Ghatam

Tanpura

THANPURA

The tanpura (or tambura, tanpuri) is a long-necked plucked string instrument found in various forms in Indian music; it does not play melody but rather supports and sustains the melody of another instrument or singer by providing a continuous harmonic bourdon ordrone. A tanpura is not played in rhythm with the soloist or percusionist: as the precise timing of plucking a cycle of four strings in a continuous loop is a determinant factor in the resultant sound, it is played unchangingly during the complete performance. The repeated cycle of plucking all strings creates the sonic canvas on which the melody of the raga is drawn. The combined sound of all strings is very rich in harmonics that will enhance the resonance of the tones sung or played to the accompaniment of a fine tanpura.

The name tanapura is derived from tana, referring to a musical phrase, and pura, which means "full" or "complete".Hindustani musicians favour the term 'tanpura' whereas Carnatic musicians say 'tambura'; 'tanpuri' is a smaller variant used for accompanying                                                                                   instrumental soloists.

Variants

Tanpuras are designed in three different styles:

• Miraj style: the favourite form of tanpura for Hindustani performers. It is usually between three to five feet in length, with a carved, rounded resonator plate (tabli) and a long, hollow straight neck, in section resembling a rounded capital D. The round lower chamber to which the tabli, the connecting heel-piece and the neck (dandh) are fixed is cut from a selected and dried gourd (tumba). Wood used is either tun or teak; bridges are usually cut from one piece of bone.
• Tanjore style: this is a south Indian style of tambura, used widely by Carnatic music performers. It has a somewhat different shape and style of decoration from that of the miraj, but is otherwise much the same size. Typically, no gourd is used, but the spherical part is gouged out of a solid block of wood. The neck is somewhat smaller in diameter. Jackwood is used throughout; bridges are usually cut from one piece of rosewood. Often, two rosettes are drilled out and ornamented with inlay work.
• Tanpuri: small-scale instruments, used for accompanying instrumental soloists. It is two to three feet long, with a flat bed-pan type wooden body with a slightly curved tabli. It may have from four to six strings. Tamburi are tuned to the higher octave and are the preferred instruments for accompanying solo performances by string-playing artists, as the lighter, more transparent sound does not drown out the lower register of a sitar, sarod, or sarangi.

MRIDANGAM

MRIDANGAM

Mridangam

The Indian Musical Instrument Mridangam is one of the most popular classical instruments of South India. Mridangam accompanies vocal, instrumental and dance performances. ridangam is the main instrument that provides rhythm and raga to Carnatic music performances. It is also known by the name of mridanga, mrdangam, mrudangam and mrithangam. In Hindu mythology, mridanga /mridangam is shown often as the instrument of many popular deities such as Ganesha and Nandi vehicle or companion of Lord Shiva. Accordingly it is believed that Nandi played the mridangam during Shiva's Tandava dance and due to these reasons mridangam is also known as "Deva Vaadyam," (the instrument of the Gods).

Carnatic music or Karnāṭaka saṃgīta or Karnāṭaka saṅgītam

CARNATIC MUSIC

Carnatic music or Karnāṭaka saṃgīta or Karnāṭaka saṅgītam is a system of music commonly associated with the southern part of the Indian subcontinent, with its area roughly confined to four modern states of India: Andhra Pradesh, Karnataka, Kerala, and Tamil Nadu. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu traditions, the other subgenre beingHindustani music, which emerged as a distinct form because of Persian and Islamic influences in northern India. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style.

Although there are stylistic differences, the basic elements of śruti (the relative musical pitch), swara (the musical sound of a single note), rāga (the mode or melodic formulæ), and tala (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. Although improvisation plays an important role, Carnatic music is mainly sung through compositions, especially the kriti (or kirtanam) – a form developed between the 14th and 20th centuries by composers such asPurandara Dasa and the Trinity of Carnatic music. Carnatic music is also usually taught and learned through compositions.

Carnatic music is usually performed by a small ensemble of musicians, consisting of a principal performer (usually a vocalist), a melodic accompaniment (usually a violin), a rhythm accompaniment (usually a mridangam), and a tambura, which acts as a dronethroughout the performance. Other typical instruments used in performances may include the ghatam, kanjira, morsing, venu flute,veena, and chitraveena. The most outstanding performances, and the greatest concentration of Carnatic musicians, are to be found in the city of Chennai.^[1] Various festivals are held throughout India and abroad which mainly consist of Carnatic music performances, such as the Madras Music Season, which has been considered to be one of the world's largest cultural events.

Nature of Carnatic music

The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as gāyaki). Like Hindustani music, Carnatic music rests on two main elements:rāga, the modes or melodic formulæ, and tāḷa, the rhythmic cycles.

Today, Carnatic music is presented by musicians in concerts or recordings, either vocally or through instruments. Carnatic music itself developed around musical works or compositions of phenomenal composers (see below)

Important elements of Carnatic music

Śruti

Main article: Śruti (music)

Śruti commonly refers to musical pitch. It is the approximate equivalent of a tonic (or less precisely a key) in Western music; it is the note from which all the others are derived. It is also used in the sense of graded pitches in an octave. While there are an infinite number of sounds falling within a scale (or raga) in Carnatic music, the number that can be distinguished by auditory perception is twenty-two (although over the years, several of them have converged). In this sense, while sruti is determined by auditory perception, it is also an expression in the listener's mind.

Swara

Main article: Swara

Swara refers to a type of musical sound that is a single note, which defines a relative (higher or lower) position of a note, rather than a defined frequency.^[19] Swaras also refer to the solfege of Carnatic music, which consist of seven notes, "sa-ri-ga-ma-pa-da-ni" (compare with the Hindustani sargam: sa-re-ga-ma-pa-dha-ni or Western do-re-mi-fa-so-la-ti). These names are abbreviations of the longer names shadja, rishabha, gandhara, madhyama, panchama, dhaivata and nishada. Unlike other music systems, every member of the solfege (called a swara) has three variants. The exceptions are the drone notes, shadja and panchama (also known as the tonic and the dominant), which have only one form; and madhyama (the subdominant), which has two forms. A 7th century stone inscription in Kudumiyan Malai^[21] in Tamil Nadu shows vowel changes to solfege symbols with ra, ri, ru etc. to denote the higher quarter-tones. In one scale, or raga, there is usually only one variant of each note present. The exceptions exist in "light" ragas, in which, for artistic effect, there may be two, one ascending (in the arohanam) and another descending (in the avarohanam).

Raga system

Main article: Raga

A raga in Carnatic music prescribes a set of rules for building a melody – very similar to the Western concept of mode. It specifies rules for movements up (aarohanam) and down (avarohanam), the scale of which notes should figure more and which notes should be used more sparingly, which notes may be sung with gamaka (ornamentation), which phrases should be used or avoided, and so on. In effect, it is a series of obligatory musical events which must be observed, either absolutely or with a particular frequency.

In Carnatic music, the sampoorna ragas (those with all seven notes in their scales) are classified into a system called the melakarta, which groups them according to the kinds of notes that they have. There are seventy-two melakarta ragas, thirty six of whose madhyama (subdominant) is sadharana (perfect fourth from the tonic), the remaining thirty-six of whose madhyama (subdominant) is prati (an augmented fourth from the tonic). The ragas are grouped into sets of six, called chakras ("wheels", though actually segments in the conventional representation) grouped according to the supertonic and mediant scale degrees. There is a system known as the katapayadi sankhya to determine the names ofmelakarta ragas.

Ragas may be divided into two classes: janaka ragas (i.e. melakarta or parent ragas) and janya ragas (descendant ragas of a particular janaka raga). Janya ragas are themselves subclassified into various categories.

Tala system

Main article: Tala (music)

Tala refers to a fixed time cycle or metre, set for a particular composition, which is built from groupings of beats. Talas have cycles of a defined number of beats and rarely change within a song. They have specific components, which in combinations can give rise to the variety to exist (over 108), allowing different compositions to have different rhythms.

Carnatic music singers usually keep the beat by moving their hands up and down in specified patterns, and using their fingers simultaneously to keep time. Tala is formed with three basic parts (called angas) which are laghu, dhrtam, and anudhrtam, though complex talas may have other parts like plutam, guru, and kaakapaadam. There are seven basic tala groups which can be formed from the laghu, dhrtam, and anudhrtam:

• Dhruva tala
• Matya tala
• Rupaka tala
• Jhampa tala
• Triputa tala
• Ata tala
• Eka tala

A laghu has five variants (called jaathis) based on the counting pattern. Five jaathis times seven tala groups gives thirty-five basic talas, although use of other angas results in a total of 108 talas.

Improvisation

Improvisation in raga is the soul of Indian classical music  – an essential aspect. "Manodharma Sangeetam" or "kalpana Sangeetam" ("music of imagination") as it is known in Carnatic music, embraces several varieties of improvisation.

The main traditional forms of improvisation in Carnatic music consist of the following

• Alapana
• Niraval
• Swarakalpana
• Ragam
• Tanam
• Pallavi
• Tani Avartanam

• Raga Alapana

  Main article: Alapana
  An alapana, sometimes also called ragam, is the exposition of a raga or tone – a slow improvisation with no rhythm,^[31] where the raga acts as the basis of embellishment.In performing alapana, performers consider each raga as an object that has beginnings and endings and consists somehow of sequences of thought.
  The performer will explore the ragam and touch on its various nuances, singing in the lower octaves first, then gradually moving up to higher octaves, while giving a hint of the song to be performed.
  Theoretically, this ought to be the easiest type of improvisation, since the rules are so few, but in fact, it takes much skill to sing a pleasing, comprehensive (in the sense of giving a "feel for the ragam") and, most importantly, original raga alapana.

  Niraval

  Main article: Niraval
  Niraval, usually performed by the more advanced performers, consists of singing one or two lines of text of a song repeatedly, but with a series of melodic improvised elaborations. Although niraval consists of extempore melodic variations, generally, the original patterns of duration are maintained; each word in the lines of text stay set within their original place (idam) in the tala cycle.The lines are then also played at different levels of speed which can include double speed, triple speed, quadruple speed and even sextuple speed. The improvised elaborations are made with a view of outlining the raga, the tempo, and the theme of the composition.

  Kalpanaswaram

  Main article: Kalpanaswaram
  Kalpanaswaram, also known as swarakalpana, consists of improvising melodic and rhythmic passages using swaras (solfa syllables). Like niraval, kalpanaswaras are sung to end on a particular swara in the raga of the melody and at a specific place (idam) in the tala cycle.
  Kalpanaswaras have a somewhat predictable rhythmical structure; the swaras are sung to end on the samam (the first beat of the rhythmical cycle). The swaras can also be sung at the same speed or double the speed of the melody that is being sung, though some artists sing triple-speed phrases too.
  Kalpanaswaram is the most elementary type of improvisation, usually taught before any other form of improvisation.

  Tanam

  Tanam is one of the most important forms of improvisation, and is integral to Ragam Tanam Pallavi. Originally developed for the veena, it consists of expanding the raga with syllables like tha, nam, thom, aa, nom, na, etc.

  Ragam Tanam Pallavi

  Main article: Ragam Tanam Pallavi
  Ragam, Tanam, and Pallavi are the principal long form in concerts, and is a composite form of improvisation. As the name suggests, it consists of raga alapana, tanam, and apallavi line. Set to a slow-paced tala, the pallavi line is often composed by the performer. Through niraval, the performer manipulates the pallavi line in complex melodic and rhythmic ways.^[30] The niraval is followed by kalpanaswarams.

  Tani Avartanam

  Tani Avartanam refers to the extended solo that is played by the percussionists in a concert,^[41] and is usually played after the main composition in a concert. The percussionist displays the full range of his skills and rhythmic imagination during the solo, which may take from two to twenty minutes.
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How to make a cartoons in Photoshop. Ideas and Plans

CARTOON

The photo-to-cartoon effect is one of our favourite Photoshop effects, and it’s surprisingly easy to achieve. In this tutorial we’ll show you how to turn photos to cartoons using an assortment of filters and simple brushwork.

 Filters that turn your photos into drawings or paintings have been around in Photoshop for years. However, there have always been two problems with them: first, they’ve been used to death, and second, most of them aren’t all that convincing.

To get a good result requires more than just slapping a filter over an image – instead you’ll need to combine filters with hand-painted brushwork and other Photoshop skills.

In this tutorial you’ll learn how to turn a portrait into a cartoon caricature with the help of a few Photoshop filters and some painting with the Brush tool.

We’ll begin by creating a sketch of our tattooed man here, which involves an unusual use for the Gaussian Blur filter. From here we’ll use the brush to colour in the skin, hair and clothes.

We’ll also save ourselves some time by blending the original tattoos with our cartoon. And to finish it off, we’ll add a striking line vortex effect to the background.

Trinity of Carnatic Music

 

    The Trinity of Carnatic music refer to the outstanding trio of composer-musicians of Carnatic music in the 18th century, beingTyagaraja, Muthuswami Dikshitar and Syama Sastri. Prolific in composition, the Trinity of Carnatic music are known for creating a new era in the history of Carnatic music by bringing about a noticeable change in what was the existing Carnatic music tradition. Compositions of the Trinity of Carnatic music are recognised as being distinct in style, and original in handling ragas.

THYAGARAJASWAMI

     Kakarla Tyagabrahmam (4 May 1767 – 6 January 1847) or Saint Tyagaraja, also known as Tyāgayya in Telugu, Tyāgarājar in Tamil, was one of the greatest composers of Carnatic music or Indian classical music. He was a prolific composer and highly influential in the development of the classical music tradition. Tyagaraja composed thousands of devotional compositions, most inTelugu and in praise of Lord Rama, many of which remain popular today. Of special mention are five of his compositions called thePancharatna Kritis(English: "five gems"), which are often sung in programs in his honour.


MUTHUSWAMI DIKSHITAR

         Muthuswami Dikshitar (March 24, 1775 – October 21, 1835) was a South Indian poet and composer and is one of the Musical Trinity of Carnatic music. His compositions, of which around 500 are commonly known, are noted for their contemplative nature and for capturing the essence of the raga forms through the vainika (veena) style that emphasises gamakas. They are typically in a slower speed (chowka kala). He is also known by his signature name of Guruguha which is also his mudra (can be found in every one of his songs) .^[1] His compositions are widely sung and played in classical concerts of Carnatic music.

The musical trinity consists of Dikshitar, Tyagaraja (1767–1847), and Syama Sastri (1762–1827)^[2] although, unlike the Telugucompositions of the others, his compositions are predominantly in Sanskrit. He also had composed some of his Kritis inManipravalam.(admixture of Tamil and Sanskrit)

Muthuswami Dikshitar was born in Tiruvarur (of Thiruvarur district in what is now the state of Tamil Nadu) to a Tamil Iyer Brahmin couple Ramaswami Dikshitar(discoverer of Raaga Hamsadhwani) and Subbamma, as the eldest son. According to the account of Subbarama Dikshitar, Muttuswami Dikshitar was born in the manmatha year, in the month of TamilPanguni under the asterismKrittikaa. He was named after the temple deity, Muttukumaraswamy; legend has it that he was born after his parents prayed for a child in the Vaitheeswaran Temple. He had two younger brothers Baluswami, Chinnaswami and a sister Balambal.

In keeping with the Brahminic educational tradition, Muthuswami learnt the Sanskrit language, Vedas, and other important religious texts. He obtained his preliminary musical education from his father.

While he was still in his teens, his father sent him on a pilgrimage with a wandering monk named Chidambaranatha Yogi to gain musical and philosophical knowledge. Over the course of this pilgrimage, he visited many places in North India and acquired a broad outlook that is reflected in many of his compositions. During their stay in Kashi (Varanasi), his guru Chidambaranatha Yogi, presented Dikshitar with a unique Veena and died shortly thereafter. The samādhi of Chidambaranatha Yogi can still be seen in Sri Chakra Lingeshwar temple at the Hanuman Ghat area in Varanasi.

SYAMA SYASTRI

        SYAMA SASTRI was born to Visvanatha Iyer and Vengalakshmi on April 2, 1762.^[2] He was a Tamil speaking Brahmin known as Auttara Vadama. Visvanatha Iyer and his forefathers were archakas in the temple of Goddess Bangaru Kamakshi. Syama Sastri's actual name was Venkata Subrahmanya.

Although Śyāma Śastri did not compose as so many kr̥ti-s as his two prolific contemporaries, his compositions are still well known due to the literary value. It is said that he composed about three hundred pieces in all.

He did not have many disciples to propagate his compositions, nor was the printing press an easy convenience during his time. More importantly, the scholarly nature of his compositions was not appealing to the layperson, they needed to be studied to be savoured.In his compositions there is a perfect blend of Supreme Bhakti (Utmost Devotion), Manodharma Bhavam with adequate Sahityam, but very important all put into the cup of Absolute Talam (Rhythm).

He composed in Telugu and Sanskrit, mostly on goddess Kāmākṣhī.

He composed kr̥ti(s), varṇa(s) and svarajati(s) with the ankita or mudra (signature) Śyāma Kr̥ṣṇa. He was probably the first to compose in a new form of the svarajati musical genre. Prior to this, the svarajati was primarily a dance form, and was close in structure to the dance Varṇaṃ (padavarṇaṃ).

His set of three famous svarajati(s) are intended to be sung in concert rather than danced, and are sometimes referred to as "Ratnatrayam" (Three jewels). They are in ragas Bhairavi, Yadukula kambhoji and Todi, and are called Kāmākṣhī Anudinamu,Kāmākṣhī Padayugamē, and Rāvē himagiri kumāri, respectively. The former two are set to Miśra Cāpu Tāḷa, while the third is set toĀdi Tāḷa.

He was known for his ability to compose in the most complex of Tāḷa(s).^[3] He was also known as "Talaprasthara Shyama Sastri" in music circles in those days. He was as adept in composing in rare ragas as he was in composing the popular ones. He was widely revered for his voice and singing ability during his time.