Main terms
Nāda
'' Nāda'' refers to music or musical sound. It also refers to the tone of a musical instrument.Anahata Nāda
''Anāhata Nāda'' refers to the naturally occurring sounds (literally not struck).Ahata Nāda
''Ahata Nāda'' 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.NakhajaŚruti
'' Śruti'' 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''.Sthayi
In Carnatic music, ''Swaram
'' Swaram'' or ''Swara'' is a single note. Each swaram defines the position of note in relation to the Śruti.Rāga
A '' rāgam'' prescribes a set of rules for building aĀrōhanam
'' Ārōhanam'' of a ragam is the ascending scale of the rāgam. It describes the rules for singing ascending notes of a rāgam, including the swarams to use and swaram patterns that form the rāgam.Avarōhanam
'' Avarōhanam'' of a rāgam is the descending scale of the rāgam. It describes the rules for singing descending notes of a rāgam.Melakartā
A '' Melakartā rāgam'' is one which has all seven swarams, namely, ''Sa, Ri, Ga, Ma, Pa, Dha and Ni'' ('' sampoorna rāgam''). The ārōhanam and avarōhanam of a ''melakartā'' ragam are strictly ascending and descending scales. It is also known as ''janaka rāgam'' (parent rāgam), because other rāgams are derived from it.Asampūrna Melakartā
One of the 72 '' parent rāgams'' 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).Chakra
A ''Janya
A '' Janya rāgam'' is one which is derived from a ''Melakartā'' rāgam. It may have (a) a subset of the seven swarams ''Sa, Ri, Ga, Ma, Pa, Dha and Ni'' ('' varjya rāgam''), (b) an external swaram (''anya'' swaram) not found in its parent or (c) ''vakra prayōgam'' of swarams in Ārōhanam or Avarōhanam (zig-zag sequence of notes, instead of strictly ascending or descending scales).Tālam
''Ālāpana
'' Ālāpana'' is a preface to a song, which explores the rāgam of the song, without any lyrics. It is a slow improvisation with no '' tālam'' (rhythm).Niraval
'' Sāhitya vinyāsam / Niraval'' or ''Neraval'' is the repeated singing of one or two lines of a song, with improvised exposition in each repetition. Sāhitya vinyāsam in Tamil language is referred as Neraval.Kalpanaswaram
'' Kalpanaswaram'' literally means ''imagined swarams''. It is the singing of swarams of the rāgam 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 rāgam's rules - hence the term ''Kalpana''. It is an improvisation of the rāgam, by singing the swarams, namely Sa, Ri, Ga, Ma, Pa, Dha and Ni.Tānam
''Tānam'' is rhythmic / rhythm based improvisation of the rāgam. It is done with rhythm based syllables like ''tha, nam, thom and na''. It is usually included as second part in a '' Rāgam Tānam Pallavi''.Rāgamālika
''Rāgamālika'', which literally means ''garland of rāgams'', is a composition that has different verses set to different ''rāgams''. ''Rāgamālika'' swarams refers to singing of '' Kalpanaswarams'' in different rāgams.Rāgam Tānam Pallavi
'' Rāgam Tānam Pallavi'' is a rendition of Carnatic music which lends to total improvisation, in different forms. It consists of ''Rāgam Ālāpana'' (rāgam), ''Tānam'' and a ''Pallavi'' line. The pallavi line is sung many times in different speeds, different ranges of the rāgam and different octaves. This is usually followed by '' Kalpanaswarams'', sometimes in multiple rāgams (''rāgamālika'').Viruttam
'' Viruttam'' is a devotional verse or phrase sung (without talam) in an impromptu choice of rāgam or rāgamālika usually before a song. The rāgam (or last rāgam in case of rāgamālika) is usually the same as that of the song that follows.Manōdharma
'' Manōdharma'' 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 ''Rāgam Ālāpana'', ''Thānam'', ''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''.Gāndhāram
The third swaram in the scale is ''Gāndhāram'' (Ga). It has three pitch possibilities, namely ''Suddha'', ''Sādhārana'' 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 ''Shatshruti''.Nishādham
The seventh swaram in the scale is ''Nishādham'' (Ni). It has three pitch possibilities, namely ''Suddha'', ''Kaisiki'' and ''Kaakali''.Anya swaram
''Anya swaram'' in a ''janya'' rāgam is a swaram that is not found in its parent rāgam (''melakartā'' rāgam). ''Anya'' means ''outside the set/ group''.Sthāi
''Sthāyi'' refers to an ''octave'' of music. There are 5 ''sthāyis'' 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
''Anga'' means part. In the context of a rāgam'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
''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 rāgams, as it is not arbitrary but is essential part of the structure/ scale.Vādi
'' Vādi swaram'' in a rāgam is the main/ primary swaram of importance in it. A ''vādi'' swaram is repeated quite often in a rendition.Samvādi
''Samvādi swaram'' in a rāgam has a concordant effect with the ''vādi swaram''. It has a good effect to the ear (melody or pleasing) along with the ''vādi''. In Western music it is equivalent of the ''consonant''.Vivādi
'' Vivādi swaram'' in a rāgam has a discordant effect with the ''vādi 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''.Anuvādi
''Anuvādi swaram'' in a rāgam has neither concordant nor discordant effect with the ''vādi swaram''.Janthi rāgams
Prayōgam
A musical notes phrase of a rāgam (series of swarams sung in a particular rāgam) is known as ''Prayōgam''.Vishesha Prayōgam
''Vishesha'' means ''special''. Hence, important phrases of a rāgam are known as ''Vishesha Prayōgams''.Varjya
Missing swarams in a ''janya'' rāgam, when derived from a ''melakartā'' rāgam are referred as ''varjya''. For example, ''Rishabham'' and ''Panchamam'' are ''varjya'' in '' Hindolam'' when derived from ''Vakram
Swarams are said to be ''vakram'' in a rāgam, if either the ''Ārōhanam'', ''Avarōhanam'' 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 rāgam, these swarams should always use the same order to give the unique melody of the rāgam.Upānga
A ''janya rāgam'' is ''Upānga'' if all the swarams in its scale are strictly derived from its ''melakartā rāgam'' (parent). There are no ''anya'' swarams (external swarams).Bhāshānga
A ''janya rāgam'' is ''Bhāshānga'' if an ''anya'' swaram is introduced in its scale, when derived from its ''melakartā rāgam'' (parent).Nishādhāntya
A ''janya rāgam'' is ''Nishādhāntya'' if the highest note that can be played is the ''Nishādham''. The rules for such rāgams 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 ''Punnāgavarāli'' rāgams.Dhaivatāntya
A ''janya rāgam'' is ''Dhaivadhāntya'' if the highest note that can be played is the ''Dhaivatam''. The rules for such rāgams are that they should be played or sung within the single octave - ''Dha, Ni, Sa, Ri, Ga, Ma, Pa, Dha''. Example ''Kurinji'' rāgam.Panchamāntya
A ''janya rāgam'' is ''Panchamāntya'' if the highest note that can be played is the ''Panchamam''. The rules for such rāgams are that they should be played or sung within the single octave - ''Pa, Dha, Ni, Sa, Ri, Ga, Ma, Pa''. Example ''Navroj'' rāgam.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 ''Panchamāntya'', ''Dhaivadhāntya'' and ''Nishādhāntya'' rāgams.Swaram counts
The following terms are applicable to ascending scale (ārōhanam) of a rāgam, descending scale (avarōhanam) of a rāgam, or the rāgam as a whole.Sampūrna rāgam
'' Sampurna rāgam'' is a rāgam that has all seven swarams, namely, ''Sa, Ri, Ga, Ma, Pa, Dha and Ni''.Shādava rāgam
''Shādava rāgam'' is a rāgam that has only six of the seven swarams in its scale.Owdava rāgam
''Owdava rāgam'' is a rāgam that has only five of the seven swarams in its scale. It is a pentatonic scale.Svarantara rāgam
''Svaraantara rāagam'' is a rāgam that has only four of the seven swarams in its scale.Tālam components
Jathi
''Jathi'' of a ''tālam'' specifies ''beat count'' of the rhythm cycle. It specifically applies to ''Gati
''Gati'' of a ''tālam'' 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
''Laghu'' is the component of a ''tālam'' which is the variant part. Its beat count is dependent on the ''jāti'' of the ''tālam''. The action for counting includes a tap / clap, followed by a count of sub-beats of the full rhythm cycle. Note that a tisra jāti laghu is actually 1 clap and 2 counts = 3 beats.Dhrutham
''Dhrutham'' is the component of a ''tālam'' 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 ''tālam'' which is invariant and includes only one beat. Its action is a tap / clap.Āvartanam
''Āvartanam'' of a ''tālam'' refers to one cycle of the tālam. Most tālams have at least 1 laghu, except for the rare tālams ( see tālam page).Graham
''Graham'' or ''Eduppu''( Tamil) means ''start''. Eduppu denotes the point within the ''Āvartanam'' of a ''tālam'' 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 ''tālam''.Tālams
Rūpaka tālam
''Rūpaka tālam'' refers to the group of ''tālams'' that consist of 1 dhrutam, followed by 1 lagu. ''Rūpaka tālam'' also refers to ''chathusra-jathi rūpaka tālam'' as a default (2 + 4 = 6 beats in an āvartanam).Triputa tālam
''Triputa tālam'' refers to the group of ''tālams'' that consist of 1 laghu, followed by 2 dhrutams. ''Triputa tālam'' also refers to ''tisra-jathi triputa tālam'' as a default (3 + 2 + 2 = 7 beats in an āvartanam).Dhruva tālam
''Dhruva tālam'' refers to the group of ''tālams'' that consist of 1 lagu, followed by 1 dhrutam, followed by two lagus. ''Dhruva tālam'' also refers to ''chathusra-jathi dhruva tālam'' as a default (4 + 2 + 4 + 4 = 14 beats in an āvartanam), unless a different jathi is specified.Matya tālam
''Matya tālam'' refers to the group of ''tālams'' that consist of 1 lagu, followed by 1 dhrutam, followed by 1 lagu. ''Matya tālam'' also refers to ''chathusra-jathi matya tālam'' as a default (4 + 2 + 4 = 10 beats in an āvartanam).Jhampa tālam
''Jhampa tālam'' refers to the group of ''tālams'' that consist of 1 lagu, followed by 1 anudhrutam, followed by 1 dhrutam. ''Jhampa tālam'' also refers to ''misra-jathi jhampa tālam'' as a default (7 + 1 + 2 = 10 beats in an āvartanam).Ata tālam
''Ata tālam'' refers to the group of ''tālams'' that consist of 2 lagus, followed by 2 dhrutams. ''Ata tālam'' also refers to ''khanda-jathi ata tālam'' as a default (5 + 5 + 2 + 2 = 14 beats in an āvartanam).Eka tālam
''Eka tālam'' refers to the group of ''tālams'' that consist of 1 lagu only. ''Eka tālam'' also refers to ''chathusra-jathi eka tālam'' as a default (4 beats in an āvartanam).Ādhi tālam
''Ādhi tālam'' refers to ''chathusra-jathi triputa tālam'' (4 + 2 + 2 = 8 beats in an āvartanam), which is very common in Carnatic music. This is the equivalent of 8 beat / 16 beat of Western music.Khanda chāpu tālam
''Khanda chāpu'' refers to a tālam with 10 beat āvartanam (Khanda literally means 5) which does not fit into above classification of tālams.Misra chāpu tālam
''Misra chāpu'' refers to a tālam with 14 beat āvartanam (Misra literally means 7) which does not fit into above classification of tālams.Desādhi tālam
''Desādhi'' refers to '' ādhi tālam'' with (8 beat āvartanam), where the '' eduppu'' is one and a half beats from beginning of ''āvaratanam'' (''onrarai'').Layā
''Layā'' is the tempo or speed of a song. Carnatic music does not define a fixed layā to songs, but traditionally some songs have been sung fast or slow and hence are categorised that way. Typical classification of layā 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.Kāla
''Kāla'' 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, Kāla is also used similar to Layā, for example Madhyama Kālam or Chowka Kālam.Learning exercises
Learning Carnatic music involves 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 '' Māyāmālavagowla'' ragam. It is learnt in simple straight ascending and descending fashion and a few variations. It is also learnt in multiple speeds (kalams).Swarāvali
''Avali'' means ''row'' or ''arrangement''. ''Swarāvali'' are exercises with different arrangements of swarams. It is shortened and referred as ''Sarali'', as in ''Sarali varisai'' described above.Janta varisai
''Janta 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.There are total of 7-8 swarams.''Māyāmālavagowla'' rāgam.Dhātu varisai
''Dhātu'' (Kannada) literally means jump. ''Dhātu 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 ''tālams'', so that different rhythm aspects are learnt.Alankāra
''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
''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'', ''Rāgam Thānam Pallavi'' and ''Thillānā'' included in appropriate order.Kriti
For '' Kriti'', see '' Keerthanam'' above.Thillana
'' Thillānā'' 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.Parts of a composition
Pallavi
'' Pallavi'' is the first verse in a composition, especially varnams, ''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''.Muktāyi swaram
''Muktāyi swarams'' are the swaram phrases (solfa passage) that occur after the ''anupallavi'' in ''tāna varnams'' and which serves as the concluding part of the ''pūrvanga'' (first part). This is more related to the songs for dance performances, like '' Bharatanatyam''.Other
Tani avartanam
''Tani avartanam'' refers to the extended solo that is played by the percussionists in a concert.Tukkada
''Tukkadaas'' are compositions played towards the end of Carnatic concerts.Avadhana Pallavi
''Avadhana Pallavi'' is a classical form of performing a composition set to two different talas.Konnakol
''References
#''A practical course in Carnatic music'' by Prof. P. Sambamurthy, 15th edition published 1998, The Indian Music publishing house #''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications #''Raganidhi'' by P. Subba Rao, Pub. 1964, The Music Academy of Madras #''South Indian music'', Books I, II and III, by Prof. P. Sambamurthy, 18th edition published 2005, The Indian Music publishing houseExternal links
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