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. tambura. Swaram Swaram
or Swara is a single note. Each swaram defines the position of note in relation to the
ruti. Rgam
rgam 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 rgams.
A
rhanam
rhanam of rhanam
a rgam is the ascending scale of the rgam. It describes the rules for singing ascending notes of a rgam, including the swarams to use and swaram patterns that form the rgam. Avarhanam
Avarhanam of
a rgam is the descending scale of the rgam. It describes the rules for singing descending notes of a rgam.
Melakart
elakart elakart rgam is one which has all seven swarams, namely, S a, a, Ri, Ga, M a, a, Pa, Dha and Ni ( sampoorna sampoorna rgam). rgam). The rhanam and avarhanam of a melakart ragam are strictly ascending and descending scales. It is also known as janaka as janaka rgam (parent rgam), because other rgams are derived from it. A M
Chakra
hakra consists of a group of 6 M elakart rgams, which differ from each other only in the Dhaivatham and Nishadham. Ac
Janya
anya rgam is one which is derived from a M elakart rgam. It may have (a) a subset of the seven swarams S a, Ri, Ga, M a, Pa, Dha and Ni (varjya rgam), (b) an external swaram (anya swaram) not found in its parent or (c) vakra praygam of swarams in rhanam or Avarhanam (zig-zag sequence of notes, instead of strictly ascending or descending scales). A J
Tlam T lam
refers to the rhythm cycle or beat cycle for a particular song.
lpana lpana
is a preface to a song, which explores the rgam of the song, without any lyrics. It is a slow improvisation with no tlam (rhythm). Niraval
Niraval or Neraval is the repeated singing of one or two lines of a song, with improvised exposition in each repetition. K alpanas waram K alpanas waram
literally means imagined swarams. It is the singing of swarams of the rgam 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 rgam's rules - hence the term K alpana. It is an improvisation of the rgam, by singing the swarams, namely Sa, Ri, Ga, Ma, Pa, Dha and Ni. Thnam T hnam
is rhythmic / rhythm based improvisation of the rgam. It is done with rhythm based syllables like tha, nam, thom and na. It is usually included as second part in a Rgam T hnam Pallavi. Rgamlika
Rgamlika, which literally means garland of rgams, is a composition that has different verses set to different rgams. Rgamlika swarams refers to singing of K alpanaswarams in different rgams. Rgam
Thnam
Pallavi
Rgam T hnam Pallavi is a rendition of Carnatic music which lends to total improvisation, in different forms. It consists of Rgam lpana (rgam), T hnam and a Pallavi line. The pallavi line is sung many times in different speeds, different ranges of the rgam and different octaves. This is usually followed by K alpanaswarams, sometimes in multiple rgams (rgamlika). Viruttam V iruttam
is a devotional verse or phrase sung (without talam) in an impromptu choice of rgam or rgamlika usually before a song. The rgam (or last rgam in case of rgamlika) is usually the same as that of the song that follows. Mandharma M andharma
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 Rgam lpana, T hnam, Niraval , V iruttam and K alpanaswaram. K alpita
sangeetam
K alpita
sangeetam is music that is already composed, learnt and practiced. It is opposite of M anodharma sangeetam, which complements K alpita sangeetam. Swarams
The seven swarams in Carnatic music, then followed by other terms related to swaram. Shadjam
The first swaram in the scale is S hadjam (Sa). It is invariant and is always included in all ragams. R ishabham
The second swaram in the scale is Rishabham (Ri). It has three pitch possibilities, namely S uddha, Chathusruti and S hatsruti.
Gndhram The third swaram in the scale is Gndhram (Ga). It has three pitch possibilities, namely S uddha, S dhrana and Antara. Madhyamam
The fourth swaram in the scale is M adhyamam (Ma). It has two pitch possibilities, namely S uddha 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 S uddha, Chathusruti and S hatsruti. Nishdham
The third swaram in the scale is Nishdham (Ni). It has three pitch possibilities, namely S uddha, K aisiki and K kali. Anya s waram Anya swaram in a janya rgam is a swaram rgam). Anya means outside the set/ group.
that is not found in its parent rgam (melakart
Sthi S thi
refers to an octave of music. There are 5 sthis in Carnatic music, namely, Anumandra (lowest), M andra (literally means chant, which means lower), M adhya (literally means middle), T ara (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 rgam's scale, the terms poor vanga (meaning former part, in this case first-half) and uttaranga (latter part, or second-half) are used. S a, Ri, Ga and M a notes in a scale are referred are poor vanga, 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 rgams, as it is not arbitrary but is essential part of the structure/ scale. Vdi V di swaram
in a rgam is the main/ primary swaram of importance in it. A vdi swaram is repeated quite often in a rendition. Samvdi
S amvdi swaram
in a rgam has a concordant effect with the vdi swaram. It has a good effect to the ear (melody or pleasing) along with the vdi. In western music it is equivalent of the consonant . Vivdi V ivdi swaram
in a rgam has a discordant effect with the vdi 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 . Anuvdi Anuvdi swaram
Janya
in a rgam has neither concordant nor discordant effect with the vdi swaram.
rgams
Praygam musical notes phrase of a rgam (series of swarams sung in a particular rgam) is known as Praygam. A
Vishesha
Praygam
V ishesha
means special . Hence, important phrases of a rgam are known as V ishesha Praygams. Varjya
Missing swarams in a janya rgam, when derived from a melakart rgam 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 rgam, if either the rhanam, Avarhanam 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 rgam, these swarams should always use the same order in order to give the unique melody of the rgam. Upnga
janya rgam is Upnga if all the swarams in its scale are strictly derived from its melakart rgam (parent). There are no anya swarams (external swarams). A
Bhshnga
janya rgam is Bhshnga if an anya swaram is introduced in its scale, when derived from its melakart rgam (parent). A
Nishdhntya
janya rgam is Nishdhntya if the highest note that can be played is the Nishdham. The rules for such rgams are that they should be played or sung within the single octave - Ni, S a, Ri, Ga, M a, Pa, Dha, Ni. Examples are Nadanamakriya and Punngavarli rgams. A
Dhaivatntya
janya rgam is Dhaivadhntya if the highest note that can be played is the Dhaivatam. The rules for such rgams are that they should be played or sung within the single octave - Dha, Ni, S a, Ri, Ga, M a, Pa, Dha. Example K urinji rgam. A
Panchamntya janya rgam is Panchamntya if the highest note that can be played is the Panchamam. The rules for such rgams are that they should be played or sung within the single octave - Pa, Dha, Ni, S a, Ri, Ga, M a, Pa. Example Navroj rgam. A
Madhyama
sruti
Tuning the sruti (tonic note) to M a (and also changing Pa string of Tambura to M a) is called M adhyama sruti. It is usually set for Panchamntya, Dhaivadhntya and Nishdhntya rgams. Swaram
counts
The following terms are applicable to ascending scale (rhanam) of a rgam, descending scale (avarhanam) of a rgam, or the rgam as a whole. Samprna S ampurna
rgam
rgam is a rgam that has all seven swarams, namely, S a, Ri, Ga, M a, Pa, Dha and
Ni. Shdava S hdava
rgam is a rgam that has only six of the seven swarams in its scale.
Owdava Owda va
scale.
rgam
rgam
rgam is a rgam that has only five of the seven swarams in its scale. It is a pentatonic
Svarantara
rgam
S varantara
rgam is a rgam that has only four of the seven swarams in its scale.
Tlam
components
Jathi J athi
of a tlam specifies beat count of the rhythm cycle. It specifically applies to lagu component(s) of the tlam and not necessarily to the entire tlam. The different jathis are tisra (three beats in lagu), chathusra (four), khanda (five), misra (seven) and sankeerna (nine).
Gati Gati of a tlam specifies sub-divisions of a beat in a composition. It is also referred as Nadai. Chathusra gati is the most common (four), followed by T isra (three). Others are K handa, M isra and S ankeerna. Lagu Lagu
is the component of a tlam which is the variant part. Its beat count is dependent on the jathi of the tlam. 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 tlam 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 tlam which is invariant and includes only one beat. Its action is a tap / clap. vartanam
vartanam
of a tlam refers to one cycle of the tlam. Most tlams have at least 1 lagu, except for the rare tlams (see tlam page). Eduppu
E duppu,
from Tamil, means start . Eduppu denotes the point within the vartanam of a tlam 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 S amam (meaning equal) which starts in synchronization with the beginning of a tlam.
Tlams Rpaka tlam
Rpaka tlam refers to the group of tlams that consist of 1 dhrutam, followed by 1 lagu. Rpaka tlam also refers to chathusra-jathi rpaka tlam 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
tlam
T riputa
tlam refers to the group of tlams that consist of 1 lagu, followed by 2 dhrutams. T riputa tlam also refers to tisra-jathi triputa tlam as a default (3 + 2 + 2 = 7 beats in an vartanam). Dhruva
tlam
Dhruva tlam refers to the group of tlams that consist of 1 lagu, followed by 1 dhrutam, followed by two lagus. Dhruva tlam also refers to chathusra-jathi dhruva tlam as a default (4 + 2 + 4 + 4 = 14 beats in an vartanam), unless a different jathi is specified. Matya
tlam
M atya
tlam refers to the group of tlams that consist of 1 lagu, followed by 1 dhrutam, followed by 1 lagu. M atya tlam also refers to chathusra-jathi matya tlam as a default (4 + 2 + 4 = 10 beats in an vartanam). Jhampa
tlam
J hampa
tlam refers to the group of tlams that consist of 1 lagu, followed by 1 anudhrutam, followed by 1 dhrutam. J hampa tlam also refers to misra-jathi jhampa tlam as a default (7 + 1 + 2 = 10 beats in an vartanam). Ata tlam
Ata
tlam refers to the group of tlams that consist of 2 lagus, followed by 2 dhrutams. Ata tlam also refers to khanda-jathi ata tlam as a default (5 + 5 + 2 + 2 = 14 beats in an vartanam). Eka
tlam
E ka
tlam refers to the group of tlams that consist of 1 lagu only. E ka tlam also refers to chathusra-jathi eka tlam as a default (4 beats in an vartanam). dhi tlam
dhi
tlam refers to chathusra-jathi triputa tlam (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. K handa
chpu tlam
K handa chpu
refers to a tlam with 10 beat vartanam (Khanda literally means 5) which does not fit into above classification of tlams. Misra
chpu tlam
M isra chpu
refers to a tlam with 14 beat vartanam (Misra literally means 7) which does not fit into above classification of tlams. Desdhi
tlam
Desdhi refers to dhi tlam with (8 beat vartanam), where the eduppu is one and a half beats from beginning of varatanam (onrarai). K alai K alai
refers to the speed of the tlam 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
S arali varisai
is used to learn the swarams in the octave, usually in M ymlavagowla ragam. It is learnt in simple straight ascending and descending fashion and a few variations. It is also learnt in multiple speeds (kalams). Swarvali
Avali
means row or arrangement . Swarvali are exercises with different arrangements of swarams. It is shortened and referred as S arali, as in S arali varisai described above. Jhanta
varisai
J hanta 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 ymlavagowla rgam. Dhttu
varisai
Dhttu literally means jump. Dhttu 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 tlams, so that different rhythm aspects are learnt. Alank ra Alankra
means decoration. These exercises are groups or patterns of swarams, each of which are set to seven main tlams, so that rhythm aspect is also learnt together with different rgams. 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 lyric s along with their swaram patterns are learnt. Swarajati Swarajati
lead to learning bigger songs / compositions after learning Geethams. They are set to different rgams and lead towards learning varnams and kritis. Varnam V arnam
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. K eerthanam K eerthanam
or K riti is the category of most compositions in Carnatic music. A concert consists mainly of Keerthanams with zero or one of V arnam, Rgam T hnam Pallavi and T hilln included in appropriate order. K riti
For K riti, see K eerthanam above. Thillana T hilln
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, K eerthanams or K ritis. 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 akriti appended to enrich its beauty. It is sung at the end of the anupallavi and charanam. Muktyi swaram M uktyi swarams
are the swaram phrases (solfa passage) that occur after the anupallavi in tna varnams and which serves as the concluding part of the pr vanga (first part). This is more related to the songs for dance performances, like Bharatanatyam.
