Basics Of Sangeetham

Basics Of Sangeetham In Telugu
Basics Of Sangeetham

Taken from the website of Sri Ram.S. Sriram : http://www.ipnatlanta.net/camaga/vidyarthi/Carnatic_Basics.htm)

Systems of Music

Sangeetham.com (krithi lyrics etc) Vidhyarthi (by Dr. Contact: sriramr@bellsouth.net; Mohan Ayyar's Carnatic Music Corner: Links galore! Todd McComb's Carnatic Music Page (Dikshitar/Syama Sastry Lyrics) Sivakumar's Dikshitar Page: Lots of Dikshitar Krithis Audio.
Hindustani classical music is the foundation of any form of instrumental music or singing in any language from the northern regions of the Indian subcontinent – Hindi, Urdu, Punjabi, Gujarati, Marathi, Bengali, Pashto, Nepali, and others, whether it is Film Songs, Bhajans, Ghazals or Folk Songs.

Kalpana Swaram Basic Lessions. The most distinguished feature of Carnatic classical music is Manodharma Sangeetham, which is improvised music. The true challenge of a musician lies in his ability to create and extemporize on the spot. Manodharma Sangeetham comprises of Raga Alapana, Tanam, Niraval, and Kalpana Swaram. Windows xp home universal product key generator.

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Melodic and Harmonic. The melodic system is more prevalent in India and a few other Eastern countries.

In both systems, there are seven basic notes. In Carnatic music, the seven notes are known by the names:

Shadjam (Sa),

Gandharam (Ga),

Panchamam (Pa),

Nishadam (Ni).

WhenSa is the base note, the other six notes will be successively higher to the basic Sa, forming an ascending scale of seven notes. Once the seventh note is reached, the notes will begin descending from the higher Sa to the Ni, Da and so on at the same frequency interval. We now have an ascending and descending scale or a raga with seven swaras or notes.

In the melodic system, music progresses with succession of individual notes.

In the harmonic system, music progresses by group of notes, called chords.

Individual notes of a chord are related to each other using the laws of consonance (agreement, harmony).

Octave

What is an octave? An octave is doubling the pitch of a swara by a factor of 2.

Take a look at a keyboard. You will notice the C key. In Carnatic music, the C key is called one kattai or a pitch of one. In a keyboard, the C key is followed by D, E, F, G, A, and B keys. The B key is again followed by another C key. That is, the range between a lower C to the next high is one octave.

The range that begins from the next C until the next higher B is reached is Octave 2 and so on.

In Western Music, the interval between two keys or frequencies between two keys (.e.g. D and E) are of fixed intervals.

However, in Carnatic music, the intervals between two keys are not absolute intervals but relative intervals or nominal intervals.

In the keyboard, there are black keys in between the white keys that represent pitches (e.g. C, D, etc.) These black keys represent half piches or frequencies between two swaras or notes (e.g. between C and D). In a keyboard, there are five white keys in between the seven black keys that represent the primary notes. The twele notes are formed when we add the seven primary notes to the five half-notes or in-between frequency notes.

The twelve divisions are common both to Carnatic music and Western music.

The following table gives you a comparison of the twelve swaras of Carnatic Music and the corresponding twelve notes of the Western Music.

Basics Of Sangeetham In Telugu

Carnatic Swaras and Western Notes -A Comparison

Basics Of Sangeetham

Carnatic Swara Name
1	C
Suddha Rishabha
3	D
Sadharana Gandhara
5	E
Suddha Madhyama
7	F sharp
Panchama or Pa
9	A flat
Chatussruti Dhaivata
11	B flat
Kakali Nishadha

Source: South Indian Music by Prof. P. Sambamurthy.
Please note that the swaras Sa and Pa do not admit variations and are called fixed notes or achala swaras.
The notes with Suddha in their names -- Suddha Rishabha and Suddha Madhyama - refer to the lowest pitch of the corresponding note - the Rishabha or Ri and Madhyama or Ma, respectively.
These twelve swaras become sixteen swaras with the addition of four more swaras called Vivadi (or tainted) swaras. These additional swaras occupy the same nominal swarasthana or frequency position as some of the swaras from the group of twelve swaras. In other words, the sixteen swaras are formed basically by calling the same swara by two different names. Depending on the a raga scale used, a swaram may be called by a different name (e.g. Shatsruti Rishaba is the new name given to Sadharana Gandhara; Suddha Gandhara is the new name given to Chatussruti Dhaivata; Shatsruthi Dhaivata is the new name for Kaisiki Nishada; and Suddha Nishada is the new name for Chatussruti Dhaivata).
But, remember, as the table shows, the twelve swaras are the fundamental swaras and they evolve from the basic seven swaras.

There are two basic ways to write music - Staff notation and script notation.

Western music uses the Staff notation approach. In this approach, music is written on five parallel lines. The position of the note on the line and the space between lines indicate pitch.

The script notation is common to Indian music including, Carnatic music. In script notation, music is written on straight lines. The pitch, intervals and related measures are indicated by using additional symbols. The following will give a basic understanding of the script notation

Duration (time)	Swaras or Notes	Comments
1 akshara or unit time	s r g m p d n
2 aksharas	S R G M P D N
3 aksharas	s, , r , , g , , m , , p , , d , , n , , or	Each comma represents one aksharam or unit time
S , R , G , M , P , D , N ,
4 akshara	s, , , r , , , g , , , m , , , p , , , d , , n , , ,
or
S , ,R , ,G , ,M , ,P , ,D , ,N , ,
Reducing the time	___
s s	One horizontal line on top of swaras indicate that the time is one-half and two lines on top denote that the time is one-quarter and so on.
s s
Sthayi or pitch	..
s r g m	A dot on the top of a note indicates that it belongs to the higher octave and a dot below the note indicates that it belongs to the lower octave. Without a dot, indicates middle range or manthra sthayi.
s r g m
..
s r g m g