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[navaratna]

Nada नाद ‘sound’

Nada (नाद) in Sanskrit, is the musical sound that pleases both the ear and the mind when it is heard.  Nada is a combination of Nakar means life or breath and Dakar means fire or energy. The concept of Nada gave birth to the idea of music. It is both vyaktha, expressible as well as avyaktha, inexpressible. Nada is divided into Ahata and Anahata.

अहत Ahata refers to the sound produced by the conscious efforts of man. The science and art of music is based on Ahata. Ahata means ‘struck’ while Anahata means ‘unstruck’. This emerges in thought-form in Ajna Chakra (the third eye chakra), stationed between eyebrows, and finds expression in Vishuddha Chakra (the throat chakra) at the base of throat.

There are 6 types of Ahata Nada

i. Shareeraja Nada

The sound that is emnated from the human throat.

ii. Dhanuja Nada

The sound that is made by bowed string instruments like violin, sarangi, etc.

iii. Vayuja Nada

The sound produced from wind instruments like flute, nadaswaram, etc.

iv. Charmaja Nada

The sound produced by striking the "skin" of instruments like tabla, mridangam, etc.

v. Lohaja Nada

The sound produced by metallic instruments like the taal (cymbals, also called manjira)

vi. Nakhaja Nada

The sound produced by string instruments played by fingers (nails) like veena, sitar, etc.

अनाहत Anahata is the unstruck sound, word or melody. While Ahata Nada is produced by the acoustics of friction, Anahata Nada is spontaneous, perennial and abiding. It is music of the heavenly sphere, that reverberates in everyone, irrespective of whether one is conscious of it or not. It is Shabda Brahma, the Word as divine sound, perceived by evolved souls in the Nirvikalpa Samadhi, ‘seedless meditation’, that renders the bliss of unitary consciousness. Anahata Nada emanates from Sahasrara Chakra, the thousand-petalled lotus in the crown of head, with the awakening of Kundalini Shakti, serpent power, and is heard at Anahata Chakra, the heart centre.

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[navaratna]

Expression of Passion by a Lover to her Beloved - The Padams in Carnatic Music

Padam in Indian Carnatic Music are pieces that are sweet, slow monologues by a Nayika to her Sakhi, her female companion or a pet bird, usually a parrot, on her love to her beloved, who is usually the Lord. Even though by structure, Padams are similar to Keerthanas, comprising of Pallavi, Anu Pallavi, and Charanas, Padams portrays the passionate love, and even sensual love, between the singer and her Lord. Padams are enriched with the Shringaara Rasa, one of the Navarasa, the nine emotions, and show the plight of the Nayika, who suffers pain from separation of her lover. 

Padams are composed in languages such as Sanskrit, Tamil, Telugu, Malayalam. Indian classical dancers also give life to Padams by their enchanting movements and passionate expressions. Dance forms such as Bharatanatyam, Kuchipudi, Mohiniyattam, Kathakali.

The prolific Telugu poet, Kshetrayya is credited with perfecting the format of the Padams used today.  A unique feature of his Padams is the practice of singing the Anu Pallavi first then the Pallavi (second verse followed by first verse). Kshetrayya’ s work has played a major role in influencing poetry, dance, music of the South Indian tradition.

Another composition that is similar to Padam is the Javali. Like Padam, Javali also incorporates the Shringaara Rasa. So you may ask what’s the difference between the both?

Padams are intricately crafted lyrical songs. The musical structure carries a Pallavi, an Anu Pallavi and Charanas. There is an intensity of outpouring of emotions in Padams. Padams are usually slow-moving songs, which have a depth of musical intricacies. They bring out their respective raag bhava to the utmost extent. A Padam may have as its protagonist a Nayaka, a Nayika or a Sakhi, who bring out the appropriate emotions.

Javalis are livelier than Padams; usually sung in Madhyama kalam (the medium tempo used in Carnatic Music). Javalis may not have an Anu Pallavi, but have a Pallavi and Charanas. Javalis do not bring out the raag bhava as deeply as Padams. They may not be as serious in nature as Padams. Owing to their relative liveliness, Javali give themselves very well to shorter time periods of Abhinaya exposition as compared to Padams which can be expounded upon for a much longer time. Javalis are usually composed in popular ragas, and their lyrical quality is apt for the general setting of a lively earth mood.

Points on differences taken from this site

In my upcoming posts, I would be translating Maharaja Swathi Thirunal's Malayalam Padams!

If you would like to include some more facts, then please tell!

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@ramayantika @suvarnarekha @hersheys-24 @vaanvaruvaan @mrs-tomato-head @manwalaage @buttercupspotify