Indian Classical Music, Carnatic music learning platform

  Sangathi / sangati Are musical phrases applied to a base phrase, and referred in the context of variations, either with subtle or gross modifications, improvisations or changes. Saint Thyagaraja is credited with introducing sangati-s into the kriti form. A particular variation of a phrase in a kriti or song with slight or large changes in tune and gamakas. Each phrase maybe repeated with different small or large variations or sangatis. While it is difficult to quantify change, the change is about the melodic content alongside structural many times. Below quoted from Ramesh Mahadevan. Sometimes, in a kriti, the first lines will be varied systematically as the singer repeats it over and over. (This happens even in some movie songs). That is, the Pallavi will be sung intentionally in different melodies as it gets repeated. The text of the line will be the same, but the music will be different. Such variations are called 'Sangatis'. These variations or Sangatis are intended...

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 Main Complete Raga Scheme / Chart

Non-exhaustive list of carnatic music resources. lease add to this by way of comments or let me know and I will update the list. Karnatik   (Reference material about music, lyrics composers, ragas)   Kutcheri Buzz  (Magazine style music and dance site   Carnatica  (News, forum's, articles maintained by Sowmya and Sashikiran)   Indian Heritage music page  (Assorted information)   India Musicinfo.com   (Raga lists, assorted information)   CarnaticMusic.Com   (Interviews, Reviews, etc)   Todd McComb's Carnatic Page   (has Carnatic CD reviews)   December Season   (details about Chennai December concerts, sabhas, hotels) Krishna's Music Page  (articles on music theory)   Vasu's Sangeetha Sabhai  (Raga analysis, etc)   South Asian Women's Forum   (Articles on North & South Indian music)   Music Research   (Devoted to research in Carnatic Music) Pramila's Carnat...

Carnatic music has 35 tala made from combining Sapta or 7 Tala patterns with five Jatis of Laghu. Arguably the most often used tala is the  Chatusra Jaathi Triputa (Adi) Taalam It has eight aksharas, one chatusra laghu and two druthas. Here is how you show the Tala To be continued.

A  lists with over 7000 Carnatic raga scales. The melakarta aka Sampurna aka Full Scale ragas are listed by number 1-72, with corresponding asampoorna [venkatamukhi] mela names and scales listed just below (if different). If the raga has multiple scales in the same janya, these are given below the main scale. First Sampoorna melakarta followed by Venkatamukhi’s asampoorna names. Melakarta 1 kanakaangi S R1 G1 M1 P D1 N1 S - S N1 D1 P M1 G1 R1 S Asampoorna - kanakaambari S R1 M1 P D1 S - S N1 D1 P M1 G1 R1 S aurvashrEyapriyA S R1 P D1 N1 S-S N1 D1 P R1 S auSadIshapriyA S R1 G1 D1 N1 S-S N1 D1 G1 R1 S bhAnupriyA S R1 G1 M1 P S-S P M1 G1 R1 S bhOgacintAmaNI S R1 P M1 P D1 N1 S-S D1 P M1 G1 R1 G1 R1 S bhOgacintAmaNi S R1 G1 M1 P N1 S-S N1 D1 P M1 G1 R1 S bhOgacintAmaNi S R1 M1 P D1 N1 S-S D1 P M1 G1 R1 G1 R1 S bhOgacintAmaNi S R1 P M1 P D1 N1 S-S D1 P M1 G1 R1 S dhaulika S R1 G1 M1 P N1 D1 S-S N1 D1 M1 G1 R1 S dhaulika S R1 M1 P D1 N1 S-S N1 D1 M1 G1 R1 S DOkA S G1 P D1 N1 S-S ...