i. There is usually a very short melodic pause before commencement of each section (for example, between pallavi and anupallavi).
ii. At the end of each section, the pallavi is repeated. However, varnams that conclude with the charanam are exceptions to this rule.
Continue reading Music Therapy: Characteristic of a Composition
Varnam : There are three types of varnams – tana varnam, pada varnam and chowka varnam. The first is used most frequently in music concerts. This is not only an advanced study piece but a fine concert-opener too. The first phase consists of a pallavi, anupallavi and solfa passages, while a charanam and three to five more rounds of solfa notes form the second phase. The speed of rendition is medium (sometimes the first phase may be presented in two or more speeds). Classical varnams have been composed in weighty and evocative ragas,usually expressing romantic sentiments. Chowka varnams are composed in much slower speeds and are sometimes rendered even in the middle part of a concert. Pada varnams have lyrics in the solfa passages, which make them ideal for dance recitals as well.
Continue reading Music Therapy: Common Musical Forms in Carnatic Music
What should one expect in a typical concert? How does one go about enjoying oneself? What does the musician do in a concert? How does he (or she) cater to the varied tastes of the audience and portray the numerous aspects of Carnatic music? This chapter endeavours to take the reader to the actual scene of action, and answer some of the above questions.
Voice: Of the innumerable instruments developed by man, very few can match the human voice. Carnatic music gives pride of place to vocal music, and melody instruments try to approximate vocal standards.
Music is not merely a series of organized sounds. It is more about organized thoughts. Any system of music that relies on improvisation needs a strong foundation for creativity to be meaningful. As far as the musician is concerned, clarity of thought is the first step towards creativity, or, for that matter, re-creativity. Only when a musician decides a fraction of a second earlier exactly what phrase is to be rendered will the execution be sure and organized.
Continue reading Music Therapy: Improvisations in Carnatic Music
Early Music : Though the roots of Carnatic music can be traced to the Vedas, especially the Sama Veda, the music of then and now is strikingly different, but for a few basic notes. The differences are not only in actual renditions, but also in basic musical concepts. Early music confined itself to a few notes, which were repeated in different sequences, with more stress on tonal purity and clarity of diction. Only gradually did the concepts of creative music (independent of lyrics, like raga elaboration) and more sophisticated musical forms emerge.
Different systems have diverse approaches to music and varied yardsticks for measuring the results. That some of these are common to many systems is a mere coincidence. An attempt has been made here to draw the reader’s attention to certain essential features in a typical Carnatic concert. There is enough scope in many areas for the listener to contribute to its greater success too.
Continue reading Music Therapy: What are the Factors that Affect the Success of a Concert?
1. Why is violin used as an accompaniment to vocal music?
A. The violin, ever since its introduction to Carnatic music in the 19th century, has proved itself to be most suited to accompany vocal music, mainly because of its smooth tone, continuity and capacity to produce slow to super fast music. The violin is also a very successful lead instrument in Carnatic music, and violin solos, duets and trios are quite admired.
Continue reading Music Therapy: Frequently Asked Questions in Carnatic Music
It is really the personalities who shape history. It would be no exaggeration to state that Carnatic music represents the cumulative brilliance and wisdom of geniuses over several centuries. Each personality needs volumes, but for obvious reasons, only a passing reference has been made here.
Continue reading Music Therapy: Great Personalities in Carnatic Music
i. Both share a common origin and have the same seven basic notes and solfas in a 12-tone system.
ii. Both share common concepts like raga, tala, swara and so forth.
iii. Both share several common ragas and talas, sometimes with different names.
Continue reading Music Therapy: Compare and Contrast Between Carnatic and Hindustani Music