A Kriti has three main sections: Pallavi (opening), Anupallavi (development) and Charanam (elaboration). It blends melody, rhythm and lyrics, allowing both fixed composition and improvisation, making it central to Carnatic performances. Class 6 Arts Kriti-I Chapter 8 Taal or Talam and ...
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Muthuswami Dikshitar’s mudra in his compositions was “Guruguha.” He used this name as a tribute to his guru and Lord Subramanya, integrating it seamlessly into the lyrics of his Sanskrit kritis. Class 6 Arts Kriti-I Chapter 8 Taal or Talam and ...
Shyama Shastri’s mudra was “Shyama Krishna.” He included this signature in his compositions, which were predominantly in Telugu, Sanskrit and Tamil, dedicated to Goddess Kamakshi, expressing deep devotion and rhythmic intricacies. Class 6 Visual Arts Kriti-I Taal or Talam and Raga ...
The purpose of a Geetam is to introduce students to the basics of Carnatic music, including raga, tala and sahitya (lyrics). It helps in developing a sense of melody and rhythm in a structured manner. Class 6 Arts Kriti-I Chapter 8 ...
A Bandish serves as the foundation of a raga, defining its melodic and rhythmic structure. It provides a framework for improvisation, helping musicians explore different aspects of a raga while maintaining its traditional identity. Class 6 NCERT Arts Chapter 8 Taal ...