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The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as gāyaki). [33] Like Hindustani music, Carnatic music rests on two main elements: rāga, the modes or melodic formulae, and tāḷa, the rhythmic cycles ...
The following is a list of instruments used in Carnatic music. Pages in category "Carnatic music instruments" The following 24 pages are in this category, out of 24 total.
This is a list of Carnatic instrumentalists: musicians famous for playing the carnatic music of South India. Musicians are listed by the instrument they have played. Musicians are listed by the instrument they have played.
One of the highlights of a modern Carnatic music concert is the percussion solo (thani avarthanam), where the mridangam artist and other percussionists such as kanjira, morsing, and ghatam vidwans exchange various complex rhythmic patterns, culminating in a grand finale where the main artist resumes where he or she left off. [citation needed]
Carnatic music emphasizes the "gayaki style" or "the style of imitating the human voice". Hence the usage of gamakas and andolans require a nimble hold and a way to bend the notes smoothly on a Venu. Bansuri is more suited to Hindustani style of music due to its importance on long sustained notes and fast taans. These two instruments serve ...
The Kanjira's emergence in South Indian Carnatic music, as well as the development of the modern form of the instrument, is credited to Manpoondia Pillai. In the 1880s, Manpoondia Pillai was a temple lantern-bearer who sought to study drumming.
Among the more prominent solo instruments in Carnatic music, it is also seen in collaborative world music concerts and north-south Indian jugalbandis. [citation needed] The chitravina is generally tuned to G sharp (5 and 1/2) and played with a slide like a Hawaiian steel guitar and the north Indian vichitra veena.
Varnam is a type of composition which is suited for vocal exercises of a wide variety of Carnatic music aspects, including slow and fast tempo of singing, both lyrics and swarams. It is the most complex of vocal exercises. In modern carnatic concerts, it is usually sung as a first song and is supposed to help warm-up.