Kalpanaswaram
Encyclopedia
In classical music of south India
Kalpanaswaram (also called swara kalpana, svara kalpana, manodharmaswara or just swaras), is raga
improvisation
within a specific tala
in which the musician improvises in the Indian music solfege (sa, ri, ga, ma, pa, da, ni) after completing a composition.
The kalpanaswaram start may start at any place in the tala, but the artist must end their improvisation at the first note of the first phrase of the composition, at the place in the rhythm cycle, where that note is. To arrive at that note, one has to approach it from the closest note below.
Kalpanaswaram improvisations increase in intensity the more tala cycles used. One complete tala cycle is called an avartanam. While improvising, the musician must abide by the rules of the raga and should sing kalpanaswaram phrases that have been sung over the years. Some ragas omit notes and others have zigzagging ascents or descents. The great musicians develop a vocabulary of phrases in kalpanaswaram as in an alapana, especially when doing kalpanaswaram at low speeds, which allow for more gamaka
. The place where the first note of the first phrase of the composition exists in the rhythm cycle is called the eduppu.
Kalpanaswaram is performed in a Carnatic Concert for the main song, the singer chooses to perform the Raga Alapana. However in concerts, artists will choose a difficult raga to perform a Kalpanaswaram in. Although there are no set rules, there can be confusion.
Take the Raga Sahana
(janya
of 28th Melakarta
raga Harikambhoji
):
In this raga, when the artist improvises, when ascending in pitch after the Pa (Panchamam), the Ma (Madhyamam) needs to be sung, or the raga will be wrong. So with a raga like Sahana or Anandabhairavi
, Purvi Kalyani etc, which have Dhattu (jumping) swara
ms in their arohanam and/or avarohanam the Kalpanaswaram is harder to master and perform.
In her 1992 dissertation on kalpanaswaram, Josepha Cormack wrote that kalpanaswaram improvisations have been around for at least two hundred years. (Cormack 1992: 30)
Carnatic music
Carnatic music is a system of music commonly associated with the southern part of the Indian subcontinent, with its area roughly confined to four modern states of India: Andhra Pradesh, Karnataka, Kerala, and Tamil Nadu...
Kalpanaswaram (also called swara kalpana, svara kalpana, manodharmaswara or just swaras), is raga
Raga
A raga is one of the melodic modes used in Indian classical music.It is a series of five or more musical notes upon which a melody is made...
improvisation
Improvisation
Improvisation is the practice of acting, singing, talking and reacting, of making and creating, in the moment and in response to the stimulus of one's immediate environment and inner feelings. This can result in the invention of new thought patterns, new practices, new structures or symbols, and/or...
within a specific tala
Tala (music)
Tāla, Taal or Tal is the term used in Indian classical music for the rhythmic pattern of any composition and for the entire subject of rhythm, roughly corresponding to metre in Western music, though closer conceptual equivalents are to be found in other Asian classical systems such as the notion...
in which the musician improvises in the Indian music solfege (sa, ri, ga, ma, pa, da, ni) after completing a composition.
The kalpanaswaram start may start at any place in the tala, but the artist must end their improvisation at the first note of the first phrase of the composition, at the place in the rhythm cycle, where that note is. To arrive at that note, one has to approach it from the closest note below.
Kalpanaswaram improvisations increase in intensity the more tala cycles used. One complete tala cycle is called an avartanam. While improvising, the musician must abide by the rules of the raga and should sing kalpanaswaram phrases that have been sung over the years. Some ragas omit notes and others have zigzagging ascents or descents. The great musicians develop a vocabulary of phrases in kalpanaswaram as in an alapana, especially when doing kalpanaswaram at low speeds, which allow for more gamaka
Gamaka
Gamaka also known as Kaavya Vaachana is a unique form of storytelling by singing. This originated in Karnataka, India. One person reads a stanza of a poem with highest emphasis on meaning, applying suitable raga or a Dhaati usually matching the emotion of the poem. Another person then explains...
. The place where the first note of the first phrase of the composition exists in the rhythm cycle is called the eduppu.
Kalpanaswaram is performed in a Carnatic Concert for the main song, the singer chooses to perform the Raga Alapana. However in concerts, artists will choose a difficult raga to perform a Kalpanaswaram in. Although there are no set rules, there can be confusion.
Take the Raga Sahana
Sahana ragam
Sahana is a popular rāgam in Carnatic music. It is a janya rāgam associated with the 28th Melakarta rāgam Harikambhoji. It is not related to Shahana.-Structure and Lakshana:...
(janya
Janya
Janya is a term meaning "derived". In Carnatic music a janya raga is one derived from one of the 72 melakarta ragas...
of 28th Melakarta
Melakarta
Melakarta is a collection of fundamental ragas in Carnatic music . Melakarta ragas are parent ragas from which other ragas may be generated. A melakarta raga is sometimes referred as mela, karta or sampurna as well.In Hindustani music the thaat is equivalent of Melakarta...
raga Harikambhoji
Harikambhoji
Harikambhoji is a rāgam in Carnatic music . It is the 28th Melakarta rāgam in the 72 melakarta rāgam system....
):
- ArohanaArohanaArohana, Arohanam or Arohan, in the context of North Indian Classical Music and South Indian Classical Music, is the ascending scale of notes in a raga...
m : S R G M P M D N S - AvarohanaAvarohanaAn Avarohana, Avarohanam or Avarohan in Indian classical music terminology is the descending scale of any raga. Each raga has an avarohana and arohana. The notes descend in pitch from the octave tonic down to the lower tonic...
m : S N D P M G M R G R S
In this raga, when the artist improvises, when ascending in pitch after the Pa (Panchamam), the Ma (Madhyamam) needs to be sung, or the raga will be wrong. So with a raga like Sahana or Anandabhairavi
Anandabhairavi
Anandabhairavi or Ananda Bhairavi is a very old melodious rāgam of Carnatic music . This rāgam has been used even in Indian folk music. Ānandam means happiness and the rāgam brings a happy mood to the listener.It is a janya rāgam of the 20th Melakarta rāgam Natabhairavi Raganidhi by P...
, Purvi Kalyani etc, which have Dhattu (jumping) swara
Swara
The seven notes of the scale , in Indian music are named shadja, rishabh, gandhar, madhyam, pancham, dhaivat and nishad, and are shortened to Sa, Ri or Re , Ga, Ma, Pa, Dha, and Ni and written S, R, G, M, P, D, N. Collectively these notes are known as the sargam...
ms in their arohanam and/or avarohanam the Kalpanaswaram is harder to master and perform.
In her 1992 dissertation on kalpanaswaram, Josepha Cormack wrote that kalpanaswaram improvisations have been around for at least two hundred years. (Cormack 1992: 30)