India is very rich in varied culture and different states of country have their own forms of music and dance. However, the unity in the diversity of the various styles owe their origin to a single root - the Vedas (the Hindu holy scriptures). Even though the art in the form of the Sapthaswaras (seven notes), has been drawn from all the four vedas, prime mention should be made of Sama Veda , as the inspirationational source for its rhythm. "Ya Samagapi Sarveshu Brahmyamana Tatha Bhuvi" meaning, by reciting the Samaganam (music derived from Sama Veda), the Lord pervades the entire universe, including the blessed earth where we reside.

Carnatic Music is rich in both Raagas(melody) and Talas and has to be expressed with Bhava (feeling). Carnatic music lays great emphasis in Laya(rhythm) and has several patterns of rhythm called ‘Taala’. Each composition has a set pattern of rhythm and it is performed at a particular speed.

Ancient Tamil (a South Indian language spoken in the state of Tamil Nadu) scriptures dating back to several thousands of years, such as the Pasurams and Thevaram sung in the temples have strongly contributed to the development of Carnatic music. Methodical presentation of Carnatic music was developed in the 15th century by Purandara Dasa. He structured the various exercises of Carnatic music which facilitates both learning and teaching the art with ease.

Devotion has been the main theme for all the composers. Though Purandara Dasa set out methodical practice of music, Krithis (songs) have existed even before his time. Purandara Dasa also composed over 400,000 Krithis in praise of Lord Krishna and other Hindu Gods mainly in Kanada (a South Indian) language.

Different states have different composers. The Trinities of Carnatic Music - Saint Thyagaraja, Shyama Sasthri and Muthuswami Dikshathar have brought innumerable krithis. There are several other notable composers whose songs are sung to date by musicians such as Gopalakrishna Bharathi, Muthuthandavar, Papanasam Sivan, Meesu Krishna Iyer and others. Meesu Krishna Iyer - being an ardent devotee of Sadasiva Brahmendra (his Guru) wrote songs on him. His Guru Bhakti (devotion towards teacher) stands out prominently in all his lyrics. These songs were set to tune in rare raagas by Alathur Venkatesa Iyer who even composed intricate Chittaswaras for them. Mrs. Sarojini Sundaresan is the only exponent in the Carnatic music world to have a complete repertoire of the composer.

Raaga can be defined as the swaras presented in the form of melody. Raaga lakshana (structure) is determined by the Arohanam (ascending sequence of swaras) and Avarohanam (descending sequence of swaras). this sets the scale of the Raaga. Basically Raagas can be grouped into two classes

1. Melakartha Raagas

2. Janya Raagas

The Melakartha scheme of Raagas was developed in the 16th century by Saint Venkatamukhi and they are 72 in number. Melakartha ragas are also called Sampoorna Raagas. A Sampoorna or Complete Raaga has all the 7 swaras(notes) in its scale both in the ascending and descending order. Out of the 72 Melakartha raagas, the first 36 ragas are called "Suddha Madhyama" (natural fourth)Melakartha raagas and the other 36 are called "Prathi Madhyama" (augmented fourth) Melakartha raagas.

The Janya Ragas are born out of the Melakartha ragas and are many thousands in number derived by permutation and combination. Janya Ragas are not Sampoorna Ragas i.e. they do not have all the seven swaras (notes) in their scale.

Taalam indicates the rythm or beats in Carnatic music. There are three different types of hand gestures that are used - 1. Thattu- downward beat with the palm facing down, 2. Veechu - downward beat with palm facing up 3. Counts with the fingers.

There are 35 basic taalas. Each of these 35 taalas can further be presented in the five different Nadais or Gathi (Beats) yielding a total of 175 taalas. Further the song could also start from the quarter/ half / three-quarters of a beat.

A typical Carnatic music song is composed of three parts:

1. Pallavi - the thematic line of the song.

2. Anupallavi - the second portion ellaborating the mood of Pallavi.

3. Charanam - the concluding portion of the song. A song may have one or more charanams.

Varnam- a traditional Carnatic music recital opens with the Varnam. Varnam is normally sung in two speeds to pep up the tempo of the concert. Apart from having Pallavi, Anupallavi and Charanam the varnam also has swaras.

Krithis - Krithis are songs. The varnam is followed by several krithis. Commonly compositions of the Trinities of Carnatic music - Thyagaraja , Muthuswami Dikshathar and Shyama Sashtri are sung. The heavier songs are preceded by Aalaapanai, Neraval and swara prastharas. Aaalapanai is the improvisation of the raga of the song with no lyrics or rythm. Neraval is the extempore rendition of a line of the song confining to the beats of the taalam. Swara prastharas are extempore rendition of the swaras for a particular line of the song and has to strictly follow the rythm.

Raagam - Taanam - Pallavi - is a major item of the Carnatic recital and is sung in important concerts. Pallavi is rendered in different speeds and in the tisra gathi as well. The choice of Pallavi and the taalas depends entirely on the level of expertise of the performer. The twin sections of this performance are the Anulopam and Prathilopam. Anulopam is the rendering of the Pallavi in different speeds with the Taala at the same speed. Prathilopam is where the Taala is in the third speed and the Pallavi is sung in three speeds. Top notch musicians sing swara prastharas in diferent raagas for the chosen Pallavi. The Alathur style from which Sarojini Sundaresan and Leela Rammohan Rao hail is very famous for rendering Pallavis in intricate and difficult rhythm patterns.

The recital’s latter half consists of Tukada (miscellaneous items)- which are compositions such as Bhajans, Thirupugazh (in Tamil) etc. and may be in many languages.

Tillana is presented before the end of the concert and is an exposition of rhythm.

Mangalam - meaning an auspicious ending is sung in the raagas Madhyamavathy / Saurashtram / Suruti / Manirangu / Sriraagam.