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GlossaryofCarnaticmusic
FromWikipedia,thefreeencyclopedia

Carnaticmusictermsarebrieflydescribedinthispage.Majortermshavetheirownseparatearticlepages,whileminortermsaredefined/
describedhere.Mostofthekeerthanas/kritisusedinCarnaticmusicisbasedonTelugulanguage.
Theorderoftermsisfrombasictorelatedterms,ratherthanalphabetic.

Mainterms
Nda
Ndareferstomusicormusicalsound.[1]Italsoreferstothetoneofamusicalinstrument.[1]
AnahataNda

Contents
1 Mainterms
1.1 Nda
1.1.1 AnahataNda

AnhataNdareferstothenaturallyoccurringsounds(literallynotstruck).[1]

1.1.2 AhataNda

AhataNda

1.2 ruti
AhataNdareferstogeneratedsoundsorsoundsmadebyeffortsofman(literallystruck).[1]

ruti
rutiismusicalpitch.Itisconsideredequivalenttotonicofwesternmusic.Thisisthepitchat
whichthedroneisset,whichisusuallyplayedbyatambura.

Sthayi
InCarnaticmusic,Sthayireferstotheoctave,especiallyintheTelugulanguage.Madhyama
sthayireferstothemiddleoctave,TarasthayireferstotheupperoctaveandMandrasthayi
referstotheloweroctave.[2]

Swaram
SwaramorSwaraisasinglenote.Eachswaramdefinesthepositionofnoteinrelationtothe
ruti.

Rgam

1.3 Sthayi
1.4 Swaram
1.5 Rgam
1.6 rhanam
1.7 Avarhanam
1.8 Melakart
1.9 AsamprnaMelakart
1.10 Chakra
1.11 Janya
1.12 Tlam
1.13 lpana

ArgamprescribesasetofrulesforbuildingamelodyverysimilartotheWesternconceptof
mode.Differentcombinationofswaramsandswaramphrasesformdifferentrgams.

1.14 Niraval

rhanam

1.15 Kalpanaswaram

rhanamofargamistheascendingscaleofthergam.Itdescribestherulesforsinging
ascendingnotesofargam,includingtheswaramstouseandswarampatternsthatformthe
rgam.

Avarhanam
Avarhanamofargamisthedescendingscaleofthergam.Itdescribestherulesforsinging
descendingnotesofargam.

Melakart
AMelakartrgamisonewhichhasallsevenswarams,namely,Sa,Ri,Ga,Ma,Pa,Dhaand
Ni(sampoornargam).Therhanamandavarhanamofamelakartragamarestrictly
ascendinganddescendingscales.Itisalsoknownasjanakargam(parentrgam),becauseother
rgamsarederivedfromit.

1.16 Tnam
1.17 Rgamlika
1.18 RgamTnamPallavi
1.19 Viruttam
1.20 Mandharma
1.21 Kalpitasangeetam
2 Swarams
2.1 Shadjam
2.2 Rishabham

AsamprnaMelakart

2.3 Gndhram

Oneofthe72parentrgamsfirstcreatedbyVenkatamakhinwhichdidnothavestrictrulesof
ascending/descendingscales,didnotinsistoninclusionofall7swarasnordisallowvakra
prayogas(zigzagnotesinscale).

2.4 Madhyamam

Chakra

2.6 Dhaivatam

Achakraconsistsofagroupof6Melakartrgams,whichdifferfromeachotheronlyinthe
DhaivathamandNishadham.

2.7 Nishdham

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2.5 Panchamam

2.8 Anyaswaram
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Janya

2.9 Sthi

AJanyargamisonewhichisderivedfromaMelakartrgam.Itmayhave(a)asubsetofthe
sevenswaramsSa,Ri,Ga,Ma,Pa,DhaandNi(varjyargam),(b)anexternalswaram(anya
swaram)notfoundinitsparentor(c)vakrapraygamofswaramsinrhanamorAvarhanam
(zigzagsequenceofnotes,insteadofstrictlyascendingordescendingscales).

2.10 Anga
2.11 Gamaka
2.12 Vdi

Tlam

2.13 Samvdi

Tlamreferstotherhythmcycleorbeatcycleforaparticularsong.

2.14 Vivdi

lpana

2.15 Anuvdi

lpanaisaprefacetoasong,whichexploresthergamofthesong,withoutanylyrics.Itisa
slowimprovisationwithnotlam(rhythm).

Niraval
NiravalorNeravalistherepeatedsingingofoneortwolinesofasong,withimprovised
expositionineachrepetition.

Kalpanaswaram

3 Janyargams
3.1 Praygam
3.2 VisheshaPraygam
3.3 Varjya
3.4 Vakram
3.5 Upnga

Kalpanaswaramliterallymeansimaginedswarams.Itisthesingingofswaramsofthergamof
asong,followingthecompletionofthesong.Thoughmanyphrasesoftheswaramsmayhave
beenpracticed,experiencedartistsmayspontaneouslyplaynewphraseswithinthergam'srules
hencethetermKalpana.Itisanimprovisationofthergam,bysingingtheswarams,namely
Sa,Ri,Ga,Ma,Pa,DhaandNi.

Tnam
Tnamisrhythmic/rhythmbasedimprovisationofthergam.Itisdonewithrhythmbased
syllablesliketha,nam,thomandna.ItisusuallyincludedassecondpartinaRgamTnam
Pallavi.

3.6 Bhshnga
3.7 Nishdhntya
3.8 Dhaivatntya
3.9 Panchamntya
3.10 Madhyamasruti
4 Swaramcounts

Rgamlika

4.1 Samprnargam

Rgamlika,whichliterallymeansgarlandofrgams,isacompositionthathasdifferentverses
settodifferentrgams.RgamlikaswaramsreferstosingingofKalpanaswaramsindifferent
rgams.

4.2 Shdavargam

RgamTnamPallavi

4.4 Svarantarargam

RgamTnamPallaviisarenditionofCarnaticmusicwhichlendstototalimprovisation,in
differentforms.ItconsistsofRgamlpana(rgam),TnamandaPallaviline.Thepallavi
lineissungmanytimesindifferentspeeds,differentrangesofthergamanddifferentoctaves.
ThisisusuallyfollowedbyKalpanaswarams,sometimesinmultiplergams(rgamlika).

4.3 Owdavargam

5 Tlamcomponents
5.1 Jathi
5.2 Gati

Viruttam

5.3 Laghu

Viruttamisadevotionalverseorphrasesung(withouttalam)inanimpromptuchoiceofrgam
orrgamlikausuallybeforeasong.Thergam(orlastrgamincaseofrgamlika)isusually
thesameasthatofthesongthatfollows.

5.4 Dhrutham

Mandharma

5.6 vartanam

Mandharmaistheconceptofimpromptuorspontaneousimprovisation,whichisoneofthe
importantaspectsofCarnaticmusic.Therearemanytypesofimprovisations,likeRgam
lpana,Thnam,Niraval,ViruttamandKalpanaswaram.

Kalpitasangeetam

5.5 Anudhrutham

5.7 Eduppu
6 Tlams
6.1 Rpakatlam
6.2 Triputatlam

Kalpitasangeetamismusicthatisalreadycomposed,learntandpracticed.Itisoppositeof
Manodharmasangeetam,whichcomplementsKalpitasangeetam.

Swarams
ThesevenswaramsinCarnaticmusic,thenfollowedbyothertermsrelatedtoswaram.

Shadjam
ThefirstswaraminthescaleisShadjam(Sa).Itisinvariantandisalwaysincludedinallragams.

6.3 Dhruvatlam
6.4 Matyatlam
6.5 Jhampatlam
6.6 Atatlam
6.7 Ekatlam
6.8 dhitlam

Rishabham
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ThesecondswaraminthescaleisRishabham(Ri).Ithasthreepitchpossibilities,namely
Suddha,ChathusrutiandShatsruti.

Gndhram
ThethirdswaraminthescaleisGndhram(Ga).Ithasthreepitchpossibilities,namely
Suddha,SdhranaandAntara.

Madhyamam
ThefourthswaraminthescaleisMadhyamam(Ma).Ithastwopitchpossibilities,namely
SuddhaandPrati.

6.9 Khandachputlam
6.10 Misrachputlam
6.11 Desdhitlam
7 Kala
8 Learningexercises
8.1 Saralivarisai
8.2 Swarvali

Panchamam

8.3 Jantavarisai

ThefifthswaraminthescaleisPanchamam(Pa).Itisinvariant.

8.4 Dhttuvarisai

Dhaivatam

8.5 Alankra

ThesixthswaraminthescaleisDhaivatam(Dha).Ithasthreepitchpossibilities,namely
Suddha,ChathusrutiandShatsruti.

9 Typesofcomposition
9.1 Geetham

Nishdham

9.2 Swarajati

TheseventhswaraminthescaleisNishdham(Ni).Ithasthreepitchpossibilities,namely
Suddha,KaisikiandKkali.

9.3 Varnam

Anyaswaram
Anyaswaraminajanyargamisaswaramthatisnotfoundinitsparentrgam(melakart
rgam).Anyameansoutsidetheset/group.

Sthi
Sthireferstoanoctaveofmusic.Thereare5sthisinCarnaticmusic,namely,Anumandra
(lowest),Mandra(literallymeanschant,whichmeanslower),Madhya(literallymeansmiddle),
Tara(meanshigher)andAthitara(meaningveryhigh).Mostartistssingovertwooctavesortwo
andahalfoctavesrange(withinMandra,MadhyaandTarasthais).Veryfewcansingwellin
biggerrangeof3ormoreoctaves.

Anga
Angameanspart.Inthecontextofargam'sscale,thetermspoorvanga(meaningformerpart,in
thiscasefirsthalf)anduttaranga(latterpart,orsecondhalf)areused.Sa,Ri,GaandManotes
inascalearereferredarepoorvanga,whilePa,DhaandNiarereferredasuttaranga

9.4 Keerthanam
9.5 Kriti
9.6 Thillana
10 Partsofacomposition
10.1 Pallavi
10.2 Anupallavi
10.3 Charanam
10.4 Chittaswaram
10.5 Muktyiswaram
11 Other
11.1 Taniavartanam

Gamaka

11.2 Tukkada

Gamakaisthetermusedforvariationsoftheswaramsinascale.Itcanrefertotheshakeofthe
note,gracearoundthenote,decorationorembellishmentoftheswaram.Itisanintegralpartof
mostrgams,asitisnotarbitrarybutisessentialpartofthestructure/scale.

11.3 AvadhanaPallavi
12 References

Vdi

13 Externallinks

Vdiswaraminargamisthemain/primaryswaramofimportanceinit.Avdiswaramis
repeatedquiteofteninarendition.

Samvdi
Samvdiswaraminargamhasaconcordanteffectwiththevdiswaram.Ithasagoodeffecttotheear(melodyorpleasing)alongwiththe
vdi.Inwesternmusicitisequivalentoftheconsonant.

Vivdi
Vivdiswaraminargamhasadiscordanteffectwiththevdiswaraminit.Itmaynothaveapleasingeffectwhensoundedtogether,but
composersuseappropriatephrasessothatsuchdiscordanteffectisskippedoravoided.Inwesternmusicitisequivalentofthedissonant.

Anuvdi
Anuvdiswaraminargamhasneitherconcordantnordiscordanteffectwiththevdiswaram.

Janyargams
Praygam
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Amusicalnotesphraseofargam(seriesofswaramssunginaparticularrgam)isknownasPraygam.

VisheshaPraygam
Visheshameansspecial.Hence,importantphrasesofargamareknownasVisheshaPraygams.

Varjya
Missingswaramsinajanyargam,whenderivedfromamelakartrgamarereferredasvarjya.Forexample,RishabhamandPanchamam
arevarjyainHindolamwhenderivedfromNatabhairavi.

Vakram
Swaramsaresaidtobevakraminargam,ifeithertherhanam,Avarhanamorboth,donotfollowastrictlyascendingordescending
order.Theygoupanddown(example,2stepsforwardonestepback).Insuchargam,theseswaramsshouldalwaysusethesameorderin
ordertogivetheuniquemelodyofthergam.

Upnga
AjanyargamisUpngaifalltheswaramsinitsscalearestrictlyderivedfromitsmelakartrgam(parent).Therearenoanyaswarams
(externalswarams).

Bhshnga
AjanyargamisBhshngaifananyaswaramisintroducedinitsscale,whenderivedfromitsmelakartrgam(parent).

Nishdhntya
AjanyargamisNishdhntyaifthehighestnotethatcanbeplayedistheNishdham.Therulesforsuchrgamsarethattheyshouldbe
playedorsungwithinthesingleoctaveNi,Sa,Ri,Ga,Ma,Pa,Dha,Ni.ExamplesareNadanamakriyaandPunngavarlirgams.

Dhaivatntya
AjanyargamisDhaivadhntyaifthehighestnotethatcanbeplayedistheDhaivatam.Therulesforsuchrgamsarethattheyshouldbe
playedorsungwithinthesingleoctaveDha,Ni,Sa,Ri,Ga,Ma,Pa,Dha.ExampleKurinjirgam.

Panchamntya
AjanyargamisPanchamntyaifthehighestnotethatcanbeplayedisthePanchamam.Therulesforsuchrgamsarethattheyshouldbe
playedorsungwithinthesingleoctavePa,Dha,Ni,Sa,Ri,Ga,Ma,Pa.ExampleNavrojrgam.

Madhyamasruti
Tuningthesruti(tonicnote)toMa(andalsochangingPastringofTamburatoMa)iscalledMadhyamasruti.Itisusuallysetfor
Panchamntya,DhaivadhntyaandNishdhntyargams.

Swaramcounts
Thefollowingtermsareapplicabletoascendingscale(rhanam)ofargam,descendingscale(avarhanam)ofargam,orthergamasa
whole.

Samprnargam
Sampurnargamisargamthathasallsevenswarams,namely,Sa,Ri,Ga,Ma,Pa,DhaandNi.

Shdavargam
Shdavargamisargamthathasonlysixofthesevenswaramsinitsscale.

Owdavargam
Owdavargamisargamthathasonlyfiveofthesevenswaramsinitsscale.Itisapentatonicscale.

Svarantarargam
Svarantarargamisargamthathasonlyfourofthesevenswaramsinitsscale.

Tlamcomponents
Jathi
Jathiofatlamspecifiesbeatcountoftherhythmcycle.Itspecificallyappliestolagucomponent(s)ofthetlamandnotnecessarilytothe
entiretlam.Thedifferentjathisaretisra(threebeatsinlagu),chathusra(four),khanda(five),misra(seven)andsankeerna(nine).
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Gati
Gatiofatlamspecifiessubdivisionsofabeatinacomposition.ItisalsoreferredasNadai.Chathusragatiisthemostcommon(four),
followedbyTisra(three).OthersareKhanda,MisraandSankeerna.

Laghu
Laghuisthecomponentofatlamwhichisthevariantpart.Itsbeatcountisdependentonthejtiofthetlam.Theactionforcounting
includesatap/clap,followedbyacountofsubbeatsofthefullrhythmcycle.Notethatatisrajtilaghuisactually1clapand2counts=3
beats.

Dhrutham
Dhruthamisthecomponentofatlamwhichisinvariantandincludesonlytwobeats.Itsactionincludesatap/clap,followedbyaveechu
(wave).

Anudhrutham
Anudhruthamisthecomponentofatlamwhichisinvariantandincludesonlyonebeat.Itsactionisatap/clap.

vartanam
vartanamofatlamreferstoonecycleofthetlam.Mosttlamshaveatleast1lagu,exceptfortheraretlams(seetlampage).

Eduppu
Eduppu,fromTamil,meansstart.Eduppudenotesthepointwithinthevartanamofatlamwhenacompositionorstanzainacomposition
begins.Onru(onebeatlater,meaningsecondbeat),Onrarai(oneandhalfbeatlater,meaningbetween2ndand3rdbeat)arecommon,other
thanSamam(meaningequal)whichstartsinsynchronizationwiththebeginningofatlam.

Tlams
Rpakatlam
Rpakatlamreferstothegroupoftlamsthatconsistof1dhrutam,followedby1lagu.Rpakatlamalsoreferstochathusrajathirpaka
tlamasadefault(2+4=6beatsinanvartanam).

Triputatlam
Triputatlamreferstothegroupoftlamsthatconsistof1lagu,followedby2dhrutams.Triputatlamalsoreferstotisrajathitriputatlam
asadefault(3+2+2=7beatsinanvartanam).

Dhruvatlam
Dhruvatlamreferstothegroupoftlamsthatconsistof1lagu,followedby1dhrutam,followedbytwolagus.Dhruvatlamalsorefersto
chathusrajathidhruvatlamasadefault(4+2+4+4=14beatsinanvartanam),unlessadifferentjathiisspecified.

Matyatlam
Matyatlamreferstothegroupoftlamsthatconsistof1lagu,followedby1dhrutam,followedby1lagu.Matyatlamalsorefersto
chathusrajathimatyatlamasadefault(4+2+4=10beatsinanvartanam).

Jhampatlam
Jhampatlamreferstothegroupoftlamsthatconsistof1lagu,followedby1anudhrutam,followedby1dhrutam.Jhampatlamalsorefers
tomisrajathijhampatlamasadefault(7+1+2=10beatsinanvartanam).

Atatlam
Atatlamreferstothegroupoftlamsthatconsistof2lagus,followedby2dhrutams.Atatlamalsoreferstokhandajathiatatlamasa
default(5+5+2+2=14beatsinanvartanam).

Ekatlam
Ekatlamreferstothegroupoftlamsthatconsistof1laguonly.Ekatlamalsoreferstochathusrajathiekatlamasadefault(4beatsinan
vartanam).

dhitlam
dhitlamreferstochathusrajathitriputatlam(4+2+2=8beatsinanvartanam),whichisverycommoninCarnaticmusic.Thisisthe
equivalentof8beat/16beatofWesternmusic.

Khandachputlam
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Khandachpureferstoatlamwith10beatvartanam(Khandaliterallymeans5)whichdoesnotfitintoaboveclassificationoftlams.

Misrachputlam
Misrachpureferstoatlamwith14beatvartanam(Misraliterallymeans7)whichdoesnotfitintoaboveclassificationoftlams.

Desdhitlam
Desdhireferstodhitlamwith(8beatvartanam),wheretheeduppuisoneandahalfbeatsfrombeginningofvaratanam(onrarai).

Kala
Kalareferstothespeedofthetlamduringarenditionofsong.

Learningexercises
LearningCarnaticmusicinvolveslearningmostofthefollowingexercises,mostlyintheorderlistedbelow.

Saralivarisai
Saralivarisaiisusedtolearntheswaramsintheoctave,usuallyinMymlavagowlaragam.Itislearntinsimplestraightascendingand
descendingfashionandafewvariations.Itisalsolearntinmultiplespeeds(kalams).

Swarvali
Avalimeansroworarrangement.Swarvaliareexerciseswithdifferentarrangementsofswarams.ItisshortenedandreferredasSarali,asin
Saralivarisaidescribedabove.

Jantavarisai
Jantavarisaiareexercisesusedtolearntheswaramsintheoctaveintwinfashion(sasaririgagaandsoon)andafewothercombinations.It
isalsousuallylearntinMymlavagowlargam.

Dhttuvarisai
Dhttuliterallymeansjump.Dhttuvarisaiareexercisesusedtolearntheswaramsinzigzagfashion,sothatmorecontrolofthenotesand
differentcombinationsareachieved.Example,samariga,sarigama,andsoon.Eachoftheseexercisesaresettodifferenttlams,sothat
differentrhythmaspectsarelearnt.

Alankra
Alankrameansdecoration.Theseexercisesaregroupsorpatternsofswarams,eachofwhicharesettosevenmaintlams,sothatrhythm
aspectisalsolearnttogetherwithdifferentrgams.

Typesofcomposition
Geetham
Geethammeanssongormelody.Geethamsarethefirstsongsthatarelearnt.Theyareveryshortandarethefirstexerciseswheresinging
lyricsalongwiththeirswarampatternsarelearnt.

Swarajati
Swarajatileadtolearningbiggersongs/compositionsafterlearningGeethams.Theyaresettodifferentrgamsandleadtowardslearning
varnamsandkritis.

Varnam
VarnamisatypeofcompositionwhichissuitedforvocalexercisesofawidevarietyofCarnaticmusicaspects,includingslowandfasttempo
ofsinging,bothlyricsandswarams.Itisthemostcomplexofvocalexercises.Inmoderncarnaticconcerts,itisusuallysungasafirstsongand
issupposedtohelpwarmup.

Keerthanam
KeerthanamorKritiisthecategoryofmostcompositionsinCarnaticmusic.AconcertconsistsmainlyofKeerthanamswithzerooroneof
Varnam,RgamThnamPallaviandThillnincludedinappropriateorder.

Kriti
ForKriti,seeKeerthanamabove.

Thillana
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Thillnisacompositionconsistingofrhythmsyllables,likeDheem,thom,taranaandthaaniinfirsttwostanzas,followedbyaoneortwo
linelyric.Ininstrumentalperformances,itisamelodicrhythmicpiece.

Partsofacomposition
Pallavi
Pallaviisthefirstverseinacomposition,especiallyvaranams,KeerthanamsorKritis.

Anupallavi
Anupallaviisanoptionalversethatfollowsthepallaviinacomposition,especiallykeerthanamsorkritis.

Charanam
Charanamsaretheverse(s)thatfollowthepallavioranupallavi(ifpresent).

Chittaswaram
Chittaswaramsaresetswaramphrases(solfapassages),inacomposition,usuallyakriti,appendedtoenrichitsbeauty.Itissungattheendof
theanupallaviandcharanam.

Muktyiswaram
Muktyiswaramsaretheswaramphrases(solfapassage)thatoccuraftertheanupallaviintnavarnamsandwhichservesastheconcluding
partoftheprvanga(firstpart).Thisismorerelatedtothesongsfordanceperformances,likeBharatanatyam.

Other
Taniavartanam
Taniavartanamreferstotheextendedsolothatisplayedbythepercussionistsinaconcert.

Tukkada
TukkadasarecompositionsplayedtowardstheendofCarnaticconcerts.

AvadhanaPallavi
AvadhanaPallaviisaclassicalformofperformingacompositionsettotwodifferenttalas.

References
1. Prof.PSambamoorthy(2005),SouthIndianMusicVolI,Chennai,India:TheIndianMusicPublishingHouse,p.5162
2. http://chinmayaswaranjali.org/music_lesson_06.htm

1. ApracticalcourseinCarnaticmusicbyProf.P.Sambamurthy,15theditionpublished1998,TheIndianMusicpublishinghouse
2. RagasinCarnaticmusicbyDr.S.Bhagyalekshmy,Pub.1990,CBHPublications
3. RaganidhibyP.SubbaRao,Pub.1964,TheMusicAcademyofMadras
4. SouthIndianmusic,BooksI,IIandIII,byProf.P.Sambamurthy,18theditionpublished2005,TheIndianMusicpublishinghouse

Externallinks
OnlinedictionarywithinCarnaticmusichandbookfromcarnatica.net(http://carnatica.net/onlinedictionary/onlinemain.htm)
DictionaryofsomeSouthIndianMusicalterms(http://www.saigan.com/heritage/music/terms.htm)
Retrievedfrom"https://en.wikipedia.org/w/index.php?title=Glossary_of_Carnatic_music&oldid=682208508"
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