In the Krithi, ‘Naada Thanumanisham’ by Saint Thiagaraja, the composer mentions that the musical notes (SRGMPDN) were born out of Lord Shiva’s 5 faces in the line ‘Sadyojaataadi Pancha Vaktraja’.
Lord Shiva is an ardent lover of Maarga Sangeetha or Sama Veda.
There are 7 undulations or up and down movements of notes such as DNSRGMP in Sama Veda, whereas there are only 3 undulations (NSR) in other Vedas such as Rig & Yajur. Out of the four Vedas, Saptaswaras or 7 musical notes are echoed in entirety in Sama Veda only. Quoting a religious connotation in this context, there is a strong link between Vedas and Carnatic Music, which is derived from Sama Veda. I personally feel that this is the main reason why ‘Sound’ is not one of the Panchabhoothas or five great elements of this universe, because it is primarily dependent on wind or air in order to be created. Ø Karuna – Reduce the volume and singing in tune with Shruthi or pitch Ø Aayata – Attempt to bring out the sound – Through mouth, air enters, joins the Fire or Agni in the body, goes to the bottom of the stomach called ‘Naabi’ and from there goes upward to chest and ejects the sound through the mouth. Ø Dipta – Opening the mouth – This happens when the life force in the body decides to sing and tries to make a sound. There are four stages involved in this effort: What does the singer need to do to generate the Naadham? Let’s look at the cumulative effort made by the singer to produce it.
On the other hand, the ‘Aahatha Naadham’ is the sound that is produced naturally and is transformed and made sweet by human’s effort. Common examples are the air entering bamboo tress producing natural music and the sounds given out by the bronze bells in temple when wind blows. Naadham that is created as a part of our nature is called ‘Anaahatha Naadham’. It is from ‘Pranava Naadham’ or ‘OM’ that these two kinds of sounds came forth. The sound that is pleasing to our ears is called ‘Naadham’, which is of two types called ‘Anaahatha Naadham’ and ‘Aahatha Naadham’. The greatness of Carnatic Music lies in the ability to tone our mind, in addition to getting tuned to it. So, he/she feels very refreshed at the end of the concert, just by sitting idle, without twisting or moving a muscle, unlike Yoga. As the listener gets fully engrossed through the concert, unknowingly, it activates or awakens different energy centers in his body, based on the rasas or emotions conveyed by the concert music. As these musical notes vibrate through the various powerful energy centers, it emanates positive energies, getting rid of all the bad toxins from our body. Sound is divine and the basis of its existence are the vibrations. What do you think happens to the Listener’s mind? The brain picks up the musical notes and passes them through the various chakras or energy centers in our body. Imagine you are sitting in a packed concert where the classical musician has just begun with a Kalyani Varnam. This article will feature the spiritual essence behind Carnatic Music from the perspective of a listener, a singer, a learner and a teacher. These are inter-related with each other with Geetham or Music, being highly prevalent in this world. Geetham Vaadhyam Thathaa Nruthyam – Thrayam Sangeetha Mucchyathe||Ĭarnatic Music comprises of Geetham, Vaadhyam and Nruthyam meaning Music, Instrument and Dance respectively. Carnatic Music & The Mind – Melody to Meditate è Tune to Tone
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