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.
NÃÂda refers to music or musical sound. It also refers to the tone of a musical instrument.
AnÃÂhata NÃÂda refers to the naturally occurring sounds (literally not struck).
Ahata NÃÂda refers to generated sounds or sounds made by efforts of man (literally that which is heard). It is of 6 types. 1.shareeraja - it emanates from the human throat. Example: vocal singing 2.Dhanuja - is born from string instruments. Example: Violin, veena etc... 3.Vayuja - us born when air is passed through narrow pipe like instruments. Example: Flute, nadaswaram etc... 4.Charmaja 5. Lohaja 6.Nakhaja
à Âruti is musical pitch. It is considered to be equivalent to tonic of western music. This is the pitch at which the drone is set, which is usually played by a tambura.
In Carnatic music, Sthayi refers to the octave. Madhyama sthayi refers to the middle octave, Tara sthayi refers to the upper octave and Mandra sthayi refers to the lower octave.
Swaram or Swara is a single note. Each swaram defines the position of note in relation to the à Âruti.
A rÃÂgam 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 rÃÂgams.
ÃÂrà Âhanam of a ragam is the ascending scale of the rÃÂgam. It describes the rules for singing ascending notes of a rÃÂgam, including the swarams to use and swaram patterns that form the rÃÂgam.
Avarà Âhanam of a rÃÂgam is the descending scale of the rÃÂgam. It describes the rules for singing descending notes of a rÃÂgam.
A MelakartàrÃÂgam is one which has all seven swarams, namely, Sa, Ri, Ga, Ma, Pa, Dha and Ni (sampoorna rÃÂgam). The ÃÂrà Âhanam and avarà Âhanam of a melakartàragam are strictly ascending and descending scales. It is also known as janaka rÃÂgam (parent rÃÂgam), because other rÃÂgams are derived from it.
One of the 72 parent rÃÂgams first created by Venkatamakhin which did not have strict rules of ascending / descending scales, did not insist on inclusion of all 7 swaras nor disallow vakra prayogas (zig zag notes in scale).
A chakra consists of a group of 6 MelakartÃÂ rÃÂgams, which differ from each other only in the Dhaivatham and Nishadham.
A Janya rÃÂgam is one which is derived from a MelakartàrÃÂgam. It may have (a) a subset of the seven swarams Sa, Ri, Ga, Ma, Pa, Dha and Ni (varjya rÃÂgam), (b) an external swaram (anya swaram) not found in its parent or (c) vakra prayà Âgam of swarams in ÃÂrà Âhanam or Avarà Âhanam (zig-zag sequence of notes, instead of strictly ascending or descending scales).
TÃÂlam refers to the rhythm cycle or beat cycle for a particular song.
ÃÂlÃÂpana is a preface to a song, which explores the rÃÂgam of the song, without any lyrics. It is a slow improvisation with no tÃÂlam (rhythm).
SÃÂhitya vinyÃÂsam / Niraval or Neraval is the repeated singing of one or two lines of a song, with improvised exposition in each repetition. SÃÂhitya vinyÃÂsam in Tamil language is referred as Neraval.
Kalpanaswaram literally means imagined swarams. It is the singing of swarams of the rÃÂgam 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 rÃÂgam's rules - hence the term Kalpana. It is an improvisation of the rÃÂgam, by singing the swarams, namely Sa, Ri, Ga, Ma, Pa, Dha and Ni.
TÃÂnam is rhythmic / rhythm based improvisation of the rÃÂgam. It is done with rhythm based syllables like tha, nam, thom and na. It is usually included as second part in a RÃÂgam TÃÂnam Pallavi.
RÃÂgamÃÂlika, which literally means garland of rÃÂgams, is a composition that has different verses set to different rÃÂgams. RÃÂgamÃÂlika swarams refers to singing of Kalpanaswarams in different rÃÂgams.
RÃÂgam TÃÂnam Pallavi is a rendition of Carnatic music which lends to total improvisation, in different forms. It consists of RÃÂgam ÃÂlÃÂpana (rÃÂgam), TÃÂnam and a Pallavi line. The pallavi line is sung many times in different speeds, different ranges of the rÃÂgam and different octaves. This is usually followed by Kalpanaswarams, sometimes in multiple rÃÂgams (rÃÂgamÃÂlika).
UgÃÂbhà Âga (in Kannada) or Viruttam (in Tamil) is a devotional verse or phrase sung (without talam) in an imprompt choice of rÃÂgam or rÃÂgamÃÂlika usually before a song. The rÃÂgam (or last rÃÂgam in case of rÃÂgamÃÂlika) is usually the same as that of the song that follows.
Manà Âdharma is the concept of imprompt or spontaneous improvisation, which is one of the important aspects of Carnatic music. There are many types of improvisations, like RÃÂga ÃÂlÃÂpane, TÃÂna, SÃÂhityavinyÃÂsa, UgÃÂbhà Âga and KalpanÃÂsvara.
Kalpita sangeetam is music that is already composed, learnt and practiced. It is opposite of Manodharma sangeetam, which complements Kalpita sangeetam.
The seven swarams in Carnatic music, then followed by other terms related to swaram.
The first swaram in the scale is Shadjam (Sa). It is invariant and is always included in all ragams.
The second swaram in the scale is Rishabham (Ri). It has three pitch possibilities, namely Suddha, Chathusruti and Shatsruti.
The third swaram in the scale is GÃÂndhÃÂra (Ga). It has three pitch possibilities, namely à Âuddha, SÃÂdhÃÂrana and Antara.
The fourth swaram in the scale is Madhyamam (Ma). It has two pitch possibilities, namely Suddha and Prati.
The fifth swaram in the scale is 'Panchamam' (Pa). It is invariant.
The sixth swaram in the scale is Dhaivatam (Dha). It has three pitch possibilities, namely Suddha, Chathusruti and Shatshruti.
The seventh swaram in the scale is NishÃÂdham (Ni). It has three pitch possibilities, namely Suddha, Kaisiki and Kaakali.
Anya swaram in a janya rÃÂgam is a swaram that is not found in its parent rÃÂgam (melakartÃÂ rÃÂgam). Anya means outside the set/ group.
SthÃÂyi refers to an octave of music. There are 5 sthÃÂyis in Carnaatic music, namely, Anumandara (lowest), Mandara (literally means chant, which means lower), Madhya (literally means middle), Taara (means higher) and Athitaara (meaning very high). Most artists sing over two octaves or two and a half octaves range (within Mandra, Madhya and Taara sthaayis). Very few can sing well in bigger ranges of 3 or more octaves.
Anga means part. In the context of a rÃÂgam's scale, the terms poorvaanga (meaning former part, in this case first-half) and uttaraanga (latter part, or second-half) are used. Sa, Ri, Ga and Ma notes in a scale are referred are poorvaanga, while Pa, Dha and Ni are referred as uttaraanga
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 rÃÂgams, as it is not arbitrary but is essential part of the structure/ scale.
VÃÂdi swaram in a rÃÂgam is the main/ primary swaram of importance in it. A vÃÂdi swaram is repeated quite often in a rendition.
SamvÃÂdi swaram in a rÃÂgam has a concordant effect with the vÃÂdi swaram. It has a good effect to the ear (melody or pleasing) along with the vÃÂdi. In Western music it is equivalent of the consonant.
VivÃÂdi swaram in a rÃÂgam has a discordant effect with the vÃÂdi 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.
AnuvÃÂdi swaram in a rÃÂgam has neither concordant nor discordant effect with the vÃÂdi swaram.
A musical notes phrase of a rÃÂgam (series of swarams sung in a particular rÃÂgam) is known as Prayà Âgam.
Vishesha means special. Hence, important phrases of a rÃÂgam are known as Vishesha Prayà Âgams.
Missing swarams in a janya rÃÂgam, when derived from a melakartÃÂ rÃÂgam are referred as varjya. For example, Rishabham and Panchamam are varjya in Hindolam when derived from Natabhairavi.
Swarams are said to be vakram in a rÃÂgam, if either the ÃÂrà Âhanam, Avarà Âhanam 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 rÃÂgam, these swarams should always use the same order to give the unique melody of the rÃÂgam.
A janya rÃÂgam is UpÃÂnga if all the swarams in its scale are strictly derived from its melakartÃÂ rÃÂgam (parent). There are no anya swarams (external swarams).
A janya rÃÂgam is BhÃÂshÃÂnga if an anya swaram is introduced in its scale, when derived from its melakartÃÂ rÃÂgam (parent).
A janya rÃÂgam is NishÃÂdhÃÂntya if the highest note that can be played is the NishÃÂdham. The rules for such rÃÂgams are that they should be played or sung within the single octave - Ni, Sa, Ri, Ga, Ma, Pa, Dha, Ni. Examples are Naadanaa makriya and PunnÃÂgavarÃÂli rÃÂgams.
A janya rÃÂgam is DhaivadhÃÂntya if the highest note that can be played is the Dhaivatam. The rules for such rÃÂgams are that they should be played or sung within the single octave - Dha, Ni, Sa, Ri, Ga, Ma, Pa, Dha. Example Kurinji rÃÂgam.
A janya rÃÂgam is PanchamÃÂntya if the highest note that can be played is the Panchamam. The rules for such rÃÂgams are that they should be played or sung within the single octave - Pa, Dha, Ni, Sa, Ri, Ga, Ma, Pa. Example Navroj rÃÂgam.
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 PanchamÃÂntya, DhaivadhÃÂntya and NishÃÂdhÃÂntya rÃÂgams.
The following terms are applicable to ascending scale (ÃÂrà Âhanam) of a rÃÂgam, descending scale (avarà Âhanam) of a rÃÂgam, or the rÃÂgam as a whole.
Sampurna rÃÂgam is a rÃÂgam that has all seven swarams, namely, Sa, Ri, Ga, Ma, Pa, Dha and Ni.
ShÃÂdava rÃÂgam is a rÃÂgam that has only six of the seven swarams in its scale.
Owdava rÃÂgam is a rÃÂgam that has only five of the seven swarams in its scale. It is a pentatonic scale.
Svaraantara rÃÂagam is a rÃÂgam that has only four of the seven swarams in its scale.
Jathi of a tÃÂlam specifies beat count of the rhythm cycle. It specifically applies to laghu component(s) of the tÃÂlam and not necessarily to the entire tÃÂlam. The different jathis are tisra (three beats in lagu), chathusra (four), khanda (five), misra (seven) and sankeerna (nine).
Gati of a tÃÂlam 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.
Laghu is the component of a tÃÂlam which is the variant part. Its beat count is dependent on the jÃÂti of the tÃÂlam. The action for counting includes a tap / clap, followed by a count of sub-beats of the full rhythm cycle. Note that a tisra jÃÂti laghu is actually 1 clap and 2 counts = 3 beats.
Dhrutham is the component of a tÃÂlam which is invariant and includes only two beats. Its action includes a tap / clap, followed by a veechu (wave).
Anudhrutham is the component of a tÃÂlam which is invariant and includes only one beat. Its action is a tap / clap.
ÃÂvartanam of a tÃÂlam refers to one cycle of the tÃÂlam. Most tÃÂlams have at least 1 laghu, except for the rare tÃÂlams (see tÃÂlam page).
Graham or Eduppu (in Tamil) means start. Eduppu denotes the point within the ÃÂvartanam of a tÃÂlam 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 tÃÂlam.
Rà «paka tÃÂlam refers to the group of tÃÂlams that consist of 1 dhrutam, followed by 1 lagu. Rà «paka tÃÂlam also refers to chathusra-jathi rà «paka tÃÂlam as a default (2 + 4 = 6 beats in an ÃÂvartanam).
Triputa tÃÂlam refers to the group of tÃÂlams that consist of 1 laghu, followed by 2 dhrutams. Triputa tÃÂlam also refers to tisra-jathi triputa tÃÂlam as a default (3 + 2 + 2 = 7 beats in an ÃÂvartanam).
Dhruva tÃÂlam refers to the group of tÃÂlams that consist of 1 lagu, followed by 1 dhrutam, followed by two lagus. Dhruva tÃÂlam also refers to chathusra-jathi dhruva tÃÂlam as a default (4 + 2 + 4 + 4 = 14 beats in an ÃÂvartanam), unless a different jathi is specified.
Matya tÃÂlam refers to the group of tÃÂlams that consist of 1 lagu, followed by 1 dhrutam, followed by 1 lagu. Matya tÃÂlam also refers to chathusra-jathi matya tÃÂlam as a default (4 + 2 + 4 = 10 beats in an ÃÂvartanam).
Jhampa tÃÂlam refers to the group of tÃÂlams that consist of 1 lagu, followed by 1 anudhrutam, followed by 1 dhrutam. Jhampa tÃÂlam also refers to misra-jathi jhampa tÃÂlam as a default (7 + 1 + 2 = 10 beats in an ÃÂvartanam).
Ata tÃÂlam refers to the group of tÃÂlams that consist of 2 lagus, followed by 2 dhrutams. Ata tÃÂlam also refers to khanda-jathi ata tÃÂlam as a default (5 + 5 + 2 + 2 = 14 beats in an ÃÂvartanam).
Eka tÃÂlam refers to the group of tÃÂlams that consist of 1 lagu only. Eka tÃÂlam also refers to chathusra-jathi eka tÃÂlam as a default (4 beats in an ÃÂvartanam).
ÃÂdhi tÃÂlam refers to chathusra-jathi triputa tÃÂlam (4 + 2 + 2 = 8 beats in an ÃÂvartanam), which is very common in Carnatic music. This is the equivalent of 8 beat / 16 beat of Western music.
Khanda chÃÂpu refers to a tÃÂlam with 10 beat ÃÂvartanam (Khanda literally means 5) which does not fit into above classification of tÃÂlams.
Misra chÃÂpu refers to a tÃÂlam with 14 beat ÃÂvartanam (Misra literally means 7) which does not fit into above classification of tÃÂlams.
DesÃÂdhi refers to ÃÂdhi tÃÂlam with (8 beat ÃÂvartanam), where the eduppu is one and a half beats from beginning of ÃÂvaratanam (onrarai).
LayÃÂ is the tempo or speed of a song. Carnatic music does not define a fixed layÃÂ to songs, but traditionally some songs have been sung fast or slow and hence are categorised that way. Typical classification of layÃÂ includes Vilambitha (delayed or slow), Madhyama (medium) and Dhuritha (fast). The term Chowka is also used to denote an extra slow tempo and Adi-Dhuritha is used to denote an extra fast one.
KÃÂla refers to the change of tempo during a rendition of song, typically doubling up the speed. Onnaam kaalam is 1st speed, Irandaam kaalam is 2nd speed and so on. Irandaam kaalam fits in twice the number of aksharaas (notes) into the same beat, thus doubling the tempo. Sometimes, KÃÂla is also used similar to LayÃÂ, for example Madhyama KÃÂlam or Chowka KÃÂlam.
Learning Carnatic music involves most of the following exercises, mostly in the order listed below.
Saraḷe varase is used to learn the swarams in the octave, usually in MÃÂyÃÂmÃÂlavagowla ragam. It is learnt in simple straight ascending and descending fashion and a few variations. It is also learnt in multiple speeds (kalas).
Avaḷi means row or arrangement. SvarÃÂvaḷi are exercises with different arrangements of swarams. It is shortened and referred as Saraḷe, as in Saraḷe varise described above.
Jaá¹Âá¹Âi varase 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.There are total of 7-8 swarams.MÃÂyÃÂmÃÂlavagowla rÃÂgam.
DÃÂá¹Âu (in Kannada) literally means to jump or to skip. DÃÂá¹Âu varase 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 tÃÂlams, so that different rhythm aspects are learnt.
AlankÃÂra means beautiful arrangement of swarams. These exercises are groups or patterns of swarams, each of which are set to seven main tÃÂlams, so that rhythm aspect is also learnt together with different rÃÂgams.
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 lead to learning bigger songs / compositions after learning Geethams. They are set to different rÃÂgams and lead towards learning varnams and kritis.
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 or Kriti is the category of most compositions in Carnatic music. A concert consists mainly of Keerthanams with zero or one of Varnam, RÃÂgam ThÃÂnam Pallavi and ThillÃÂnÃÂ included in appropriate order.
For Kriti, see Keerthanam above.
ThillÃÂnÃÂ 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. In instrumental performances, it is a melodic rhythmic piece.
Pallavi is the first verse in a composition, especially varnams, Keerthanams or Kritis.
Anupallavi is an optional verse that follows the pallavi in a composition, especially keerthanams or kritis.
Charanams are the verse(s) that follow the pallavi or anupallavi (if present).
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.
MuktÃÂyi swarams are the swaram phrases (solfa passage) that occur after the anupallavi in tÃÂna varnams and which serves as the concluding part of the pà «rvanga (first part). This is more related to the songs for dance performances, like Bharatanatyam.
Tani avartanam refers to the extended solo that is played by the percussionists in a concert.
Tukkadaas are compositions played towards the end of Carnatic concerts.
Avadhana Pallavi is a classical form of performing a composition set to two different talas.
Konnakol is the art of performing percussion syllables vocally.