This is a written supplement to the audio lesson on Kanda Chapu, which can be found here. Kanda Chapu is the 5 beat cycle in Carnatic music. It can be thought of as 5/4 time. Start with the audio lesson first before checking out this notated content. You can download this lesson at the bottom of the page. Continue reading
Kanda Chapu is the 5 beat thalum or cycle in Carnatic music. It can be thought of as 5/4 time. It is shown through a series of claps: Clap on beat 1; Clap on beat 3; Clap on beat 4.
Kanda Chapu can be recited using syllables Ta Ka Ta Ki Ta, a 2 + 3 beat grouping. The audio below is a series of exercises in Kanda Chapu. Each clip shows Kanda Chapu thalum while reciting Ta Ka Ta Ki Ta in different subdivisions. This is great practice for strengthening one’s time feel and getting more comfortable in 5/4 time. Try learning this material by ear. A downloadable pdf of this lesson is available at the bottom of the page with these exercises written in western notation. Have fun!
Kanda Chapu with Ta Ka Ta Ki Ta in Quarter Notes
Kanda Chapu with Ta Ka Ta Ki Ta in 8th Notes
Kanda Chapu with Ta Ka Ta Ki Ta in 16th Notes
Kanda Chapu with Ta Ka Ta Ki Ta in Triplets
Kanda Chapu with Ta Ka Ta Ki Ta in Quarter Note Triplets
Raga Keeravani is a melakartha or parent raga found in Carnatic music, and is equivalent to the western harmonic minor scale. This lesson includes lines sung by Sreyas Narayanun that outline the raga keeravani. The melodic development of the raga is systematic, starting with melodies in the lower register, then moving to the middle register, reaching the higher register, then concluding back at the starting tonic pitch. This approach to developing the raga can easily be applied to western settings of improvisation, composition, and even as introductions to compositions. Sreyas’ melodies also include rhythmic groupings of four, five and six 16th notes, creating lines that break out of typical four note phrase structure. The end of the lesson includes exercises that encourage this tiered exploration of scales or modes and also examines ways to create new 16th note rhythmic phrases using cells of four, five and six 16th notes. A downloadable pdf of this lesson can be found at the bottom of the page. Continue reading