Music is a universal language. It transcends barriers of land and language. It is an expression of emotions. All music is contained within the seven notes. However, it is the different combination of notes that creates different styles and genres of music.

In India, classical music is considered divine. It is believed to be the shortest and easiest route to attain ‘Moksha’ or salvation. There are two main streams of classical music—Hindustani music—popular in the North and – Carnatic music—popular in the south.

Carnatic music is a rich repository of songs in various melodic scales called ‘Ragas’. These are somewhat similar to western scales. The notes in Carnatic music are embellished by intricate oscillations or movements known as Gamakas and this is what differentiates the ragas from scales. Improvisation is an important feature of this style of music. While there are many songs and compositional forms, the impromptu improvisation by the artiste is exciting for the audience and challenging to the performer. Compositions are set to various rhythmic patterns known as Talas.

Carnatic Music is characterized by the absolute variety and quantum of extemporization possible by the artist. There are various aspects of extemporization that can be categorized as ---

1. Raga Alapana—This is absolute music—no words, only melody. The swaras or notes combine to create different feelings/ colours/ emotions and the various combinations in a specified order or sequence are aptly called RAGA in Indian Music. The word Raga means emotion/ colour. Each composition is set to a specific Raga. Traditionally, a raga is elaborated before the composition is sung. This is rendered by the artist according to his talents and power of imagination. The artist weaves a delicate edifice of the raga and follows it up with the composition.
2. Swara Prasthara—singing of solfa notes in various combinations. Intricate patterns are created with various mathematical progressions rendered most aesthetically. This is a very challenging exercise.
3. Neraval—This is a very beautiful format where a meaningful line is taken from the composition and elaborated to enhance its lyrical and musical content.

Carnatic music is essentially religious in nature—soaked in devotion. Bhakti or devotion is considered the quickest and simplest route to salvation in Hindu culture. It is inseparably entwined with the concepts of Gods and Goddesses, each composer praying for redemption from worldly woes, in his own fashion In Carnatic Music, the Indian Classical music stream popular in the south, there is a very definite form and shape given to the composed music (kalpita sangita), as against creative, extempore music (kalpana sangita).
While Kalpana Sangita reveals the creative talents of any performer, the Kalpita Sangita acts as the foundation for generating ideas. Carnatic music is a treasure house of such compositions.

The earliest examples of compositional forms come to us from about 2nd century BC or the Sangam period in Tamil literature. From musically simple hymns intended for congregational singing to elaborate art music forms, Carnatic music is a dynamic, growing art form.

Carnatic music is performed as vocal, violin, veena, nadaswaram, flute, clarionet and now even mandolin and guitar solos, with suitable accompaniments.

Vocal music is an important part of Carnatic music and requires extensive training and practice. The voice culture required for Carnatic music is quite different from what western musicians are accustomed to. There is a lot of open throated singing and voice production techniques also vary.

Carnatic Music, the classical music of South India, takes cognizance of the 12 notes and further defines them as 16 notes, including quartertones. The system is based on a melodic pattern. The two intrinsic values are the Raga (the melody) and TALA (the rhythm). The word Raga has different meanings - Colour and Emotion prominent among them. Each Raga is a combination of different notes and this combination, along with minute ornamentations known as Gamakas, creates different moods.
An important feature of Carnatic music is the concept of a fixed basic pitch. The tonic note is fixed and the ragas are various combinations of notes within this fixed octave.

Language may be used as an aid, but it is not even a necessary condition. The musical communication is absolute. If one were to rely on lyrics it would not be possible for instrumentalists to convey the emotions. Through years of practice and performance, certain ragas have come to be associated with certain moods. Ragas also reflect various times of the day.

Another important aspect of Carnatic music is the Tala or rhythm. Carnatic music has a highly evolved rhythmic structure. There is beautiful crossplay of the tala creating a wonderful harmony in the musical presentation. The rhythmic cycles of 3, 4, 5, 7 and 9 are basic to carnatic music. There is a very scientific classification of 175 talas or rhythmic patterns that is astounding.

A 5 beat rhythmic cycle is very apt to rouse the patriotic feelings or create a sense of energy in the listeners. Invariably we find romantic songs set to a 7 beat rhythmic cycle. The longing, the pining, the passions and futility of love are communicated very effectively.

Vocal concerts are accompanied by violin, mridangam and the Tambura (a drone instrument).

Violin—Classical audiences all over the world are familiar with the violin. It is closest in style to the human voice and is used as an accompaniment in Carnatic concerts. The violinist matches the improvisation of the vocalist and often there is a healthy musical dialogue between him and the vocalist.

Mridangam—This is a two faced percussion drum very popular in the south and indispensable to a Carnatic music concert. There is harmonizing with cross rhythmic patterns played by the mridangist which enhances the whole concert and makes it thoroughly enjoyable. A rhythmic improvisation is offered as an extension of the main piece.

Tambura—This is a very important instrument in Indian music. It is tuned in a manner specific to Indian music, again different from western music. It has four strings and is strummed by the middle and index fingers.