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La Musica Carnatic |
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Music is one of those few activities that truly transcend boundaries. One does not require prior knowledge, so to say, to enjoy and be one with the world while listening. I say listening here basically draw attention to the subtler aspects, nuances so to speak, that embellish the music and let it self mould our minds mellifluously. My training in music, though primarily uni-folded, has been influenced by two basic streams of music- Indian Classical Western Classical Indian Classical Music - 26th December 2005 Indian Classical Music has a very rich tradition and dates back to at least the 12th Century AD. There are two major classifications of Indian Classical music; based on geography and influences they are – Hindustani Music Carnatic Music I have had the privilege to be brought up in Chennai, the hub of the Carnatic Music so to say. Carnatic Music derives its name from the root Karnatak – A region in southern India. Carnatic Music, like any other form of classical music, is well structured and has its own distinct vocabulary. Thus the Raga represents the melodic universe and Thala the rhythmic universe so to say. All compositions in Carnatic Music is based on a certain Raga and a certain Thala. Thus all compositions are linear improvisations – Raga; against a Time Structure called –Thala. I do not consider myself any bit of an authority in either forms of music, yet being human and having the liberty to speak freely. I would like to briefly introduce both these streams of music through this page. Those familiar with the Occidental School of Music know that a Raga defines the key in which a particular piece would be played. All Ragas are based on seven fundamental notes. For Example the Scale of D maj is present as a Raga, called Shankara Barnam. There are seventy two Ragas, called the MelaKartha Ragas. The significant point of difference between the occidental form of music and Carnatic music is that, in a Raga not only is the Key defined, the structure or order in which the notes are played is also defined. This implies that we cannot shift intervals at our will, while playing strictly Carnatic Music. Another significant feature of the Carnatic music is the Gamakam. A Gamakam, is imperfectly defined as a slide or slur performed in quick successions. Gamakam is not a technique but is a vocabulary of its own. It is an essential component and many of the Ragas cannot even be played without Gamakams. It is impossible to explain an art form this colossal and beautiful in a page of textual material. Nevertheless, I tried my best in introducing the topic to those who are unaware of Carnatic music just to give a feel of it – and I may be pardoned by the Carnatic music masters, if I didn’t do a good job. I am providing below two of my compositions. Downloads Classical piece in the Key of A minor. Self composed Classical piece dedicated to my Niranjana Self composed fusion
piece dedicated to my friend Janani.
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