Structure of Carnatic Music
Having grasped the basic understanding of Vocal Forms, the Gharanas and the renowned Artists of Hindustani Music, we move to Carnatic music, a captivating art form flourishing in South India, boasting a rich history of compositions and a unique performance structure. Unlike its Hindustani counterpart, Carnatic music emphasizes pre-composed pieces and adheres to a defined format. Let’s embark on a journey to explore the captivating structure of Carnatic music.
The Pillars: Raag, Taal, and Sahitya
Carnatic music rests on three fundamental pillars:
Raag: Similar to Hindustani music, Raag defines the melodic framework of a piece. Each Raag has a specific set of notes (Swara), a characteristic sequence of ascending and descending movements (Aaroh/Arohana and Avroh/Avarohana), and a prescribed emotional quality (Rasa).
Taal: The rhythmic foundation of Carnatic music, Taal governs the time cycle and beat patterns. Unlike Hindustani music’s focus on improvisation within Taal, Carnatic music compositions adhere strictly to a chosen Taal. Common Taals include:
Adi Taal (8 beats): A foundational Taal with four cycles of two beats each.
Triputa Taal (3 beats): A lively Taal with three cycles of one beat each.
Misra Chapu Taal (7 beats): A complex Taal with four unequal cycles.
Sahitya: The lyrical content of a Carnatic composition, Sahitya adds another layer of depth and meaning to the music. Carnatic music compositions can be devotional, philosophical, or even deal with everyday themes.
The Cornerstone: The Kriti
The Kriti, meaning ‘creation’ in Sanskrit, is the cornerstone of Carnatic music. It’s a pre-composed song structure with three main sections:
Pallavi: The opening section, the Pallavi establishes the Raag, Taal, and central theme of the composition. It is repeated throughout the piece, serving as a reference point for the listener.
Anupallavi: The second section, the Anupallavi, explores the Raag further and introduces contrasting melodic ideas.
Charanam: The concluding section, the Charanam, delves deeper into the lyrical content and emotional nuances of the composition. There can be multiple Charanams in a Kriti, each exploring a different facet of the theme.
The Performance Structure: A Journey through the Raag
A typical Carnatic music concert follows a specific structure:
Aalapana: The opening improvisation, the Aalapana allows the vocalist or instrumentalist to explore the nuances of the chosen Raag.
Kriti Presentation: The core of the performance, the Kriti is presented section by section (Pallavi, Anupallavi, and Charanam). After each section, the accompanying instruments play a brief interlude (Swara Jati) to elaborate on the Raag.
Niraval and Kalpanaswaram: In some concerts, the artist might delve deeper into a specific line of the Kriti through Niraval (elaborate singing of the text) and Kalpanaswaram (improvised melodic elaboration).
Tanam: A virtuosic display of rhythmic and melodic improvisation, the Tanam showcases the artist’s technical prowess and ability to explore the Raag within the confines of the Taal.
Tillana: The concluding piece, the Tillana is a lively and rhythmic composition in a fast tempo, often used to showcase footwork and rhythmic play (Korvai) by the percussionist.
A Soulful Experience
The structure of Carnatic music offers a framework for exploration and improvisation within defined parameters. The interplay between the Raag, Taal, Sahitya, and the artist’s creativity creates a captivating listening experience.
So, delve deeper into the world of Carnatic music, explore the beauty of Kritis, spellbinding works of the Vaggeyakaras and appreciate the artistry of this ancient tradition.