Hindustani Classical Music

Hindustani Classical Music belong to Northern India, Bangladesh and Pakistan’s. The sitar, sarod, tabla, and harmonium are the primary instruments used in Hindustani classical music. Ragas, which are melodic frameworks, and talas, which are rhythmic patterns, form the foundation of the music. It also comes in a variety of forms as Tarana, Dhrupad, Tappa, and Khyal. The music is often transmitted orally and historically taught to students in a guru-shishya (teacher-student) relationship.

Its foundations are found in regional folk music as well as ancient Vedic and Persian musical traditions. Major forms including dhrupad, khayal, and thumri are featured in this music, which is largely vocal in nature. Royal patronage supported the music in the past, but in current times, government-run radio stations, open performances, the film industry, and other kinds of media have all helped to keep the music alive.

hindustani classical music
Hindustani Classical Music

Hindustani Classical Music

History of Hindustani Classical Music

Hindustani Classical music is a Vedic traditional form of music belonging to North India, Bangladesh and Pakistan. The Hindustani Classical music has its roots in ancient India, where music education was valued as a vital component of education. Hindustani Classical music was passed down through musicians and saints for generations and evolved into a complex art.

Hindustani classical music developed around the 12th century as a distinct style from Carnatic music. Both systems focus on the use of melodic modes or ragas and rhythmic cycles or talas. In medieval times, it was influenced by Persian music and later in the Mughal courts, notable composers like Tansen and religious groups like the Vaishnavites contributed to its development.

In the 16th century, singing styles diversified into different gharanas and around 1900, Vishnu Narayan Bhatkhande consolidated the musical structures of Hindustani classical music into a few thaats. Distinguished musicians are addressed as Pandit (Hindu) or Ustad (Muslim) and there is a tradition of religious neutrality in the music.

In 1901, Vishnu Digambar Paluskar founded the Gandharva Mahavidyalaya, a school to impart formal training in Hindustani classical music, which was open to all and one of the first in India to run on public support and donations, rather than royal patronage. This helped to bring respect to musicians and spread the music to the masses.

Sanskritic tradition

In Hindu mythology, characters such as Ravana and Narada are accomplished musicians and Saraswati, the goddess of music, is often depicted holding a veena. The Gandharvas, who are presented as musical spirits, and the gandharva style looks to music primarily for pleasure and the soma rasa. The Natya Shastra and Dattilam, both ancient Indian texts, discuss the concept of raga, which translates to “color” or “mood.”

The Dattilam also defines a tonal framework called grama and discusses different arrangements of notes and permutations and combinations of note-sequences. Music is also mentioned in texts from the Gupta period and Buddhist and Jain texts from the common era. Narada’s Sangita Makarandha treatise, which is the earliest text where rules similar to those of current Hindustani classical music can be found. In the 13th century, Sharangadeva composed the Sangita Ratnakara, which reveals an influx of ideas from Islamic culture and is often thought to date the divergence between the two classical music styles of Carnatic music and Hindustani music.

Hindustani music’s influence during the Delhi Sultanate

The arrival of Islamic rule under the Delhi Sultanate and later the Mughal Empire over northern India led to a cultural exchange and fusion of Hindu and Muslim ideas. Musicians received patronage in the courts of the new rulers, who in turn, became interested in local musical forms. One of the most influential musicians of this period was Amir Khusrau, who systematized some aspects of Hindustani music, introduced new ragas and instruments, and created six new genres of music. He is sometimes credited with the origins of the khyal form, but it is believed that the court musician Sadarang is the father of modern khyal.

The Bhakti tradition, which was strongly related to the Vaishnavite movement, remained influential and many composers wrote in the popular language of the people. During the Mughal Empire, music and dance flourished and Tansen introduced many innovations. After the dissolution of the Mughal Empire, the patronage of music continued in smaller princely kingdoms, leading to the diversity of styles known as gharanas. Many musician families obtained land grants, making them self-sufficient, and the Bhakti and Sufi traditions continued to interact with the different gharanas and groups.

Modern era

The Hindustani classical music tradition evolved over centuries and was passed on through the guru-shishya (“mentor-protégé”) system. This system had its advantages, but also its limitations, such as limited access to the music and the shishya often having to spend most of their time serving the guru. In the early 20th century, the decline of the patronage of the maharajahs and nawabs, and the emergence of Vishnu Digambar Paluskar and Vishnu Narayan Bhatkhande led to a shift in the way the music was disseminated.

Paluskar opened the Gandharva Mahavidyalaya music school and Bhatkhande produced a monumental four-volume work Hindustani Sangeeta Paddhati that suggested a transcription for Indian music, and described the many traditions in this notation. This helped in the standardization and popularization of the music. The government-run All India Radio and later corporate support helped to bring the artists to public attention and helped in making a living through public performances. In modern times, musicians like Ravi Shankar and Ali Akbar Khan have popularized Hindustani classical music around the world.


Indian classical music is characterized by a 12-note scale, with seven basic notes and five half-notes. The base frequency of the scale is not fixed and the intervals between notes can vary. The performance is based on a melodic pattern called a raga, which includes specific sequences of ascending and descending notes, key notes, and unique phrases. Ragas can come from various sources, including religious hymns, folk music and even non-Indian music. Examples of this include raga Khamaj which was adapted from folk music and raga Hijaz which originated from Persian maqams.

Principles of Hindustani music

Indian classical music is based on a 12-note scale, with seven basic notes and five interspersed half-notes. The base frequency of the scale is not fixed and the performance is set to a melodic pattern called a raga, which is characterized by specific ascent and descent sequences, “king” and “queen” notes, and characteristic phrases. These ragas can originate from various sources, including religious hymns, folk tunes, and music from outside the Indian subcontinent.

The Gandharva Veda, a Sanskrit scripture, describes the theory of music and its applications in not just musical form and systems but also in physics, medicine, and magic. The rhythmic organization of Indian classical music is based on rhythmic patterns called tala and the melodic foundations are called ragas. These ragas can be classified into “melodic modes” or “parent scales” called thaats. Thaats may consist of up to seven scale degrees or swaras. The Hindustani musicians name these pitches using a system called Sargam, which is the equivalent of the Western movable do solfege.

In Indian classical music, there are three primary registers: mandra (lower), madhya (middle), and taar (upper). A typical rendition of Hindustani raga involves two stages, the Alap and the Bandish or Gat. Hindustani classical music is primarily vocal-centric, as the musical forms were designed primarily for vocal performance, and many instruments were designed and evaluated based on how well they emulate the human voice.

Indian Classical Music

Traditional music of India ( Indian classical music ) has been a rich and diverse musical tradition in India from ancient times. Indian classical music is based on Raga, which is a set of musical notes and rules. The Indian Classical Music have their own style and different musical forms, including khayal, dhrupad and thumri. Some of the main instruments used in Indian Classical Music are tabla, sarod and sitar. Indian music is hardly ever recorded. It is communicated verbally between the teacher-student tradition (Guru-shishya parampara).

indian classical music
Indian Classical Music

The Indian Classical Music is divided into two types, Hindustani Music and Carnatic Music. Hindustani Music belongs to Northern India, Bangladesh and Pakistan but Carnatic Music belongs to South India. Both music are the oldest musical traditions in the world.

There are two primary performance styles in Indian classical music, vocal and instrumental. Vocal music is a type of music where the human voice is used. This can be done a cappella or with musical accompaniment and can include singing as well as speaking or chanting. Vocal music, which is performed by trained vocalists who have mastered the particular techniques and forms associated with the tradition. Instrumental music is performed by the musical instruments, rather than using the human voice. There are a wide range of Instruments used in Instrumental Music some of the examples are, Sarod, Tabla, Sitar, Veena and many more.

The Samaveda is one of the Vedas. The Samaveda, which focuses especially on the musical components of the Vedic culture, includes hymns chanted at religious rites. Prior to being officially recorded circa 1000 BCE, it is thought that the hymns of the Samaveda were passed down orally for many generations.

Types of Indian classical music

Hindustani classical music and Carnatic classical music are the two main classical music traditions of India. They both have their own distinct characteristics, styles, instruments, and vocal techniques.

The regional origin and influence are the primary distinction between the two traditions. Hindustani classical music has a strong connection to northern India and is influenced by Persian and Islamic musical traditions. The ancient Hindu texts and temple music have an impact on Carnatic classical music, which is predominantly related to the southern parts of India.

Hindustani classical music is noted for its improvisation and spontaneity in terms of style, with a focus more on the growth of melody (raga) than rhythm (tala). On the other hand, the development of rhythm and the usage of complex time signatures are more prominent in Carnatic classical music.

In terms of instrumentation, Carnatic classical music is often played on the veena, mridangam, and ghatam, while Hindustani classical music is typically performed on the sitar, sarod, and tabla.

In terms of vocal methods, Carnatic classical music is recognised for its use of kriti, a composition that is sung with a fixed lyrics and melody, whereas Hindustani classical music is known for its use of alaap, a slow, improvised type of singing.

Despite their differences, both traditions are regarded as significant components of Indian cultural legacy and have many things in common, such as the usage of ragas and talas.

Notable Figures in Indian classical music

1. Tansen is the greatest musician in Indian history, he developed the khayal form of Hindustani classical music.

2. Saint Purandara Dasa is known as the father of Carnatic Music. He was a saint, poet and musician from the state of Karnataka. Purandara Dasa is credited with many raga-based compositions and many new styles of singing which were easy for common people to learn.

3. Saint Amir Khusrau was the most notable figure in Indian Classical Music, He created several important forms of music and introduced Persian and Arabic elements into classical music.

4. Pandit Ravi Shankar is the greatest sitar musician of the 20th century and was well regarded Indian musician Pandit Ravi Shankar. He was an expert in the genre of Indian classical music.

5. Ustad Ali Akbar Khan. As well as being one of the best sarod players of the 20th century, he is regarded as one of the most significant characters in Indian classical music.

Best Indian classical music

Best Indian classical music in India are –

  • Raga Bhairavi – Raga Bhairavi is a popular raga in both Hindustani and Carnatic Music traditions.
  • Raga Yaman – Most papular raga in Hindustani Classical music.
  • Raga Todi – Popular raga in both Hindustani and Carnatic Music traditions.
  • Raga Malkauns – Raga Malkauns is a popular raga in the Hindustani Classical music tradition.
  • Bhairavi Thillana – Popular raga in Carnatic Classical Music tradition.
  • Raga Shankara – Popular raga in Carnatic Classical Music tradition.
  • Raga Miyan Ki Todi – Popular raga in the Hindustani Classical Music tradition.
  • Raga Darbari Kanada – Popular raga in Hindustani Classical Music tradition.
  • Raga Kedar – Popular raga in Hindustani Classical Music tradition.
  • Raga Shree – Popular raga in Carnatic Classical Music tradition.
  • Raga Malkauns – Popular raga in Hindustani Classical Music tradition.
    Raga Bageshree – Popular raga in Hindustani Classical Music tradition.

Indian classical music instruments

Many instruments are used in Indian Classical music. Some of the most commonly used instruments in Indian are –

  1. Sitar
  2. Sarod
  3. Veena
  4. Tabla
  5. Mridangam
  6. Harmonium
  7. Santoor


In Indian classical music, the notes (or swaras) used in a raga are based on a seven-note scale known as the sargam. The seven notes of the sargam are:

Sa (also known as Shadja)
Re (also known as Rishabh)
Ga (also known as Gandhar)
Ma (also known as Madhyam)
Pa (also known as Pancham)
Dha (also known as Dhaivat)
Ni (also known as Nishad)

These seven notes form the foundation of Indian classical music, and each raga is defined by the specific notes it uses, as well as the order in which they are played and the ornamentation used to decorate them.

The notes in Indian music are not fixed to a particular frequency as in the western music but are relative to the tonic note (Sa) and the performer has the freedom to adjust the pitch of the notes according to their preference and to the acoustics of the concert hall.

In addition to these seven notes, there are also two additional notes, known as Komal (softened) and Tivra (sharpened) versions of some of the swaras, which can be used to add further variation and expressiveness to a performance.

Indian classical music, ragas

Indian classical music uses a melodic framework known as a raga. It is a set of guidelines for the usage of particular notes, the order in which they should be performed, and the feelings they should elicit in the listener. Each Raga has its own personality and conjures a particular feeling or atmosphere.

Typically, a raga is made up of a particular set of notes (referred to as the Arohana and Avarohana) that are played in a specific order and with a particular ornamentation and phrasing. Some ragas are also sung customarily during certain times of the day or seasons since they are connected to those times.

An improvisation called the alap, which introduces the notes of the Raga gently and thoughtfully, usually starts off a Raga performance. The jor, a quicker improvisation that follows, uses the notes in a more intricate and virtuoso manner. The jhala, a quicker and more rhythmically intricate improvisation, marks the performance’s conclusion.


Indian classical music has a rhythmic structure called tala, which serves as the framework for performances. It is frequently referred to as the “time-measure” of a composition or performance and is used to systematically arrange the beats and rhythms. Typically, the tala is divided into a predetermined number of beats (matras), which are then grouped together to form vibhag. Every beat is further broken down into smaller components known as kriya. Indian classical music employs a wide variety of talas, each with its own distinctive qualities and time signatures. The Teen Taal, Rupak Tala, Jhaptaal, and Ektal are some of the most often utilized talas in classical music.

Frequently Asked Questions

Q. What is Indian classical music called?

Answer – Hindustani is the name given to the classical music of North India, whereas Carnatic is the name given to that of South India (sometimes spelled as Karnatic). Both are the oldest forms of music in the World.

Q. What are the 2 types of Indian classical music?

Answer – North Indian Hindustani classical music and South Indian Carnatic classical music are the two main subgenres of Indian music.

Q. Why Indian music is unique?

Answer – Indian music is rarely recorded, might be entirely improvised, and often lacks harmony.

Q. What is the oldest Indian music?

Answer – The Samveda is the source of Dhrupad and oldest genre of Indian music.

Carnatic Music

Carnatic Music – “Carnatic” is derived from the word “Karnatak” which means musical performance. The Carnatic is the combination of two words “Karnad ” and “Natak ”. Carnatic Music was first introduced by the British colonial government in India in 18the century.

Carnatic Music

carnatic music
Carnatic Music – Harmonium

What is Carnatic Music?

Carnatic music originated in South India. It has sophisticated rhythms called talas and unique melodies called ragas. The veena, mridangam, ghatam, violin, and flute are the primary instruments used in this music’s singing and playing. South Indian culture places a high value on music, which is frequently played during ceremonial and social gatherings. South India has produced many well-known composers and musicians who are still popular today.

History of Carnatic Music

Carnatic music has its origins in ancient Hindu traditions and is thought to have been passed down via generations of performers for over 2,000 years. The earliest references to Carnatic music can be found in ancient Hindu scriptures such as the Natya Shastra, one of the oldest surviving treatises on music and performance arts.

Purandars Dasa and Thyagaraja contributed to the development of Carnatic music. They have created a large number of compositions that are still widely performed today.

In the 19th century, the British Government in India took an interest in carnatic musicians. They develop the concert tradition and support the professional musicians in India.

Carnatic music is the oldest form of classical music in the world for its rich tradition, complex ragas and rhythmic patterns.

Saint Purandara Dasa

Saint Purandara Dasa ( Year 1484-1564) is known as the father of Carnatic music. He was a saint, poet and musician from the state of Karnataka. Saint Purandara Dasa born in a wealthy family, but due to some personal struggles, he dedicated his life to Bhakti and devotional music in South India.

Purandara Dasa is credited with many raga-based compositions and many new styles of singing which were easy for common people to learn. He composed thousands of devotional songs which are still widely sung today. He also wrote a “Sangeeta Lakshna ” which is the basic principles of Carnatic music. The Saint Purandars Dasa compositions are very simple and devotional to god. He also introduced the concept of teaching music, which is still followed in the traditional music schools today.

Purandara Dasa’s contributions to Carnatic music is an important part of the music tradition in South India. His compositions are widely sung by the musicians and music lovers in India and all around the world. Some of the key points of Saint Purandara Dasa .

  1. He simplified and codified Carnatic music’s ragas and talas, making it more accessible to a wider audience.
  2. He wrote and composed many songs which are still widely performed today.
  3. He uses simple language in his lyrics and makes it more relatable to the common people.
  4. He developed a music education system.
  5. Purandara Dasa’s devotion and religious themes in Carnatic music, establishing it as a key aspect of the Bhakti movement.
  6. He wrote many kritis in honor of Lord Vishnu and many of them are still extensively sung and performed in classical performances today.
  7. He is also considered to be the father of the modern kirtana.
Example of Saint Purandara Dasa Ragas

Thousands of devotional songs were written by Saint Purandara Dasa, many of which were set to different ragas. Here are a few ragas that are frequently connected with his compositions:

  • Sankarabharanam – Sankarabharanam raga is considered the most ancient and important ragas in Carnatic music which include “Kanakana Ruchira” and “Sarasa Sanchara”. Sankarbharanam is also known as morning raga and it is typically performed during the first quarter of the day between 6:00 am to 9:00 am. This raga includes all seven notes for example Sa, Ri1, Ga1, Ma1, Pa, Dha1, and Ni2.
  • Mayamalavagowla – This is also a very ancient raga and it is also considered as a morning raga such as “Endaro Mahanubhavulu ” and “Sri Venkatesa Suprabhatham”. Mayamalavagowla raga is devoted to Lord Vishnu and suitable for singing during religious ceremonies, rituals and classical music concerts.
  • Hamsadhwani – This raga is mostly performed in the evening. It is a janya raga which is derived from the parent scale called Melakarta. It is the most difficult raga due to complex ascending and descending movements. Some of the famous compositions in Hamsadhwani are “Sri Ramam Bhajeham” and “Hamsadhwani Pahimam”.
  • Kalyani – This is Queen of Ragas usually performed in Evening and associated with spirituality and feelings of devotion. It is a very important and popular raga. Many of the compositions have been written in Kalyani raga. Some of the famous compositions in Kalyani are “Namo Namo Raghavendra” and “Sri Raghavendra Stotra”.

Example of Saint Purandara Dasa Devotional Songs

Saint Purandara Dasa composed thousands of devotional songs. Here are a few examples:

  1. Sri Krishna Nee Begane Baaro – A prayer belonging to Lord Krishna, in which he is praised for his beauty and divine play.
  2. Jagadodharana – A prayer belonging to Lord Vishnu, asking him to save the world from evil forces.
  3. Namo Namo Raghavendra – A prayer belonging to Saint Raghavendra, asking for his blessings.
  4. Hari Hari Hari – A song praising Lord Vishnu, asking for his protection and guidance.
  5. Mantralaya Sri Raghavendra – A prayer to Saint Raghavendra, asking for his blessings and guidance.


The music of Thyagaraja is very straightforward and spiritual. His lyrics are mostly accessible to a wide audience and simple to comprehend. He also created easy-to-follow ragas and basic musical structures. Both inside and outside of India, he enjoys enormous popularity among music enthusiasts.

Compositions by Thyagaraja are renowned for their expressiveness and depth of emotion. He frequently wrote about his love for Rama and his desire to reconnect with the god. His compositions are frequently regarded as some of the most stirring and potent in the Carnatic tradition, and this emotional depth is mirrored in the music as well.

The majority of compositions before him were written in Sanskrit, and he introduced new ragas and talas as well as writing kritis (lyrics) in Telugu.

Many of his compositions are still taught to students of Carnatic music today and are still regarded as the cornerstone for learning and comprehending the tradition. His works are regarded as the foundation of Carnatic music.

Basic carnatic music

Carnatic music is a South Indian classical music genre distinguished by the use of complex melodic patterns known as ragas and elaborate rhythmic cycles known as talas. Carnatic music singing and instrument playing is founded on the principles of swara (notes), raga (melodic structure), and tala (rhythmic structure).

Here are some basic elements of Carnatic music:
  1. Ragas – A raga is a melodic pattern that is the foundation for producing and performing music. Each raga has a collection of notes known as the arohana and avarohana.
  2. Swaras – In carnatic music’s seven fundamental notes are sa, ri, ga, ma, pa, dha, and ni. These notes are the foundation of Carnatic music and used in a variety of ways to construct diverse ragas.
  3. Talas – A tala is a pattern of beats the number of beats in a tala can vary, and these talas have different numbers of beats and different numbers of rhythmic patterns.
  4. Compositions – Musical composition is written by the composer or arranged by a composer. It creates a composition, the composer includes different elements such as harmony, melody, timbre and rhythm. The composer tries to create a unique sound and convey a particular emotion or idea. Carnatic music has a rich tradition in the field of composition which include varnams, kritis, and keerthanas. Varnams are short compositions that are used for warm-up. Kritis have a specific raga and tala which is devotional or philosophical theme. Keerthanas compositions are easy to learn and belong to bhajans and devotional singing.
  5. Vocal and Instrumental music – Carnatic music is based on vocal, but it also includes instrumental music. The main instruments used in Carnatic music are ghatam, flute, veena, violin and mridangam.
  6. Improvisation – The important part of Carnatic music is Improvisation. In Improvisation music the musician creates music in real time without pre-planned or pre-writing.

What is Carnatic Vocal ( Carnatic Singing )

The principles of Carnatic vocal music based on swara, raga, and tala. These concepts are used by singers to create elaborate and expressive melodies, which are complemented by percussion instruments like the mridangam and the ghatam.

Carnatic vocal music has a rich compositional tradition that includes kritis, varnams, and keerthanas. Kritis are intricate compositions in a certain raga and tala with a devotional or philosophical content. Varnams are shorter works used as a warm-up piece or to teach a specific raga or tala. Keerthanas are easy-to-learn compositions that are frequently used in bhajans and devotional singing.

The goal of Carnatic vocal music is to express emotions and devotion with the help of singing. This is the oldest music system in the world.

Carnatic Songs

Carnatic music has a rich compositional tradition that includes varnams, kritis, and keerthanas. These compositions are known for their devotional content and the manner in which they transmit a message of love and devotion to God.

  1. Kritis – Kritis are detailed compositions in a certain raga and tala with a devotional or philosophical content. Famous kritis include Saint Tyagaraja’s “Endaro Mahanubhavulu” and Bhadrachala Ramadasa’s “Sri Raghavendra Stotra”.
  2. Varnams – Varnams are shorter compositions that are usually used as a warm-up piece or to teach a specific raga or tala. Examples of famous varnams include “Sarasa Sanchara” by Saint Purandara Dasa and “Sarasijanabha” by Saint Muthuswamy Dikshitar.
  3. Keerthanas – Keerthanas are easy-to-learn compositions that are frequently used in bhajans and devotional singing. Famous keerthanas include Saint Purandara Dasa’s “Kanakana Ruchira ” and Saint Tyagaraja’s “Hari Hari Endaro Mahanubhavulu ”.

South Indian Classical Music

South Indian classical music refers to the classical music tradition of the southern states of India, primarily the states of Tamil Nadu, Andhra Pradesh, and Karnataka. This music tradition is known as Carnatic music and is characterized by its use of complex melodic patterns, called ragas, and elaborate rhythmic cycles, called talas.

Carnatic Music Instruments

Instruments commonly used in Carnatic music include the ghatam (an earthen pot), the mridangam (a double-headed drum), the morsing (a mouth harp), the kanjira (a tambourine-like instrument), and the flute.

Trinity of Carnatic Music

The “Trinity” of Carnatic music refers to three great composers and musicians of the 18th and 19th centuries: Syama Sastri, Tyagaraja and Muthuswami Dikshitar. These three composers are considered the main pillars of the Carnatic music tradition and their compositions.

  1. Syama Sastri’s compositions are more elegant and refined, and are known for their emotional depth and complexity.
  2. Tyagaraja is known for his devotional compositions, many of which are addressed to the god Rama.
  3. Muthuswami Dikshitar’s compositions are distinguished by rich and sophisticated melodic structures, and they frequently contain philosophical and spiritual themes.

These three composers have composed thousands of kritis and varnams which are considered as the backbone of carnatic music and are widely taught and learnt by students and professional musicians.

Vocal Carnatic Music Lessons for Beginners

If you are a beginner looking to learn vocal Carnatic music, here are some tips to get you started:

  • Learn the basics of music theory – Start learning from basic notes like sa, ri, ga, ma, pa, da, ni with different scales and the different rhythmic patterns, it is the base of Carnatic music.
  • Find a good teacher – Good and experienced teacher will help you to learn Carnatic music. They can help you to correct your singing techniques and they will help you to understand the different ragas and talas.
  • Practice regularly – Practice will make you perfect and it will improve your skills. Always start your practice in shorter sessions and gradually increase the duration of your practices.
  • Listen to music – Listening to music is an important part of learning Carnatic music. If you are Listen different musicians, then you will get an idea of different singing styles.
  • Learn the lyrics – Knowing the lyrics is very important. It helps you understand the meaning of the song and also helps you to sing properly with intonation and pronunciation.
  • Start with simple compositions – Start with simple compositions which you can easily learn, such as varnams and keerthanas. After completion of varnams and keerthanas then go for more complex compositions.
  • Learn the basic notation – Learning the basics notation and understanding the structure of a composition.
  • Participate in workshops and music events – Participating in workshops and music events can help you learn from experienced musicians and also give you an opportunity to perform in front of an audience.

Education Center for Carnatic Music in India

There are various Carnatic music education institutes in India, and the best ones vary depending on aspects such as reputation, teachers, facilities, and curriculum. Here are a few Carnatic music instruction facilities that are regarded as among the best in India:

  1. Sri Krishna Gana Sabha, Chennai – This institute is most popular in India basicaly for Carnatic music. It offers different music courses for both beginners and advanced students.
  2. The Music Academy, Chennai – One of the oldest and most respected music institutions in India. The Music Academy focuses on both classical and contemporary music. Its faculty includes some of the most respected musicians and teachers in India.
  3. Veena Dhanammal Bhavan, Chennai – This institute is dedicated for instrument training basically for Carnatic music. You can learn different musical instruments.
  4. Sri Thyaga Brahma Gana Sabha, Chennai – This institute is also popular for Carnatic music in India. They provide the best musicians and teachers for Carnatic music.

Online Carnatic Music Classes

There are many online resources that offer Carnatic music classes. Some popular options include:

  1. onlinecarnatic.com – they offer a variety of online classes for different levels of students, and classes can be taken live or recorded.
  2. carnatica.net – they have a wide range of classes for different instruments and vocal music, and also offer classes for beginners and advanced students.
  3. vidwat.com – they offer online classes for both vocal and instrumental music, as well as classes for specific instruments such as violin and mridangam.
  4. carnaticlive.com – they offer live classes by experienced teachers and also provide access to recorded classes
  5. youtube – There are many individual teachers and institutions who offer online carnatic music classes through YouTube.

Frequently Asked Questions

Q. What are the 5 types of Carnatic music?

The five different type of Carnatic music are

  1. Raga Alapana
  2. Kalpanaswaram
  3. Niraval
  4. Ragam Tanam Pallavi
  5. Tanam
Q. Why is it called Carnatic music?

Carnatic music is a traditional style of music from South India, specifically from the state of Karnâtaka. The word “Carnatic,” which meaning “traditional” or “codified” music in Sanskrit, is derived from the word “Karnâtaka Sangîtam.”

Q. Who is famous in Carnatic music?

There are many famous Carnatic musicians in India. Some are M. S. Subbulakshmi, M. Balamuralikrishna, T. N. Seshagopalan, L. Subramaniam and T. M. Krishna.

Q. Which language is used in Carnatic music?

There are various language are used in Carnatic Music like Telugu, Kannad, Tamil, Malayalam and Sanskrit.

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