Grade 5 Indian Carnatic Performance Study Guide

Grade Programme in Indian Carnatic Performance: Grade 5 Handbook

• Examination Board: Griffin College London (International Examination Board UK).

• Educational Level: Grade $5$: Preliminary Level $2$.

• Scope: Covers Carnatic Vocal, Violin, Veena, Keyboard, Guitar, Saxophone, Flute, Jalatharangam, and Nadaswaram.

• Motto: "Art is hidden wisdom - Wisdom is hidden Art."

Unit 1: Knowledge on 72 Melakartha Ragams

• Definition of Janaka Ragas: There are $72$ Janaka ragas arranged in a table to facilitate the identification of swaras and their names.

• The Scheme of 72 Melakarthas:     * The seven swaras $s, r, g, m, p, d, n$ expand into $12$ Swarasthanas due to Prakriti and Vikruti changes.     * Excluding $s$, $p$, and the two Madhyamas, the swaras $r$, $g$, $d$, and $n$ undergo three changes each, resulting in $16$ swara names.     * These $16$ swara names are accommodated within the existing $12$ swarasthanas (some notes share names).

• Historical Timeline:     * 17th Century: Venkatamakhi wrote "Chaturdandi Prakasika," detailing the scheme. He identified $19$ popular "Kalpita Melakarthas," and categorized others as "Kalpiyamana" (expected to be popular) or "Kalpishyamana."     * 18th Century: Tulaja Maharaja wrote "Sangeetha Saramrutham," mentioning the scheme but not naming individual ragas.     * 18th Century: Govindachariyar wrote "Sangraha Chudamani," listing all $72$ melakarthas with Krama-sampoorna Arohana and Avarohana, known as the nomenclature of Kanakangi-Ratnangi. This used the Katapayadi formula to determine serial numbers.

• Swara Table (7 Swaras, 12 Swarasthanas, 16 Names):     1. Shadja ($S$): Shadja ($S$).     2. Rishabha ($R$): Suddha Rishabha ($R_1$), Chatusruti Rishabha ($R_2$), Shatsruti Rishabha ($R_3$).     3. Gandhara ($G$): Suddha Gandhara ($G_1$), Sadharana Gandhara ($G_2$), Antara Gandhara ($G_3$).     4. Madhyama ($M$): Suddha Madhyama ($M_1$), Prati Madhyama ($M_2$).     5. Panchama ($P$): Panchama ($P$).     6. Dhaivatha ($D$): Suddha Dhaivata ($D_1$), Chatusruti Dhaivata ($D_2$), Shatsruthi Dhaivatha ($D_3$).     7. Nishada ($N$): Suddha Nishada ($N_1$), Kaisiki Nishada ($N_2$), Kakali Nishada ($N_3$).

• Note Correlations:     * Chatusruti Rishabha and Suddha Gandhara share a swarasthana.     * Sadharana Gandhara and Shatsruti Rishabha share a swarasthana.     * Chatusruti Dhaivata and Suddha Nishada share a swarasthana.     * Kaisiki Nishadha and Shatsruti Dhaivata share a swarasthana.

Melakartha Classifications and Logic

• Vadi vs. Vivadi:     * Vadi: $32$ Melakartha ragas formed from the original $12$ swarasthanas.     * Vivadi: $40$ Melakartha ragas formed specifically using the additional $4$ swara varieties.

• Purvanga Combinations (r and g):     1. Suddha Rishabha - Suddha Gandhara ($Ra-Ga$)     2. Suddha Rishabha - Sadharana Gandhara ($Ra-Gi$)     3. Suddha Rishabha - Antara Gandhara ($Ra-Gu$)     4. Chatusruti Rishabha - Sadharana Gandhara ($Ri-Gi$)     5. Chatusruti Rishabha - Antara Gandhara ($Ri-Gu$)     6. Shatsruthi Rishabha - Antara Gandhara ($Ru-Gu$)     * Note: Combinations like Chatusruti Rishabha - Suddha Gandhara are impossible because a swara must occur only once, and Shatsruti Rishabha - Suddha Gandhara is excluded to avoid zig-zag order.

• Uttaranga Combinations (d and n):     1. Suddha Dhaivata - Suddha Nishada ($da-na$)     2. Suddha Dhaivata - Kaisiki Nishada ($da-ni$)     3. Suddha Dhaivata - Kakali Nishada ($da-nu$)     4. Chatusruti Dhaivata - Kaisiki Nishada ($di-ni$)     5. Chatusruti Dhaivata - Kakali Nishada ($di-nu$)     6. Shatsruti Dhaivata - Kakali Nishada ($du-nu$)

• Chakras: Each of the $6$ combinations of $r$ and $g$ is called a Chakra. As there are $36$ ragas for Suddha Madhyama and $36$ for Prati Madhyama, there are $12$ Chakras total ($6 \times 6 = 36$ for each Madhyama).     * Chakra Names (Bhuta Sankhya):         1. I. Indu ($1$ moon)         2. II. Netra ($2$ eyes)         3. III. Agni ($3$ sacrificial fires)         4. IV. Veda ($4$ Vedas)         5. V. Bana ($5$ arrows of Manmatha)         6. VI. Rutu ($6$ seasons)         7. VII. Rishi ($7$ Sapta Rishis)         8. VIII. Vasu ($8$ Asta Vasus)         9. IX. Brahma ($9$ Brahmas)         10. X. Disi ($10$ directions)         11. XI. Rudra ($11$ Rudras)         12. XII. Aditya ($12$ Adityas)

• Raga Sequence within a Chakra: Represented as Pa, Sri, Go, Bhu, Ma, and Sha.

Katapayadi Formula

• Sutra: Kadi Nava, Tadi Nava, Padi Pancha, and Ya-dyashta.

• Methodology: Take the first two letters of the Melakarta name, find their corresponding numbers in the Sanskrit alphabet system, and reverse them to find the serial number ($1-72$).     * Kadi Nava (1-9, No. 0 is last): Ka, Kha, ga, gha, nga, cha, chcha, ja, jha, jna.     * Tadi Nava (1-9): ta, tta, da, dda, na, tha, ththa, da, dha.     * Padi Pancha (1-5): pa, pha, ba, bha, Ma.     * Ya-dyashta (1-8): Ya, ra, la, va, sa, sha, sa, ha.

• Example (Mayamalavagaula):     * Ma = $5$, Ya = $1$. Number is $51$. Reversed = $15$. Mayamalavagaula is the $15^{\text{th}}$ Melakarta.

• Example (Ratnangi):     * Ra = $2$, Na = $0$. Number is $20$. Reversed = $02$ ($2^{\text{nd}}$ Melakarta).

• Note on Prefixing: Prefixes like "Maya", "Hanuma", "Chala", "Dhir", and "Mecha" were added to ensure names suited the formula.

Unit 2: Life History of the Composers

2.1 Shyama Sastrigal

• Status: One of the Trimurtis/Mummanikal of Carnatic Music.

• Birth: April $17, 1763$, in Tiruvarur. Born as Venkata Subramaniya Sarma; affectionately called Shyama Krishna.

• Education: Taught by his uncle first, then Sangeetha Swami (who taught him Sangeetha Sastra for $3$ years) and Adiappaiar (composer of the Bairavi Varna "Viriboni").

• Works: Composed about $300$ pieces including Kritis, Swarajathis, and Tana Varnas. Notable work: "Navaratna Malai" for Meenakshi Amman.

• Mudra (Signature): "ShyamaKrishna".

• Specialties: Expertise in Thala and Swara Sahitya. Favorite raga: Ananda Bairavi. Composed in Apurva ragas like Manchi, Kalagatta, and Chintamani.

• Death: January $26, 1827$.

2.2 Muthuswamy Dikshitar

• Status: One of the Trimurtis/Mummanikal.

• Birth: March $24, 1775$, in Tiruvarur. Son of Ramaswamy Dikshitar (originator of Hamsadhwani).

• Education: Traveled with Chidambaranatha Yogi to Banaras for $5$ years; learned Hindustani music and Mantropadesa.

• Divine Incident: At Tirutani, Lord Muruga appeared, placed sugar candy in his mouth, leading him to compose. His first composition: "Srinadadi" in Mayamalavagaulam.

• Works: Composed over $3000$ pieces, including group kritis: Navagraha Kritis, Kamalamba Navavaranam, and Panchalinga sthala kritis.

• Style: Very slow tempo (Chowka kala), majestic style called "Narikela" (coconut) rasa. Included raga names within the sahitya.

• Mudra: "Guruguha".

• Death: 1835 on Deepavali day, while listening to the line 'Meena Lochana Pasa Mochani'.

2.3 Purandaradasar

• Status: "Karnataka Sangita Pithamaha" and "Adi Guru".

• Birth: Born in $1484$ at Purandaragada; son of Varadappa Naik. Named Srinivasan or Seenappa.

• Early Life: A wealthy merchant known as "Navakoti Narayana".

• The Miracle: Lord Krishna appeared as a poor man asking for money. After being rejected, the man obtained a nose ring from Srinivasan's wife. Upon discovery, the wife attempted to drink poison but found an identical nose ring in the cup. This led Srinivasan to relinquish wealth at age $30$.

• Works: Composed "Devara Namas" or "Dasara Padagalu" in Kannada. Estimated to have composed $4,758,000$ Padas.

• Musical Contribution: Systematized music education with graded lessons (Swaravalis, Alankaras, etc.). Established teaching in Mayamalavagaula.

• Mudra: "Purandara Vittala".

• Death: $1564$ on Pusha Amavasya day.

Unit 3: Explanation on Musical Instruments

3.1 Veena (Saraswati Veena)

• Historical Names: Saraswati Veena, Raghunatha Veena, or Tanjore Veena.

• Materials: Tanjore Veenas (Jack wood); Mysore Veenas (Black wood).

• Key Parts:     1. Kudam (Resonator/Kudam)     2. Dandi (Neck joint/Fingerboard/Dandham)     3. Yali Mukham (Dragon/Animal head at the top)     4. 24 Frets (made of brass or steel, set in black wax)     5. 7 Strings: 4 for playing, 3 for sruti/tala.

• Strings and Tuning:     * Sarani: Madhya Shadja     * Panchama: Mandra Panchama     * Mandra: Mandra Shadja     * Anumandra: Anumandra Panchama     * Pakka Sarani/Panchama and Hechu Sarani for Thala.

• Playing Technique: Player is called a "Vainika". Plays using the index and middle fingers of the left hand for pressing, and right hand for plucking. False nails are often used. Range is $3 \frac{1}{2}$ sthayis.

3.2 Flute (Venu/Murali)

• Construction: Small pipe made of bamboo (preferred for melodious sound). One end is closed.

• Holes:     * Mukharandra: The blowing hole, $\frac{3}{4}$ inch from the closed end.     * Finger holes: $7, 8, \text{ or } 9$ holes near the open end.

• Attributes: Like the human voice, it produces one swara at a time. Range is $2 \frac{1}{2}$ sthayis.

• Notable Association: Associated with Lord Krishna (called Murali).

Unit 4: Structure of Musical Forms

4.1 Swarajati

• Purpose: Taught after Gitas; serves as the base for the Varnam.

• Sections: Includes Pallavi, Anupallavi, and Charanas (which may have different dhatus).

• Content: Sahitya can be devotional, romantic, or about patrons. It is a Dance Musical Form.

• Evolution: Originally full of Jathis; Shyama Sastri removed Jatis to emphasize the musical form.

4.2 Varnam

• Definition: A composition portraying the individuality of a raga.

• Role: The "link" between Abhyasa Gana (learning) and Sabha Gana (performance).

• Angas: Pallavi, Anupallavi, Mukthayi swaram (Purvangam) and Charanam, Charana swaras (Uttarangam).

• Types:     1. Tana Varnam (emphasizes swara patterns, sahitya only for Pallavi, Anupallavi, Charanam).     2. Pada Varnam (intended for dance; sahitya throughout; also called Chowka Varnams).     3. Padajati Varnam (includes Jatis/rhythmic patterns).     4. Ragamalika Varnam (each part in a different raga).

4.3 Keerthanam

• Category: Sacred musical form or "Vaidika Gaanam."

• Structure: Simple music and rhythm. Sahitya (praising God) is more important than swara complexity.

• Characteristics: Sangathis are few. All Charanas are typically sung to the same musical tune (dhatu). It is considered the predecessor of the Kriti.

Unit 5: Raga Lakshanam (Raga Properties)

5.1 Thodi (Hanuma Thodi)

• Classification: $8^{\text{th}}$ Melakarta. Netra-Sri (Netra Chakra, $2^{\text{nd}}$ raga).

• Arohana/Avarohana: $s\,r_1\,g_2\,m_1\,p\,d_1\,n_2\,S$ / $S\,n_2\,d_1\,p\,m_1\,g_2\,r_1\,s$.

• Notes: Shadja, Panchama, Suddha Rishabha, Sadharana Gandhara, Suddha Madhyama, Suddha Dhaivata, Kaisiki Nishada.

• Traits: Sampurna raga. Rakti raga. Origin in North India (authara raga). Suitable for elaborate Alapana and Viruthams.

5.2 Harikamboji

• Classification: $28^{\text{th}}$ Melakarta. Bana-Bhu ($5^{\text{th}}$ Chakra, $4^{\text{th}}$ raga).

• Arohana/Avarohana: $s\,r_2\,g_3\,m_1\,p\,d_2\,n_2\,S$ / $S\,n_2\,d_2\,p\,m_1\,g_3\,r_2\,s$.

• Notes: Includes Chatusruti Rishabha, Antara Gandhara, and Chatusruti Dhaivatha.

• Traits: Suddha Mela of ancient Tamils. Popularized by Thyagaraja.

5.3 Karaharapriya

• Classification: $22^{\text{nd}}$ Melakarta. Veda-Bhu ($4^{\text{th}}$ Chakra, $4^{\text{th}}$ raga).

• Arohana/Avarohana: $s\,r_2\,g_2\,m_1\,p\,d_2\,n_2\,S$ / $S\,n_2\,d_2\,p\,m_1\,g_2\,r_2\,s$.

• Notes: Sadharana Gandhara. Equivalent to ancient Shadja Grama.

• Traits: Primordial scale ("Adi Mela").

5.4 Vasanta

• Classification: Janya derived from $17^{\text{th}}$ Mela Sooryakantam.

• Arohana/Avarohana: $s\,m_1\,g_3\,m_1\,d_2\,n_3\,S$ / $S\,n_3\,d_2\,m_1\,g_3\,r_1\,s$.

• Traits: Audava shadava type ($5$ notes up, $6$ down). Panchama is varja (absent).

5.5 Suruti

• Classification: Janya derived from $28^{\text{th}}$ Mela Harikambhoji.

• Arohana/Avarohana: $s\,r_2\,m_1\,p\,n_2\,S$ / $S\,n_2\,d_2\,p\,m_1\,g_3\,p\,m_1\,R_2\,s$.

• Traits: Audava sampurna; Vakra (zig-zag). Auspicious raga; evokes Sringara (love) and Bhakti (devotion).

5.6 Kambhoji

• Classification: Janya of $28^{\text{th}}$ Melakarta.

• Arohana/Avarohana: $s\,r_2\,g_3\,m_1\,p\,d_2\,S$ / $S\,n_2\,d_2\,p\,m_1\,g_3\,r_2\,s$.

• Traits: Shadava Sampurna (Nishada absent in upward scale). Bhashanga raga (uses foreign note Kakali Nishada in specific phrases).

Questions & Discussion

Sample Theory Questions (Multiple Choice):

1. Which Raga is called as a Sampoorna Raga? (Answer: Sankarabaranam)

2. The name of the Prathimadhyama raga direct to the 29th Sankaraparanam is? (Answer: Mecha Kalyani)

3. A Raga which is called an Audava Sampoorna Raga is? (Answer: Bilahari or Kamboji-Note: In the text, Suruti is Audava Sampurna while Kambhoji is Shadava Sampurna)

4. Ten Akshara Thalas are? (Answer: Jampa Thala)

5. Gana Ragas are? (Answer: Gowla-Arabi)

6. 35 Thalams became by the reason of? (Answer: Jaathi)

7. All Swaras are Komala and Theevra Swaras in Arohanam/Avarohanam Ragas are? (Answer: Kalyani, Thodi)

8. A Composition, which takes Mukthai Swaram is? (Answer: Varnam)

9. An Instrument, which have Thala Strings is? (Answer: Veena)

10. Who Composed Navaragamalika Krithis? (Answer: Patnam Subramania Iyer - Note: Option listed as Papanasam Sivam/Thyagaraja/Shyama Sastrigal in sample)

11. Raga Lakshanam for Thodi Ragam? (Answer: $8^{\text{th}}$ Melakartha)

12. Eduppu means? (Answer: Song in respect to the Thala)

13. How many different types of Varnam are there? (Answer: $4$)

14. An Instrument, which is a Wind Instrument? (Answer: Flute)

15. Keerthanai is also known as? (Answer: Vaidika Gaanam)

16. Shadava - Sampoorna Raga is? (Answer: Kambhoji)

17. Another Tamil word for Janaka Ragam is? (Answer: Melakartha Raga)

18. Muthuswami Dikshithar was born in? (Answer: Tiruvarur)

19. Raga Lakshanam for Vasantha? (Answer: $17^{\text{th}}$ Mela Sooryakantam)

20. Explain the term Bhashanga Raga? (Answer: It takes anniya Swarasthana)