2 S$

  • Swaras: Shadjam, Chatushruthi Rishabham, Antara Gandharam, Shuddha Madhyamam, Panchamam, Chatushruthi Dhaivatham, and Kakali Nishadam.

• Subhapanthuvarali: The $45\text{th}$ Melakarta Ragam; categorized as Sampoorna.

  • Arohanam: $S R_1 G_2 M_2 P D_1 N_3 S$

  • Avarohanam: $S N_3 D_1 P M_2 G_2 R_1 S$

  • Swaras: Shadjam, Shuddha Rishabham, Sadharana Gandharam, Prati Madhyamam, Panchamam, Shuddha Dhaivatham, and Kakali Nishadam.

• Yathukulakaamboji: A Shadava–Sampoorna Ragam and Janya of Harikambhoji.

  • Arohanam: $S R_2 M_1 P D_2 S$

  • Avarohanam: $S N_2 D_2 P M_1 G_3 R_2 S$

  • Swaras: Shadjam, Chatushruthi Rishabham, Antara Gandharam, Shuddha Madhyamam, Panchamam, Chatushruthi Dhaivatham, and Kaisiki Nishadam.

Biographical Studies of Eminent Composers

Muththuswami Dikshitar ($1776 – 1835$)

• Personal Life: Born in Thiruvarur, Tamil Nadu, for parents Ramaswami Dikshitar and Subbulakshmi Ammal. He had three siblings: Balaswami, Chinnaswami, and Balambal.

• Education: Accompanied Chidambaranatha Yogi to Varanasi for five years, studying Hindustani music (Dhrupad style).

• Inspiration: At the Tiruttani temple, Lord Subramanya appeared to him and placed sugar candy in his mouth, initiating his creative journey.

• Legacy:

  • First composition: Srinathadi Guruguho Jayati in raga Mayamalavagowlai.

  • Member of the Music Trinity with Syama Sastri and Tyagaraja.

  • Composed 461 available kritis, primarily in Sanskrit, including Group Kritis.

  • Known works: Vathapi Ganapathim (Hamsadhwani) and Pamarajana Palini (Simhendramadhyamam).

  • Passed away in Ettayapuram at age $59$.

Syama Sastrigal ($1762 – 1827$)

• Personal Life: Born in Thiruvarur as Venkata Subrahmanya to Visvanatha Iyer and Venkalakshmi. He was the oldest member of the Trinity.

• Mudra: Signed his works as "Shyama Krishna."

• Education: Received vital technical training in Raga, Tala, and Swara Prastharas from Sanyasi Sangita Swami over four months in Thanjavur.

• Career and Style:

  • Served as a priest at the Kamakshi temple.

  • Composed roughly 300 pieces in Telugu (mainly), Tamil, and Sanskrit.

  • Known for popularizing the Swarajathi and creating the Ratnatrayam (three jewels).

  • Created the Navaratnamalika for Devi Meenakshi.

  • Favorite ragas: Anandhabhairavi and Saveri.

Sundarar (Sundaramurthy Nayanar)

• Historical Context: A $7\text{th}$ Century Tamil poet born in Tirunavalur. One of the $63$ Nayanmars devoted to Lord Shiva.

• The Calling: On his wedding day, an old man (Lord Shiva) claimed Sundarar as his servant via a palm leaf document. Sundarar initially called him a madman, which led to his first poem line: "$னித்தா பிறைபூடீ பெருநுமனே அருல்ளாளா$."

• Life Events: Married Paravayar and later Cankili. He famously went blind after breaking a vow not to leave Cankili but was later healed through devotion.

• Legacy:

  • Wrote the Thiruppattu, the seventh volume of the Thirumurai.

  • Created 100 hymns in various panns (musical modes).

  • Notable composition: Meela Adimai in ragam Madhyamavathi.

  • Traveled and was companion to the Chera King Cheraman Perumal.

Mysore Vasudevacharya ($1865 – 1961$)

• Background: A disciple of Patnam Subramanya Iyer, raised by his grandfather Gopalacharya after his father's death at age three.

• Mudra: Used the signature "Vasudeva."

• Contributions:

  • Revived the traditions of Tyagaraja.

  • Composed approximately 200 works, with $140$ published in the two-volume Vasudeva Kirtana Manjari.

  • Served as the court musician for the Mysore Maharaja.

  • Received the Padma Bhushan and Sangeet Natak Akademi Award in $1954$.

  • Composed in many forms: varnams, thillanas, ragamalikas, and jaavalis, mostly focused on Lord Rama.

  • Later in life, taught music at Kalakshetra in Madras at the invitation of Rukmini Devi Arundale.