What is nadam and swaram in carnatic vocal theory?
Answers
Answer:
The seven swarams in Carnatic music, then followed by other terms related to swaram.
Shadjam Edit
The first swaram in the scale is Shadjam (Sa). It is invariant and is always included in all ragams.
Rishabham Edit
The second swaram in the scale is Rishabham (Ri). It has three pitch possibilities, namely Suddha, Chathusruti and Shatsruti.
Gāndhāram Edit
The third swaram in the scale is Gāndhāram (Ga). It has three pitch possibilities, namely Suddha, Sādhārana and Antara.
Madhyamam Edit
The fourth swaram in the scale is Madhyamam (Ma). It has two pitch possibilities, namely Suddha and Prati.
Panchamam Edit
The fifth swaram in the scale is 'Panchamam' (Pa). It is invariant.
Dhaivatam Edit
The sixth swaram in the scale is Dhaivatam (Dha). It has three pitch possibilities, namely Suddha, Chathusruti and Shatshruti.
Nishādham Edit
The seventh swaram in the scale is Nishādham (Ni). It has three pitch possibilities, namely Suddha, Kaisiki and Kaakali.
Anya swaram Edit
Anya swaram in a janya rāgam is a swaram that is not found in its parent rāgam (melakartā rāgam). Anya means outside the set/ group.
Sthāi Edit
Sthāyi refers to an octave of music. There are 5 sthāyis in Carnaatic music, namely, Anumandara (lowest), Mandara (literally means chant, which means lower), Madhya (literally means middle), Taara (means higher) and Athitaara (meaning very high). Most artists sing over two octaves or two and a half octaves range (within Mandra, Madhya and Taara sthaayis). Very few can sing well in bigger ranges of 3 or more octaves.
Anga Edit
Anga means part. In the context of a rāgam's scale, the terms poorvaanga (meaning former part, in this case first-half) and uttaraanga (latter part, or second-half) are used. Sa, Ri, Ga and Ma notes in a scale are referred are poorvaanga, while Pa, Dha and Ni are referred as uttaraanga
Gamaka Edit
Gamaka is the term used for variations of the swarams in a scale. It can refer to the shake of the note, grace around the note, decoration or embellishment of the swaram. It is an integral part of most rāgams, as it is not arbitrary but is essential part of the structure/ scale.
Vādi Edit
Vādi swaram in a rāgam is the main/ primary swaram of importance in it. A vādi swaram is repeated quite often in a rendition.
Samvādi Edit
Samvādi swaram in a rāgam has a concordant effect with the vādi swaram. It has a good effect to the ear (melody or pleasing) along with the vādi. In Western music it is equivalent of the consonant.
Vivādi Edit
Vivādi swaram in a rāgam has a discordant effect with the vādi swaram in it. It may not have a pleasing effect when sounded together, but composers use appropriate phrases so that such discordant effect is skipped or avoided. In Western music it is equivalent of the dissonant.
Anuvādi Edit
Anuvādi swaram in a rāgam has neither concordant nor discordant effect with the vādi swaram.