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Carnatic music, Karnāṭaka saṃgīta, or Karnāṭaka saṅgītam, is a system of music commonly associated with southern India, including the modern Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala, and Tamil Nadu, as well as Sri Lanka. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu traditions, 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, this includes India, Pakistan, Bangladesh, Sri Lanka and Nepal. It has two major traditions: the North Indian classical music tradition is called Hindustani, while the South Indian and Sri Lankan expression is called Carnatic. These traditions were not distinct until about the 16th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploring all aspects of a raga, while Carnatic performances tend to be short and composition-based. However, the two systems continue to have more common features than differences.
Varṇam is a type of composition in the Carnatic music system consisting of short metric pieces which encapsulate the main features of a raga. Varnams capture the raga bhavam, ranjaka prayogas visesha sancharas, etc. Dhatu and Janta prayogas are usually part of a Varnam. Understanding of these aspects is key to developing manodharma sangeetham.
Ektal or Ektaal is a tala in Indian music. It is commonly used in classical music like kheyal, and semi-classical forms like Rabindra Sangeet. In ektal the 12 matras are divided into 6 vibhags of two matras each. Ektal is played in Drut gatti. This tala is mostly played by the use of tabla. One more tala similar to Ektal is Chowtal which is played with the use of Pakhavaj. Many beautiful Kayda are played in Ektal. But Ektal is mostly played for Vilambit.
Vibhag represents a duration of rhythmic phrasing in Indian classical music made up of a certain number of beats. They are the rough equivalent of bars in western music, but instead of always being equal subdivisions of the tala, they can be uneven. In certain traditions of Indian music, any number of beats may form a Vibhag. Usually the beats will be in two, three, or four. They should be designated either with a clap or a wave of the hand. The meaning of the word Bhag from is parts. The actual measure of the Vibhag is borders or boundaries or boundary lines, in short not in continuity or not continuous. The talas in Tabla or in any other percussion instrument in classical music have Vibhagas to get a track of the beats on Matras on which the singer or player is singing or playing on. For example taking different talas,
Teental is the most common tala of Hindustani music, and is used for drut (fast-tempo) Khyal. The structure of tintal is so symmetrical that it presents a very simple rhythmic structure against which a performance can be laid.. It is played on Tabla as well as on Percussion instruments.
A Tala, sometimes spelled Titi or Pipi, literally means a "clap, tapping one's hand on one's arm, a musical measure". It is the term used in Indian classical music to refer 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.
Dadra is associated with the Hindustani classical music of the Indian subcontinent.
Dhamar is one of the talas used in Hindustani classical music from the Indian subcontinent. It is associated with the dhrupad style and typically played on the pakhawaj and also tabla.
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.
Khamaj is a Hindustani classical raga within the Khamaj thaat which is named after it.
Eka tala is one of the sapta (seven) talas (beats) bases in Indian Carnatic classical music.
Rupak Tala is a popular tala in Hindustani music that is common in Bhajans and Geets. It has seven matras (beats) in three vibhags (divisions). Unlike the popular Tintal, the vibhags of Rupak Tala are not of equal length. Also, both the khali and sam of Rupak Tala fall on the first matra.
Yakshagana Tala, is a rhythmical pattern in Yakshagana that is determined by a composition called Yakshagana Padya. Tala also decides how a composition is enacted by dancers. It is similar to Tala in other forms of Indian music, but is structurally different from them. Each composition is set to one or more talas, and as a composition is rendered by Himmela, the percussion artist(s) play supporting the dance performance. Tala is maintained by the singer using a pair of finger bells.
Jhaptal is a tala of Hindustani music. It presents quite a different rhythmical structure from Teental, unlike which it is not symmetrical. It is used in madhyalay (medium-tempo) Khyal.
Borgeets are a collection of lyrical songs that are set to specific ragas but not necessarily to any tala. These songs, composed by Srimanta Sankardeva and Madhavdeva in the 15th-16th centuries, are used to begin prayer services in monasteries, e.g. Satra and Namghar associated with the Ekasarana Dharma; and they also belong to the repertoire of Music of Assam outside the religious context. They are a lyrical strain that express the religious sentiments of the poets reacting to different situations, and differ from other lyrics associated with the Ekasarana Dharma. Similar songs composed by others are not generally considered borgeets.
Keharwa or Kaharva is a tala of Hindustani music. Keherwa has many variations including dhumaali, "bhajani", and qawwali.
Quintuple meter or quintuple time is a musical meter characterized by five beats in a measure.
Sadra is a vocal genre in Hindustani classical music from the Indian subcontinent. The compositions that exist in the metres (tala) teevra, sool and chau or 10-beat Jhaptal is called a Sadra.
A Theka literally means "support, prop". The term also refers to a musical composition in classical Indian music for percussion instruments that establish a rhythm (Chanda), beats (Matras) and the metric cycle of beats (Tala) in a performance.
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