COMPOSITIONS OF CARANTIC MUSIC

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COMPOSITIONS OF CARANTIC MUSICCarnatic Music has mainly twelve types of compositions, apart from theSarali, Janta swarms and Alankarams. They are: 1) Geetam, 2)Jatiswaram, 3) Swarajati, 4) Varnam, 5) Kriti, 6) Keertana, 7)Padam, 8) Javali, 9) Tillana, 10) Shabdam, 11) Daruvu.Geetam: In this composition, every swaram has sahityam orwords/lyrics. But it is not divided into Pallavai, Anupallavi or Charanam.These are learnt usually after Alankarams are completed. There are twotypes of Geetams, Geetam and Lakshana Geetam. The Geetams aredevotional in nature. But the Lakshana Geetams describe the featuresof the Raga in which it is composed. There five Geetams by the nameGhana Raga Panchakam, in the Ragas Nata, Gaula, Arabhi, Shree andVarali. Geetams are essentially the foundation for Carnatic music.There was a time when writing and composing Geetams wasconsidered as a sign of expertise. Paidala Gurumurthy Shastri wrote1000 such Geetams and went on to be called “Thousand GeetamGurumurthy Shastri. Govinda Deekshitulu Venkatamakhi,Govindacharyulu, Ramamatyulu, Muthuswamy Deekshitar andPurandaradas are some of the popular Geetam writers.

Jatiswaram: This is also known as Swarapallavi. It is traditionallytaught after the students complete Geetams. This format is mostlyutilized in dance. This consists of Pallavi, Anupallavi and someCharanams. There is, however, no lyric. Ponnayya Pillai and SivanandaPillai have written most of these Jatiswarams.Swarajati: This is essentially like the Jatiswaram, except that it has alsolyrics to it. The lyrics are mainly (romantic)/Shringara, (valour)/Veera or(devotion)/Bhakti rasas. The two most popular Swarajatis areRaravenugopabala and Sambashivayanave.Varnam: These form the most important exercises in Carnatic music.Practicing these thoroughly makes it easy for a singer/instrumentalistto sing/play anything. These compositions are melody – centric andcover all the major features of the Raga in which it is composed.Composing a Varnam, calls for a lot of expertise and mastery. Thisperhaps is the reason why not many have composed Varnams. It isestimated that just over 200 Varnams are composed. The lyrics aremainly romantic in nature and occasionally one does come acrossdevotional varnams also. It has a Pallavi, Anupallavi and MuktayiSwaram, Charanam with Charana Swaras/Chitta Swaras. Pallavi toMuktayi Swaram is called as “Purvangam” and Charanam and the

Charana Swaras are called “Uttarangam” respectively. Although theseare further divided into Pada Varanams and Tana Varnams, they areessentially the same. For some reason, only Tana Varnams are sung inconcerts, whereas, Pada Varnam is used in dance concerts.Kriti: This is essentially Raga-centric composition. Each line developsthe Raga and the Tala. The lyrics are sung with several variations andare essentially used to embellish the composition. The variations andthe Gamakas are understood to have been first introduced byThyagaraja in his Kritis. Mainly Kritis are composed by the Holy Trinity.Apart from these, Swati Tirunal, Pallavi Gopala Iyer, PatnamSubrahmanya Iyer, Pallavi Seshayya, Ramaswamy Sivan and severalother later day singers like M. Balamurali Krishna, Late GNB etc.Keertana: Keerthana is a much older form of composition than theKriti. Unlike the Kriti, the Keerthana is lyric centric. Usually consistingof Pallavi, Anupallavi and Charanam, some just have only Pallavi andCharanam. Keerthana was useful in spreading religion. Some of thefamous Keerthana writers include Bhadrachala Ramadas, ToomuNarasimha Dasu, Sadasiva Brahmednra etc.Padam: In this composition also Pallavi, Anupallavi and Charanam arethe main parts. They are set to attractive music and the Raga’s mainfeatures are usually very clearly highlighted. Double entendre, heroin’slonging for the hero and mainly devotion through love are the mainfeatures of these compositions. One might even venture to say that

this is the equivalent of Sufi poetry that we get to hear and appreciatethese days.Padas are usually set to slow tempo and have to be sung in a leisurelyand languorous manner. These are mainly being used in danceconcerts these days. The main Padam writer is Kshetragna and hisPadams are known as “Muvva Gopala Padams”. Some others have alsowritten some.Javali: These compositions have found their way in to Carnatic musicrecently. They are similar to Padams and are conveniently sung in themedium (Madhyama) kalam. The language is lucid and simple. Most ofthis literature is full of Sringara Rasa. The composition has a Pallavi,Anupallavi and Charanams. Dharmapuri Subbaramayya,Pattabiramayya, Patnam Subrahmanya Aiyer, RamnadSrinivasa Ayyangar, Neti Subraya Shastri is some of the majorcomposers.Tillana: These are mainly made up of swaras and sahityam also andhave a lot of Jatis. The music is lively and of fast tempo. These arepopular among music concerts as well as Dance concerts. These toohave Pallavi, Anupallavi and Charanam. The major writers of these are,SwatitTirunal, Mysore Sadasivarao, Ramnad Sinivasa Ayyangar, PallaviSeshayya, Ponnayya Pillai etc.

Sabdam: These are mixture of Sahityam and Jatis. These are majorlyused in dance concerts only.Daruvu: Like Padams, these are mainly about Sringara. They havenumber of Charanams and are of Madhyamakala.MAJOR COMPOSITIONS OF THE HOLY TRINITYTHYAGARAJA:He is supposed to have written a whopping 24, 000Kritis. However, only a little over 2000 of his compositions are availabletill now. All his kritis carry the signature of “Thayagarajanuta”. Theyare set to various Talams and are written in simple and easy Telugu.

Pancharatna Kritis:JagadanandakarakaNata RagamAdi TalamDudukugalaGaula RagamAdi TalamSadhincheneyArabhi RagamAdi TalamEndaro mahanubhavulu Sree RagamKanakana ruchiraVaraliRagamAdi TalamAdi TalamApart form these, he wrote the Tiruvathiyar Fpanchartnams, KovuruPanchartnams, Nagapura Panchartnams, Sreeranga pancharatnamswhich are also popular.DIKSHITAR: He wrote around 300 kritis. All ofthem bear the signatureword “Guruguha”. His compositions are full of difficult words andidioms. His main compositions are Panchalinga sthala keertnams,Navagraha keertanams, Navavarana Keertanams, Shodasa GanapatiKeertanams.Some of the famous keertana bouquets of Muthuswamy Dikshitar are:Panchalingsthala Keertanas

ChintayamamBhairavi RagamPrithvi LingamJambupatheyYamunakalyaniAapo LingamArunachala nathamShi kalahasteesaSaranga RagamTejo LingamHussaini RagamVayu LingamAnanda natanaprkasamKedaram RagamAkasa LingamNavagraha la/TuesdayJhampey taSukra/FridayDivakaraYadukula }AdiSani/Saturday

Kambhoji}SmaramyahamMahasuramRamamanohari Rupakam RahuChamaramRupakam KetuNavarana Keertanalau – composed as Devi ikamalambikayamSankarabharanam iSriAdiTriputaKhanda EkaAhiriTrisra EkaTYPES OF MUSIC

Music is two types. One is Kalpita that which is already composed andis learnt, practiced and sung/played by students. The second isManodharma or improvised music, which is composed by the musicianat the moment at which it is sung/played. The latter is the essentialpart of a concert and is measure of the musician’s maturity andexpertise. In the whole world, only in Indian music improvisation isconsidered as the most important part of music. Many feel that thisperhaps is the reason why it has not become stale.MAJOR INSTRUMENTS USED IN OUR MUSICThe instruments used in our music are mainly of three types. Stringedinstruments, wind instruments and percussion instruments.Stringed instruments are called “Tanthree Vadyams” –, Veena, GottuVadyam, Tambura and Violin. Although the violin is a westerninstrument, it has earned itself a pride of place in Carnatic Music. Thenewest entrant to this list is the Mandolin.Wind instruments are called “Vayupurvaka Vadyams”. These are, Flute(Venu), Nadaswaram, Mukhaveena (Sahanayi). Again the newestentrants to this are the Clarionet and Saxophone.

Percussion instruments are called “Laya Vadyams”. These areMridangam, Kanjeera, Ghatam, Morsing, Dolu, Dolaki (like the Dholak)and Talam.SIMPLES OF SAMPLE RAGASWRITTEN & COMPOSEDBYSURMANI K.S. VASANTHA LAKSHMIRagam : HamsadhwaniAdiTalam :Swaram:snp, Inpg, IInns, IIPallavipgr, Igrs, Insrg Isrgp Inpgp

; s s I s s I nrsn IP ; I; grS S II;Jaya I Jaya I gi-ri- Ija Ibana na II; gg I rg I P ; I P P I; gp I;Jaya I shiva I shan Ika ra I ; pa I(Swaram)Igp IR ; IIlaga Ija ; In n IS ; Irvathy I nan IS S IIda na IIAnupallavi, np I n s IR ; IR RI, nr I grI S ; I S S II, Vi I gnavi I na I shaka I , vija I yaga I ja ; I na na II, g g I g r IG ; I G G I, r r I , s s \ ns R I R R II,shara I , vana I seI vi tha I , sumuI ,khaga Ija ; I na na II, pg I r s Isn P I ns R I , sn I ,pp, I pgdp Igr S II,Tava I pada I sha,ra I nam m I , shara I namga I ja ; Ina na II(Swaram)CharanamG ;I, R I ; R IS N IS R IIIVa I , tha I ; pi I ga na I pa thimI ; ; IG ,p I ; S I N ; I ; ; I; ; I; ;HamsaI ; dhwaI ni ; I ; ; I ; ; I ; ; Igpns I r,sn I P G I R S IS N IS RVa I tha II pi ga na I pathimI ; ;G ,p I ; S I N ; I ; ;I; ;I; ;; ;I; ; I: ;; ; I ; ; III; ; I:; ; I ; ; II; I ; ; I:I; ; I;I; ; I:; II; II; II; II

HamsaI ; dhwaI ni ; I ; ; I ; ; I ; ; I; ; I ; ; IIsngr I sn P I G R I G P Igrsr Isn P I grgp I nsr,Mo- I da Ka I pri yaI mU da I man I ga la I ra - I gam IIRagam : AabhogiIITalam : AdiSwaram :; sr I ,gm , I D D I S ; I ; SI D M I G R I S ;IIPallavi :mdsd I ; M I mddm I gr g, I gr ; I sr G I gmds I r.gr sd IIAa -bhoI ; gi I ra -I gam I bahu I bho gi I ra - I gamIICharanam :; dm I D D I S ; I S ; I ; dsI G R I S D I S ;II; Var I na mu I laiI na muI lai - I naIII naI ; ta

drss ,d I m, dd I S ; I S ; I ; dsVarI ;na mu I laiI naI ; taI G R I S D I S ;I na muI lai - I na; ds I ,ddm I G R I G M I dm G I ; R I S R I G ;Vida ImarachuI ri - I thi ni I visha di IRagam : Aananda BhairaviIIIIIIka I rin - I che - IITalam : AdiSwaram:P D I P M I G R I S ; I S M I G R I G M I P ; IIP D IPM IP S I;S ISM IG R I G R I S ; IIP R IS ; IN D IP; IDP I; M I G R I G M IIPallavi :P np I ; M I pmgr I S S I S ,m I G R I G ,m I pm M IIAanan I - da I Bhai I Ra vi I sa nan I da I BhaI ara vi II

; ppI R S I rsnd I P pm I gm P I ; M I pmgr I G M II; GamaI ka vi I ra -I ji tha I ra - ga I ; su I na -I di ni IIAnupallavi :; pn I P M I P S I S ; I ; ns I G R I rmgr I S S II; Kama I la su I lo cha I ni ; I ; gi I ta -I nanI di ni II; pp I R S I rs nd I P pm I ; gm I P M I pmgr I G ; II; Suma I na sa I van - I di tha I ; sula I li tha I ra-I ni ; II; pn I P M I P S I S N I ; ns I G R I pmgr I S S II; Sa I marasa I Bha - I vi tha I ; vimaI la su I vaI ni ; II; pp I R S I rs nd I P pm I ; gm I P M I pmgr I G M II; ThyagaI ra ja I vi sar I ji tha I ; E I kai ka I ra -Ragam : KalyaniTalamSwaram:I gi ni IITalam : Chaturashra Jathi Eka

pdpm I grg, I srgm I pdp, IIsnd,Igrs, I sndp I mpdn IIPallavi :S ;I ,snd I P ; I ;; IIKalI,ya. I niPPI; PI; ; IIIPP Ipm G IIKadam I; baIvana Iva -D PI ;;I ; ; I mpdnSi niI ;;I ; ; IsumaduraIIsr gr I sn D I P ;Kal -IIIII ; ; II do II do III ya - I ni ; I ; ; II do II do IIsr srgr I sn D I P ;Kal - I ya -I ; ; II do II do III ni ; I ; ; II do II do IIAnupallavi :P PI P ;I pmgr I G ;IISwa ra I Sam ;I poor I naIIMMIII M ,d I M G I G R

Pra ti I ma - I dhyama I dhara IIG ;IM P I ; PI mpdn IIMe ;I la ,kar I ; tha I ragaamu IIRagam : KhamasAdi TalamPallavi:; sm I G M I P dp I dn S I ; sn; SukhaIII ma I SukhaI maI D P I pndp I mg M III ;smaraI name I ra -I ma; sm I G M I P dp I dn sr I ns sn I D P I sndp I mg M II; SukhaI ma I SukhamaIICharanamI ma -I ;smaraI name I ra -I

; mn I ; dn I S S I S ;; mudaI ; malaI ke ; III ; nsI ra ga; dn I ; gr I srss snI D P; sudaI ; loli I ke I neI G RI na ;I ; snI rmgrI ;madiI lo -I D P I ; mgI ; snI S ;I pa liI RSI D P I ; mgRagam : MohanamTalam : AdiPallavi :; dp I G R I G G I G ; I ; grI S D I S SIIIII RSI S ;IIII; Mo I hana I Mu ra I li ; I ; swara I mu la I sa ra I liIIgp drss I ; dp I G R I G ; I ; grIIMoI ;hana I Mu ra I liI ; hanaI Mu ra I li; SI ;Oo I;dpI D ;hala I KanI S ;I ; swara I mu la I sa ra I ligpdp Idrss ,dpI G R I G ; I ; grMoI S D I S SI S D I S SI S ;I ; swara I mu la I sa ra I liI D D I ; sdI P G I P PI P ;I dani I ; aa I nanda I la ha I riIIIIIIIIII; gp I D S I R S I D P I pdsd I gpdp I rgdp I grs ,II; adi I ye - I su ma I du ra I ra va I li -III i -I --

Swarams : g,gr I grsr I g,gp I ddsr I g,gg I dpgr I g,gs I dpgr II (Mohana Murali) gg,r I grsr I gg,p I ddsr I gg,g I dpgr I gg,s I dpgr II (MohanaMurali) s,rg I rsrs I dsdp I grsr I S ; I ; ss I rrgg I ppdd IIsrgr Igrds I rsrs I pdsd I sdgpI dpdp I rsdp I grsr II (MohanaMurali)Ragam : ShankarabharanamTishra GatiTalam :ThygarajaSwaram :pdp I mgrI s,, I ,sr I g,, I , rgI m,, I,gmIIp, ,I p, ,I ,,p I nd, I ,,,III s,, I s,, I ,,,IImdpI d, ,I ,,,I ,,, I psnI snd,p, I mgr,s, I s,,

Pallavigm II p,pI gmgI d,dIIvaraII līla I gānaI bharitaIIr,g I rs nsm,g I p,mIII p,p I ,sr I g,gI grgI m,mI lōla I suraI pālaI suguṇaI jālaI r ,r I r srI g, gI g rgInīlaI gaḷa hṛI dāla I ya śrutiI mūla I su karu I ṇāla Ig,s,I r,nvāla III s ,,I - - I - - I - - I - - I - - IIpāla I yāśu I mām(Swaram)I - - I - - I - - I - - I - - IICharanamsgm II p,pI mmg III d,dsura II vandi I tābjasunda I ra kara III p,p I ,srI bṛndaI g,gI varaI g rgI m,mI mandaI ra karaI

r,g I rs sm,g I p,m III r ,r I r srkundaI radanaI indunanda IIg,s,I r,nI g, gI g rg IImukhasaI nandaI na nutaI nanda II s ,,I - - I - - I - - I - - I - - IInēndi I rā va I rā I - - I - - I - - I - - I - - IIgm II p,pI m mg III d,dI p,p I ,sr I g,gI g rgI m,mmuni II chintaI nīya Iswānta I naraImānta I ka chasuIIr,g I rs sI r ,r I r srm,g I p,m III kāntaI ka nigaI g, gI gr gkānta IkushalaIvāntasanta I santa III dāntaI kuja vaIg,s,I r,ntānta I ka stu I ta(Swaram)I rahitaI s ,,I - - I - - I - - I - - I - -III -- I-- I -- I -- I --III

gm II p,pI d,dI m, m I mmgIIvarabhashaI p,pI ,srI g,gI g rgIIbhushaI vamshaI bhushaI nata I posha I na mrduII na ripu IIr,g I r ssm,g I p,mIII r ,rI r srI g, g I g rgIbhishaI na nara I vesha Ina nagaI posha I na vara I shesha I bhusha IIg,s,I r,nI s ,,I -- I--I -- I -- I --IItoshi I tā naI nāI -- I-- I -- I --I p,psukhapāshaI vesha I jaga I disha I ku bhavaII r ,rI rsI g,gIIgm II p,pI d,dI m, m I gmgIIIIvisha I hrnniI rahita IIr,g I r s sm,g I p,mIII ,srI --I g rgr I g, g I g rgIshrishaI sura ga I nesha I hita jaI nesha I sha yana I kesha I vāsha II

g,s,I r,nI s ,,I -- I--I -- I -- I --IImisha I dur la I bhā(Swaram)gm II p,pI d,dg I m, m I gmgIIrana IIdhira I sarvaI danuja IIr,g I r sm,g I p,mIInirarna I jālag,s,I -- I-- I -- I --I p,pI sāraI ,srI --I g,gIII grI suku I māra I budhaviI hāras I r ,rI r sr I g, g I g rgII dhara saI mira I na karuI nā ra I sa pari I pooIII r,nI s ,,I -- I--I -- I -- I --IIchora I pā hiI mām I - - I - - I - - I - -I --II

gm II p,pI d,dI m, m I mmgIII p,pI ,srI g,gI g rgvara IIrakshaI neera I jāksha I vara I rāksha I sa madaIshiksha I kasura IIr,g I r s s I r ,r I r sr I g, g I g rgm,g I p,mIIIyakshaI sanaka I rakshaI patina I tāksha I ha rana IpakshaI dakshaIIg,s,I r,nI s ,,I -- I--I -- I -- I --IIshiksha I ka pri I ya(Swaram)gm II p,pI d,dI m, m I gmgIII -- I-- I -- I --I p,pI ,srI g,gI --III g rgraghuII rāja I tyāga I rājaI nuta I rāja I divasa Irāja I nayana IIr,g I r s s I r ,r I r sr I g, g I g rg Im,g I p,mIIbho ja I ga dava I nā ja I janaka I rājaI rā ja III su tavi I rā ja

g,s,I r,nI s ,,I -- I--I -- I -- I --IIrā ja I pu ji(Swaram)I taI -- I-- I -- I --I --II

The instruments used in our music are mainly of three types. Stringed instruments, wind instruments and percussion instruments. Stringed instruments are called “Tanthree Vadyams” –, Veena, Gottu Vadyam, Tambura and Violin. Although the violin is a western instrument, it has earned itself a pride of place in Carnatic Music. The

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