Main Ragas that have all the seven swaras in both Arohana and Avarohana are called Melakarta Ragas and the ones with fewer swaras of each of them are called its janya ragas. The ascending order of the swaras in a raga is called Arohanam and the descending order of the swaras is called Avarohanam. Though some of them overlap in terms of frequency of the note, one can not replace the other nor can both of them coexist in a particular raga. N (Nishaadam) is of two types, Kaakali Nishaadam and Kaishiki Nishaadam.Ī Raaga is characterized by a combination of a sub set of these Swaras. M (Madhyamam) is of two types, Shuddha Madhyamam and Prathi Madhyamam.ĭ (Daivatham) is of two types, Shuddha Daivatham and Chathushruthi Daivatham. G (Gaandaaram) is of two types namely: Sadhaarana Gaandaaram and Anthara Gaandaaram. R (Rishabam) is of three types namely: Shuddha Rishabam, Chatushruti Rishabam and Shatshruti Rishabam. Of these, S and P are called Prakriti Swaras (one that does not change) and the rest are called Vikruti swaras (one that changes). The seven swaras S,R,G,M,P,D,N are the building blocks of the ragas and they cover one octave. Carnatic music is set to any one of the seven Taalas which are: Dhruva, Mathsya, Rupaka,, Jhampa, Thriputa, Ata and Eka. Taala refers to the rhythmic cycles in which the swara (notes) and the saahithyam (Lyrics) are set. Each shruti has three octaves or staayis namely: Madhyama Staayi, the normal octave, Mandara staayi and Taara staayi being the lower and higher ones respectively. Shruti refers to the scale or the pitch on which music is rendered keeping its frequency as the foundation. There is a popular saying that elucidates this: “ Shruti maata layaph pita”, Shruti personified as mother and Laya as father The two main aspects of carnatic music are: Shruti (Pitch) and Laya (Tala). They have a universal appeal across all sections of connoisseurs of classical music, language being no barrier. Their compositions are filled with devotion and are unique in their own way. It was spread and popularized with significant contributions by composers like Purandaradaasar (15th century A.D.) and the trinity of carnatic music Sri Thyagarajar, Sri Muthuswami Dikshithar and Sri Shyama Shasthry (18th century A.D.) who were contemporaries. with a book named Sangeetha Rathnakara written by Saranga Deva. The origin of carnatic music dates back to the 13th century A.D.
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