Indian Classical Music, Carnatic music learning platform

Description - Kriti, Vandanamu Raghu Nandana Notation and style: Rathna Srikantiah Composer - Tyagaraja Swami Raga - Shahana Parent Raga - Hari Kambhoji Arohana - S R2 G2 M1 P M1 D2 N1 S Avarohana - S N1 D2 P M1 G2 M1 R2 G2 R2 S Tala - Adi or Chaturashra Triputa Tala, [1-0-0], 8 Beats

Swarajati is a form in Carnatic music, which is helpful in appreciating the concepts of the structure of Kritis and Keertanas and is usually taught before the varnas. Swarajati has pallavi, sometimes an anupallavi, and at least one charana. Swarajatis have both sahitya and the swaras, in contrast to Jatiswaras that have no sahitya or the song part.

Geeta, the simplest music form in Carnatic music, was created by Purandara Dasa in order to introduce talas with sahitya (lyrics). Though Geetas have no absolutely defined divisions of pallavi, anupallavi or charanas, they may be observed in some cases. Some Geetas contain sections rather than the defined divisions (pallavi etc.). They often have no sangatis or variations, with each swara taking one syllable of the sahitya. The Geeta is sung without repetition from beginning to end. However most Geetas are concluded by repeating a portion of the opening part. Geetas are set in medium tempo and contain no Sangatis or variations and the flow of the music is natural. The theme of the Sahitya (lyrics) is to praise God. There are three types of Geetas: Sanchari or Samanya Geetas, Lakshana Geetas, and Suladi Geetas. Samanya Geetas are the simple ordinary Geetas and are called by other names such as Sadharana Geeta or Sanchari Geeta. In Lakshana Geetas, the sahitya (lyrics), instead of p

Carnatic music evolved from ancient Hindu traditions and represents the classical music style from southern India. In contrast to northern styles, Karnatak music is more thoroughly oriented to the voice. Even when instruments are used alone or as solo instruments, they are played somewhat in imitation of singing, generally within a vocal range, and with embellishments that are characteristic of vocal music. There are no exclusively no instrumental compositions. Raga  assumes or inherits the basic frame and personality from the more popular ‘kritis’ that they represent. A carnatic-insider will understand if it is said, that raga Saramati inherits its attributes and melodic flavour from the Kriti [composed song] Mokshamu galada. The basic principles of raga (melody type, or framework for improvisation) and tala (cyclical rhythmic pattern) merits a separate introduction , and is mastered through  a comprehensive repertoire of ragas and talas. Karnatak music, with its more homogeneous In