The carnatic music reader series introduces a systematic study of carnatic music with the help of western staff notation. The series has been designed with the beginner student in mind so that the he can learn to play the lessons on western instruments like guitar, piano Keyboard Saxophone violin etc with little effort.
The three part series on Kritis contains a selection of 45 compositions on various ragas of different composers presented in western staff notation supported by carnatic letter notation.
The three parts series contains different kritis in different talas.
Book 5 (Krithis 1) Book 6 (kirthis 2) Book 7 (kirthis 3)
The carnatic music reader series presents the basic exercises Varnams and Krithis of carnatic music in the universal western staff notation system. The first volume of the series covered the basic exercises for beginners. The second third and fourth volumes covered the Adi Thala and Adi Thala Varnams. Krithis were started in the fifth volume
This book the sixth in the series covers more Krithis. Same pattern will be continued in future volumes of the series to cover more Krithis.
Western staff notation system is easy to learn more graphical and gives a complete picture of the music score. Those who are new to the staff notation system are requested to refer the initial volumes of the series where a brief and systematic introduction for the western staff notation system is provided.
I have to thank Shri. M. Easwaran for his continued encouragement in completing this task and Smt. Proprietor CBH publication in showing interest in this project and publishing this series.
I would like to thank to my family members and all friends who had been very appreciative of this Endeavour.
Krithis
Krithi or Keerthana is a format of musical composition typical to carnatic music Krithis form the backbone of any carnatic music concert Krithis denotes sankeerthanas or praises of the lord.
A typical Krithi will contain three parts.
Pallavi
This is the first verse of the Krithi. This can be considered as an equivalent of refrain in western music.
Anupallavi:
The second verse of the Krithi.
Charnam:
The final verse that wraps up the song. The Charanam usually borrows patterns from the Anupallavi. The Charanam’s last line usually contains the composer’s sign or mudra with which the composer leaves their mark.
Some Krithis have a verse between the Anuapallavi and the Charanam called the chittaswaras. This verse consists only of notes and has no words. Still others have a verse at the end of the Charanam called the Madhyamakala.
After mastering the basic exercise in carnatic music the students are introduced to Varnams for gaining perfection in Ragas Swaras and Thalas. A students of Carnatic Music is expected to master Varnams before delving into the more complicated Krithis.
Carnatic music has a treasure of Krithis composed by various grand masters of Carnatic music. The total numbers of compositions are countless. Krithis are set to different ragas and different Thalas. A wide variety of Krithis compose by various composers in different ragas and various Thalas are presented in this series.
Objective
Though there are many books on Krithis there is a void where is comes to catering to the need of a student who is interested in practicing these on a musical instrument. The objective of this book is to fill this void and give the student a complete graphical interface the practicing these Krithis on a musical instrument.
Prerequisite
Before attempting to play Krithis the students is expected to have knowledge of all the basic exercise of carnatic music like Sarali Varisai, Janta varisai Alankaram geetham etc. these exercise have been covered in the first volume of this series. They are also expected to have mastered varnams. Varnams are covered in the second third and fourth volumes of the series.
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