Carnatic Music

Carnatic music, associated with the southern part of India is one of the important sub genres of the Indian classical music. Confined to mainly four modern Indian states like, Andhra Pradesh, Kerala, Tamil Nadu and Karnataka, Carnatic music with its taala, laya and raga, is more than just an amalgamation of musical notes, rhythm and melody but is an eternal journey amidst the vibrancy of euphony ; a sheer musical sojourn representing the Indian heritage.

Like all art forms in Indian culture, Carnatic music is believed to have a divine origin, thus it has its origins deeply rooted in the antiquities of the Vedas. Even in the Upanishads there are references to music and musical instruments. Epics like Ramayana and Mahabharata also have some references to music. However, the music system which was practiced during Bharata`s period can be attributed as Carnatic music in its rudiment form. Bharata`s Natyashastra mentions many musical concepts that continue to be relevant to Carnatic music today. The Tamil works like Silappadikaram, Tolkappiam and other Sangam literary works offers archaic Dravidian names for the seven notes in the octave and also portrays the secrets of the technique of modal shifting of existing scales. The concept of Pann which was much in vogue in the old Tamil literature corresponds to that of the modern raga, now used in Carnatic music. The rhythmic meters found in several sacred musical forms like Tevaram, Tiruppugazh, etc., resemble the talas that are in use in Carnatic music today. However, some of the musicologist suggests that in the ancient days Tamil music was practiced by the native Dravidians in the southern part of India. Carnatic music also prevails there, hence scholars believe that the ancient Tamil music to be an important source from which the legacy of Carnatic music began.

Although Carnatic music prevailed in the age old days yet it was only after the composition of the musical treatise, Sangita Ratnakara by Sarngadeva, the word `Carnatic` was first introduced to represent the typical style of South Indian classical music as a separate genre of music. The clear demarcation between the Hindustani classical music and the Carnatic music as two distinct forms of Classical music was witnessed during this time at the fag end of the 14th century Sangita Ratnakara therefore stands out as a link between the two new systems that gradually split and evolved separately after his period, namely, the Hindustani music and Carnatic music.

In the capital cities of South India, especially in Tanjavur and Vijayanagara Classical music flourished to a great extent. It was during this time a number of treatises tracing the concepts of Carnatic music were written. The Sangeeta Sara written by Vidyaranya was the first to classify ragas as Melas and also coined the word Janya ragas. The present form of Carnatic music is based on historical developments that can be traced to the 15th - 16th AD and thereafter. Music as an art form was handed down from the teacher to the student through direct oral instruction and this form of imparting the education has been a special tradition in Carnatic music.

Carnatic music composition has two elements, one is the musical element and the other represents the element which is conveyed in the composition. And it is for this reason most Carnatic music compositions are ideally composed for singing which brings out the knowledge and personality of the composer. The main emphasis is therefore on vocal music; and even when played on instruments, they are meant to be performed in a singing style (known as gayaki).The most common and significant forms in Carnatic music are the however varnam and the kriti (or kirtanam).

Words and melody accompanied with the divine presence of the taala and raga further contours the structure of the Carnatic music whilst making it an emblem of the rich musical heritage of India. Raga is the Pivotal concept of Carnatic music and is India`s proud contribution to world music. The ideal of absolute music is reached in the concept of Raga which is much more than a being a mere scale. Carnatic raga elaborations are generally much faster in tempo and shorter. The opening piece is called a varnam, and is a warm-up for the musicians. Next follows the devotion and a request for a blessing follows. A series of interchanges between ragas (meter less melody) and thaalams (the ornamentation, equivalent to the jor) then follows. This is intermixed with hymns called krithis and is ideally followed by the pallavi or theme from the raaga. Beat or taala for the Carnatic music is important and the Carnatic music singers usually keep the beat by moving their hands up and down in specified patterns, and using their fingers simultaneously to keep time. Tala is formed with three basic parts (called angas) which are laghu, dhrtam, and anudhrtam, though complex talas may have other parts like plutam, guru, and kaakapaadam.

Improvisation in raga is the soul of Carnatic music and is indeed an essential aspect in silhouetting the structure of the music. "Manodharma sangeetham" or "kalpana sangeetham" as it is known in Carnatic music, espouses several other various improvisations. However, the main traditional forms of improvisation in Carnatic music consists alapana, niraval, kalpanaswaram, ragam thanam pallavi, and thani avarthanam.

The theme of Carnatic music is to purify one whilst uniting him with the infinite. The idea is to unite one`s breath with that of the spaces and to correlate one`s vibration with the vibrations of the cosmos. Quite ideally therefore Carnatic music is essentially spiritual entwined with the rich philosophies of the Hindu religion. This sublime integration of various themes, religion, philosophy, emotions, intellect, entertainment and others with Carnatic music, has created a vibrant life and tradition in Hindustani classical music.

The divine timber, the philosophic overtones, the melodic rhythm and indeed the spiritual facets make Carnatic music a separate entity, a divine way to become one with the Divine.

Forms of Carnatic music are rather rich and varied. In compositions belonging to the realm of pure music or absolute music, the Sahitya is only a vehicle in helping one to sing and remember the music. The Sahitya is of help to both the vocalist and instrumentalist in learning the pieces and perform them from memory in concerts. It brings differences between devotional music, dance music, folk music or a classical piece. In Carnatic music, the Sahitya of many great composers like Tyagaraja, Syamasastri, Muthuswami etc. are used. Some of the prominent musical forms of Carnatic music are discussed below.

Ragamalika
Previously this form was known as Ragakadambakam. It originated in the medieval period. The composition is highly ornamental. Ragamalika has various parts like, Pallavi, Anupallavi etc. Pundit Venkatamukhi, Muthuswami Diskhitayar, Swati Tirunal have composed some famous Ragamalika in different Raagas. The Ragamalika system is found existing in Hindustani music system as well.

Kriti
The Kriti originated from the Kirtan. It`s time of origin is the latter half of the fourteenth century. Kriti has three parts, namely, Pallavi, Anupallavi and Charana. The Sahitya of Kritis is secular in character. It is believed that Kriti got perfection through the composition of musical trinity of Carnatic music. A Kriti pays a great deal of importance to Raaga Bhava. (The emotion evoked by the Raaga) and the Raaga Lakshana (the characteristic rules of the Raaga). It normally consists of very few words. In this form it provides opportunities for composer to display his creative ability. Saint Tyagaraja and Saint Purandar Das are the great composers of Kriti.

Padam
The concept of Madhura Bhakti and Nayaka-Nayika Bhava in all their aspects led to the development of the musical form of the `Padam`. In the medieval period the word `Padam` was used for devotional song. Kshetrayya of 17th century is called the father of modern Padam. It is sung in concerts of music. In the dance concerts, Bhava Sahitya is used. In Abhinaya one can find many Padas in different languages. At the end of the composition the name of the composer is mentioned. It is Bhava-centric music. That is why Padam is used with dance and drama. Padam is accompanied with Bharatanatyam dance. After the fast composition like `Swaranjali` or Varanam the audience like the slow tempo of Padam, the Abhinaya part of dance.

Javali
It is a compositional form of the 19th century. It is a lighter type of composition. One cannot find any classical Lakshanas in this form. The artist breaks the grammar of the Raaga for the beautification of tune. It has three sections namely, Palavi, Anupalavi and Charanam. In a Javali there can be many Charanam. This form is composed in popular Raaga and simple Talas.

Tillana
It is sung in music concerts. It is an important item in the concerts of dance and is sung in a fast tempo. It is a musical form of the 18th century. Virabhadrayya is one of its short forms and incorporates rhythmic syllables directly as text. In most Tillanas the first two lines of the Charanam contain lyrical text. It can be compared with Tarana of Hindustani music.

Varnam
Taana Varnam is earlier than Pada Varnam, Pachchimiriyan Adiyappiah has created this Tana Varna. Pada Varnams are used in dance. Ramaswari Swati Tiruna and Syamasastri were the earliest, to compose a Pada Varnam. It is an elaborate melody, replete with emotion. The lyrics of a Varnam are comparatively simple and many relate to devotion or to divine love. It requires great skill, technical capacity and creative insight to compose Varnams. The constituent parts of Varnam are Pallavi, Anupallivi and Charanam.

Raagas in Carnatic music are quite similar to the Hindustani style. As in Hindustani ragas, specific pitches are associated with a specific raaga in the case of Carnatic Music as well. In the Raaga theory of Carnatic music, it is common to think in terms of a tetrachord structure. The selection of pitches in the Raagas, as also seen in the case of Hindustani music, must be must be enumerated for both ascent (arohana) and descent (avdrohana), which sometimes differ in pitch content. For instance, in the case of Raga Mayamalavagaula, the raga on which the first lesson taught to the students of Carnatic Music, the same seven pitches are used in both ascent and descent. This kind of a raga is said to be a Sampurna Raaga. Traditionally, it is required that a Raaga should have at least five pitches, however it may have only four in ascent or descent. The theory in Carnatic music holds that only one form of the seven basic pitches can be used in context. This rule is very strictly adhered to in Carnatic music. There are some Carnatic Raagas which are characterised by melodic patterns (sanchara) that are not particularly associated with ascent or descent. Raga Darbar is one such raga. It is marked by an ascent and descent, as well as two sanchar. Descriptions of Carnatic raagas frequently cite sancahra, which are phrases that may occur frequently but do not necessarily play a role in distinguishing one raga from another.

In the Carnatic system, the system of exploiting pitch nomenclature in order to allow adherence to the tradition is preferred. However, as n the case of Hindustani music, a slight retraction is in order here. If the pitches in the raga do not appear in a scalar form of ascent and descent, the Raaga is called a vakra or crooked raga. This kind of flexibility in Indian music is one of the most important aspects of the entire Raaga system. It contributes considerably to the feeling of Indian musicians that ragas are very personal things.

In the Carnatic Raagas, the characteristic melodic shapes mostly occur in the form of patterns of ascent and descent.

On the whole, the Carnatic system tends to generalize Raagas in the direction of scales. The relationship among the different ragas and their melodic distinctions are quite important, though they are not controlled in the same way as the Hindustani system. A particular raga is sometimes distinguished by the intonation of specific pitches a little higher or a little lower. In practice it will be found that in many ragas, the pitch of a particular note is sharpened by a sruti during the ascent and flattened by a sruti during the descent.

In the tradition of Carnatic music, though pitch functions are an element of Raaga theory, this function is not paired with the concept of pitch hierarchy. The functional pitches that are enumerated are graha svaras, pitches on which a composition should begin; amsa svaras, on which motion can rest or centre in improvisation; nyasa svaras, on which a phrase should end; and jiva svaras (life-giving pitches), which lend individuality to the raga.

Carnatic Raagas often stress one pitch register over another, or one tetra chord over another. Raga Sarasvati for instance is an upanga (upper portion) which means that melody is concentrated in the upper tetrachord.

A lot of ornamentation is noticed in the case of Carnatic Raagas. In one of the Carnatic styles of playing and singing, variaka style, where every pitch is rendered with a type of gamaka (ornament) called the kampita, which consists of a shake of a definite interval, rtather than just an indefinite vibrato. Performances in Varika style vary with the raga. In some of the Carnatic ragas, specific pitches are subject to specific ornamentation.

Varnam is a kind of composed music with which a typical concert in South India begins.

It is called a tana varnam in a music concert and a pada varnam in a dance concert. A varnam is similar to an etude, which in Carnatic terms is called the abhyasa gana category of composition. Most varna are in the same raaga throughout, and are also metered throughout, but a few have a different raga in each section. The latter are called ragamalika tana (or pada) varna: tana or pada varna in a garland (malika) of ragas. The ragamalika idea is particularly South Indian and is utilized in various other genres as well as being a genre itself.

Varna is learned by students who are just about to move from the practice genres to learning concert music. They are good for training the voice and also for developing instrumental technique, partially because they are practiced at three different levels of speed. A varnam is also considered an authoritative source for the correct rendering of a raaga. In concert, it is good for warming up, although it is entertaining in its own right. The varnam is structured somewhat like other types of South Indian genres.

Structure of Varnam
A varnam has three basic sections: pallavi, anupallavi, and charanam. Other elements occur between these-sections, or after a section. The sections of the composition are defined in terms of pitch register. Theoretically, a pallavi section delineates the lower tetrachord of the middle register and includes a few pitches in the low register. An anupallavi section consists, theoretically, of the upper tetrachord of the middle register and a few pitches of the upper register. Most varna are in the middle speed (madhyamakala).

Text of Varnam
The Varna texts typically deal with love or devotion to a deity. They may even be in praise of a patron or describe the varna itself. A varnam includes several ettugada svara passages, which are based on the structural principle of ever increasing complexity and length. One of the most common patterns of development in Carnatic music is the srotovaha yati. It is said to be like a river, (srotovaha) - starting small and becoming larger.

Performance of Varnam
In performance, the varnam is lengthened by repetition. The repetition can be done smoothly because of the melodic "rhyme" at the end of each segment. Each avarta of the first half is repeated, but at double speed. Therefore, it must be performed twice to fill the time cycle. In the second half, the charanam appears after each ettugada svara. In most Carnatic genres, the pallavi would occur after each section. The varnam is unusual in that the pallavi does not appear in the second half at all.

Pitch in Carnatic music stems from the same ancient system as the Hindustani tradition. It utilizes seven basic pitches- Sa, Ri (instead of the Hindustani Re), Ga, Ma, Pa, Dha, and Ni. These symbols are the abbreviations for words. Sa stands for Sadja, pa for Panchama, Ri for Risaba, Ma for Madhyama, Dha for Dhaivat, Ga for Gandhara and Ni for Nisada.

Sa is the abbreviation for a word in the Sanskrit language, sadja As it is written in Sanskrit, the`s` is pronounced sh. In music, however, it is pronounced s. In music, Sa stands for the syllable, and sadja the word for "the first pitch"; the reason for this divergence in meaning is unknown. Ri (or Re, as it is usually said in the North) is short for risabha, "the second pitch." Ga is short for Gandhara, a word that refers to the area west of the Sindhu River. It is not known why this word is used to refer to a musical pitch. Ma is from madhyama, or "middle"; it refers to the middle pitch in a saptak. Madhyama and the short Hindi form madhya are terms used in several different musical contexts, such as "madhya saptak" (middle register) and "madhya laya" (middle speed). Pa is short for panchama, which means fifth; it is the fifth pitch in a saptak. Dha stands for dhaviat, the sixth pitch. Ni is from Nisada, the name of a non-Aryan tribe in India.

In India, the use of syllables to refer to musical pitches is very old. At some point in time during the Vedic period, roughly around 1500-500 B.C., older names for the pitches were dropped in favour of new ones which are in use now. Yet another source suggests that a solfege system has been mentioned in the Narada Parivajaka Upanishad, dating to around circa 600 B.C. It is also says that in the Kudimiyamalai inscriptions of the Pallava period, sometime in the 7th century A.D., there are whole passages written in sa ri ga ma notation along with vowel variations.

In Carnatic music, the number of pitches available in addition to the basic seven is the same as in Hindustani music. However when they are named, there seems to be more. As seen in the case of Hindustani music, Sa and Pa are invariable. And there are two Mas. However, there are three categories of Ri, Ga, Dha and Ni, unlike in the case of Hindustani music where there are two categories each. The lowest form of each of the variable pitches is considered to be the natural form (suddha). The generic names given to the remaining forms are vikrita svaras.

Pitch in Carnatic music thus plays around the same principles as are observed in the case of Hindustani Classical music.

Carnatic drumming mainly takes place on the mridangam. In the performance of Indian music, North or South, a solo melody instrument is complemented by a drone instrument and a drum. A vocal solo is accompanied by an ensemble that includes drum, drone, and a stringed melody instrument. The major percussion instrument employed in Carnatic Music is the mridangam.

Commencement of formal training in mridangam is usually marked by a puja ceremony to Lord Ganesha, the god of auspicious beginnings. The teacher may pass the instrument to the student in a special way signifying the acceptance of their relationship and all that it implies. In the case of mridangam, the drum is held vertically with the outstretched fingers under the braiding of the valandalai (right-hand head), and the student accepts it in the same manner. The first lesson is also a special one, likewise dedicated to the elephant deity.

`Pillayar Padam` (lesson dedicated to Pillayar, or Ganesha), contains every stroke used. Although obviously beyond the capabilities of the raw beginner, it is important that the first thing learned should be this ceremonial offering of the sounds of the drum to the deity of beginnings. As in all the lessons, the student imitates as well as he can the teacher`s hand position and tone. One of the most important things that the student has to maintain is that he or she should try to perform things beyond his present ability, to exceed himself in technique.

The sounds produced on the mridanga are of two basic types: damped and undamped. Given the complex construction of the drum, which makes it capable of precise pitch, it is more accurate to say that the two types of sound produced approximate either noise or pitch. Fourteen main strokes are used in mridanga playing as performed by T. Ranganathan. Three have individual names, and the rest are referred to by seven syllables (generically called solkattu).

The fourteen strokes are as follows:
Named strokes (3): gumiki, cappu, araicappu
Strokes indicated by syllable (11):
Tom (2)__Di(l)__Ki(l)
Nam (2)__Dim (1)___Ta (1)
Ta (3)

Presumably, such syllables were originally meant to imitate the sounds of the strokes to which they referred, but with time the use of syllables became more complex. Single strokes are combined into stroking patterns, and, thus, single syllables are combined into euphonious, easily recited syllable patterns that indicate such stroking patterns.

A distinction must be made here between a syllable that is being used to refer to one of those main strokes and that syllable when it is used in a syllable/stroking pattern. In a pattern context, for instance, the syllable Ta is used for eleven different strokes. On the other hand, one stroke can be referred to by a variety of syllables. One damped right-hand stroke, for example, may be called Di, Da, Du, Ka, Ki, Ku, Mi, Gi, or Ta. The choice of which syllable to use depends on the context- the syllable pattern. In addition to their purely rhythmic configuration as duration structures in time, the patterns have qualities of pitch, timbre, intensity, a kinesthetic feeling related to their physical production and a vocal form in the shape of spoken syllables. These patterns are usually not heard in concert, but they are always in a drummer`s head.

The basic idea behind rhythmic development in Carnatic drumming is to take a set of primary materials - the existing storehouse of patterns and forms, and constantly rearrange, change, and extend them. In this respect, development in rhythm is like development in melody. For example, a germinal stroking pattern can act as a motive for seemingly inexhaustible possibilities. To begin with, one germinal pattern can be used as the basis for compositions in several talas. Subdivisions within the tala cycle are marked with a single slash, and the end of a cycle is marked with a double slash-for example, Adi tala: 1 2 3 4/5 6/7 8//; Khanda Capu tala: 1 2/3 4 5//. All strokes shown within a count are of equal duration unless otherwise indicated. A segment of time of that duration that is not filled by a stroke is indicated by a dot: the duration of    equals the duration of Tanata. (A dot beneath a letter is part of the transliteration of the letter; it has no rhythmic significance.)

A mora is a cadential phrase that is played three times and ends on an important count of the tala- either sama (count 1) or eduppu, the count on which a composition begins. Cross-rhythms are created purposely in a mora because each repetition begins at a different moment in the tala cycle. Moras can be quite symmetrical and complex. The phrases can even be of different lengths, as long as the essence of mora is kept-the pull of cross-rhythm and its resolution at the appointed place.

Students beginning to study mridanga learn to produce the basic strokes, then basic patterns. From the earliest lessons, they learn the principle and technique of playing in levels of speed (the only means of acceleration allowed in Carnatic music). At a later stage of training, the student of mridanga begins to put the ideas of germinal motive and gradual elaboration into the framework of a tala. He also learns how to create other shapes. For example, he may start with a long pattern and gradually reduce it. This is called gopuccha, the shape of a cow`s tail - thick at the beginning and tapering to thin. These shapes can be used in the mora.

This brief introduction to Carnatic drumming, specifically mridanga drumming, gives only a glimpse of a most complex subject. The drum syllables lead a life of their own, so to speak. The stringing together of longer patterns depends on aesthetic and euphonic conditions, the practice of representing rhythmic pattern by spoken syllables is more than a science, it is an art, and it is entirely concerned with the beauty of sound.

Tala in Carnatic music, though consisting of a cycle, is organized around principles that are quite different from the Hindustani talas. In the Carnatic tala (or meter), some tals consist of one single unit without subdivision. However most of them subdivided. This concept of subdivision in Carnatic music is quite different from the Hindustani concept of the same. In the practice of Carnatic music, the terms used in speaking about the subdivisions of a tala cycle, refer not only to the initial count of a subdivision but also to the duration of the subdivision as a whole. In the major Carnatic talas, there are three kinds of subdivision.

These are:

Anudrutam	1 count
Drutam	2 counts
Laghu	Variable number of counts

In order to specify the number of counts in a laghu, one needs another term. The terms used are simply numbers: 3 (tisra), 4 (chaturasra), and so on.

The jati (types of laghu) permitted in the system are these:

Laghu of 3 counts	tisra jati	|3
Laghu of 4 counts	chaturasra jati	|4
Laghu of 5 counts	khandajati	|5
Laghu of 7 counts	misra jati	|7
Laghu of 9 counts	sankirna jati	I9

Tala cycles consist of varying combinations of anudrutam, drutam, and laghu. The basic form of triputa tala, for example, is laghu plus drutam plus drutam. This is only a skeletal outline of triputa tala. Five types of this tala are available in the system because of the variable values of the laghu: Triputa tala tisra jati Triputa tala caturasra jati Triputa tala khanda jati Triputa tala misra jati Triputa tala sankirna jati

Similar to the Hindustani concept, the subdivisions in the Carnatic tala structure, however they may be conceived, do not imply stress. The whole emphasis is on counts falling at regular and theoretically exact intervals. In the Carnatic system, there are seven tala structures (including triputa) which form a core repertoire; there are five types of each of these structures. When a tala includes more than one laghu, all the laghu have the same number of counts. Carnatic theoretical classification, like Carnatic raaga classification, includes what could be used as well as what could be used.

The most widely used tala in Carnatic music is the triputa tala caturasra jati, otherwise known as Adi tala. It has a cycle of 8 counts (or aksaras), and an even rather than an odd number of counts in the laghu. Many references to Adi tala, however, speak of 4 counts. A smaller but nevertheless important group of talas are also used frequently in South Indian music- the capu talas, particularly misra capu (7 counts) and khanda capu (sometimes called Jhampa: 5 counts). They are of characteristically quick movement and are said to derive from folk music. Each consists of two angas, a shorter one plus a longer one in asymmetrical relationship. These talas are not thought of as being structured by anudrutam, drutam, or laghu.

Even more than in the case of audiences in the North, South Indian audiences keep the tala during performances. The means of keeping it (kriya) is by claps and waves. To indicate the finger counts of the laghu, one touches the thumb to the little finger and progresses toward the index finger.

When a singer keeps tala, he usually hits his right hand on his right thigh for a handclap (which is convenient because he is seated cross-legged), and either waves or hits his thigh with palm turned upward for a wave. Most of the practicing musicians call this the taali.

In Carnatic music, a single cycle can be long enough to accommodate a complete musical idea. However, two or more cycles are often combined into a longer phrase. When a phrase is completed it is marked by a recurring melodic phrase. That phrase always appears at the same place in the tala cycle and thus marks an important structural point in the tala. This important structural point is one of two such points in the tala cycle. This point, the count in the tala cycle on which a piece, a new section of a piece, or a main phrase of a piece begins, is named eduppu (Tamil language) or graham (sanskrit language). The tala point on which the eduppu falls depends on the composition.

The second important structural point in the tala cycle is inherent in the tala itself. It is count 1, called sam or sama. In the case of Carnatic music, count 1 does not consistently receive special emphasis as an ending point of melodic phrases (due to the importance of eduppu), but the ultimate cadence realized by the drummer is almost always on sama. Cadences at count 1 in Hindustani performances indicate the beginning of a new tala cycle. In Carnatic pieces, however, since cadences can come on any beat, it is more difficult (particularly in even talas like Adi tala) to find your place unless you know the composition. The widespread custom of audience participation through keeping the tala is testimony so the high level of musical education on the part of the audience.

The relative speeds in Carnatic music are conceptualized in levels- slow, medium and fast. The terms for these are practically the same as in the case of Hindustani Classical music- Vilambita or Cauka, Madhya and druta respectively. Speed in carnatic music is called kala or laya. Once the basic speed is established, acceleration of the tala counts is not permissible. Since the audience is keeping tala, any acceleration will be noticeable immediately. Slight fluctuations in speed do occur in practice, of course, but theory demands that they be slight. An increase in speed is achieved instead by an increase in the rhythmic density.

One of the favourite practices in South India is to present a melodic or rhythmic pattern (sometimes a very long one, an entire composition or major section thereof) and then double it in speed while the tala continues at a constant pace. The same procedure can be followed with speeds four times as fast, or sometimes three times as fast, half as fast, etcetera. In all cases the interest derives from the interplay between the pattern of melody and rhythm and the pattern of the tala as they change in relationship. The two most common doublings are a speed twice as fast (dvikala) and a speed four times as fast (catuskala). A trikala pattern goes through the three stages of presentation: in first speed, then in dvikala and catuskala relationships.

Thus discussed is the system of tala in Carnatic music.

Carnatic music is one of the most ancient music systems in the world with its history dating back to the age old days of the Vedas. The well defined theoretical principles govern Carnatic music whilst adding to the practical and aesthetic appeal of this genre of Indian classical music.

The main element of Carnatic music is its melody. Melody in the context of Carnatic music may be explained as, "The production of any musical tone or succession of such tones or semitones, with definite frequencies, within certain parameters, whether rendered independently or in conjunction with rhythm and / or lyrics". Carnatic music is typically a melody-based system where the stress is laid on the successive combination of notes. The melodic elements of Carnatic music are very systematic in their development from the simple to more complex and then ultimately utterly sophisticated. Quit ideally therefore the main emphasis in Carnatic music is on vocal music and on tonal expressions. The elements of Carnatic music thus rests on two aspect raaga, the modes and taala, the rhythmic cycles.

Elements of Carnatic music are as follows: Sruti: Sruti refers to musical pitch. In Carnatic music, ptch or sruti is of central concern and is an important element of Carnatic music. Every individual has a natural pitch which is his very own level or his range at which he can produce notes of best quality with optimum level of tonal ease. This becomes the fixed pitch and is called the Sruti.

Swara: Swara refers to a type of musical sound that is a single note, which defines a relative (higher or lower) position of a note, rather than a defined frequency. Swaras also refer to the solfege of Carnatic music, which consist of seven notes, "sa-ri-ga-ma-pa-da-ni" These names are abbreviations of the longer names shadja, rishabha, gandhara. madhyama, panchama, dhaivata and nishada.

Raag System: Raaga in Carnatic music prescribes a set of rules for building a melody. It specifies rules for movements up (aarohanam) and down (avarohanam), the scale of which notes should figure more and which notes should be used more sparingly, which notes may be sung with gamaka, which phrases should be used, phrases should be avoided, and so on. In Carnatic music, the sampoorna ragas (those with all seven notes in their scales) are classified into a system called the melakarta, which groups them according to the kinds of notes that they have. The ragas are grouped into sets of six; called chakras ("wheels", though actually segments in the conventional representation) grouped according to the supertonic and mediant scale degrees. There is a system known as the `Katapayadi sankhya to determine the names of Melakarta Raags.

Taal System: Taal or Tala refers to the beat set for a particular composition (a measure of time). Taals have cycles of a defined number of beats and rarely change within a song. They have specific components, which in combinations can give rise to the variety to exist (over 108), allowing different compositions to have different rhythms. Tala is formed with three basic parts (called angas), which are laghu, dhrtam, and anudhrtam, though complex talas may have other parts like plutam, guru and kaakapaadam. There are seven basic tala groups, which can be formed from the laghu, dhrtam, and anudhrtam:

Kriti: Carnatic songs (kritis) are varied in structure and style, but generally consist of three units, which is Pallavi, Anupallavi and Charana. This kind of song is called a keerthana or a Kriti. There are other possible structures for a Kriti, which may in addition include swara passages named chittaswara. Chittaswara consists only of notes, and has no words. Others have a verse at the end of the charana, called the madhyamakala. It is sung immediately after the charana, but at double speed.

Varnam: This is a special item, which highlights everything important about a raga; not just the scale, but also which notes to stress, how to approach a certain note, classical and characteristic phrases, etc. Though there are a few different types of varnams, in essence, they all have a pallavi, an anupallavi, muktayi swaras, a charana, and chittaswaras. They are sung in multiple speeds, and very good for practice. In concerts, varnams are often sung at the beginning as they are fast and grab the audience`s attention.

Apart from the main elements of Carnatic music there are also four main types of improvisation in Carnatic music which plays the pivotal role in contouring this genre of music.

Raga Alapana: This is the exposition of the raga of the song that will be performed. A performer explores the raga first by singing lower octaves then moving up to higher ones and touching various aspects of the raga while giving a hint of the song to be performed. It is a slow improvisation with no rhythm.

Niraval: This is usually performed by the more advanced concert artists and consists of singing one or two lines of a song repeatedly, but with improvised elaborations.

Kalpanaswaram: The most elementary type of improvisation, usually taught before any other form of improvisation. It consists of singing a pattern of notes, which finishes on the beat and the note just before the beat and also on the note on which the song starts.

Thanam: This form of improvisation was originally developed for the veena and consists of expanding the raga with syllables like tha, nam, thom, aa, nom, na, etc.

Ragam Thanam Pallavi: This is a composite form of improvisation. As the name suggests, it consists of Raga Alapana, Thanam, and a pallavi line. The pallavi line is sung twice, and Niraval follows. After Niraval, the pallavi line is sung again, twice in normal speed, then sung once at half the speed, then twice at regular speed, then four times at twice the speed.

The rich elements of Carnatic music coupled with the melodic improvisations offer Carnatic music an all encompassing effect whilst making this genre of music to reverberate the age old heritage of Indian music.

Genres of Carnatic Music are mainly of three types. These include varnam, kriti and ragam-tanam-pallavi. Varnam is kalpita sangita, composed music. Through varnam, the tripartite structure (pallavi-anupallavi-charanam) was introduced. Along with this there was the inclusion of solfege passages within that form, and the srotovaha principle of melodic and rhythmic development. Kriti is the major kalpita sangita genre in the tradition of Classical Carnatic Music. It can be a combination of both kalpita sangita and manodharma sangita (improvised music), because it can include kalpana svara and niraval. If kriti is preceded by even a brief alapanam, then the progression from un-metered to metered is present. Otherwise, both varnam and kriti are entirely metered. Within the kriti are found existing the possibilities for flexibility and expansion of the formal structure. Basic principles herein are the prominence of the tala, since it is tied so closely to the text throughout, and the ever present contrasts in speed through mathematical proportions.

The most outstanding genre of Carnatic Classical Music is the Ragam-tanam-pallavi, composed entirely in manodharma sangita, with the exception of the short pallavi composition. Improvisation is the crux of this style. It is a challenge taken up by the best musicians, and to be a pallavi vidvan is to be a `musician`s musician.` The progression from unmetered to metered, and from free raaga to the emphasis on rhythm in general and complex rhythmic manipulation in particular, are in full play here, and all members of a performing ensemble must prove their musical mettle.

Another organizational principle present here is the ragamalika, which may appear in various genres. In one varnam or kriti, each section is in a different raaga. In groups of varnam, kriti, or tanam, each composition in a chain is in a different raaga. Ragamalika can also be utilized in pallavi improvisation if a performer so desires. Also possible, though not frequently done, is the talamalika, a garland of talas, operating on the same principle as ragamalika.

Although Carnatic classical music has a much larger repertoire of composed pieces than Hindustani classical music, and although composed pieces take a much larger share of Carnatic concert time, the underlying principle of both traditions is the same: basic structures within which there are a host of possibilities for making music. These structures, and also the whole gamut of possibilities that they encompass, contribute to distinguishing one genre from another in both the Carnatic and Hindustani traditions.

Composition is an important element of Indian classical music. A musical composition portrays a concrete picture of not only the raaga but also presents the emotions imagined by the composer, eloquently. Composition in Carnatic music is varied and is thus a beautiful combination of timber, music and indeed a high flown poetry

Carnatic music is rich in compositions. There are a number of compositions in Carnatic music encompassing varied raagas, talas, languages and involving diverse styles and are composed by great philosophers, saints, historians and poets of different periods. Not only to offer a rich facet to this particular genre of music, composition in Carnatic music has manifold roles. Since the theme of Carnatic music is mostly devotional, composition acts as a vehicle to that path of devotion. Amidst its lyrical aspects, compositions in Carnatic music stand as the poetic embodiment of the sentiment of the composer. Composition in Carnatic music often serves as the models for the structure of a raga. Knowledge of these compositions therefore leads to a rather methodical understanding of the structure of ragas whilst unfolding their immense artistic theories. The physical structure of different compositions in Carnatic music ideally demonstrates a very interesting study of literary beauties.

The variety and complexity found in Carnatic compositions is indeed awe-inspiring. Carnatic composition mainly has two elements, one is the musical element and the other one is that which is being conveyed in the composition. Each composition of the Carnatic music unfolds the personality and imagination of the composer hence words are important in the composition of the Carnatic music.

There are many Forms of compositions in Carnatic music. However, the most common and significant forms in Carnatic music are the Varnam and the Kriti. Varnam is a particular type of compositions in the Carnatic music repertoire. Vanram is a relatively long piece and can actually range from thirty minutes. This particular composition in Carnatic music is further embellished by its two popular forms, like the Taana varnam and the Pada varnam. Varnam in Carnatic music highlights everything important about a raaga. Also reckoned as the sanchaaraas of a raga, varnam includes every aspect of raaga like which notes to stress, how to approach a certain note, classical and characteristic phrases of a raga and even the scale of the raga. Kriti, another important composition in Carnatic music are also varied in style and structure. It generally consists three units namely, Pallavi, Anupallavi and Charana.

Apart from Varnam and Kriti, Ragamalika is also counted amongst popular forms of composition in Carnatic music. Ragamalika are delightful compositions, where the various segments are set to different Ragas. In the midst of a smooth and melodious flow of music during the transition from one Raga to the next the Ragamalika are sung. However, the choice of Ragas, as well as the order in which the ragas appear in a Ragamalika, is solely grounded on aesthetic considerations. The varied compositions of Carnatic music further gain an articulate dimension amidst its articulate rendition.

During the pre-independence period, the royalty and Carnatic music went hand in hand in South India. The early rulers of South India like the kings of Chera, Chola, Pandya and Pallava dynasties patronised all kinds of artistes including those of the Carnatic music.

Mahendravarman Pallava was a king of 7th century AD, who was known to be a good player of the Parivadini Veena from the Kudumiyamalai inscription. He is also said to have achieved the title `Sankirna Jati`. Another king named Rajaraja Chola I was a magnanimous patron of Carnatic music, who divided the land into sections titled Gita vinoda valanadu and Nritta vinoda valanadu. It is also said that four hundred dancing girls were assigned by him to the service at the Big Temple, Tanjavur. He also provided them land and houses.

The recent form of Carnatic music came into existence only in the 16th century. At that time, the Vijaya-nagar Empire was at the height of its glory under the reign of the king Krishnadeva Raya. The poem `Amukta-malyada` on the life of Andal was written by the king himself. He had authored many other works besides this. He appointed the Carnatic music composer Lakshminarayana in his court, who composed the treatise `Sangita Suryodaya`. The composer was honoured with the titles `Abhinava Bharatacharya`, `Sukshma Bharatacharya` and `Rayavayakara` for this work.

Another king called Rama Raya asked his court musicians to compose the work Swaramela Kalanidbi (1550 AD). During that period, Purandara Dasa was living in Vijayanagar, who later developed the present day structure of Carnatic music. Thus, under the patronage of Royal families of south India, the Carnatic music developed and reached its recent form. The Patronage of Kings in Tamil region, Patronage by the Kings in Telugu region, Patronage by the Kings of Malayalam region, and the Patronage by the Kings of Mysore also played great part in delineating the Carnatic music.