Fundmantels of Indian Music- G. Doraiswamy by Ganavya Doraiswamy

Fundamentals of

Indian Music F i r s t E d i t i o n

Ganavya Doraiswamy

2 A Brief Introduction to Carnatic Music

Contents Chapter 1 1.1 1.2

1.3 1.4 1.5 Chapter 2 2.1 2.2 2.3 2.4 2.5 Chapter 3 3.1 3.2 3.3 3.4

Chapter 4 4.1 4.2 4.3 4.4 4.5 4.6 Chapter 5 5.1 5.2

Introduction

Different types of Indian music (Folk, Bollywood, Hindustani, Carnatic) Approaching Carnatic Music 1.2.1 The significance of the ‘drone’ 1.2.2 Swarams (notes) 1.2.3 Importance of Movable do solfège 1.2.4 Notation and Harmony Important Instruments Systemization of Carnatic Music Pronunciation of common words Layam (Rhythm) Introduction to Talams Angam: Body of the Talam List of current Talams 2.3.1 Chapus: “Shortcut” Talams Translating talams into time signatures Exercises Ragams (Modes) and their Derivatives Linear Approach to Melodic expression Janaka Ragams: Mother modes Janya Ragams: Daughter modes 3.3.1 Symmetrical janyas 3.3.2 Asymmetrical janyas Ragams in Western Notation 3.4.1 All Janaka Ragams 3.4.2 Some common Janya ragams Purandharadhasa’s Exercises Sarali Varsai Janda Varsai Alankarams Mel Sthai/ Keezh Sthai Geethams Swarajathis Customs and Traditions of Carnatic Music Approaching a teacher Additional resources

A Brief Introduction to Carnatic Music 3

Acknowledgements/ Dedications: Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Note to self: Director Victor Mendoza, Dean Brian Cole, Dr. Camille Colatosti, Dr. Laura Karpman, Prof. Nora Kroll-Rosenbaum, Prof. Enrich Alberich, Prof. Perico Sambeat, Prof. Cristobal Vogumil, Grandma.

4 A Brief Introduction to Carnatic Music

Chapter 1: Introduction 1.1 Different types of Indian Music Indian culture is still relatively well preserved—many elements remain unchanged for centuries. One such element is its music. India is extremely diverse in its culture; each state usually has it’s own language, style of dressing, cultural norms and food. That being said, using the term “Indian music” is not unlike saying someone speaks “Indian”: there is no one style or language that is representative of the entirety of its cultural spectrum. The instrumentation of all styles and the general approach to music usually allows the listener to identify the genre as Indian. We’re now going to differentiate between the major triad of Indian musical styles. The simplest way to categorize Indian music would be to split into these parts:

Folk music: Although Indian classical music is said to have been around just as long as folk music has, the infamous chaste systems placed in India alongside other influences that helped establish social stratification prevented classical music from being accessible. Regardless, folk music is not completely isolated from classical music (and vice versa: classical music is influenced by folk music). Therefore, folk music is still very ‘Indian’ to the foreign ear simply due to the approach Indian music has towards melodic development. Folk music in India is still an active part of society’s life: some common terms that have surfaced into what is globally-known of Indian culture are garba and A Brief Introduction to Carnatic Music 5

Indian Music

Classical

Non-‐Classical

Carnatic [Southern Region]

Folk Music

Hindustani [Northern Region]

Bollywood

Figure 1.1: Although Bollywood is an extremely popular form of Indian music, it is mostly folk music combined with the more accessible parts of classical music presented in a commercial way. To call it’s own category wouldn’t be accurate, but to disregard its contribution to the image of Indian music wouldn’t be either.

6 A Brief Introduction to Carnatic Music

bhangra—both of which are folk dances of northern India. One key characteristic of Indian folk music is that it is very dance-oriented, and therefore has steady and repetitive rhythmic patterns. Today’s Bollywood music is arguably more folkinfluenced than based on classical Indian music.

Folk Singers- Bhajan

Bollywood music: India has several hundred languages spoken, and many more dialects; in fact, it is unlikely that a randomized selection of Indians can communicate with each other in their actual mother language. A national language was selected which most Indians know or can Due to the innumerable languages across India, lyrical value is not too dependable. Ethos, therefore, becomes dependent mostly on musical deliverance.

understand: Hindi. Because Indians are accustomed to being

around

different

languages that they don’t understand, singing in an unknown language or multiple languages during a performance is very common. The term “Bollywood” refers to movies made in the language of Hindi, even though globally, it simply refers to the entire film industry from India. The average Indian movie is much longer than the average Hollywood movie—due to the presence of “film-songs”; there is an average of eight film-songs per Bollywood film. The production costs of Bollywood film-music and music videos are much higher than independent music albums and result in the mainstream audience being more informed about Bollywood hits as opposed to pop musicians. It is more probable to come across a Bollywood music video on a music television channel or the radio over a single released by a musician; consequentially, most of the samples used are from A Brief Introduction to Carnatic Music 7

Bollywood music or in that style. The style of Bollywood music, just as any other genre or industry, goes through its own phases but is mostly defined to be appealing and accessible; unless context requires it to be so, it leans towards folk music and not classical.

Chaiyya Chaiyya- A.R. Rahman

Classical Indian music: Indian music is said to have been derived from the Vedas: scriptural chants that come from Ancient India. Of the four Vedas, (Rig, Yajur, Sama and Adharvana) most scriptures indicate that the foundations of Indian music were taken from Sama Veda.

Sama Veda- Shri Manjakudi Rajagopala Sastrigal

“Adi-saptak”, or the ancient seven, refers to seven note placements that were used

this

ancient

chanting form. More on ragas will be discussed

Neither of the two styles of Classical Indian music can be deemed purer. They are like two siblings; different in their own right, but undeniably similar.

later on, but the seven first notes are considered to be what Western music would call C-Dorian (and in Carnatic music, Raagam Karaharapriya). Eventually, harmonics became apparent during group chants and is said to have ignited a study of sound which lead to further note placements, eventually leading up to the current system of swarams, or notes, that Indian music utilizes. Initially, there was only one form of Indian music across the sub-continent. There may have been slight stylistic differentiations between the geographical regions, but it was all unmistakably to be categorized as one form of music. Due to its believed origins from Holy Scriptures, classical Indian music was considered to be an art that was apauruseya (beyond human agency). 8 A Brief Introduction to Carnatic Music

Eventually, as society evolved, classical music was then somewhat contained within certain bloodlines and castes citing its divine nature. Musicians then began to seek and thrive under the patronage of royal families—both by performing and teaching. Music was not considered to be a form of entertainment as much as it was approached with a sense of reverence; it is commonly said that he who was trained in the art of music with a true understanding of sound was enlightened. When the Mughals (the Islamic empire) invaded India c.a. mid-16th to19th century, the culture of India was greatly affected as expected. Modern day Northern India represents a culture that is heavily influenced by Arabian, Islamic and Persian traditions. Naturally, the evolution of music in the areas that the Mughals were able to invade was also influenced. However, due to the geography of Mid-India and the Deccan plateaus, Southern India remained relatively untouched for centuries after Northern India had began to assimilate with the world. Consequentially, the music (and culture) of South India does not reflect the same level of integration that its counterpart does; in the same token, South Indian music is the closest we have to the what we believe to be ancient Indian music. There is another school of thought that says that Indian classical music—or at least South Indian Music, came from an ancient pre-Aryan text from the Dravidian (southern) civilization called the Silapadikaram. This theory would suggest that Indian classical music existed in a very relatively advanced form for that time period—the second century— including not only a detailed account of musicians having developed a micro-tonal system for notes, but also specifying

A Brief Introduction to Carnatic Music 9

miscellaneous suggestions such as auditorium dimensions tailored for the architectural capabilities of that time coupled with the specific aesthetics of Carnatic music. Regardless of the origin, the fact remains that much of the vocabulary and approach between the two styles of Classical Indian music do not differ that much; in no way can the two systems be called mutually exclusive. Northern classical music is called Hindustani music and Southern Classical music is referred to as Carnatic music.

Hindustani music: ‘Hindu’ refers to the land of the Indus Valley (the common misconception being that it refers to a religion) and ‘stan’ translates to ‘land’. The term “Hindustan” gained popularity during The Mughal Empire (it was preceded by the ancient name

India

“Bharat”

and

succeeded by the British name

The famous Pandit Ravi Shankar was a Hindustani musician.

given that we still use today). Hindustani music literally translates to “the music of India”. This style of music is considered to be one of the two major categorizations in classical India music and belongs to the Northern region of India. The sitar and tabla (two Indian instruments that have gained popularity in the global music scene) are both Hindustani instruments. Hindustani musicians are known for their great command and deep understanding of melodic lines; structurally speaking, they interpret rhythm in a loosely constructed manner compared to Southern classical music. A famous sub-section of Hindustani music that seems to have gained global interest are ghazals, poems in the Urdu language set to music.

Raga Bhimplaasi (Ja ja re)- Ashwini B. Deshpande

10 A Brief Introduction to Carnatic Music

Carnatic music: As previously discussed, it is India’s Southern region’s Classical music, and is the most unassimilated of the types of Indian music. The etymology of ‘Carnatic’ is not so clear: the most agreed upon claiming that it comes from the Sanskrit phrase that means “pleasing to the ear.” Other theories include “the land of dark soil” and “the raised land” (referring to the Deccan plateau and its key role in South Indian cultural preservation, as previously mentioned). Carnatic music is the focus of this workbook—however, it does not differ too much from Hindustani music in its basics and terminology—therefore, with a grasp of the fundamental concepts of Carnatic music, one can communicate with Indian musicians regardless of their background. We will now move on to a closer look of the basics of Carnatic music, and will learn not only a basic understanding

Most Indian compositions have a “mudhra” or a unique signature that composers insert in their songs. That’s how we know, centuries later, who wrote which song.

of the Indian approach to music, but the culture that surrounds it. Therefore, we are able to communicate effectively with an Indian musician. The traditions that surround Carnatic music (or Indian classical arts, for that matter) has not changed for a very long time; in fact, most of the compositions that are sung today are from the 18th century, if not older. In particular, the “trinity” composers are an important aspect of Carnatic music: namely, Shyama Sastri, Muthuswami Dikshithar and Tyagaraja. We’ll now move on to discussing the specific traditions and systems of Carnatic music, while acknowledging which concepts are also applicable to general Indian music.

Jagadodharana- M.S. Subhulakshmi A Brief Introduction to Carnatic Music 11

12 A Brief Introduction to Carnatic Music

1.2 Approaching Carnatic Music Carnatic music (and Indian music) in general have the same exact note intervals as Western and standardized music does. There is a common misconception that Carnatic or Hindustani music utilizes microtonal intervals: this is mostly false. The degree of truth in that statement will be discussed later on (in 3.1). To summarize the difference between Indian and Western music, one could say that Indian music developed itself vertically (where the intricacy within melody is given importance) whereas Western music developed horizontally (where harmony and simultaneous playing of different melodies across different instruments comes into play). Traditionally, the connection between the student and the teacher is extremely strong, and most cases even sacred. In modern day, despite the fact that the older system of gurukulams is not being followed as much—where the student (sishya) is housed with the teacher (guru) to learn the art—the teacher is still to be highly respected. As with most forms of classical music, the trained ear can identify which school and style a singer hails from, therefore increasing the responsibility of the teacher to teach well and the student to learn well simply to protect the good name of the musical lineage. That being said, Indian music, unlike Western music, does not have a detailed system of notation. The traditional is mostly aural. Although this makes it difficult for the Carnatic musician to communicate through transcribed music unless he or she has prior training, it gives the same musician the advantage of having above average eartraining skills. A Brief Introduction to Carnatic Music 13

1.2.1: The significance of the ‘drone’ The most important thing to Carnatic music is its concept of tonal center. As we were discussing, Carnatic musicians tend to have above average ear-training skills out of necessity and below- average sight-reading skills due to lack of exposure to such systems. Carnatic music does not usually deal with harmony; for the ear that is used to replicating complicated melodic lines by recognizing intervals between two short notes, recognizing simple chords are surprisingly difficult due to a lack of harmonic presence in the system of Carnatic music. The philosophy behind this linear approach will be detailed later in Chapter 3, but the most important thing to keep in mind when communicating with a Carnatic musician who is unaware of Western musical

From the perspective of an Indian musician, the concept of chord changes can seem chaotic or extremely complicated; a shifting tonal center is not very often. Skill, therefore, is found within the intricacies of using one mode for a longer duration.

systems is that Carnatic music does not deal with the concept of perfect pitch. The typical Carnatic musician starts his or her training with the very step of figuring out their own sruti, or tonal center. Once this has been established based off of vocal or instrumental range, everything becomes relative to this center; it is almost never the case that this tonal center will shift during a class, let alone a concert. What is often referred to as the “Indian drone” that runs in the background is what sets the tonal center. When available, musicians will use the actual instrument dedicated to do so, called a tanpura or thambura. The tambura has four strings. Modes (or ragas) will be discussed in detail (in 3.2). 14 A Brief Introduction to Carnatic Music

Just Tambura- Christian Tattonetti

Figure 1.3: The Tambura (also spelled and pronounced tanpura) is what produces the drone often heard in Indian music. It provides a tonal center for the musician. A Brief Introduction to Carnatic Music 15

Musicians essentially improvise within the scope of each raga and must follow its rules. Most ragas utilize the perfect fifth, in which case the tambura’s four strings are likely to be: 5 8 8 1 This setting is called panchamam. In some special ragams, the fifth is not used. Naturally, when singing a scale or mode that is clearly defined to omit a note, the constant drone playing that exact note creates dissonance. In this case, the tanpura uses an alternative setting: 4 8 8 1 This setting is called madhyamam. As we go into the Indian solfège system right after this section, the significance of these names will become apparent. The above alternative setting is also used for the only common tonal-shift that occurs in Indian music: certain songs and raagams are expected to be sung a fourth higher, in which case this setting still provides the tonal center.

Figure 1.4: The first evolution of the tanpura, the sruti box (left) and the now commonly used and modern version, the electronic sruti box (right). 16 A Brief Introduction to Carnatic Music

The average tanpura is larger than the size of to guitars combined; transporting it is not always the most viable option. Furthermore, the range of the tanpura is not too wide; for example, a female and male could hardly use the same one. That being taken into account, the first alternatives that were created are called “sruti boxes”, that were simple wooden boxes that shared the same mechanical workings of wind instruments. These boxes would play all four notes simultaneously. Still, the ranges on these boxes were still not ideal. That being said, the modern electronic tanpura was born and is what modern Carnatic musician use today. The sruti box has all the tonal centers that are used and plays the loops as programmed according to the tonal center: lowest usually being C (where in some cases, male concert pitches can even go to Cb), and the highest being B, with some rare cases of younger female concert pitches rising to B#, or perhaps even the higher octave C. When referring to these pitches, it is more common for the Indian musician to use numbers as opposed to Western solfège (or Indian solfège for that matter, because there is no fixed do; to describe G relative to C would make sense only to those who sing in a tonal center of C and not G). To say that each musician has their tonal center may mislead the reader to think that Carnatic musicians then view all intervals relative their own sruti—this is not the case. To a Carnatic musician, once they hear the tanpura or any form of drone or key that locks the tonal center, they can immediately reproduce the melody in the new key. The true problem arises when a tonal shift occurs after this center has been established. For a clearer idea, let’s move on to swarams—the solfège and notes—the foundation of Indian music.

A Brief Introduction to Carnatic Music 17

1.2.2: Swarams (Notes) Solfège is an integral part of Indian classical music. It is said that the concept comes from the Sama vedas (scriptures) from as early as 1300-1000 BCE, and is the perhaps oldest form of solfège. As briefly mentioned before, there is a common misconception that Indian music uses a microtonal system, and therefore cannot be played on Non-Indian instruments, such as a 12-tone equal tempered piano. It is moreover the specific instructions given in each ragam or mode that defines how a musician must move from one note to the other that gives rise to microtones in Indian music; however, the number of notes remain to be the same.

Sa Re Ga Ma- M.S. Sheela, L. Vai

The term “swaram” literally means note (or “swara” for Hindustani musicians). Imagine a vocal scat solo—how would it sound for the vocalist to actually spell out the solfège instead of scatting? This is actually a common practice in Indian music; skill in solfège compensates for lack of notation.

Indian

musicians

are

often

aware of which note they are singing, regardless of whether or not it is a melodic line or

improvisation—in fact, it is an expected skill that professional musicians be able to identify any interval. That coupled with the lack of a clear notation system increases the importance of solfège in classical Indian music. There are 72 mother modes or ragams, which are born from a calculated series of groupings that list all possible combinations between 16 notes, with the only condition being that each mother ragam must be only 7 notes. Here is where the usual misunderstanding occurs: there are sixteen note names in Indian music, however it is important to understand that there are only 12 notes; these are not 18 A Brief Introduction to Carnatic Music

microtones. Some notes have different names for theoretical purposes so that the 72 mother ragams may be formed. That being said, Note

Full name of swaram

Pronounced Written Degree

Shadjam

Tonic

Rishabam

Second

Gāndhāram

Third

Madhyamam

Fourth

Sol

Panchamam

Fifth

Dhaivatham

Dha

Sixth

Nishadham

Seventh

1.2.3: Importance of Movable do- solfège The following concepts do not really exist to the Indian musician: •

Tonic establishes where to start, but is chosen simply out of practicality and range of voice or instrument. It is uncommon to hear a composition must be sung in a particular tonic; to say a concert is played in a particular key to invoke a specific flavor is too abstract of a concept.

•

Consequentially, the concept of a fixed do does not exist either. Although this greatly increases the musicians’ ability to transpose, it also affects their ability to be able to process things such as chord changes, which are essentially rapid changes in tonic. To the musician who is used to registering the tonic and singing four hours relative to the same tonal center, to process scales from different centers is a difficult concept. Furthermore, the Carnatic musician is used to have the sruti set a constant tonal center; it goes against the grain to change tonal center. A Brief Introduction to Carnatic Music 19

•

The concept that a note approaching a higher note has a different value that that of a note approaching it’s lower step exists only when regarding the rules of ragams; notes do not have specific names as the system of movable do does.

1.2.4: Notation and Harmony As briefly mentioned before, there are sixteen note names, but 12 note placements. Let us first name the basic twelve notes: 1

Shadjam

Suddha Rishabam

Chathusruti Rishabam

Sadharna Gandharam

Andhara Gandharam

Suddha Madhyamam

Prathi Madhyamam

Panchamam

Suddha Dhaivatham

Shatsruthi Dhaivatham

Kaisiki Nishadham

Kakali Nishadam

20 A Brief Introduction to Carnatic Music

In Indian notation, a note accompanied by a subtext of 1 implies that the note is flattest (or first) possibility of it, and the numbers follow according to the position of the note. For example, for Lydian mode, all notes would be followed by a 2. •

Importantly: S and P do not have numbers, as there are no alternatives for Do and Sol; as Indian music sees it, Di is always Ra and Se is always Fi; Si is always Le/Lo.

Interesting Fact: Each Carnatic class starts with the student sustaining the 1st, 5th and 8th notes. It’s called “Sa-Pa-Sa” and denotes the beginning and the end of classes.

Now, we’re going to introduce the 4 ghost notes, or alternative names: 1. Shatsruthi Rishabam: An additional Ri (2). This will become R3. 2. Suddha Gandharam: An additional Ga (3). This will become G1. 3. Shatsruti Dhaivatham: An additional Da (6). This will become D3. 4. Suddha Nishadam: An additional Ni (7). This will become N1. The word “suddha” translates to pure; notice that in the first version of the 12 note names, the third and seventh (gandharam and nishadham) did not have “pure” or first places yet. This is what happens: •

Major second will now have an alternative name: the “first” third. What consequentially happens is that what we previously knew as flat (or first) third now becomes the second third (G2), and major third is now G3.

•

Similarly, minor third will have he alternative name of R3 (giving the second a theoretical additional interval apart from major and minor).

•

The same way, major sixth is also called the “pure” seventh and major seventh is called the theoretical additional sixth. A Brief Introduction to Carnatic Music 21

22 A Brief Introduction to Carnatic Music

Now that the four ghost notes have been explained, when we list all of the names in order we have: 1. Shadjam

2. Sudha Rishabam

(R1)

3. Chathusruthi Rishabam

(R2)

4. Shatsruthi Rishabam

(R3)

5. Sudha Gandharam

(G1)

6. Sadharna Gandharam

(G2)

7. Andhara Gandharam

(G3)

8. Sudha Madhyamam

(M1)

9. Prathi Madhyamam

(M2)

10. Panchamam

Ghost note

11. Sudha Dhaivatham

(D1)

12. Chatusruthi Dhaivatham (D2) 13. Shatsruthi Dhaivatham

(D3)

14. Shudha Nishadham

(N1)

15. Kaisiki Nishadham

(N2)

16. Kakli Nishadham

(N3)

Ghost note

The additional four notes was created so that there could be the 72 mother (or janya) ragams. In order to be a janya ragam, there must be no more—but no less—than one of each swara. This way, by creating these notes, there are additional

possibilities.

However,

because

some

notes

are

duplicates,

A Brief Introduction to Carnatic Music 23

combinations with R3 and G1 are not possible, as it would be the same note. The significance of this will later be discussed in 3.2 in detail. Notation is still not a standard need in the learning process of Carnatic music, so not much has been dedicated to improving upon it. However, for the sake of documentation and such, a rudimentary system is being followed. The swarams are written out; if the mode/ragam is already specified, numbers are not needed as we would know what notes were allowed for that specific scale, unless the scale had multiples of the same note. To add the duration of a swaram, it is simply followed by a comma (,)—if it had a lyrical counterpart, it is usually written below the swaram, to indicate placement of syllables. Much of what we learn is still heavily dependent on the aural tradition. At best, this notation system is just a reference. It is very unusual of for musicians to have notated music with them, for example, for a concert performance. Most of it is improvisation and memorized.

Figure 1.5: An example of Indian notation: a popular kriti or song titled “Mahā ganapathim”. Maha ganapathim nattai- M.D. Ramanathan. Rubatto (alapanai) ends and song starts at 1:00

24 A Brief Introduction to Carnatic Music

1.3 Important Instruments: Although this list is by no means all-inclusive, it covers most of the instruments that are used and spoken about today in Indian music.

(1) Bansuri The etymology of “bansuri” is said to come from two Sanskrit words, the two halves meaning “bamboo” and “melody”. The bansuri is an ancient Indian flute, which is said to have developed by herdsmen to calm cows, and has been depicted in paintings as old as 150 AD. It is usually linked with the image of Krishna, an Indian god who was a cowherd himself. The bansuri’s size range is quite wide: ranging from twelve inches to forty inches. It is also found either with six or seven holes (with two and half or three octave ranges respectively). Usually a transverse flute, but can also be found in fipple form.

F This is a wind instrument that belongs to the Hindustani tradition. Bhairavi- Hariprasad Chaurasia

(2) Dhol The dhol is a double-sided drum usually having heads of animal hide, said to have been created in the late 15th century. The drum itself is barrel, and is usually played with bamboo sticks: one for playing the lower and bass side (which is bent in an arc and is thick) and another for playing the tuned and higher end (which is lighter). Dhol players usually have the large drum hanging on them using straps. The dhol is very characteristic of Indian northern folk music,

A Brief Introduction to Carnatic Music 25

especially bhangra or garba (dance genres). It is likely that the samples used in contemporary music come from either of the two, and therefore have the sound of the dhol.

F This instrument is a North-Indian folk instrument. Mundian to Bach Ke- Jay-Z Remix The song opens and plays percussion throughout the Indian parts with it.

(3) Dholak The dholak is a smaller version of the dholak (See 2), and does not use sticks. The sound is somewhat alike (with the dholak’s sound, but not being as deeptoned) as would be expected of an instrument that is smaller. The dholak can be played by slinging it across the player like the dhol, but is also played by placing it in front of the player, on the floor. The dholak used to be played in dance recitals; it is more likely to find a tabla playing for classical dances now. However, the dholak remains to be a popular instrument amongst folk and bhajan (spiritual hymn) artists. The dholak can also be heard in chutney music (Trinidad and Tobago’s island music that is heavily influenced by Indian culture) and Bollywood.

F This instrument is mostly a North Indian folk instrument, but had its origin in an older classical setting, and is still sometimes used for classical dance recitals. Dholak Geet- Punjabi Folk Song Dholak Bajai- King Raj and The Supertones Band (comes in around 0:30)

26 A Brief Introduction to Carnatic Music

(4) Digiveena The digiveena is an electronic veena (See 30) developed by the Indian electronic music manufacturing company, Radel. They were also the first first to produce the electronic talameter (See 27) and the electronic tambura (See 7). It is the first electronic stringed instrument in Indian music, as was invented by Radel in 2002. It has an electronic sruti box in one gourd and an amplifier in the other. It can play eight different sounds that are triggered by the strings—the pitch can also be changed (along with the sruti box) by pushing a button. It looks like a rudra veena (with two gourds supporting the frets).

F This

instrument is an electronic adaptation of an Indian instrument. Not

many people own Digiveenas. For a demonstration on the Digiveena and all its features, look up the playlist “Radel Digiveena digital veena” on Youtube, created and presented by the co-owner of Radel.

(5) Dilruba The dilruba (also known as the esraj), is an Indian string instrument that is sized and played similar to the violin. In the global music scene, it is known as the ‘Indian Harp’. The dilruba is said to have been created to make a more efficient version of an older instrument called the Taus, which is arguably extinct. By Indian musical standards, the dliruba is a new instrument (around two centuries old). In one of the religions founded in India- namely, Sikhism, the Taus was an important feature of religious music. Naturally, as the dilruba slowly took over the Taus’s region, it also became an important part of Sikh music. In fact, it is said A Brief Introduction to Carnatic Music 27

that the 10th Sikh Guru created the design of the dilruba. The literal meaning of dilruba is “heart thief”. It is often used in spiritual or meditation settings.

F This

is an instrument used both in Hindustani music and folk music,

although it is more common in the latter. This is a rare instrument. Esraj- Sri Chinmoy

(6) Ektara The ektara is an instrument that consists of one string, which is held taut by the enjoinment of a split bamboo on one end and a gourd on the other. The flexibility of the two split bamboo parts allow the player to press into them, and lower the pitch of the string—thus producing a sound unique to the ektara. The ektara translates to “one-string”. The size of the ektara determines whether or not it is high or low. There are no demarcations to signify certain pitches or notes; the ektara is played usually by the singer, to his or her liking. The ektara is used in northern folk music and usually in a spiritual context (for bhajans in Hinduism and sufi music in Islam). A slight variation of the instrument is called the dotara— which, as the name rightly suggests, has the same design but has two strings (‘do’ meaning two). This instrument can also be found in Bangladesh and Pakistan.

F This is a North Indian folk instrument. Mitwa- A. R. Rahman In fact, this song has all of the instruments listed thus far in it, with the exception of one. Can you identify them?

28 A Brief Introduction to Carnatic Music

(7) Electronic sruti box The electronic sruti box can provide a range of 12 to 14 tonal centers. The cheaper of the two possible electronic versions of the sruti box is similar to the free-reed and plays all three notes simultaneously; higher-end sruti boxes loop the sound of a tambura. The more expensive the box, the closer it is to the actual sound of a tambura.

F This is an electronic adaptation of an instrument. F Both Hindustani and Carnatic music use sruti boxes. F See 24 for more information on the free-reed sruti box. F See 28 for tambura. (8) Ghatam The ghatam is a clay pot that is usually used as a secondary percussion instrument. The tone of the instrument depends on the ingredients involved in the making of it: the thinner ones (whose clay is more diluted) create higher pitched sounds, whereas the thicker ones (which are usually preferred) create lower resonating sounds. In some cases, artists choose to play ones that have brass infused in them even though it is harder to bring out sound, because it has a very distinctive ring to it. The city of Madurai in Tamil Nadu (a state in Southern India) is known for making excellent ghatams. The word “ghatam” is Sanskrit for “clay pot”. The artist usually performs with the neck of the pot facing inwards towards the stomach, therefore allowing them to cover and uncover the hole to produce specific sonorities.

F This is a secondary percussion instrument used in Carnatic music. A Brief Introduction to Carnatic Music 29

Ghatam Mala- T.H. Vikku Vinayakaram Pay special attention to 3:20 on. The artist begins playing actual notes (the first half of the major scale).

(9) Gottuvadhyam The gottuvadhyam is also known as the chitravina. The structure of this instrument is similar to that of a veenas, but has more sympathetic strings and no frets; it is a lute that is played by sliding. The instrument usually has twenty or twenty-one strings. Six are located upon the fret, and are plucked to produce the respective note that pressure is applied on. Pressure on the main strings are applied via a hand-sized cylinder, usually made out of a buffalo’s horn or woodthe modern list including Teflon, glass and metal.

F This

is a very rare instrument, usually played in a Carnatic context, but

can be often heard in jugalbandhis (collaboration of two styles). Janani ninnuvina- Chitravina N. Ravikiran Notice that the instrument is included in the artist’s name; this is a common practice in Carnatic music. It is also common to state the city that you come from.

What would your Carnatic musician name be? (City for vocalists/ Instrument + First Name)

30 A Brief Introduction to Carnatic Music

(10) Harmonium The harmonium is a free-reed instrument that was invented fairly recently by Indian standards- in the 18th century, in Copenhgen. By no means an instrument that was originally intended for use in Indian music, it was introduced to India when French missionaries came. It was the closest and only key-based instrument that has successfully assimilated into Indian music. In fact, it has become an essential part of many vocal styles: devotional songs in Hinduism, Islam and Sikhism all are accompanied by Harmoniums. It is common for a Hindustani vocalist to play the harmonium and sing simultaneously. However, it is less commonly used in Carnatic music. The Indian version of the harmonium is much smaller than the original design (that is similar to an upright piano), and resembles a portable box. The harmoniums were rejected during a nationalistic phase in India, during the mid 20th century, but its popularity is such that almost every place of worship will have one. It is rarely a solo instrument, due to the fact that it cannot produce the gamagams, or intricate inflections that are characteristic of Indian music. This is perhaps the closest Indian music came with regards to the development of harmonies.

F Very commonly used in folk and spiritual music. Used in Hindustani music, but not to commonly in Carnatic.

Raga Kalavati- Zameer Ahmed Khan Based off of what you’ve heard so far, would you agree with the critics of the Harmonium? Do you think it sounds too rigid for Indian music?

A Brief Introduction to Carnatic Music 31

Raga Mahar Aalap- Bhimsen Joshi Now compare that with this short excerpt of famous vocalist’s Bhimsen Joshi’s performance. Can you hear how the harmonium supplements his vocal melody?

(11) Jal tarang The jal tarang (or jalatharangam) is the predecessor of melodic percussion instruments. A jalatharangam set consists of ceramic/china bowls with water in them, and are struck upon by bamboo sticks. The larger the diameter of the cup, the more likely it is to be lower in range; there is also a direct relationship between thinness and the cup being high. To fine tune each cup, the player must pour water into them: the more the water, the lower the sound and the more you take water out, the higher the note becomes. The average set had 25 cups or so. Due to the fragile nature of the instrument, transportation was not easy. That, combined with what was practically a mandate that the player have relative pitch led to the demise of this ancient instrument.

F Ancient instrument, very rare. Belongs to Hindustani and Carnatic, though last few exponents have been from the South. Vatapi Ganapathim- Seetha Doraiswamy

(12) Kanjira The kanjira is a small hand-held frame drum that is similar to the ghatam (See 8) in its function; it is usually a secondary percussion instrument. Also spelt as the “ganjira:, it is a relatively new addition to the Carnatic percussion family, having been introduced in the mid-20th century. It had been used for almost a century 32 A Brief Introduction to Carnatic Music

before in folk music. The kanjira is on the smaller side when it comes to usual frame-drums: the size usually not exceeding 10 inches in diameter and 4 inches in depth. In the sides of the wooden frame, the drum has slits with thin metal rods in them that allow metallic dics to be held. Similar to the image of a tambourine, the kanjira has coins or discs on the side that produce a jingle when played. The kanjira usually has only one coin or dics per slit. The kanjira’s head is usually made of monitor lizard skin, and therefore the pitch is highly susceptible to change if it gets moist.

F This is a secondary percussion instrument in Carnatic music before which it a common instrument in Southern Folk music. Kanjira trio- Multiple artists

(13) Khol The khol is also called the mrutang. This may lead to confusion, given that the popular primary Carnatic percussion instrument is called the “mrudangam”. It is the context that gives away which instrument the word is referring to: if it is for folk music, it is more likely to be the khol. The physicality of the two instruments vary greatly as well: the khol’s body is made of clay (hence the name: mrut means clay, angam means body). It is a two-sided instrument—and as most Indian percussion instruments are, one side’s diameter is bigger than the other. In this case, the smaller side is peculiarly only a sixth or so (if even) of the larger side. The ratio between the two is significantly different from the others. The clay body and the extremely small side cause the instrument to have a high sound, which is apt for folk music of India. The larger side of the instrument allows the A Brief Introduction to Carnatic Music 33

player to modulate pitch of the strike by applying pressure, which produced a very stereotypically Indian folk sound. This instrument can also be played by being help up by straps, not unlike the dhol. This is a popular choice amongst Hare Krishna followers, due to its production: dhols use clay and only animal hide from already deceased cows.

F This is a folk percussion instrument, usually used in the North of India. Binu Satsang Vivek- Manu Gopal

(14) Manjeera Manjeera refers to a pair of hand cymbals. This instrument is more commonly known as the ‘taal’. The manjeera is a very essential part of folk and devotional music in the North, especially in regions such as Maharashtra and Gujarat. The larger the cymbal’s diameter, the louder and lower the note usually is. Smaller cymbal pairs can be found being playing along most devotional gatherings (satsang). Different alloys bring different sounds. The common understanding is that the color yellow brings out high, sharp noises whereas brown manjeeras produce lower and strongly resonating sounds. In some settings, you can find hundreds if not thousand of manjeera players playing and dancing along during religious gatherings, especially in the North Indian tradition of abhangs, in the state of Maharashtra. Recently, arrangers are starting to use the bells that belong to Bharathanatyam dancers as percussion—a sound that usually would have been produced when the dancer was actually dancing along. This usage of multiple small bells is not the same as the manjeera.

F This is a folk percussion instrument, usually used in the North of India. 34 A Brief Introduction to Carnatic Music

Yogiya Muni Jana Dhyani- Tukaram Ganapthy Maharaj (15) Morsing The morsing is a lamellophone that is played commonly as a secondary percussion instrument used in folk music of the northern regions of India and in Carnatic music. It is a small metal instrument—not more than the size of half a palm. The player places it in-between their teeth and strikes the single metal tongue that is held in place by the surrounding circular metal ring. It produces a very peculiar and unique sound, which can be modulated slightly by applying wax (increasing density and therefore reducing pitch), or by the player’s suction or blowing air through the instrument. The player must be aware of the mrudangam or the (See 16) primary percussion instruments’ patterns, as it closely mimics it.

F This

is a secondary percussion instrument, used widely in Northern folk

and Carnatic music. India Morsing- Dissidenten

(16) Mrudangam The mrudangam is believed to be one of the ancient Indian instruments from the time of the scriptures of Natya Shastra and the Silapadikaaram, written during the second and third centuries. The image of the mrudangam is often tied with the image of Lord Shiva, a popular Hindu diety. It is considered a divine instrument- in fact, it is called a “deva vadyam”, or “instrument of gods”. As discussed earlier, the khol may be confused with this instrument as they are both often-called “mrudangams” (See 13), but the physicality and sound of the two are in no way similar. The mrudangam is made of hide and wood of jackfruit trees A Brief Introduction to Carnatic Music 35

unlike the name suggests (‘mrut’ being clay and ‘angam’ being body). Ancient mrudangams are said to have been made with clay, but modern mrudangams are structured like most Indian percussion instruments: with two sides, one being a bass drum and the other being tunes to a specific note. Some historians argue that the Tabla (See 26) was created by splitting the mrudangam into two separate parts.

F This

is very important Carnatic percussion instrument, said to be one of

the three ancient ‘original’ Indian instruments. Thani avarthanam mridangam- Thiruvarur Bhakthavatsalam “Thani avarthanam” refers to a solo; “thani” meaning ‘alone’ and ‘avarthanam’ referring to the previously discussed concept of the rhythmic cycle.

(17) Nadaswaram The Nadaswaram is similar to a double-reed oboe. The sounds of the nadaswaram and its North Indian counterpart shehnai (See 23) have a strong connotation in Indian culture of auspiciousness. In fact, it customary for South Indian weddings to have a Nadaswaram play at the exact moment of betrothal. The nadaswaram is very likely to be accompanied by its assigned percussion instrument, the thavil (See 29). It is usual to find two nadaswaram players playing during performances—one acting as a supplement, sustaining notes whereas the other acts as the main melodic line.

F This

is a Carnatic Indian wind instrument often used during auspicious

occasions, folk music and film music. Magudi- Sembanar Kovil Brothers 36 A Brief Introduction to Carnatic Music

Around 0:22, the ensemble plays at a high energy (the nadaswarams sustaining high notes/ the thavil plays rapidly). This is the typical sound that is played during the height of an important moment, like the exact moment of betrothal. Around 0:50, they begin playing magudi, or the tune dedicated to snake charming.

(18) Pakhwaj The pakhvaj, not unlike the other two-sided North Indian drums we have discussed, has one side that is larger in diameter to produce a bass sound and one that is smaller. The drum size itself is larger than the average folk percussion drum and therefore has a lower sound. This instrument can be found playing along in folk and spiritual gatherings and is gaining popularity in recent times. The pakhvaaj is played like with hands on both membranes, but stylistically is similar to that of the mrudangam (See 16) and therefore has a distinctive sound despite being a North Indian percussion instrument. The deepness of the instrument can overpower hundreds of manjeeras (See 14) playing during spiritual gatherings (satsangs).

F This is a primary percussion North Indian Folk instrument. Teentaal 16 Matras (Beats)- Ashutosh K. Upadhyay

(19) Pullanguzhal ‘Pullanguzhal’ is the Tamil word for flute. It is also commonly called the ‘venu’. Quite like its Northern counterpart the bansuri (See 1), the pullanguzhal is symbolically tied to the image of Lord Krishna, a popular deity who is believed to A Brief Introduction to Carnatic Music 37

be the reincarnation of Lord Vishnu. Indian culture ties the image of flutes to cowherds. This instrument has two and a half octaves—it is not the flute as much as the player and technique thet makes the flute sound ‘Indian’. The pullanguuzhal is now commonly called the ‘Carnatic flute”—howeverm it was not until the 19th century that it became a mainstream Carnatic instrument. The pullanguzhal has 8 holes.

F This is a South Indian wind instrument, said to be one of the three ancient ‘original’ Indian instruments. Bantu reethi (Flute)- Sikkil Sisters

(20) Santoor This is a hammered dulcimer, with seventy-two (if not more) strings. It is trapezoid in shape and has two bridges, giving it three octaves. The Santoor’s origins could be from Mesopotamia, or perhaps from Ancient India as Sanskrit texts suggest (and call it the “100 stringed Veena”)—but either way integrated itself into the music of India. For example the Islamic Sufi mystics are said to have used this instrument in their music as well. The santoor, quite like most North Indian stringed instruments, enjoys the ability to utilize sympathetic/multiple strings to bring out harmonics and add to the otherwise vertical nature of Indian music.

F This is a North Indian string instrument. Santoor Takism- Sufi Music Ensemble

38 A Brief Introduction to Carnatic Music

(21) Sarangi The sarangi is a North Indian stringed instrument that is known for its ability to mimic the human voice. It has thirty five to thirty seven sympathetic strings (quite like usual North Indian string instruments) and three main melodic strings. The sarangi is played with a bow, and is usualy not more than two feet tall. It wasn’t until the past couple of centuries that the sarangi developed into a string instrument that could be used as a lead or in solos. Before this, the fingering techniques approached the instrument as a secondary or supplemental instrument.

F This is a North Indian string instrument used in folk music. It is enjoying a recent peak in interest in Hindustani music as well. Lover’s Song- Sultan Khan

(22) Sarod The sarod is a North Indian string instrument that is said to have evolved from the Afghan string instrument, the rhubab. It has seventeen to twenty-five strings, many of which are sympathetic not unlike most North Indian string instruments. This instrument has four to five main strings that are used to play the melody with the rest contributing to the harmony of the piece. The sarod has no frets, which supports the theory that it came from Arabic music (as frets do not allow quarter tones to be played easily). It is played quite like the guitar: placed horizontally often on the player’s lap, with a java (plectrum).

F This is a North Indian string instrument used in Hindustani music. Raga Bhinjhoti- Aditya Verma A Brief Introduction to Carnatic Music 39

(23) Shehnai The shehnai is similar to a double-reed oboe. The sounds of the shehnai and its South Indian counterpart nadaswaram (See 17) have a strong connotation in Indian culture of auspiciousness. In Northern and Western India, shehnai players were given land near the temples in return for playing. The shehnai is said to have evolved from a woodwind instrument used for snake charming—an image that is often associated with India.

F This is a North Indian wind instrument. Shankara- Bismillah Khan Compare this with the sound of the Nadaswaram that was mentioned before—is there a difference in approach between Hindustani and Carnatic music?

(24) Sruti box As previously discussed, the sruti box was created to act as an alternative for the much larger and more expensive tambura. It is a free-reed instrument that usually can provide three to four tonal centers by playing tonic, fifth (or fourth) and eighth simultaneously, and must be actively pumped like the accordion.

F This

is a simplified Indian pump organ used to give the drone (tonal

center). Exemple de sruti peti- M. Balasubramaniam

(25) Sitar The sitar is a stringed instrument said to have been born out of a fusion of Persian culture and the pre-existing ancient Indian string instrument, the veena. It 40 A Brief Introduction to Carnatic Music

usually has 18-20 strings, but only 7 or 8 of them are on the fretted region (and can play notes). The number of strings and the structure of the sitar depends on the school that the player comes from. The others are used to complement the melody, and add to the pre-existing drone and strengthening the concept of sruti (tonic). The sitar became a vessel of promoting Indian classical music when Pandit Ravi Shankar began collaborating with internationally renowned artists. The sitar is a Hindustani instrument.

F This is an important Hindustani string instrument. Raga Yamani Bilawal- Ravo Shankar

(26) Tabla Although some scholars have inferred that the Tabla evolved from a South Indian percussion instrument the mrudangam or the pakhwaj, there are just as many people who oppose that theory. The tabla is primarily a Hindustani instrument. In fact, it is arguably the most assimilated into the global music scene of all Indian instruments. Regardless of its origin, the tabla is one of the most popular instruments of Indian music in today’s global scene. It is a two-piece percussion instrument, with one having a smaller diameter than the other. The smaller of the two is usually played with your dominant hand, and is tuned to the tonic (sruti). The larger of the two is akin to a bass drum.

F This is an important Hindustani percussion instrument. Dadra Solo- Pandit Zakir Hussain As you may already know, the term “Pandit” means scholar—just as “guru” means teacher. A Brief Introduction to Carnatic Music 41

(27) Talameter The talameter is an electronic metronome of sorts that Indian musicians use nowadays. The purpose of this is two-fold: not only to practice with a steady tempo but more so to keep track of the individual avarthanam, or rhythmic cycle (similar to the concept of a bar in western notation). It is uncharacteristic of Indian musicians to design and follow a pattern like western music where even during a Jazz solo, the bars are still counted; there is usually no “form”, unless each line is counted as it’s own unit. That being said, the talameter (like a metronome) provides a click for a specific tempo but also indicates the different parts of the ‘body’ (angam) of each rhythmic cycle. Think of a metronome that not only emphasized the beginning of every bar, but sections of the bar according to the Indian rules of rhythm. We will discuss this concept more in detail in Chapter 2.

F This

is an electronic instrument created to help Indian musicians in

training.

(28) Tambura As discussed before, the tambura is the core instrument of all classical recitals. Providing the ‘drone’, without the tambura, there is no tonic. The sound of the tambura is face of Indian music; often, simply the sound of the tambura is enough to establish an Indian sound. The tambura is essential in both Hindustani and Carnatic music (or Indian music in general). The electronic tambura is used more often by the modern Indian musician, but only out of financial restraints, for ease in transportation and tuning range.

42 A Brief Introduction to Carnatic Music

F This

is an important Indian instrument both in Hindustani and Carnatic

traditions. This is Exemple de tambura- M. Balasubramaniam

(29) Thavil The thavil, as discussed earlier, is the most common choice of percussion support for the Nadaswaram (See 17). The thavil’s sound is strongly associated with the southern folk music of India, and is commonly used in Indian film music as a result. The thavil, quite like the dhol, is played with a stick on one membrane and fingers on the other. However, it is not uncommon for thavil players to have rings of wood (or nowadays plastic) to increase the resonance of each finger’s strike. The larger membrane, usually on the left, is not as tightly string as the right so that it may be lower and allow pitch modulation.

F This is a Carnatic and South Indian percussion instrument, Thani Avarthanam Adi Valayapatti- Thavil Solo As mentioned in 16, thani avarthanam refers to a percussion solo.

(30) Veena The veena is a stringed instrument; arguably the ancestor to the Sitar. Alternative spellings include vina and veenai. There are many different types of veenas, but the Saraswathi veena is the most common today, and is considered a mainstream solo instrument of the current Carnatic music scene. As the name suggests, the image of Goddess Saraswathi (the Goddess of Education) is likely to have her playing a Saraswathi veena. The veena has four strings upon its A Brief Introduction to Carnatic Music 43

frets, and has three complementary strings located below the fret that is used to contribute to the harmony: the strings are tuned at tonic, fifth and eighth (like the tambura). The strings are called “tala” strings, and are also used to mark the rhythm of the song (similar to the talameter, it marks the angam). The veena is a Carnatic instrument.

F This is a very important Carnatic string instrument, said to be one of the three ancient ‘original’ Indian instruments. Karunai Deivame- Veenai E. Gayathri

Could you… Name two Indian instruments that are stringed but don’t use frets? Name two Instruments that are similar sounding, but are used in Northern versus Southern India? Pick two instruments that are usually paired together? Identify if the following are folk, Bollywood, Northern or Southern in musical style? Sri Varalakshmi, Sri Ragam- Bombay Jayashri Kajar- Uttar Pradesh Musicians Mahi Ve- Various Artists Brahma Shiva Hari- Veeena Sahasrabuddhe Here’s a shortcut: pay attention to the percussion on the track.

44 A Brief Introduction to Carnatic Music

Categorizing the instruments we’ve discussed: Instrument Bansuri Dhol Dholak Digiveena Dilruba Ektara Electronic sruti box Ghatam Gottuvadhyam Harmonium Jal tarang Kanjira Khol Manjeera Morsing Mrudangam Nadaswaram Pakhwaj Pullanguzhal Santoor Sarangi Sarod Shehnai Sruti box Sitar Tabla Talamater Tambura Thavil Veena

Hindustani

Carnatic

Folk

Type Wind Percussion Percussion Electronic String String Electronic Percussion String Free reed Melodic perc. Percussion Percussion Percussion Percussion Percussion Wind Percussion Wind String String String Wind Free reed String Percussion Electronic String Percussion String

A Brief Introduction to Carnatic Music 45

Figure 1.6: Left upper corner to right lower corner, instruments 1-15: Bansuri, Dhol, Dholak, Digiveena, Dilruba, Ektara, Electronic Sruti Box, Ghatam, Gottuvadhyam, Harmonium, Jal Tarang, Kanjira, Khol, Manjeera, Morsing.

46 A Brief Introduction to Carnatic Music

Figure 1.7: Left upper corner to right lower corner, instruments 16-30: Mrudangam, Nadaswaram, Pakhwaj, Pullanguzhal, Santoor, Sarangi, Sarod, Shehnai, Sruti box, Sitar, Tabla, Talameter, Tambura, Thavil, Veena. A Brief Introduction to Carnatic Music 47

48 A Brief Introduction to Carnatic Music