Karnataka Music

1. There are fourteen swaras in on sthayee.
2. Has Janaka and Janya method in raga classification.
3. Though there is similarity in the nature of ragas the names are different (Eg: Mohana,Hindola Mayamalava gowla, chakravaka)
4. In Talas suladi saptha Talas and chapu Talas are in practice.
5. There are Sangeetha readiness like Geetha, Jati Swara, SwaraJati, Varna, Kriti,Keerthane, Pada, Javali,Tillana etc.,
6. Talas are shown in counts through action.
7. Veene, Gotuvadya, Kolalu, Nagaswara, Clarionet, Mridanga, Dhol, Dholak, Ghata, Kanjeera, Morching Jaltarang etc.Sangeetha Vadyas(instruments).

Indian Forms of Music

In the world every nation has its own musical method (though not classical)


To-day three important classical musical methods are in vogue (Practice) they are Western Music, called Indian Music Karnataka   & Hindustani.

In our country we have the classical methods, Karnataka and Hindustani also called Dhakshinatya & Uttaradi. Karnataka music has retained its method since years through grown up in many faces.


In Hindustani classical method, some styles are formed in the name of Gharana the classical frame is in tact. Although similarities are seen in both branches of Indian classical branches differences cab be pointed out and they are as follows:

Similarity in Karnataka and Hindustani Music

1. The seven swaras are the base for music.
2. Use and symbols of swaras (SRGMPDN) are the same.
3. The sthayis mandra, Madhya and thara are there is both methods,
4. Thanpura is the shruti vadya.
5. Music performances are common in both in both music compositions monoodharma Sangeetha is in practice.
6. Violin is the main instrument and accompanying instrument in both.

Raga

Raga is the combination of appropriate swaras of  in the Arohana and Avarohana.

Arohana     - The ascending order of the Swaras.
Avarohana -  The descending order of Swaras.

Hindustani Classical Music

Hindustani Classical Music is the Hindustani or erstwhile North Indian style of Indian classical music. It is a tradition that originated in Vedic ritual chants and has been evolving from the 12th century CE, in what are now northern India, Bangladesh, and Pakistan, and also Nepal and Afghanistan, and is today one of the two parts of Indian classical music, with the other one being Carnatic music, which represents the music of South India.

Principles of Hindustani music:

The rhythmic organization is based on rhythmic patterns called Taal. The melodic foundations are called ragas. One possible classification of ragas is into "melodic modes" or "parent scales", known as Thaats, under which most ragas can be classified based on the notes they use.

Thaats may consist of up to seven scale degrees, or swara. Hindustani musicians name these pitches using a system called Sargam, the equivalent of Western movable do solfege:
Sa (Shadaj) = Do
Re (Rishab) = Re
Ga (Gandhar) = Mi
Ma (Madhyam) = Fa
Pa (Pancham) = So
Dha (Dhaivat) = La
Ni (Nishad) = Ti
Sa (Shadaj) = Do

Alap: a rhythmically free improvisation on the rules for the raga in order to give life to the raga and shape out its characteristics. The alap is followed by a long slow-tempo improvisation in vocal music, or by the jod and jhala in instrumental music.
Bandish or Gat: a fixed, melodic composition set in a specific raga, performed with rhythmic accompaniment by a tabla or pakhavaj. There are different ways of systematizing the parts of a composition. For example:
Sthaayi: The initial, Rondo phrase or line of a fixed, melodic composition.
Antara: The first body phrase or line of a fixed, melodic composition.
Sanchaari: The third body phrase or line of a fixed, melodic composition, seen more typically in Dhrupad bandishes
Aabhog: The fourth and concluding body phrase or line of a fixed, melodic composition, seen more typically in Dhrupad bandishes.
There are three variations of Bandish, regarding tempo:
Vilambit Bandish: A slow and steady melodic composition, usually in Largo to Adagio speeds.
Madhyalaya Bandish: A medium tempo melodic competition, usually set in Andante to Allegretto speeds.

Prayer

||Om Gan Ganapathaye Namah||
Gajananam bootha ganadi sevita
kapitha jamboo palasara bakshitam
uma sutam shoka vinasha karanam
nanami vigneshwara pada pankajam
 
Shuklambaradharam

Shuklambaradharam Ganapathi Manthram
Nityam Nityam Japo Japo
Vigna Vinayaka Vidya Dhayaka
Veera Ganapathi Bajo Bajo
Baala Ganapathi Japo Japo

Saraswathi Shlokams

Saraswathi Namastubhyam
Varade Kamarupini
Vidyarambam Karishyami
Siddhir Bhavatu Me Sada
Siddhir Bhavatu Me Sada

Tvameva mata ca pita tvameva,
Tvameva bandhusca sakha tvameva
Tvameva vidya dravinam tvameva,
Tvameva sarvam mama, Deva Deva.