1159 Telugu Language Prosody Meter "Kandam" is amenable to Carnatic Music Aadi tAL , Hindusthani Music teen tAl, and Western Music 4/8/16/32/64 beat

Telugu is a language spoken by 100 million people in the World.

Telugu language has a nick-name 'Italian of the East', probably because its words mostly end in a vowel sound, whereas words of most languages often end with a consonant. This characteristic of words ending with a vowel sound, seem to give the Telugu language some additional sweetness to listen to. Hence, Telugu language has become a language loved for its melody. It has hundreds of thousands of verses and songs. Telugu is amenable both to AalAp (humming without any literature, or percussion instruments), and for singing of rhythmic songs , with accompaniment of percussion instruments.
Telugu Prosody meters called "chandas" in Indian languages, are very melodious both for recitation and singing. These metric verses are compulsorily used in the Ancient Telugu books such as Mahabharatam, Mahabhagavatam, Ramayanam, These meters have a wide range on the continuum of difficulty i.e. most difficult to compile at one end , and relatively easier meters to compose, at the other end. In variety, these meters outshine English Poetic meters in several respects.

Some important Telugu poetic meters

1. Utpala mAla (literal meaning , a garland of lotuses)
2. Champaka mAla (literal meaning , a garland of lavendars )
3. mattEbham (literal meaning , an elephant which is in its heats or which is very excited)
4. SArdUlam (literal meaning , a tiger)
5. matta kOkila (literal meaning, an excited cuckoo)

so on so forth.

Though the above meters are believed to have a Sanskrit origin, I am unable to find any popular usage for the meters in Sanskrit books such as Mahabharata, Mahabhagavata, Ramayana etc etc.

Indigenous Telugu meters

1. Kandamu
2. Sisamu
3. TETa gIti
4. AaTa veladi
5. dvipada so on so forth.

Amenability of Kandamu prosody, in conforming to the Aadi tALam (Carnatic Music) / teen tAL (Hindusthani music

The Adi TALam /teen tAL of Indian Classic Music run with a 4 / 8 / 16 / 32 / 64 time units depending upon the expected tempo. Kanda padyams (Kandam verses) too run in these 4/8/16/32/64 beat. I shall give some examples of the verses and show how they conform to the Aadi tALam / tEEn tAL.
Note: Though Telugu classical songs (called kritis, kIrtanAs, etc. etc.) are made to adhere to fixed length meters , cycles and beats, it is rare that they conform to Telugu Prosody meters such as Utpalamala or kandamu. Literary Poetic prosody meters and Classical Music tALa cycles are unconnected. They are different.
I believe that I am the first fortunate person to identify the link between kandam and Aadi tALam; strangely it struck me in a dream when I was having an afternoon summer siesta. But, I need not be the first person; others too might have had this experience, but they might not have had time to write about it, with some good publicity such as internet.

Kandam verse has four lines called 'pAdams' (literary meaning 'feet'. Etymology akin to "ped"=feet, Indo European Prototype.).
First line and third line have a similar structure of 3 x 4 time units.
Second and Fourth lines have a similar structure of 5 x 4 time units.
Most kanda padyams have symmetric construction in the sense that first two lines have one continuity. 3rd and 4th lines have one continuity.
Thus first two lines, when combined, will have 8 time units. 3rd and 4th lines have combined 8 time units.
First two lines, we can treat as one cycle of Aadi tALam / teen tAL.
Third and Fourh lines, we can treat as one cycle of Aadi talam / teen tAL.

Alternatively, we can take the entire kanda padyam as one Aadi tALa / teen tAL cycle of 16 time units.

How to make Kanda padyam 1-2 and 3-4 lines?

POETIC PROSODY OF KANDAM

Kandam's first two lines, can be divided into total eight "gaNam"s. GaNam = a group of persons, a group of things etc. GaNam with the meaning "group" , is probably a word of Indo European Prototype origin of Scandinavia and Baltics.
Kandam two lines, require use of eight gaNams of equal length, of length of four vowels each.:
Telugu Poetic Prosody has gaNams of different lengths.

Examples:
"ha " gaNam, "va gaNam", "na" gaNam = 3 vowels length. "ha", "va" "na" gaNams are not used in kandam.
"bha", "ja", "sa" gaNams have 4 vowel length, with one Long vowel of value 2, and two short vowels of value 1 each, i.e:
L+s+s =4. vowel length. This is bha gaNam.
s+L+s = 4. vowel length. This is ja gaNam.
s+s+L = 4. This is "sa" gaNam.
Similarly L + L= 4. = 2+2= This is called "gagam".
In the same way, s+s+s+s - 4 short vowels = 4 length. This is called "nalam".
Likewise, "ya", "ra", "ta" gaNams have five vowel lengths each. Hence they are not used in kandams.
"Ma" ganam has six vowel length. Not used in Kandam.
"nagam" has five vowel length. Not used.
In the following lines L=2 units of time or vowel length, s=1 unit of time or vowel length
Essence: Only 4 vowel lengths gaNams are permitted, i.e. "bha" i.e. Lss, "ja" i.e. sLs, "sa" i.e. ssL, "nalam" i.e. ssss, "gagam" i.e. LL are permitted. 8 gaNams x 4 vowel lengths = 32 time units, a multiple of 8/16/32/64 which will fit into the meter of Aadi tALam or teeN tAL, or 4/8/16/32/64 beat of Western Music. I am nto conversant or profificnet with Western music. Hence, I shall cover only South INdian (Carnatic), and North Indian (Hindusthani) music.
To continue.

1036 One of my fads is to design some easier methods for adopting and practising 'sthira sriti system' for Indian Music both Hindusthani and CarnATic

Trigger for writing this particular blog post No. 1036: A very enthusiastic-learned friend has sent a pdf file named 'shruti.pdf'. This Essay of 12 pages deals with a system of 22 shritis for Indian Music, envisaged by one Shri Subhash Kak. The Essay is dated 19th Sept. 2001. The Essay is very technical in nature. I am an ordinary person, who has some musical knowledge, both theory and practice (Hindusthani Sitar, and Carnatic Flute), but not enough to comprehend the finenesses, precisions and subtleties of the technicalities discussed in the Essay. Besides, sadly enough, I am unable to spare adequate time for an in depth analysis and study of the subject matter. I have uploaded this shruti.pdf file, at my free sub-domain web-page courtesy x10hosting.com. Aficionados and Connoisseurs of the technicalities of these 22 shrutis of Indian Music, can download the Essay of Shri Kak, clicking the following link: Click here to go to http://ayyo.x10.mx/download.php?file=shruti.pdf. After downloading and studying the Shruti.pdf file, if my valued Readers have any Comments/Views/Observations to make, they are welcome to write their comments in the comments window below. Criticism is also welcome.

Question: With your limited knowledge of Indian Music, what can you say about the Shritis?

Ans: In my limited knowledge, we can have two contexts for Shriti (also spelt as shruti).

1. Reference to AdhAr ShaDjam, i.e. the Note which is regarded as 'sa in Indian System' and say 'C' in the Western System. The position and frequency of the other Notes will be determined on the basis of 'sa' or 'C'. All the Musicians both the Vocalists, and Accompanying Instrumentalists follow the same Note as 'sa', so that there will be harmony in their team work.

2. In Carnatic Music, there are terms known as 'chatu-shriti' rishabham (Western note d), and 'chatu-shriti dhaivatam'. The word 'chatu or chatur' means four. That means A chatushriti rishabham will have 4 shritis. I take this to mean that 'chatushriti rishabham (d)' will be at a distance of four shritis from 'sa' (c). Form this logic, we get that 'shuddha rishabham (c#)' of Carnatic Music (kOmal rishabh of Hindusthani Music (c#)' will be at a 2 shritis distance from Adhar ShaDjam. From this, for a long time, my mind has been lingering around the idea that there should be two more notes between 'c' and 'd' i.e. shaDjam and chatushriti rishabham. They have to be Ekashriti Rishabham (one shriti distance from 'sa') has to come between Shadjam and Suddha rishabham, and trishriti rishabham (three shriti distance from 'sa' 'c'), i.e. between 'Suddha rishabham' and 'chatushriti rishabham'.

These 1 shriti rishabham, and 3 shriti rishabham may be very subtle, for ordinary ears to distinguish from other rishabhams.

That revised sequence will be : sa, 1ri, 2ri (shuddh rishabh in Carnatic Music, and kOmal rishabh in Hindusthani Music) , 3ri 4ri, then gandhArs (d#).

About 'shat shriti dhaivatam' in Carnatic Music which = sAdhAraNa gandhAram in C-Music, and kOmal gandhAr in H-Music:--

After 4 shriti ri (chatushriti rishabham), and before 6 shriti ri (sAdhAraNa gandhAram or kOmal Gandhar), there should be a 5 shriti rishabham i.e. panchashriti rishabham. As 6s rishabham and s-gandhAram/komal gandhAr are same, the concept of shaT-shriti rishabham may appear to be somewhat superfluous.

Now, further revised sequence will be:
sa, 1ri, 2ri, 3ri, 4ri, 5ri, NO SHATSRITI RISHABHAM, then d# (sAdhAraNa gandhAram or kOmal gandhAr).

Derivation from this: For rishabham, there can be 5 shritis, and probably we should have 5 five notes. But, because already millions of Musical Works have been written with '12 notes', and thousands of musical instruments have been designed since several Centuries, and millions of pieces of musical instruments have been made, we may say that there can be more shritis, probably even 22 as discussed in the above pdf file. But 12 notes appear to be the maximum for all the three systems i.e. Western Music, Hindusthani Music, and Carnatic Music.

A similar analysis, we may have to make '1 shriti dhaivatam' and '3 shriti dhaivatam', distance to be calculated from 'pa panchamam'.

That sequence will be: pa, 1dha, 2dha (shuddh Dhaivat in Carnatic Music, and kOmal Dhaivat in Hindusthani Music, 3dha, 4dha (chatur-dhaivat in Carnatic Music and Shuddh Dhaivat in Hindusthani Music), then proceed to Nishad ni (a#).

Question: Will your 'sthira Sri sangItam' be devoid of Shriti?

Ans: First of all, I do not claim any ownership-pioneership for the Sthira Shriti SangItam. There were Great Musicians (Telugu: endarO mahAnubhAvulu) before me. It has just occurred to my mind about two years back, when I was on my 'riyAz' (practice, Sanskrit, Hindi, Telugu: 'sAdhana'). Since then, I have been experimenting with it.

Shriti (Harmony with primary tone 'sa' (C)) is accomplished in Indian Music, both Hindusthani and Carnatic, by using a drone-- deep humming sound generator, such as a small harmonium box, or a tamboora, or a shehnai-mini-nadasvaram like instrument, or of late, an Electronic Shriti Box. Depending on the voice of the Singer, the drone is set to c(1), c#(1.5), d(2), d#(2.5), e(3), f(4), f#(4.5), g(5), g#(5.5), a(6), a#(7), b(7.5). This drone-shriti sound is taken as 'adhAr shaDj'. All other Notes in the Octave will be decided on the basis of the AdhAr ShaDjam.

In the Sthira Shriti SangItam, I envisage, the Artists may, always, have to take the AdhAr shaDjam as 'sa or c' of No. 1 shriti. A Drone of one shriti may be used consistently, and the Artist may have to adhere to it consistently. Even if a drone-instrument is not available, the Artist may have to memorise in hise mind the 'sa' of 1 shriti, and as far as possible try to stick on to it.

Question: Do you want to dispense with other Shritis?

Ans: Not exactly. My idea is based on what is known as 'graha bhedam'. When a rAgA is played/sung in a Shriti other than 1 (C), it may have to be given a New RAgA name. This is not my creation. This practice already exists, upto a limited extent. For example, in Carnatic Music, we have what are known as mUrchanA rAgas.

First set of existing 5 note MUrchana RAgAs: 1. Mohana (Bhopali or BhUp) 2. Hindolam (Malkhauns) 3. Suddh Dhanyasi 4. Suddh sAvEri (Durga) 5. MadhyamAvati (MEgh).

About my methods of sthira shriti music, they require about ten blog posts. I shall try to present them, whenever I find time. My priorities are Marxism and Atheism.

To come back and continue adding / deleting / modifying.

329 Western Note equivalents for Carnatic and HIndusthani notes.

329 Western Note equivalents for Carnatic and HIndusthani notes.
329 కర్నాటక సంగీతం మరియు హిందూస్థానీ సంగీత స్వరాలకు, సమానమైన పాశ్చాత్య నోట్ల పేర్లు.
३29 हिंदूस्थानी और कर्नाटिक संगीत स्वर के लिये पाश्चात्य नोट्स कन्वर्शन टेबुल.

Topics for discussion, चर्चांश, చర్చనీయాంశాలు: 329, Western Music, Hindusthani Music, Carnatic Music, पाश्चात्य संगीत, हिन्दूस्थानी संगीत, కర్నాటక సంగీతం, సంగీతం, శాస్త్రీయ సంగీతం, వాద్య సంగీతం

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We can generate music by using western music notes and computer programmes. हम पाश्चात्य म्यूजिक नोट्स और् कंप्यूटर प्रोग्राम्स उपयोग करते हुए वाद्य संगीत को उत्पत्ति कर सकते हैं। మనం పాశ్చాత్య సంగీత నోట్ లను, నోటేషన్ లను ఉపయోగించి, కంప్యూటర్ ప్రోగ్రాములను వినియోగించి, వాద్య సంగీతాన్ని తయారు చేయవచ్చు.

You can see in the above video, a hamsadhwani lakshaNa gitam generated by using the technique. ऊर्ध्व दिखा हुआ वीडियो में आप एक वैसे संगीत को सुन् सक्ते हैं। नाम है, हंसध्वनि लक्षण गीत. कर्नाटक संगीत के इस कांपोजिषन १९ शताब्द का, हम मान सकते हैं। పై వీడియో లో మీరు అలాంటి ఒక సంగీత ప్రయోగాన్ని విన వచ్చు. ఫ్లాష్ ప్లేయర్ లో మీకు స్ట్రీమ్ అయి కనిపిస్తుంది, వినిపిస్తుంది.
The Nos. 1,2,3 given in the following table to the Western Notes refer to the octave Nos. Suppose we are generating a three octave composition of bass, normal, and treble notes, 1 represents the bass octave, 2 becomes the middle normal octave, 3 becomes the treble octave.

नीचे टेबुल में दिया हुआ पाशचात्य नोट्स के नंबर्स के लिये विविरण : एक नंबर मंद्र सप्तक (नीचे बिंदु). दो नंबर मध्य सप्तक. तीन नंबर् तार सप्तक. ये नंबर्स बदल सकते हें. २,३,४ या ३,४,५, या ४,५,६ आदी.

క్రింద వ్రాసిన టేబుల్ లో పాశ్చాత్య సంగీత నోట్స్ ఎదురుగా ఇచ్చిన నంబర్లకు వివరణ. 1 మంద్ర సప్తకం. అంటే క్రింద చుక్కపెట్టి వ్రాసేవి. 2 మధ్య సప్తకం. అంటే ఏ చుక్కలు లేకుండా వ్రాసేవి. 3 తార సప్తకం. స్వరం నెత్తిన చుక్క పెట్టి వ్రాసేవి. ఇవి అన్ని ఒక విధంగా చెప్పాలంటే, సాపేక్షకం రిలేటివ్. మధ్యసప్తకం 3 ఆయితే, మంద్ర సప్తకం 2 అవుతుంది. తార సప్తకం 4 అవుతుంది. అదే విధంగా, 3,4,5 - 4,5,6 - 5,6,7 - 6,7,8 మూడు వరుస సప్తకాలను సూచిస్తాయి.

Western Notation notes equivalent for Carnatic and Hindusthani Notes. करनाटक और हिन्दूस्थानी संगीत स्वरों के लिये समान पाश्चात्य संगीत नोट्स కర్నాటక సంగీత మరియు హిందూస్థానీ సంగీత స్వరాలకు సమాన పాశ్చాత్య సంగీత స్వరాలు

Western पाश्चात्य పాశ్చాత్య	వైబీగాడిద పధ్ధతి वैबीराव गधा पध्धति	కర్నాటక कर्नाटक संगीत	హిందూస్థానీ हिंदूस्थानी संगीत
మంద్రస్థాయి స్వరాలు (పాత పధ్ధతిలో క్రింద చుక్క) मंद्र स्थायि स्वर bass notes
f1	a ఎ,ఏ ऎ	శుధ్ధ మధ్యమం. (మంద్రం) मंद् शुध्ध मध्यम Mandr Suddh Madhyam	శు.మ. (మంద్రం)शुध्ध मध्यम (मंद्र) mandra suddha madhyam
f#1	b బి बी	ప్రతి మధ్యమం (మంద్రం) मंद्र प्रतिमध्यमंं Mandra pratimadhyam	తీవ్ర్ మధ్యమ్ (మంద్రం)तीव्र मध्यम (मंद्र) mandra tIvr madhyam
g1	c సీ सी	పంచమం (మంద్రం) मंद्र पंचमंं mandra pancham	పంచమం (మంద్రం)पंचं (मंद्र) mandr pancham
g#1	d డీ डी	శుధ్ధ ధైవతం (మంద్రం) मंद्र शुध्ध धैवत mandra suddha dhaivat	కోమల్ ధైవత్ (మంద్రం) कोमल् धैवत् मंद्र mandra komal dhaivat
a1	e ఈ ई	చతుశృతి ధైవతం (మంద్రం)मंद्र चतुशृति धैवत mandra chatusriti dhaivat	శుధ్ధ్ ధైవత్ (మంద్రం) शुध्ध धैवत् मंद्र mandra suddh dhaivat
a#1	f ఎఫ్ లేక ఫ ऎफ् या फ	కైశికి నిషాదం (మంద్రం) मंद्र कैसिखी निषाद mandra kaisiki nishad	కోమల్ నిషాద్ (మంద్రం)कोमल् निषाद मंद्र mandra kOmal nishad
b1	g జీ जी	కాకలి నిషాదం (మంద్రం) मंद्र काकली निषाद mandra kAkali nishAd	శుధ్ధ్ నిషాద్ (మంద్రం) शुध्ध निषाद मंद्र mandra suddha nishad
మధ్యస్థాయి స్వరాలు मध्य स्थायि स्वर
c2	h హెచ్ లేక హ हॆच या ह	షడ్జం षडजं shadj	షడ్జ్ षड्ज shadj
c#2	i ఐ లేక య ऐ या य	శుధ్దరిషభం शुध्ध रिषभं Suddh rishabh	కోమల్ రిషభ్ कोमल् रिषभ komal rishabh
d2	j జె जॆ	చతుశృతి రిషభం चतुशृति रिषभं chatusriti rishabh	శుధ్ధరిషభ్ शुध्ध रिषभ Suddh rishabh
d#2	k కె कॆ	సాధారణ గాంధారం साधारण गांधारं sAdhAraNa gandhAram	కోమల్ గంధార్ कोमल् गंधार् komal gandhar
e2	l ఎల్ లేక ల ऎल् या ल	అంతర గాంధారం अंतर गांधारं antara gandhAram	శుధ్ధ గంధార్ शुध्ध गंधार् suddha gandhar
f2	m ఎమ్ లేక మ ऎम या म	శుధ్ధ మధ్యమం शुध्ध मध्यमं suddha madhyam	శుధ్ధ మధ్యమ్ शुध्ध मध्यम suddha madhyam
f#2	n ఎన్ లేక న ऎन् या न	ప్రతి మధ్యమం प्रति मध्यमं prati madhyam	తీవ్ర్ మధ్యమ్ तीव्र मध्यम tivra madhyam
g2	o ఒ లేక ఓ औ	పంచమం पंचम pancham	పంచమం पंचम pancham
g#2	p పీ पी	శుధ్ధ ధైవతం शुध्ध धैवत suddh dhaivat	కోమల్ ధైవత్ कोमल् धैवत kOmal dhaivat
a2	q క్యు లేక కో क्यू या को	చతుశృతి ధైవతం चतुशृति धैवत chatusriti dhaivat	శుధ్ధ ధైవత్ शुध्ध धैवत suddh dhaivat
a#2	r ఆర్ లేక రే आर या रे	కైశికి నిషాదం कैशिकी निषाद kaisiki nishAdam	కోమల్ నిషాద్ कोमल् निषाद kOmal nishAd
b2	s ఎస్ లేక సే यस या से	కాకలీ నిషాదం काकली निषाद kAkali nishAdam	శుధ్ధ్ నిషాద్ शुध्ध निषाद Suddh nishAd
తార స్థాయి స్వరాలు (పాత పధ్ధతిలో పైన చుక్క) तार स्थायि स्वर treble notes
c3	t టీ లేక ట टी या ट	తార షడ్జం तार षडज	తార్ షడ్జ్ तार षड्ज tAr shadj
c#3	u యు यू	శుధ్ధ రిషభం (తారం) तार शुध्ध रिषभ	కోమల్ రిషభ్ (తారం) कोमल रिषभ तार tAr kOmal rishabh
d3	v వీ वी	చతుశృతి రిషభం(తారం) तार चतुशृति रिषभ	శుధ్ధ్ రిషభ్ (తారం) शुध्ध रिषभ तार tAr suddh rishabh
d#3	w వే वे	సాధారణ గాంధారం (తారం) तार साधारण गंधार	కోమల్ గంధార్ (తారం) कोमल् गंधार तार tar kOmal gandhAr
e3	x షొ ऎक्स या ष्	అంతర గాంధారం (తారం) तार अंतर गंधार	శుధ్ధ్ గంధార్ (తారం) शुध्ध गंधार तार tAr suddh gandhAr
f3	y యొ वै या यो	శుధ్ధ మధ్యమం (తారం) तार शुध्ध मध्यम	శుధ్ధ్ మధ్యమ్ (తారం) शुध्ध मध्यम तार tAr suddh madhyam
f#3	z జొ जॆड् या जो	ప్రతిమధ్యమం (తారం) तार प्रतिमध्यम	తీవ్ర్ మధ్యమ్ (తారం) तीव्र मध्यम तार tAr tIvr madhyam
g	po పొ पो	పంచమం (తారం) तार पंचम	పంచమ్ (తారం) पंचम तार tar pancham