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Types of Compositions

Types of Compositions

Types of Compositions : A musical composition is called Gita in the traditional texts. It has six characteristic elements:

सुस्वरं सुरसं चैव सुरागं मधुराक्षरम् ।

सालङ्कारं सुप्रमाणं षड्वर्यं गीतलक्षणम् ॥

“The right application of Shrutis and Swaras, sweet words clothed in pleasing Raga and embellishments and a right metre are the characteristics of Gita.”

 

Types of Compositions

 

Compositions are basically grouped into those belonging to the ‘art musical’ forms and those which belong to the devo tional class.

 

IV.1 Art musical forms

These are highly developed compositional forms, where Sahitya or text is basically used as a vehicle to express the musical ideas. These are crystallized forms wherein the essence of a Raga is cap224

IV.1.1 Abhyasam or Sadhakam –

abhyāsamsādhakam अभ्यासम् साधकम् These are the preliminary exercises practiced meticulously for voice facility and rhythmic expertise. The Swara Sadhakam and Akara Sadhakam which mean the solfa and the vowel exer cises are practiced along with Tala.

IV.1.1.1 Sarali – Janta – Thatu – Varisai –

sarali- janta – tāṭṭu – varisai – सरळि – जण्ट ताडु – वरिसै These are the solfa lines or Swara patterns on a line set to Tala. They are sung in different speeds up to a maximum of six speeds. They give excellent mobility to the voice.

Sarali means the ‘seven notes of the gamut’. Varisai means order or sequence. Janta means ‘pair’ or ‘couple’. Thatu means ‘to jump’. These are note patterns skipping a few notes in between.

K. Vageesh – Vocal – Varisais

 

IV.1.1.2 Alankaram-alankāram –

RH We have seen that Alankarams are Swara phrases going in a progression. Here as a compositional form, they mean the sequences of Varnalankaras set to different Talas. They are also sung in varying speeds.

K. Vageesh – Vocal – Raga Mayamalava Gowla

 

IV.1.1.3 Gitam – gitam

These are elementary compositions for the beginners. K. Vageesh – Vocal – Raga Mal

 

IV.1.1.4 Swarapallavi and Swarajati

Both are similar in format. The former is a pure solfa con struction and the latter incorporates text to the solfa.

 

IV.1.1.4.1 Swarapallavi – svarapallavi

Swarapallavis commence with a short Pallavi made only of Swaras. Then there are multiple Charanams which are also made of Swaras.

K. Vageesh – Vocal – Raga Kalyani

 

IV.1.1.4.2 Swarajati – svarajāti –

Gifa Swarajatis also carry the same format as the Swarapallavi but all sections carry Sahitya or text.

K. Vageesh – Vocal – Raga Bilahari

 

IV.1.1.5 Varnam – varnam वर्णम्

We have already seen Varna as an artistic musical phrase of Swaras. In the form of a composition, it uses varieties of Varnas and allots Sahitya to them. These are of two types, Tana Varna and Pada Varna. These are highly technical com positions.

IV.1.1.5.1 Taana Varnam – täna varnam

Composed mainly of Taanas and Varnas, the Taanavarnam is a brisk musical composition. The Madhyamakala or the middle tempo is the characteristic feature of this form. Though the text figures in these compositions, its importance and use is negli gible. The vowels and their extensions mark the characteristic feature of Taanavarnams.

Pallavi, Anupallavi and Chittaswaram form the first section of a Varnam, and Charanam and Charanaswarams form the second section. Though Varnams are practiced in variable speeds, while rendering in a concert, a middle tempo is select ed for the first section and the second section is rendered in a slightly accelerated speed. The Varnams hold an intermediary position between the Abhyasa and the concert forms. They are essentially the Abhyasa type and also form the opening num ber of a concert. As an Abhyasa form, they are excellent for voice mobility and control over rhythm and, as an opening number in a concert, they create musical atmosphere, called Melaprapti and warm up the musician’s voice. P. Unnikrishnan – Vocal – Raga Saveri

IV.1.1.5.2 Padavarnam – padavarṇam –

Padavarnam is a dance form. The text is also important here. The Swaras are studded with text and the Rasabhava or the mood and the seductive Vilamba Kala, the slow tempo, are its characteristics.

IV.1.2 Kacheri or Concert Forms – kacceri – R

Now let us see the musical forms used in a concert.

These are highly advanced compositional forms, which allow elaborate scope for improvisation where a musician can express his mastery and creativity. They could be further clas sified into main Kacheri forms and Tukkadas.

IV.1.2.1 Kriti – krti – fa

The modern Kriti has evolved out of the ancient Prabandha forms. Kriti is a highly developed art music form wherein both the lyric and the music play an important role. It technical intricacies and aesthetic elements. The format of a Kriti consists of a Pallavi, Anupallavi and a Charanam or multiple Charanams. Sangatis, Rakti Proyogas and appendages like Chittaswaram, Madhyamakala Sahityam, Swarasahityam, the application of Yati etc. find a full scope in this form. Some Kritis omit Anupallavi and replace it with a Samasti Charanam followed by Madhyamakala Sahityam. The Samasti Charanam format was popularised by the Saint composer Muthuswamy Dikshitar. Kriti is the main form in the Kacheri class.

We have already seen the Kriti form in the previous illustra tion. We’ll see more in detail in the last chapter.

IV.1.2.2 Ragam Tanam Pallavi- rāgam – tānam – pallavi

– रागम् तानम् – पल्लवि This is an item in a musical concert with three sections, the Ragalapana, the Tanam and the Pallavi. It demands great expertise and creativity from the musician, provides abundant scope for extemporisation and is a main Kacheri item.

This form is also taken up in detail in the last chapter.

IV.1.2.3 Ragamalika – rāgamālikā – PHI

As the name suggests, a Ragamalika is a group of Ragas strung

together to form a musical garland. In the rendering, each Raga

imperceptibly fuses into the next one. In the format of a com position, Ragamalika is the same as Kriti, with Pallavi, Anupallavi and single or multiple Charanams. K. Vageesh Vocal Ragas Saveri, Nattakurinji, Dhanyasi, Mohanam, Mukhari, Poorvi Kalyani, Ma technical intricacies and aesthetic elements. The format of a Kriti consists of a Pallavi, Anupallavi and a Charanam or multiple Charanams. Sangatis, Rakti Proyogas and appendages like Chittaswaram, Madhyamakala Sahityam, Swarasahityam. the application of Yati etc. find a full scope in this form. Some Kritis omit Anupallavi and replace it with a Samasti Charanam followed by Madhyamakala Sahityam. The Samasti Charanam format was popularised by the Saint composer Muthuswamy Dikshitar. Kriti is the main form in the Kacheri class. We have already seen the Kriti form in the previous illustra tion. We’ll see more in detail in the last chapter.

IV.1.2.2 Ragam Tanam Pallavi – ragam tanam – pallavi

– रागम् तानम्- पल्लवि This is an item in a musical concert with three sections, the Ragalapana, the Tanam and the Pallavi. It demands great expertise and creativity from the musician, provides abundant scope for extemporisation and is a main Kacheri item.

This form is also taken up in detail in the last chapter.

IV.1.2.3 Ragamalika – rāgamālikā – HIT

As the name suggests, a Ragamalika is a group of Ragas strung together to form a musical garland. In the rendering, each Raga imperceptibly fuses into the next one. In the format of a com position, Ragamalika is the same as Kriti, with Pallavi, Anupallavi and single or multiple Charanams.

K. Vageesh Vocal Ragas Saveri, Nattakurinji, Dhanyasi. Mohanam, Mukhari, Poorvi Kalyani, Madhyam

 

IV.1.2.4 Talamalika – tālamālikā –

There are Talamalikas wherein the Tala keeps changing while the Raga remains constant and Ragatalamalikas wherein both change.

IV.1.2.5 Padam and Javali –

padam javali पदम् जावळि These are compositions based on Sringara Rasa or the roman tic mood. Padam is a slow and seductive item with Madhura Bhakti – devotion through Sringara. It resembles the Kriti in format. Only Rakti Ragas are used for composing Padams. Javalis are also Sringara Rasa Sahityas but they border on the lewd. They are composed in lilting melodies and by and large in a fast tempo. Both are rendered as secondary items in a concert.

P. Unnikrishnan – Vocal – Ragas Kedar Gowla and Behag

IV.1.2.6 Tillana and Tiruppugal

Tillana and Tiruppugal both lay emphasis on rhythm. Though secondary compositions, they are highly technical in nature with dexterous rythmic patterns.

IV.1.2.6.1 Tillana tillānā– तिल्लाना

Tillana, by format, resembles a Kriti but interlaces rhythmic

phrases, Jati or Solkattu, along with the Sahitya. Tillanas are sung at the end of the concert just before the Mangalam. Sringara, the romantic mood, is a predominant theme for Tillana.

Lalgudi G. Jayaraman – Violin – Raga Mohana Kalyani

IV.1.2.6.2 Tiruppugal – tiruppugal – far

Tiruppugals are basically devotional numbers. These are the metrical compositions of a Saint-composer of the 15th century, Arunagiri Nathar. The interesting feature of these compositions is the variety of Chandas or metres to which these compositions are set. The first line of the composition indicates the nature of the Chandas. The original music is lost but the metre has been retained and is sung in various modern Ragas. Tiruppugal sometimes replaces Tillana or follows it. Lokanatha Sharma – Vocal – Raga Sankarabharanam

IV.1.2.7 Viruttam and Shlokam –

viruttam shlokam – विरुत्तम् श्लोकम् We have already seen these forms earlier. These are also con cert items.

IV.2 Pure devotional forms

These are compositional types based on Bhakti or devotion. The music is simple, just a vehicle to convey Bhakti.

IV.2.1 Thevaram – Tiruvachakam – Divyaprabandham tevāram – tiruvācakam – divyaprabandham – तेवारम् – तिरुवाचकम् – दिव्यप्रबन्धम्

These are Nibaddha forms, set to Tala. Belonging to the 7th century, Thevarams are composed by the Saivaite saints, Appar, Sundarar and Sambandar. Tiruvachakam is sung by Manikkavachakar. Both the Tala and largely the music also have been retained in the original form. Divyaprabandhas are the contributions of the Vaisnavite saints called Alwars, belonging to the same period of time. The original music is lost but the text is sung along the lines of Thevaram and Tiruvachakam, as they belong to the same period.

Dandapani Oduval – Vocal – Ragas Bhairavi, Mohanam and Atana

IV.2.2 Kirtana

Kirtana is a pure devotional form with a short Pallavi followed by short and multiple Charanas. Kirtanas are meant for con gregational singing.

M. Balamuralikrishna – Vocal – Raga Ahir Bhairavi

IV.2.3 Bhajan and Abhang

These are adoptions from Hindustani music. They are also pure

devotional numbers.

IV.3 Mangalam

Mangalam means ‘auspicious’. This is always the last item of a concert of Carnatic music. Mangalam can be rendered as a Kirtana or a Shlokam. If it is sung as a Shlokam with the Raga Madhyamavati, then this is the very last. If the Mangalam uses a Raga other than Madhyamavati, then at the absolute end a very short sketch of the Raga Madhyamavati is rendered.

D.K. Pattamal – Vocal – Mangalam – Raga Madhyamavati

 

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