Music Terminology

 Music Terminology

• Sangeetam
• Nada
• raga
• laya
• Tala
• Dhatu
• Mathu
• Sruti
• Alankara
• Arohana
• Avarohana
• Graha (Sama, Atita, Anagata)
• Svara – Prakruti & Vikriti Svaras
• Poorvanga Uttaranga,
• Sthayi,
• vadi,
• Samvadi,
• Anuvadi &VivadiSvara–Amsa, Nyasa and Jeeva.

Carnatic music, a classical music tradition from South India, has a rich vocabulary that encompasses various elements of its theory and practice. Here are some key terms commonly used in Carnatic music:

Fundamental Concepts

1. Śruti: The smallest interval of pitch that the human ear can discern; serves as the reference pitch.
2. Swara: A musical note. The seven basic swaras are Sa, Ri, Ga, Ma, Pa, Dha, and Ni.
• Sa (Shadjam)
• Ri (Rishabham)
• Ga (Gandharam)
• Ma (Madhyamam)
• Pa (Panchamam)
• Dha (Dhaivatam)
• Ni (Nishadam)
3. Rāga: A framework for melody, characterized by a specific set of notes and their arrangements, rules, and expressive qualities.
4. Tāla: Rhythmic cycle, which can be simple or complex, consisting of a fixed number of beats.

Rāgas and Scales

1. Rāga: A framework for melody, characterized by a specific set of notes, ascending and descending patterns, and certain rules for their use.
2. Melakarta: The parent scale system comprising 72 fundamental rāgas from which other rāgas are derived.
3. Janya Rāga: Derived rāgas that are subsets of the melakarta scales.

Compositional Forms

1. Kriti/Kirthana: A structured song with three sections—Pallavi, Anupallavi, and Charanam.
2. Varnam: A type of composition that includes both lyrical and swara (note) passages, often used as a learning and practice piece.
3. Alapana: An improvisational aspect of rāga elaboration without rhythm.
4. Swara Kalpana: Improvised solfege singing within the confines of a rāga.
5. Ragam-Tanam-Pallavi: A complex form of improvisation involving rāga exploration (Ragam), rhythmic variation (Tanam), and a thematic line (Pallavi).
6. Padam: A slower, expressive song usually dealing with themes of love and devotion.
7. Javali: A lighter, more colloquial type of song dealing with themes of love, often in a playful manner.

Performance Practice

1. Manodharma Sangita: Improvisational music, allowing for creativity within the framework of rāga and tāla.
2. Tani Avartanam: Percussion solo, usually performed towards the end of a concert.
3. Kalpana Swaras: Creative, improvised sequences of swaras in a given rāga, rendered within the structure of the composition.
4. Niraval: Improvisation involving the repetition and variation of a line within a composition

Rhythmic Elements

1. Tāla: Rhythmic cycle, which can be simple or complex, consisting of a fixed number of beats.
2. Adi Tāla: One of the most common tālas in Carnatic music, consisting of 8 beats.
3. Chapu Tāla: Rhythmic cycles with odd counts like 5 (Khanda Chapu) or 7 (Misra Chapu) beats.
4. Rupaka Tāla: A tāla consisting of 3 beats.
5. Khanda Chapu Tāla: A rhythmic cycle consisting of 5 beats.
6. Misra Chapu Tāla: A rhythmic cycle consisting of 7 beats.

Instruments

1. Veena: A string instrument and one of the oldest used in Carnatic music.
2. Mridangam: A principal percussion instrument, typically played alongside other instruments.
3. Violin: Adapted for Carnatic music, it is played differently from its Western counterpart.
4. Flute: A wind instrument, known as Venu, often used in Carnatic performances.
5. Tambura: A string instrument used to provide a continuous harmonic drone in the background.

Theoretical Concepts

1. Gamaka: Ornamental variations of a note or a group of notes, essential for expressing the rāga's character.
2. Sruti Box: A small electronic device or a manual reed instrument that produces the drone, setting the pitch reference for singers and instrumentalists.
3. Tambura: A string instrument used to provide a continuous harmonic drone in the background during performances.

These terms form the backbone of the rich tradition of Carnatic music, providing a structured yet highly expressive medium for both composition and performance.