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Carnatic music, known as Karnāṭaka saṃgīta or Karnāṭaka saṅgītam in the South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala and Tamil Nadu. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda. The other subgenre being Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style.
Indian classical music is the classical music of the Indian subcontinent. It is generally described using terms like Marg Sangeet and Shastriya Sangeet. It has two major traditions: the North Indian classical music known as Hindustani and the South Indian expression known as Carnatic. These traditions were not distinct until about the 15th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploration of all aspects of a raga, while Carnatic performances tend to be short composition-based. However, the two systems continue to have more common features than differences. Another unique classical music tradition from Eastern part of India, i. e. Odissi music has evolved since two thousand years ago.
In Carnatic classical music, alapana is a form of manodharmam, or improvisation, that introduces and develops a raga. It communicates the permitted notes and phrases of the raga, setting the mood for the composition that follows. As a term that is Sanskrit in language, alapana means "to speak, address, discourse, communicate". It is the first part of Ragam Tanam Pallavi (RTP), which showcases a Carnatic musician's ability to understand a raga and improvise music set to it.
Varṇam is a type of composition in the Carnatic music system that encapsulates the key features of a raga, and considered as a foundational element in the learning path. Varnams capture the essence of the ragam in terms of typical swara patterns used, vishesha prayogas, highlighting the main notes, etc. This forms the basis for creative presentation (manodharma) of the raga in the form of raga aalapana, kalpana swarams and neraval.
Ragavardhini has two separate meanings in Indian classical music:
A tala literally means a 'clap, tapping one's hand on one's arm, a musical measure'. It is the term used in Indian classical music similar to musical meter, that is any rhythmic beat or strike that measures musical time. The measure is typically established by hand clapping, waving, touching fingers on thigh or the other hand, verbally, striking of small cymbals, or a percussion instrument in the Indian subcontinental traditions. Along with raga which forms the fabric of a melodic structure, the tala forms the life cycle and thereby constitutes one of the two foundational elements of Indian music.
Atana or AThana is a raga in Carnatic music. It is a Janya raga, whose Melakarta raga is Sankarabharanam, 29th raga, commonly known as Shankarabharanam in the Melakarta system. Sometimes pronounced aDaaNaa (अडाणा). There is a Hindusthani raaga named अडाणा, which is totally different.
Anandabhairavi or Ananda Bhairavi is a very old melodious rāgam of Carnatic music. This rāgam also used in Indian traditional and regional musics. Ānandam (Sanskrit) means happiness and the rāgam brings a happy mood to the listener.
Manodharma is a form of improvised South Indian classical Carnatic music. It is created on the spot during the performance, while remaining within the confines of musical grammar, as codified in the raga and/or the tala. Every Carnatic concert has one or many music pieces that showcases the singer's prowess and intellect in the form of Manodharma sangeetham. Often the centerpiece of a Carnatic concert will explore all the five types of manodharma. It serves as an important and integral aspect of Carnatic music.
Ragam Tanam Pallavi (RTP) is a form of singing in Carnatic music which allows the musicians to improvise to a great extent. It is one of the most complete aspects of Indian classical music, demonstrating the entire gamut of talents and the depth of knowledge of the musician. It incorporates raga alapana, tanam, niraval, and kalpanaswara. In more elaborate ragam tanam pallavis, a tani avartanam may follow.
Kalyani is a melakarta raga in the Carnatic music. It was called Kalyan but is now more popularly called Yaman in Hindustani Music. Its Western equivalent is the Lydian mode.
Abhogi is a raga in Carnatic music and has been adapted to Hindustani music. It is a pentatonic scale, an audava raga. It is a derived scale, as it does not have all the seven swaras. Ābhōgi has been borrowed from Carnatic music into Hindustani music and is also quite popular in the latter. In Hindustani music the raga has been classified under the Kafi thaat.
Sahana is a popular ragam in Carnatic music. It is a janya rāgam associated with the 28th Melakarta rāgam Harikambhoji.
Carnatic music is usually performed by a small ensemble of musicians, who sit on an elevated stage. This usually consists of at least; a principal performer, a melodic accompaniment, a rhythm accompaniment, and a drone.
Bhairavi is a janya rāgam in Carnatic music. Though it is a sampoorna rāgam, it has two different dhaivathams in its scale making it a Bhashanga Ragam, and hence is not classified as a melakarta rāgam.
Carnatic music terms are briefly described in this page. Major terms have their own separate article pages, while minor terms are defined / described here.
Manavati is a rāgam in Carnatic music. It is the 5th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. In Muthuswami Dikshitar school of Carnatic music, the 5th melakarta is Manōranjani.
Carnatic raga refers to ragas used in Carnatic music. A Carnatic raga has several components - primordial sound (nāda), tonal system (swara), pitch (śruti), scale, ornaments (gamaka) and important tones.
Jaijaivanti or Jaijaiwanti is a Hindustani classical raga belonging to Khamaj Thaat. According to the Guru Granth Sahib, this raga is a mixture of two others: Bilaval and Sorath. The raga appears in the latter section in Gurbani, as only four hymns were composed by Guru Tegh Bahadur, the ninth Sikh guru. These hymns were added by his son and successor Guru Gobind Singh in 1705 A.D. This raga is not mentioned in any Indian classical scriptures on music nor in the Ragmala.
Punnagavarali, a raga in Carnatic Music, is a derived scale from Hanumatodi, which is the 8th melakarta Raga in the 72 melakarta system.