Basic concepts in Carnatic music:- Importance of Shruthi (pitch) -

Panchama shruthi(tonic and perfect fifth) and Madhyama shruthi( perfect

fourth as tonic) and Laya(rhythm) with swara(solfege) concepts with

historical meaning, octave classifications called sthayi, basic

talas(rhythmic cycles) popularly used, and introduction of carnatic music

notes and its varieties.

• Voice range training and breathing methods:- Use of full voice and

head voice in solfege training and breath control-akaara,ikaara,ukaara and

makaara saadhakam

• How a Raga(Melodic scale) is formed:- Combinations of swaras,

melakartha(mother raga) scheme, janya raga(child raga) concept,

varieties possible in janya ragas – varja(missing notes), upanga(belonging

notes), bhashanga(alien notes) varieties.

• More details on raga:- Janya Ragas continued – vakra(zig-zag),

sampurna(wholesome) ragas, Number system(katapayadhi sankhya)

followed in the melakartha scheme and its identification mechanism,

• Saptha Tala Scheme:- Rhythm varieties, concept of graha with

examples, tala angas(parts of a talam), aksharas(tala counts),

kaarvai(extension of note), gathi bedhas(transfer from one tala pattern to

another within a basic tala variety)

• Solkattu training:- Clusters of intricate rhythmic beats called “Solkattu”

are orally recited to add interest to a musical composition.

• Methods of writing Carnatic music:- Musical notation, symbols used ,

using written music notation to sing.

• Small important topics:- Gamaka(note oscillations), anuswara,

jaaru(slide in notes), spuritham or briga, sahitya(lyrics), swarakshara,

sangathi, kala pramaana(speed employed in a song)

• Structured Learning of Carnatic Music:- Swaravali, Jantai, Tara sthayi

and Dhaatu varisaigal (swara lessons for practical singing), Alankaras(

use of saptha talas in singing), Geetham(use of sahitya in a song),

Swarajathi( concept of sollukattu or rhythmic syllables, meaning of jathi and its use in a song), Varnam and its varieties, Kriti, Keerthana,

Viruththam or Shloka.

• Composers in Carnatic music and scope for creativity:- The Trinity,

Shri Purandaradasar hailed as the father of carnatic music learning,

traditional and modern composers at a glance, creative concepts in

carnatic music - alapana, neraval, kalpanaswaras, tanam, pallavi,

grahabedha or shruthibedha.

• Instruments generally used for a concert and musical pattern

followed:- Musical structure of a typical Carnatic music concert including

thani aavartanam( solo by drummer or mridangam artiste), thukkadas, folk

number, bhajan, concept of tillana and mangalam( concluding musical

piece).

• Practice and performance:- Guru-sishya parampara(direct learning from

teacher), sadhagam(hours of practice), concert listening techniques, how

to become a performing carnatic music professional.