Carnatic Music: Technical Terms

Technical Terms

• Purvanga refers to the first part.
• Uttaranga refers to the second part.
• Graha is the starting note.
• Sama graha occurs when the tala and song start together.
• Anagata graha occurs when the tala starts first, then the song.
• Ateetha graha occurs when the song starts first, then the tala.
• Vishama graha combines anagata and ateetha grahas.
• Amsa/vadi is an important note.
• Nyasa is the ending note.
• Samvadi has a concordant effect with vadi swara.
• Vivadi involves four unusual swaras that overlap; a raga with vivadi swara is called asvivadi raga.
• Anuvadi is a swara neutral to vadi swara.
• Gati denotes the number of syllables associated with each beat of the tala.
• Chittaswara refers to artistic swaras which enhance beauty.
• Madhyamakala marks a medium tempo.
• Sangati is melodic variation or improvisations.
• Terrmanam is a mathematically set, aesthetically woven segment that gives an end, usually repeating a phrase in jatis, which are combinations of swara/jathi patterns in sets of 3,4,5,6,7.
• Muktayi is a combination of jathis that ends a section of a composition, or of swaras that ends a kalpana swara.

Suddha Vikruti Swaragata Stanas

• Swaras origin can be traced back to the Vedic era.
• Shadja is symbolized by a peacock when it rains, originating from six places in the mouth.
• Rishaba is like a cow calling her calf, representing strength.
• Gandhara is represented by a goat bleating in a flock, symbolizing bliss and finesse.
• Madhyama is the cry of a heron, a middle note.
• Panchama is the Kokila nightingale in spring, the fifth note.
• Daivata is the neigh of a horse implying it's valorous.
• Nishada is the yell of an elephant and is its ultimate note.
• Sa (Shadja) and Pa (Panchama) are achala notes.
• Sa and Pa are suddha swaras.
• The rest 10 are vikruti swaras.

13 Raga Lakshanas

• Four varnas include sthayi, which is the repetition of swaras in a phrase; arohi: an ascending pattern; avarohi: a descending pattern; and sanchari: all patterns exhibiting many aspects.
• Amsa or chaya is an important swara.
• Graha swara is a starting note.
• Nyasa is an ending note.
• Mandra swara is the lowest note to which the melody can extend.
• Tara swara the highest note in a higher octave.
• Alpatva means a less used note in a raga.
• Bahutva means a MORE frequently used note in a raga.
• Shadava is a raga with 6 swaras.
• Audava is a raga with 5 swaras.
• Apanyasa is sung both in madhyasthayi and tarasthayi at the same time; nyasa swara is the same for both swaras.
• Vipanyasa is when raga sancharas stop at a swara, then elaborate into mandhra and tara sthayi, a characteristic defining pattern of singing a raga.
• Sanyasa is when a raga is sung and elaborated and closed at aadhara shadja.
• Antara marga is the introduction of another raga, being the movement of melody between swaras.

Raga Lakshanas

• Mayamalavagoula:

  • It refers to ramamatyas swaramela kalanidhi from the 16th century.
  • 15th melakarta.
  • Its murchana includes SRGMPDNS and SNDPMGRS.
  • Swaras include Shadja, suddha rishbha, antara gandhara, suddha madhyama, panchama, suddha dhaivata, and kakali nishada.
  • Amsa: GPS
  • Nyasa: GPS
  • Vadi: S
  • Samvadi: SM,SP,RD,GN,MS,PS
  • It is SAMPOORNA.
  • It has Thristhayi, janta, and dhatu sancharis.
  • Its characteristics are bhakti, santa, and karuna.
  • It has symmetrical tetrachords.
  • Its janyas include malahari and goula.
  • Its compositions comprise basic lessons by purandaradasa, MayatitaSwarupini by tanjavur ponnaya, and Meru samana by tygaraja.

• Malahari:

  • It is mentioned in sangita ratnakara, sangitamakaranda, and sangitasara.
  • Janya of 15th melakarta Mayamalavagoula.
  • Its murchana includes SRMPDS and SDPMGRS.
  • Swaras include Shadja, suddha rishbha, antara gandhara, suddha madhyama, panchama, and suddha dhaivata.
  • N VARJA
  • Amsa: MPD
  • Nyasa: PD
  • Graha: RMD HIGH S
  • Samvadi: RD, D HIGH R
  • It is AUDAVA-SHADAVA and UPANGA. -Rakti. -Morning raga. -Bhakti rasa and bhaava pradhana. -Purifying and appealing. -Its compositions are Pillari gitams-sri gananatha, kundagowra, kereya neeranu, and padumanabha, in addition to Vara siddhi varna and Panchamaatanga kriti.

• Mohana:

  • Origin: tiruvachakam10th century.
  • Janyam of 28th harikhambhoji
  • Murchana: SRGPDS and SDPGRS
  • Swaras: Shadja, catusruti rishbha, antara gandhara, panchama, catusruti dhaivata
  • M,N VARJA
  • Graha: All
  • Nyasa: All
  • Vadi: S
  • Samvadi: SP, RP, GD, RD, PS
  • AUDAVA
  • UPANGA
  • Includes Thristhayi, janta, and dhatu sancharis.
  • Characterized by love and attraction.
  • Includes VaraVeen gita, Ninnu korri varnam, and Rama ninnu thyagaraja.

• Kalyani:

  • One of the 6th important ragas.
  • 65th melakarta mechakalyani.
  • Murchana with SRGMPDNS and SNDPMGRS.
  • Shadja with catusruti rishbha, antara gandhara, prati madhyama, panchama, catusruti dhaivata, and kakali nishada.
  • Amsa: SGMPN
  • Nyasa: RGDN
  • Graha: SRGPN
  • Samvadi: SP,RP,RD,GN,MN,PS
  • SAMPURNA.
  • Thristhayi
  • Jantu and dhaatu
  • It comprises bhava, veera rasa pradhana.
  • Janyas are comprised of saranga, hamirkalyani, yamunakalyani, and amrutavarshini.

• compositions:

  • Kamala jadala
  • Vanajakshi ninne varnam
  • Amma ravamma kriti

• Sankarabharana:

  • One of 6 important ragas
  • 29th melakarta dhira sankarabharanam
  • Murchana: SRGMPDNS and SNDPMGRS
  • Shadja, catusruti rishbha, antara gandhara, suddha madhyama, panchama, catusruti dhaivata, and kakali nishada
  • Graha: SMGS
  • Nyasa: GPS
  • Amsa: GPS
  • SAMPURNA
  • Rakti raga
  • Janyas are comprised of arabhi, bilahari, atana, janaranjani, and kannada. -compositions:
    • Govindachyutha gitam
    • Saami ninne varna
    • Manasuswadhina tygaraja -Yendukupeddala tygaraja -Akshayalinga dikshitar

• Khambhoji:

  • 7th century
  • 28th melakarta harikhambhoji
  • Murchana: SRGMPDS and SNDPMGRSnpdns
  • Shadja, catusruti rishbha, antara gandhara, suddha madhyama, panchama, catusruti dhaivata, kaisiki nishada, kakali nishada
  • N VARJA in AROHANA
    • KAKALI N IS ANYA SWARA
  • Nyasa: GMPD
  • Graha: S
  • SHADAVA SAMPURNA
  • BHASHANGA
    • Auspicious raga
    • At beginning of music concert
    • Varnana pradha raga
    • Tristhayi
    • Compositions:
      • Mandharadhare gitam
      • Panajakshi varna
      • Sarasijanabha varna
      • Tharuni ninnubasi

• Hamsadhwani:

  • Invention of ramaswamy dikshitar
  • Janya of 29th dhiraShankarabharanam, or 65 mecha kalyani
  • Murchana: SRGPNS and SNPGRS
  • Shadja, catusruti rishbha, antara gandhara, panchama, and kakali nishada
  • M D VARJYA -Amsa: All -Nyasa: All -Graha: All -Samvadi: SP, RP, GN, PS -AUDAVA -UPANGA
  • Rakti
  • Bhava yukta raga
  • Identified with lord ganapati -compositions: -Jalajakshi varnam -Vataganapathim dikshitar -Vinyakaninu vina kuppayyer -Raghunayaka tygaraja -Gajavadana purandaradasa

• Vasanta:

  • Composed before 72 melakartas.
  • Janya of 17th melakarta suryakantam
  • Murchana with SMGMDNS and SNDMGRS. -Shadja, suddha rishbha, antara gandhara, suddha madhyama, panchama, catusruti dhaivata, and kakali nishada
  • P VARJA

• Amsa: SGMD

  • Nyasa: MD
  • Graha: SGMD
  • Samvadi: SM, GD, MN, MS
  • AUDAVA-SHADAVA
    • UPANGA -Gamaka yukta rakthi raga

• Tristhayi

• Bhakti rasa and sringara rasa

• Compositions:

• Ninnu kori varna

• Sitamma mayamma kriti tygaraja

• Jham jham tarita tillana

• Hindola:

  • Raga taringini of lochana kavi, swaramela kalanidhi ramamyata
  • Janya of 20th natabhairavi, janya 8th hanumathodi
  • Murchana: SGMDNS and SNDMGS -Shadja, antara gandhara, suddha madhyama, catusruti dhaivata, and kaisiki nishada
  • RP VARJA

• Amsa: All

• Nyasa: M, gdn

• Graha: SMN

• Samvadi: SM, GD, GN, MN, MS

• AUDAVA

• UPANGA

• Bhakti, karuna, sringara

• Compositions:

• Manasija varna

• Samajavaragamana kriti

• Nirajakshi kamakshi kriti

• Govardhana gireesham kriti

• Samagana lole kriti

• Abhogi:

  • Janya of 22th melakarta karaharapriya
  • Murchana: SRGMDS and SDMGRS -Shadja, catusruti rishbha, sadharana gandhara, suddha madhyama, and catusruti dhaivata
  • N P VARJA
    • Nyasa: S,G
  • Graha: S,RM
    • AUDAVA
    • UPANGA
  • Prema, karuna, bhakti
  • Increase appetite Compositions:

• Evvari bodhana varnam

• Jaganmohini:

  • 18th century.
  • Janya of 15th melakarta Mayamalavagoula.
  • Murchana with SGMPNS and SNPMGRS. -Shadja, suddha rishbha, antara gandhara, suddha madhyama, panchama, and kakali nishada
  • N VARJA

• Amsa: RGPN

• Nyasa: RGPN

• Graha: GPN

• AUDAVA-SHADAVA

• UPANGA

• Bhakti rasa and gana rasa Compositions:

• Shobillu kriti tygaraja

• Mamava satatam kriti tygaraja

• Dayachooda manchi syama sastry

• Sree subha devi

• Paripahimam

• Suddha Saveri:

  • Janya of 29th melakarta dhirasankarabharanam
  • Murchana: SRMPDS and SDPMRS Shadja, catusruti rishbha, suddha madhyama, panchama, kakali nishada, and suddha dhaivata,

• GN VARJA -Amsa: RD -Nyasa: RD -Graha: S -AUDAVA -UPANGA - Vira Rasa and Valor

  • Compositions: -Kalahrana mela kriti tygaraja -Taaye tripurasundhari -Dharini telusukonti -Paripalimchu mani -Janani pahi.

Lakshanas of Varnams

• Sthayi is singing with an occasional touch of octave, SSS highSSS.
• Arohi has an ascending order.
• Avarohi has a descending order.
• Sanchari is a mixture of sthayi, arohi, and avarohi.
  • Abhyasa gana
  • Voice culture improves musical skills

Tana Varna

• Practiced after gitas and swarajathis.
• Associated with manodharma sangita.
• Purvanga includes pallavi, anupallavi, and muktayi, while Uttaranga includes charanam and chittaswaras.
• Sahitya of varna is usually bhakti or sringara, with Dhaatu predominantly.
• The ettugadda swaras are models for development of kalpanaswara singing.
• adi, ata, jhampa, and kanda jathi triputa tala are included
• Trikala consists of three speeds.
• Sama graha.

Pada Varnams

• pallavi is usually 2 avartas
• anupallavi is usually 2 avartas, but sometimes is 4
• length of muktayi is 2 or 4 avartas
• charanam is only 1 avarta
• first ettugadda swara is 1 avarta
• second ettugadda swara is 1 avarta, sometimes 2
• third ettugada swara is 1,2,or,4 avartas
• fourth ettugada swara is 2 or 4 avartas.
• Singing method: pallavi, anupallavi, muktayi, sahityam of pallavi, charanam, 1 ettugadda, charanam, 2 etugadda, charanam, 3 etugadda, charanam, 4 etugadda, end with sahitya of charana.
• Prominent composers:
• veena kuppayer
• swathi tirunal
• pallavi gopala iyer
• patnam subrahmanya iyer
• tiruvatriyoor thyagayyer

Life history:

• Vina kuppayer (1798-1860):

  • A telugu brahmin born in tiruvottiyur.
  • Versatile in vocal and vina, known as Gana Chakravarti.
  • His father, Sambamurti Sastri, was also a famous vocalist and vina player.
  • Disciple of tygaraja.
  • Lived with tygaraja for several years and learnt music and composing.
  • Later moved to chennai and sought patronage of Kovur Sundara Mudaliar.
  • Known for composing bhajan, divyanama kirtanas, varnas, kritis, and tillanas.
  • Known as Narayanagoula kuppayyer because he was very proficient in composing in narayanagoula raga, as well as paata kuppayyer.
  • Composed in telugu.
  • Variety of kritis and varnas(tana)
  • Later shifted to muthialapet in madras

• Kovur sundara mudaliar was his primary patron and enjoyed status of stanavidwan.

  • Vadivelu of tanjavur visited him frequently.
  • His son was tiruvottiyur tyaggayyar was his son.
  • Disciples include tiruvottiyur tyaggayyar, kothavasal venkatarama, ayyar sitaramayya, and fiddle ponnuswami.
  • Carried tygarajas legacy.

• Compositions: -KARUNIMPA VARNA -VINYAKA KRITI -KONIYAADINAAPAI -GOPALADASA WAS THE SIGNATURE

• Story: One day vina kuppayyer was playing the vina when tygaraja was not there, Tygaraja was suprised and overjoyed,pleased, he went to kuppayyers house and sang VENUGOPALALOLUNI in praise of their family deity

• Tituvottiyur Tygayyar -1845-1917

• son of vina kuppayyer

• named after tygaraja

• also called mutyalapeta tygayyar

• composed kirtanas in 108 ragas

• published them in sankirtana ratnavali and pallavi swara kalpavalli

• even after fathers death he contiued concerts and music

• called swara simha tyagayyar because he had extraordinary ability in swara kalpana

• composed varnas, ragamalikas, krithis -disciples are tiger varadachary, sangita rao devara, nellore raghavaraju, piratla sakarayya

• COMPOSITIONS:

• Intha modi jese varna

• saraguna nannelu varna

• saraswathi nanneppudu kriti

Patnam Subrahmanya Iyer

• 1845-1902

• grandfather was bharatam panchanada sastri

• father was bharatam vaidyanatha iyyer

• family belongs to tamil ashtasahas brahmin community

• inital training from melattur ganapati sastri

• later training manam buchavadi venkata subbayyer

• proficient in sanskrit, telugu, and tamil

• voice became melodious with sadhana

• married at 32 -his popularity started when he was 35 He was living in tiruvottiyur and later settled chennapatnam

• composed in telugu, tamil, sanskrit

• sangati variations were attractive

• adept in chittaswaras

• SIGNATURE WAS VENKATESWARA

• composed 100 compositions

• Varnas, kritis, javalis, tillanas,

• raga kadankuthulam came to light

• composed in adi,desdai,rupaka and jampe and capu talas

• Mahavaidyanatha iyyer and subramanya iyyer were great friends. They would only perform one concert a week and only recieve gifts from maharajas and zamindars, and not from public

• many appreciated darinitelusikonti in suddha saveri, Nadopasana in begada, bhavanutha in mohana.

• he sang begada raga for 3 days, 1st day alapana, 2nd day tanam, and 3rd day is pallavi. This gave him name of begada subrahmanya iyyer.

• only one who could compose land sing a pallavi in 128 aksharas of simhandana tala

• he only sang tygaraja songs at concerts and never his own,

• he said tygaraja has composed in kalyani in all colors and there is nothing left for me.

• After a year he composed nijadasa varada in kalyani.

• disciples include ramnadhapuram srinivas iyyengar, tiger varadachary, mysore vasudevachary, kakinada CS Krishna swamyayya, and Tiruvadi G narayana swamy

• STORY: once he was leaning to a pillar and singing, after some time due to his valiant voice, the sympathetic vibrations shook the pillar and everyone was shocked

COMPOSITIONS:

• Evvari bodhana varnam
• Raghu vamsa, Anudinamu , Paridinamu