Glossary of Carnatic music terms

Carnatic music terms are briefly described in this page. Major terms have their own separate article pages, while minor terms are defined / described here. The order of terms is from basic to related terms, rather than alphabetic.

Main terms
ruti
ruti is musical pitch. It is considered equivalent to tonic of western music. This is the pitch at which the drone is set, which is usually played by a tambura.

Swaram
Swaram or Swara is a single note. Each swaram defines the position of note in relation to the ruti.

R gam
A r gam prescribes a set of rules for building a melody - very similar to the Western concept of mode. Different combination of swarams and swaram phrases form different r gams.

r hanam
r hanam of a r gam is the ascending scale of the r gam. It describes the rules for singing ascending notes of a r gam, including the swarams to use and swaram patterns that form the r gam.

Avar hanam
Avar hanam of a r gam is the descending scale of the r gam. It describes the rules for singing descending notes of a r gam.

Melakart
A Melakart r gam is one which has all seven swarams, namely, Sa, Ri, Ga, Ma, Pa, Dha and Ni (sampoorna r gam). The r hanam and avar hanam of a melakart ragam are strictly ascending and descending scales. It is also known as janaka r gam (parent r gam), because other r gams are derived from it.

Chakra

A chakra consists of a group of 6 Melakart r gams, which differ from each other only in the Dhaivatham and Nishadham.

Janya
A Janya r gam is one which is derived from a Melakart r gam. It may have (a) a subset of the seven swarams Sa, Ri, Ga, Ma, Pa, Dha and Ni (varjya r gam), (b) an external swaram (anya swaram) not found in its parent or (c) vakra pray gam of swarams in r hanam or Avar hanam (zig-zag sequence of notes, instead of strictly ascending or descending scales).

T lam
T lam refers to the rhythm cycle or beat cycle for a particular song.

l pana
l pana is a preface to a song, which explores the r gam of the song, without any lyrics. It is a slow improvisation with no t lam (rhythm).

Niraval
Niraval or Neraval is the repeated singing of one or two lines of a song, with improvised exposition in each repetition.

Kalpanaswaram
Kalpanaswaram literally means imagined swarams. It is the singing of swarams of the r gam of a song, following the completion of the song. Though many phrases of the swarams may have been practiced, experienced artists may spontaneously play new phrases within the r gam's rules - hence the term Kalpana. It is an improvisation of the r gam, by singing the swarams, namely Sa, Ri, Ga, Ma, Pa, Dha and Ni.

Th nam
Th nam is rhythmic / rhythm based improvisation of the r gam. It is done with rhythm based syllables like tha, nam, thom and na. It is usually included as second part in a R gam Th nam Pallavi.

R gam lika
R gam lika, which literally means garland of r gams, is a composition that has different verses set to different r gams. R gam lika swarams refers to singing of Kalpanaswarams in different r gams.

R gam Th nam Pallavi

R gam Th nam Pallavi is a rendition of Carnatic music which lends to total improvisation, in different forms. It consists of R gam l pana (r gam), Th nam and a Pallavi line. The pallavi line is sung many times in different speeds, different ranges of the r gam and different octaves. This is usually followed by Kalpanaswarams, sometimes in multiple r gams (r gam lika).

Viruttam
Viruttam is a devotional verse or phrase sung (without talam) in an impromptu choice of r gam or r gam lika usually before a song. The r gam (or last r gam in case of r gam lika) is usually the same as that of the song that follows.

Man dharma
Man dharma is the concept of impromptu or spontaneous improvisation, which is one of the important aspects of Carnatic music. There are many types of improvisations, like R gam l pana, Th nam, Niraval, Viruttam and Kalpanaswaram.

Kalpita sangeetam
Kalpita sangeetam is music that is already composed, learnt and practiced. It is opposite of Manodharma sangeetam, which complements Kalpita sangeetam.

Swarams
The seven swarams in Carnatic music, then followed by other terms related to swaram.

Shadjam
The first swaram in the scale is Shadjam (Sa). It is invariant and is always included in all ragams.

Rishabham
The second swaram in the scale is Rishabham (Ri). It has three pitch possibilities, namely Suddha, Chathusruti and Shatsruti.

G ndh ram
The third swaram in the scale is G ndh ram (Ga). It has three pitch possibilities, namely Suddha, S dh rana and Antara.

Madhyamam
The fourth swaram in the scale is Madhyamam (Ma). It has two pitch possibilities, namely Suddha and Prati.

Panchamam
The fifth swaram in the scale is Panchamam (Pa). It is invariant.

Dhaivatam
The sixth swaram in the scale is Dhaivatam (Dha). It has three pitch possibilities, namely Suddha, Chathusruti and Shatsruti.

Nish dham
The third swaram in the scale is Nish dham (Ni). It has three pitch possibilities, namely Suddha, Kaisiki and K kali.

Anya swaram
Anya swaram in a janya r gam is a swaram that is not found in its parent r gam (melakart r gam). Anya means outside the set/ group.

Sth i
Sth i refers to an octave of music. There are 5 sth is in Carnatic music, namely, Anumandra (lowest), Mandra (literally means chant, which means lower), Madhya (literally means middle), Tara (means higher) and Athitara (meaning very high). Most artists sing over two octaves or two and a half octaves range (within Mandra, Madhya and Tara sthais). Very few can sing well in bigger range of 3 or more octaves.

Anga
Anga means part. In the context of a r gam's scale, the terms poorvanga (meaning former part, in this case first-half) and uttaranga (latter part, or second-half) are used. Sa, Ri, Ga and Ma notes in a scale are referred are poorvanga, while Pa, Dha and Ni are referred as uttaranga

Gamaka
Gamaka is the term used for variations of the swarams in a scale. It can refer to the shake of the note, grace around the note, decoration or embellishment of the swaram. It is an integral part of most r gams, as it is not arbitrary but is essential part of the structure/ scale.

V di
V di swaram in a r gam is the main/ primary swaram of importance in it. A v di swaram is repeated quite often in a rendition.

Samv di

Samv di swaram in a r gam has a concordant effect with the v di swaram. It has a good effect to the ear (melody or pleasing) along with the v di. In western music it is equivalent of the consonant.

Viv di
Viv di swaram in a r gam has a discordant effect with the v di swaram in it. It may not have a pleasing effect when sounded together, but composers use appropriate phrases so that such discordant effect is skipped or avoided. In western music it is equivalent of the dissonant.

Anuv di
Anuv di swaram in a r gam has neither concordant nor discordant effect with the v di swaram.

Janya r gams
Pray gam
A musical notes phrase of a r gam (series of swarams sung in a particular r gam) is known as Pray gam.

Vishesha Pray gam

Vishesha means special. Hence, important phrases of a r gam are known as Vishesha Pray gams.

Varjya
Missing swarams in a janya r gam, when derived from a melakart r gam are referred as varjya. For example, Rishabham and Panchamam are varjya in Hindolam when derived from Natabhairavi.

Vakram
Swarams are said to be vakram in a r gam, if either the r hanam, Avar hanam or both, do not follow a strictly ascending or descending order. They go up and down (example, 2 steps forward one step back). In such a r gam, these swarams should always use the same order in order to give the unique melody of the r gam.

Up nga
A janya r gam is Up nga if all the swarams in its scale are strictly derived from its melakart r gam (parent). There are no anya swarams (external swarams).

Bh sh nga

A janya r gam is Bh sh nga if an anya swaram is introduced in its scale, when derived from its melakart r gam (parent).

Nish dh ntya
A janya r gam is Nish dh ntya if the highest note that can be played is the Nish dham. The rules for such r gams are that they should be played or sung within the single octave - Ni, Sa, Ri, Ga, Ma, Pa, Dha, Ni. Examples are Nadanamakriya and Punn gavar li r gams.

Dhaivat ntya
A janya r gam is Dhaivadh ntya if the highest note that can be played is the Dhaivatam. The rules for such r gams are that they should be played or sung within the single octave - Dha, Ni, Sa, Ri, Ga, Ma, Pa, Dha. Example Kurinji r gam.

Pancham ntya
A janya r gam is Pancham ntya if the highest note that can be played is the Panchamam. The rules for such r gams are that they should be played or sung within the single octave - Pa, Dha, Ni, Sa, Ri, Ga, Ma, Pa. Example Navroj r gam.

Madhyama sruti
Tuning the sruti (tonic note) to Ma (and also changing Pa string of Tambura to Ma) is called Madhyama sruti. It is usually set for Pancham ntya, Dhaivadh ntya and Nish dh ntya r gams.

Swaram counts
The following terms are applicable to ascending scale ( r hanam) of a r gam, descending scale (avar hanam) of a r gam, or the r gam as a whole.

Samp rna r gam

Sampurna r gam is a r gam that has all seven swarams, namely, Sa, Ri, Ga, Ma, Pa, Dha and Ni.

Sh dava r gam
Sh dava r gam is a r gam that has only six of the seven swarams in its scale.

Owdava r gam
Owdava r gam is a r gam that has only five of the seven swarams in its scale. It is a pentatonic scale.

Svarantara r gam
Svarantara r gam is a r gam that has only four of the seven swarams in its scale.

T lam components
Jathi
Jathi of a t lam specifies beat count of the rhythm cycle. It specifically applies to lagu component(s) of the t lam and not necessarily to the entire t lam. The different jathis are tisra (three beats in lagu), chathusra (four), khanda (five), misra (seven) and sankeerna (nine).

Gati
Gati of a t lam specifies sub-divisions of a beat in a composition. It is also referred as Nadai. Chathusra gati is the most common (four), followed by Tisra (three). Others are Khanda, Misra and Sankeerna.

Lagu
Lagu is the component of a t lam which is the variant part. Its beat count is dependent on the jathi of the t lam. The action for counting includes a tap / clap, followed by a count of sub-beats of the full rhythm cycle. Note that a tisra jathi lagu is actually 1 clap and 2 counts = 3 beats.

Dhrutham
Dhrutham is the component of a t lam which is invariant and includes only two beats. Its action includes a tap / clap, followed by a veechu (wave).

Anudhrutham
Anudhrutham is the component of a t lam which is invariant and includes only one beat. Its action is a tap / clap.

vartanam
vartanam of a t lam refers to one cycle of the t lam. Most t lams have at least 1 lagu, except for the rare t lams (see t lam page).

Eduppu
Eduppu, from Tamil, means start. Eduppu denotes the point within the vartanam of a t lam when a composition or stanza in a composition begins. Onru (one beat later, meaning second beat), Onrarai (one and half beat later, meaning between 2nd and 3rd beat) are common, other than Samam (meaning equal) which starts in synchronization with the beginning of a t lam.

T lams
R paka t lam
R paka t lam refers to the group of t lams that consist of 1 dhrutam, followed by 1 lagu. R paka t lam also refers to chathusra-jathi r paka t lam as a default (2 + 4 = 6 beats in an vartanam). This is considered equivalent of 3/4 of western music or the Waltz rhythm.

Triputa t lam
Triputa t lam refers to the group of t lams that consist of 1 lagu, followed by 2 dhrutams. Triputa t lam also refers to tisra-jathi triputa t lam as a default (3 + 2 + 2 = 7 beats in an vartanam).

Dhruva t lam
Dhruva t lam refers to the group of t lams that consist of 1 lagu, followed by 1 dhrutam, followed by two lagus. Dhruva t lam also refers to chathusra-jathi dhruva t lam as a default (4 + 2 + 4 + 4 = 14 beats in an vartanam), unless a different jathi is specified.

Matya t lam
Matya t lam refers to the group of t lams that consist of 1 lagu, followed by 1 dhrutam, followed by 1 lagu. Matya t lam also refers to chathusra-jathi matya t lam as a default (4 + 2 + 4 = 10 beats in an vartanam).

Jhampa t lam
Jhampa t lam refers to the group of t lams that consist of 1 lagu, followed by 1 anudhrutam, followed by 1 dhrutam. Jhampa t lam also refers to misra-jathi jhampa t lam as a default (7 + 1 + 2 = 10 beats in an vartanam).

Ata t lam
Ata t lam refers to the group of t lams that consist of 2 lagus, followed by 2 dhrutams. Ata t lam also refers to khanda-jathi ata t lam as a default (5 + 5 + 2 + 2 = 14 beats in an vartanam).

Eka t lam
Eka t lam refers to the group of t lams that consist of 1 lagu only. Eka t lam also refers to chathusra-jathi eka t lam as a default (4 beats in an vartanam).

dhi t lam

dhi t lam refers to chathusra-jathi triputa t lam (4 + 2 + 2 = 8 beats in an vartanam), which is very common in Carnatic music. This is the equivalent of 8 beat / 16 beat of Western music.

Khanda ch pu t lam
Khanda ch pu refers to a t lam with 10 beat vartanam (Khanda literally means 5) which does not fit into above classification of t lams.

Misra ch pu t lam
Misra ch pu refers to a t lam with 14 beat vartanam (Misra literally means 7) which does not fit into above classification of t lams.

Des dhi t lam

Des dhi refers to dhi t lam with (8 beat vartanam), where the eduppu is one and a half beats from beginning of varatanam (onrarai).

Kalai
Kalai refers to the speed of the t lam during a rendition of song.

Learning exercises
Learning Carnatic music involves learning most of the following exercises, mostly in the order listed below.

Sarali varisai
Sarali varisai is used to learn the swarams in the octave, usually in M y m lavagowla ragam. It is learnt in simple straight ascending and descending fashion and a few variations. It is also learnt in multiple speeds (kalams).

Swar vali
Avali means row or arrangement. Swar vali are exercises with different arrangements of swarams. It is shortened and referred as Sarali, as in Sarali varisai described above.

Jhanta varisai
Jhanta varisai are exercises used to learn the swarams in the octave in twin fashion (sa sa ri ri ga ga and so on) and a few other combinations. It is also usually learnt in M y m lavagowla r gam.

Dh ttu varisai

Dh ttu literally means jump. Dh ttu varisai are exercises used to learn the swarams in zig-zag fashion, so that more control of the notes and different combinations are achieved. Example, sa ma ri ga, sa ri ga ma, and so on. Each of these exercises are set to different t lams, so that different rhythm aspects are learnt.

Alank ra
Alank ra means decoration. These exercises are groups or patterns of swarams, each of which are set to seven main t lams, so that rhythm aspect is also learnt together with different r gams.

Types of composition
Geetham
Geetham means song or melody. Geethams are the first songs that are learnt. They are very short and are the first exercises where singing lyrics along with their swaram patterns are learnt.

Swarajati
Swarajati lead to learning bigger songs / compositions after learning Geethams. They are set to different r gams and lead towards learning varnams and kritis.

Varnam
Varnam is a type of composition which is suited for vocal exercises of a wide variety of Carnatic music aspects, including slow and fast tempo of singing, both lyrics and swarams. It is the most complex of vocal exercises. In modern carnatic concerts, it is usually sung as a first song and is supposed to help warm-up.

Keerthanam
Keerthanam or Kriti is the category of most compositions in Carnatic music. A concert consists mainly of Keerthanams with zero or one of Varnam, R gam Th nam Pallavi and Thill n included in appropriate order.

Kriti
For Kriti, see Keerthanam above.

Thillana
Thill n is a composition consisting of rhythm syllables, like Dheem, thom, tarana and thaani in first two stanzas, followed by a one or two line lyric.

Parts of a composition
Pallavi
Pallavi is the first verse in a composition, especially varanams,Keerthanams or Kritis.

Anupallavi
Anupallavi is an optional verse that follows the pallavi in a composition, especially keerthanams or kritis.

Charanam
Charanams are the verse(s) that follow the pallavi or anupallavi (if present).

Chittaswaram
Chittaswarams are set swaram phrases (solfa passages), in a composition (usually a kriti appended to enrich its beauty. It is sung at the end of the anupallavi and charanam.

Mukt yi swaram
Mukt yi swarams are the swaram phrases (solfa passage) that occur after the anupallavi in t na varnams and which serves as the concluding part of the p rvanga (first part). This is more related to the songs for dance performances, like Bharatanatyam.