Laya Yogam   

 Art – Kala

Fine Arts

Ka : chief of the Karanas - Mind

                                    

           [Andakarnaas : Manas, Buddhi, Chiittha, Ahangaaram, Gnyaanam]

La : That which dissolves in to deeyam [Paramathma]

 Mano layam

Art is also Self Manifestation of the Artist. When an artiest exhibits more of his self, he becomes a true artiest. The scale of measuring an artist is to “how much self is manifested by him in to his art”.  

In pursuit to create more and more artistic works an artist try’s to learn more and more of him self. Knowingly or unknowingly he is in search of the god in himself. This approaches him to salvation. Hence it is also called a yogam.

A fan or the connoisseur is in a great admirer of an Artist. He amuses and collects more and more of the creation of his favorite artist. By admiring the creations of an artist, he knowingly or unknowingly is in search of the Artist himself. That is actually, he is in search of the sole of the artist. This is in turn, in search of himself. Searching one own self, leads to the search of god who resides in you. Through the art both the artiest and the connoisseur [fan] both go in search of themselves and in turn they search for the almighty that leads to the salvation.

The difference between Production / Creation

Creation happens when one goes deep within himself. That is why, when a person performs his creation, he forgets himself and the world.

Production is simply made. In most of the times, it is copied from one of the creation. 

Art needs medium:

• Through Body        : Nruthya / Naatya Kala  : Art of Dancing
• Through Words      : Sahithya Kala              : Art of Literature
• Through pictures    : Chithra Kala                : Art of Painting
• Through Hand        : Shilpa Kala                : Art of Sculpture
• Through Swara       : Sangeetha Kala          : Art of Music - Also called as Naadam

More information of all forms of art is given in the bottom of this page. Now lets concentrate on the Naada Yogam.

Nada Yogam

Naadam is one of the innumerable manifestations of the Parabrahmah himself. Manifestation of Brahmah in the form of Naadam is Naada Brahamam. Since Naadam is not mere music, but it is the almighty himself it is also a yogam. That is why we call it "Naadamaay Irukkindra Brahmah" "Brahmah in the form of Naadam", so Naada Brahmah. Hence we are going study the Naada Yogam as a part of Spiritual Discourse. Since Naadam also helps in merging Jevaathma with Paramathma it is one of the 10 fold path of Yogams.

Upama: Kaalam (Time), Peace (Define peace), SathChithAanandam, Sathyam [Truth], Shivam [Goodness], Soundaryam [Beauty], Roopam [physical aspect], Bhavam [Expressional Aspect], Shakthi [Power], etc including Naadam [Music] are the innumerable manifestations of Lord himself.

Sun Light                   --         Disperse to    ----- > Seven Colors  

All the seven colors are always present latent in the Sun light. The same way there are seven swaras present in Naadam in the latent form.

Naadam                     --         Disperse to    ----- > Seven Swaras   

• i.e., Saptha Swaras, Saptha Sur’s, Saptha Swarangal,

In western classic: Selfeggia or 7 Notes

• Saptha in Sanskrit is nothing but Seven

Seven Swaras

  Saptha Swaram

“Sa”  “Ri”  “Ga”  “Ma”  “Pa”  “Da”  “Ni”

Saptha = Seven

Beauty of these swaras are that each of them are residing the tones of Animals. Since Naadam itself is Brahmah, each swara is also a Deity. Each of these deities are expressing themselves in each of these swaras. That is each of the deities are residing inside these swaras in Sublime state. Hence each of them have their own Beejaksharams.

		SapthaSwaras	Beej	Animal	Animal
1	Sa	Shadjam	Ohm	Peoock	Mayil
2	Ri	Rishabam	Am	Ox	Rishabam
3	Ga	Gandharam	Saam	Sheep, Goat	Ajam / ajaha
4	Ma	Madhyamam	Maam	Crane	Krouncha bird
5	Pa	Panchamam	Im	Cuckoo, Nightingale Which sings in the Sprints	Vasantha Kaalathil / padum Kogilam
6	Da	Dhaivatham	Gloum	Horse	Ashwam
7	Ni	Nishadam	Hraam	Eliphant	Gajam

Each Swara has its own star and its own features and properties. Even many great Karnatic singers may not be aware of this information. They are mere singers. Hence they are not artists.

		SapthaSwaras	Stars	Faces
1	Sa	Shadjam	Shadabishekam, Chathayam	Body plump, lotus like complexion, four faces, eight hands, white attire, kumkum in forehead, has sword, sits on swan, gandarva wife, lives in Sambo island, Agni saw this devata first.
2	Ri	Rishabam	Chitra	Slim body,green colour, three faces, six hands, peethambara dress. Blue stone necklace, agaru in forehead. Kundam in his hand. Sits on lion, kinnara wife, lives in Saha island. Brahma saw this devatha first.
3	Ga	Gandharam	Avittam, Dhanishtam	Fat body, golden complexion, two faces, four hands, red attire, diamond necklace, agaru in forehead, Dandam in hand, Ghanda Berunda bird as vehicle, Yaksha wife. Lives in Kusa island. Moon saw this devatha first.
4	Ma	Madhyamam	Makam, Makham	Tall with four faces, eight hands, blue attire, lapis lazule(vaidooryam) necklace, patharas on forehead, holds chakra, sits on deer, Kimpuru wife, lives in Kroucha island. Vishnu saw him first.
5	Pa	Panchamam	Uttaram	Well proportioned body. Complexion black, four faces, eight hands, red clothes, emarald necklace, Gorojanam on forhead, pindi in his hand, Naga wife, lives in Salmali island. Narada saw him first.
6	Da	Dhaivatham	Poorva Ashadam Pooraadam	Tall, blue body, three faces, six hands, pictured cloth worn by him, Gomethagam(sardonyx) necklace, sandal on forehead, holding narasam, sits on parrot, Deva wife, lives in Swetha island. Thumburu saw him first.
7	Ni	Nishadam	Anuradham Anizam	Very fat, five coloured complxion, two faces, four hands, blue attire, pushparaga(topaz) necklace, kadamba powder on his forehead, holding ankusam, sits on Mynakam, Rakshasa wife, lives in Pushkara island. Thumburu saw this devatha too.

Each of the swaras have their own Pancha boothas. Hence you know their original form too.

Sl. No.	Swaras	Pancha Boothas
1	Ga	Prithvi
2	Da	Up
3	Sa Ri	Tejas
5	Ma Ni	Akaash
4	Pa	Vaayu

Creation of Swaras

5 Expressions, 5 States 5 Faces of Shiva / Brahmam – Panchanan, Vakthran

Sl. No.	5 Expressions	Swaras	Instruments	Type
1	Sadyojaatam	Ga	Damaru / Udukku of Siva	Ancient Percussional  instruments, Laya (speed) Vaadyaas, Charma Vaadyangal
2	Vaamadevam	Da	Shank	First Instrument
3	Tatpurusham	Sa Ri	Bronze	Kaamsya Vadyangal
5	Aghoram	Ma Ni	Veena	Thanthi Vaadyangal
4	Eesanam	Pa	Flute	Perforated Instruments Rendhra Vaadyangal Sushira vadya

There are two types Percussional and Melodic

From Pranavam emanates Satyajatam, Vaamanam, Tatpurusham, Eesanam & Aghoram which are the five faces of Lord Siva, from which the musical notes emanated & passed on to Posterity. Siva taught Parvati, the prime Sishya & it was successively passed on to Tumburu, Narada, Nandikeswara & Saraswati. 

• Swara – Seems to be like a sound but not a mere sound, but beyond sound
• Sruthi – Meaning – Vedam  - Keys – White and Black keys in the keyboard
• There are seven swaras which are mythologically associated to the sounds of certain animals.
• Each swaras have their own Beejaksharams, Colors, Star signs, etc

You see white and black keys in the keyboard or piano. These are called the keys or Sruthis. They are polished and refined tones or keys or sruthi’s. They are mere sounds for the sake of music. When the great spiritual swaras pass through the sruthis there emerges the Music.

Upama / Example:

When Current is passed through the bulb [Filament] the bulb glows with light. Filament is the media through which current exhibits light. The same way when Swaras are passed through the Sruthi’s, the spiritual music glows. Otherwise when you press these keys, only sound emerges. That is why we say: Sruthi’s are mere sounds and swaras are beyond sounds.

• Switch -- Current -- Filament – Bulb glows producing light
• Soul – Body = Life
• Swaraas – Sruthi’s = Raagam

“Sa” passing through any sruthi / key becomes the key of the Music.

Brahma was the origin of music inspired by Sama Veda.

Initial instruments were :  

Damaru of Siva,

Flute of Krishna,

Conch of Vishnu,

Drum of Nandi,

Veena of Saraswati & Narada,

Thambur of Thumburu.

Lord Buddha reinvigorated his teachings & message with music on his Parivadini veena, made of gold, having 21 strings.  

Sama Veda is well-known as musically rendered. Rig Veda too is reputed to have been chanted once musically. Thevaram by Appar, Sundarar & Sambandar and Divya Prabandam by Vaishnavite Azhwars came up during 7-9th centuries.

• When Swaras are sung in the ascending order it is called "Aarohanam"
• When Swaras are sung in the descending order it is called "Avarohanam"
• When a combination of "Aarohanam" & "Avarohanam" are sung together they form a great unique feeling within us. This is called a “Raagam”
• No raagam is without Sa
• At least 4 swaras are required to sing a raagam
•  

The Ragas either follow an ascending order, "Aarohanam" or a descending order the "Avarohanam" and the composers took great care to adhere to the various rules when composing a song.  

There are 72 raagams in Karnatic Music and there are 32 Rags in Hindustani music

Saint Thyagaraja sang “Naada Thanu Anisham (thanumanushya) Shankaraa, Namaa Me  Manasaa, Shirasaa “

Oh Shiva being in the form naada, I prostrate to you with my manas and mind.

“Shankaraa Naada Shareera Para, Veedavi Haara Hara, Jeeveshwara”

oh Shankara / Shiva you are in the form of Naada

Sur ki Saadana Pooja parameshwarki hai

Practicing the swaras is actually a Pooja to parameswar

Types of Music in the world:

Indian Classical

1.     South Indian :           Karnatic

2.     North Indian  :           Hindustani

Others

3.      Western Classical

4.      Arabic

Brain

Vichaaram / Thought                      Vikaaram /emotion

Aspect                                                Aspect

Vivekam / Prudence

The infinite possibility of the thought aspect of a human being, in conceiving the god, paves way for the Gnyaana Yogam

The infinite possibility of the emotional aspect of a human being, in conceiving the god, paves way for the Bakthi Yogam

• Vichaaram / Thought +++ Vikaaram / Emotion   ----   Vivekaam / Prudence - Layam  ====  Aaanandam

When there is a perfect harmony of thought and emotional aspect happens there emerges Aanandam

Like wise when there is a perfect harmony of Roopam and Bhaavam happens, there emerges the Soundaryam

Aanandam is the result of Zenith, or the layam of Vichaaram and vikaaram

• Roopam +++ Bhaavam   ----   Layam ====  Soundaryam

Karnatic Music

Purandara Daasa is the father of Karnatic Music

The Trinities of Carnatic Music, Saint Thyagaraja, Muthuswamy Dikshithar and Syama Shastri were all born in Thiruvarur near Thanjavur and the songs composed by them have explored & exhibited the depth and the rich feeling in this form. 

The other notable composers are Patnam Subramaniya Iyer, Papanasam Sivan, Raja Swathi Thirunal, Annamacharyar, Purandaradasar. 

Geetham, Vadyam, tatha Nrithyam thrayam Sangeethamuchyathe.

Combination of geetham (song), vadyam (instrument), nrithyam (dance) form sangeetham.

Carnatic music may also be defined as a combination of raga, swara and thaala.

Naada originates from the moolaadhara chakra, as a result of the dual energy of Praana and Agni. This is emphasized by St. Thyagaraja in his composition mokshamugalada (Saramathi), in which he says:

Pranaanala Samyogamu Valana Pranavanadamu Sapthaswaramulai Barage

The saptha swaras or the seven notes are originated from the five faces of Lord Shiva:

• Gandhara from sadyojatha
• Daivatha from vaamadeva
• Shadja and Rishabha from aghora
• Panchama from thathpurusha and
• Madhyama and Nishada from eesana, the five faces of Lord Shiva.
•  

Sangeetham or music is derived from Sama Veda, one of the four Vedas with Rig, Yajur and Adharvana vedas being the other three.

The sweet forms of music and literature are believed to be the form of the Lord himself (swaroopamsa).

Music, when presented with devotion, transforms into yoga and through yoga mankind can attain salvation, according to Sootha Samhitha.

Carnatic music is unique with many features that cannot be found in any other form of music in the world. It comprises of raga, krithi or keerthana formats, neraval and swara-kalpana or improvisation of musical notes, and innumerable divine compositions by many great composers in many Indian languages.

The theoretical aspects of Indian music have been extensively addressed by Bharatha in his Natya Sasthra, Narada in Sangeetha Makarandam, Mathanga in Brihaddesi, Sarangadeva in Sangeetha Rathnakara, Vidyaranya in Sangeethasaram, Ramaamathya in Swaramelakalanidhi, etc.,

Carnatic music and dance have been a part of the temple culture of India. Many vaggeyakaras and musicians have been enriching the world with their valuable music compositions.

Introdution to Karnatic Music

  

Carnatic music originated in the fertile plains of the Cauvery delta and flourished through the ages.  Purandara Daasa is the father of Karnatic Music.

The Trinities of Carnatic Music, Saint Thyagaraja, Muthuswamy Dikshithar and Syama Shastri were all born in Thiruvarur near Thanjavur and the songs composed by them have explored & exhibited the depth and the rich feeling in this form. 

The other notable composers are Patnam Subramaniya Iyer, Papanasam Sivan, Raja Swathi Thirunal, Annamacharyar, Purandaradasar. 

Sa Re Ga Ma Pha Dha Nee are the seven basic notations called the Sapthaswaras. The swaras Sa & Pa help select the sruthi/pitch of the singer. Re (Rishaba) & Gha (Ghandaram) are of three types each, Ma (Madhyamam) of 2 types, Dha (Dhaivatham) and Nee (Nishadham) of three types each and when grouped together these variations (6,2,6) combined to form the 72 main ragas, the Melakarthas. The Melakarthas are divided as Suddha Madhyama and Prathi Madhyama ragas based on their madhyama(ma) variations by Venkata Mahi as Venkata Mahi Chakra.  

Ragas born from Melakartha Ragas are aptly termed as Janya Ragas. Janya Ragas are classified into three categories viz., Sampoornam - seven swaras, Shadavam - six swaras and Oudavam - 5 swaras. Janya ragas follow the Kartha raga ie., they contain the same swaras of the original raga in various permutations and 483 variations becomes apparent to form 34,766 Janya Ragas.  

The Janya Ragas gets further subdivided as Upanga Raga, Bhasanga Raga and Vakra Raga. Upanga Raga allows for deletions and additions of swaras. Bhasanga Raga has swaras in addition to swaras from its original raga and the Vakra Raga has swaras in a non-sequential order.  

The song composed are set to thala depending on the number of beats. The thalas are divided into Thisra - three, Misra - four, Kanda - five, Sadhusra - seven, Sankeernam - nine and the song composed fits into one of the above. Aadhi, Rupakam and Chapu are some of the Thalas.

The confluence of the Ragas and the Thalas have from early times been providing us with melodious patterns which when rendered with bhava (feeling) is an experience that has to be had to be believed.  

Unnai thudhikka arul tha innisayudan

Bless me, O Lord! to praise thee through Music

Music is an ocean and I am singing praises of it, but from the shore. We are sure that maestros will join us to lead us through this ocean to glean the richness and beauty of this timeless traditional art that lives with us from the days of the vedas

LEARNING CARNATIC MUSIC

A systematic learning of Carnatic music under a competent teacher enables one to sing in a disciplined manner with adherence to the laid down rules with an understanding of the concept of Carnatic music Even a prodigious talent needs the guidance of a guru (teacher) to shape and polish his genius. There are various stages of learning Carnatic music, starting from the Swaravali (Sarali Varisai) which train and tune the voice and the mind. Purandaradasa developed a system of teaching Carnatic music, starting with Sarali Varisai in Mayamalavagowlai ragam and gradually built up till Gitam. This pattern is being followed even today. Purandaradasa was the trendsetter in developing a teaching methodology for Carnatic music and is hailed as the "Father of Carnatic music".  

Depending on the range and quality of the voice, the pitch is selected. The pitch is called "sruti" in Carnatic music. Clean adherence to sruti is the mark of a good singer.

 Learning Carnatic Music 

 Stages in Abhyasaganam -  Swaravali, Jantai Varisai, Dhatu Varisai, Melsthayi Varisai

 Stages in Abhyasaganam -  Alankaram, Gitam & Swarajathis, Varnams

 Tala

 Tala - Structure  

 Tala - Angams & Jaathis

 Tala - Maarga Thalams

 Gamakas

 
!!! This is our Culture !!