142:
228:
24:
2634:
65:
2648:
2103:
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
2303:
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
2115:
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
504:
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
813:. 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
1241:
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.
923:
is a devotional verse or phrase sung (without talam) in an imprompt 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.
1301:
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
1192:(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.
2183:
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.
1696:
component(s) of the tālam and not necessarily to the entire tālam. The different jathis are tisra (three beats in lagu), chathusra (four), khanda (five), misra (seven) and sankeerna (nine).
616:
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.
1758:. 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.
1428:
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.
796:
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.
937:
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
111:
2202:
are exercises used to learn the swarams in zig-zag fashion, so that more control of the notes and different combinations are achieved. Example,
1616:
The following terms are applicable to ascending scale (ārōhanam) of a rāgam, descending scale (avarōhanam) of a rāgam, or the rāgam as a whole.
892:
line. The pallavi line is sung many times in different speeds, different ranges of the rāgam and different octaves. This is usually followed by
461:
terms are briefly described in this page. Major terms have their own separate article pages, while minor terms are defined / described here.
2141:
ragam. It is learnt in simple straight ascending and descending fashion and a few variations. It is also learnt in multiple speeds (kalas).
2035:(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.
37:
2046:
refers to a tālam with 10 beat āvartanam (Khanda literally means 5) which does not fit into above classification of tālams.
2057:
refers to a tālam with 14 beat āvartanam (Misra literally means 7) which does not fit into above classification of tālams.
680:
which did not have strict rules of ascending / descending scales, did not insist on inclusion of all 7 swaras nor disallow
2681:
2372:
in first two stanzas, followed by a one or two line lyric. In instrumental performances, it is a melodic rhythmic piece.
443:
747:
of swarams in Ārōhanam or Avarōhanam (zig-zag sequence of notes, instead of strictly ascending or descending scales).
2319:
is the category of most compositions in
Carnatic music. A concert consists mainly of Keerthanams with zero or one of
773:
is a preface to a song, which explores the rāgam of the song, without any lyrics. It is a slow improvisation with no
203:
185:
163:
51:
156:
629:
of a rāgam is the descending scale of the rāgam. It describes the rules for singing descending notes of a rāgam.
43:
2621:, Books I, II and III, by Prof. P. Sambamurthy, 18th edition published 2005, The Indian Music publishing house
2257:. Geethams are the first songs that are learnt. They are very short and are the first exercises where singing
2686:
672:
505:
through narrow pipe like instruments. Example: Flute, nadaswaram etc... 4.Charmaja 5. Lohaja 6.Nakhaja
2104:
Chowka is also used to denote an extra slow tempo and Adi-Dhuritha is used to denote an extra fast one.
880:
is a rendition of
Carnatic music which lends to total improvisation, in different forms. It consists of
412:
817:. It is an improvisation of the rāgam, by singing the swarams, namely Sa, Ri, Ga, Ma, Pa, Dha and Ni.
2124:
Learning
Carnatic music involves most of the following exercises, mostly in the order listed below.
828:
is rhythmic / rhythm based improvisation of the rāgam. It is done with rhythm based syllables like
150:
90:
1807:
refers to one cycle of the tālam. Most tālams have at least 1 laghu, except for the rare tālams (
1928:
as a default (4 + 2 + 4 + 4 = 14 beats in an āvartanam), unless a different jathi is specified.
1773:
which is invariant and includes only two beats. Its action includes a tap / clap, followed by a
436:
167:
107:
1556:. The rules for such rāgams are that they should be played or sung within the single octave -
1528:. The rules for such rāgams are that they should be played or sung within the single octave -
1496:. The rules for such rāgams are that they should be played or sung within the single octave -
1333:
A musical notes phrase of a rāgam (series of swarams sung in a particular rāgam) is known as
1655:
is a rāgam that has only five of the seven swarams in its scale. It is a pentatonic scale.
311:
8:
2227:. These exercises are groups or patterns of swarams, each of which are set to seven main
876:
834:
270:
2661:
2603:
by Prof. P. Sambamurthy, 15th edition published 1998, The Indian Music publishing house
2407:
116:
2164:
are exercises with different arrangements of swarams. It is shortened and referred as
482:
refers to music or musical sound. It also refers to the tone of a musical instrument.
986:
The seven swarams in
Carnatic music, then followed by other terms related to swaram.
581:
is a single note. Each swaram defines the position of note in relation to the Śruti.
429:
2588:
1846:(one and half beat later, meaning between 2nd and 3rd beat) are common, other than
514:
2666:
2137:
335:
227:
2514:
refers to the extended solo that is played by the percussionists in a concert.
1625:
650:
543:
457:
245:
219:
2675:
2494:
2492:(first part). This is more related to the songs for dance performances, like
2341:
2286:
805:
694:
677:
603:. Different combination of swarams and swaram phrases form different rāgams.
524:
519:
301:
80:
2536:
is a classical form of performing a composition set to two different talas.
2653:
2639:
2453:
1808:
1792:
which is invariant and includes only one beat. Its action is a tap / clap.
1711:
specifies sub-divisions of a beat in a composition. It is also referred as
1396:
1251:
970:
is music that is already composed, learnt and practiced. It is opposite of
756:
600:
464:
The order of terms is from basic to related terms, rather than alphabetic.
350:
260:
100:
735:
1966:
that consist of 1 lagu, followed by 1 anudhrutam, followed by 1 dhrutam.
1850:(meaning equal) which starts in synchronization with the beginning of a
658:
ragam are strictly ascending and descending scales. It is also known as
2231:, so that rhythm aspect is also learnt together with different rāgams.
933:
401:
345:
1920:
that consist of 1 lagu, followed by 1 dhrutam, followed by two lagus.
1275:. It has a good effect to the ear (melody or pleasing) along with the
2457:
are set swaram phrases (solfa passages), in a composition, usually a
2270:
639:
625:
366:
291:
265:
1074:
The fifth swaram in the scale is 'Panchamam' (Pa). It is invariant.
2662:
Online dictionary within
Carnatic music handbook from carnatica.net
2577:, Chennai, India: The Indian Music Publishing House, pp. 51–62
2545:
2432:
2360:
2219:
1943:
that consist of 1 lagu, followed by 1 dhrutam, followed by 1 lagu.
1390:
918:
911:
2386:
2245:
1666:
is a rāgam that has only four of the seven swarams in its scale.
1585:
1316:
in a rāgam has neither concordant nor discordant effect with the
939:
788:
769:
612:
530:
493:
refers to the naturally occurring sounds (literally not struck).
396:
381:
376:
316:
1644:
is a rāgam that has only six of the seven swarams in its scale.
760:
refers to the rhythm cycle or beat cycle for a particular song.
478:
2299:
2280:
1292:
596:
548:
386:
371:
356:
306:
296:
286:
2525:
are compositions played towards the end of Carnatic concerts.
2461:, appended to enrich its beauty. It is sung at the end of the
1750:
which is the variant part. Its beat count is dependent on the
1444:
if all the swarams in its scale are strictly derived from its
1256:
in a rāgam is the main/ primary swaram of importance in it. A
853:, is a composition that has different verses set to different
2278:. They are set to different rāgams and lead towards learning
2116:
similar to Layā, for example Madhyama Kālam or Chowka Kālam.
1083:
720:
573:
250:
2480:
are the swaram phrases (solfa passage) that occur after the
2274:
lead to learning bigger songs / compositions after learning
998:(Sa). It is invariant and is always included in all ragams.
591:
340:
255:
2206:, and so on. Each of these exercises are set to different
662:(parent rāgam), because other rāgams are derived from it.
2390:
is the first verse in a composition, especially varnams,
1997:
as a default (5 + 5 + 2 + 2 = 14 beats in an āvartanam).
1472:
swaram is introduced in its scale, when derived from its
1203:
means part. In the context of a rāgam's scale, the terms
1141:
rāgam is a swaram that is not found in its parent rāgam (
2615:
by P. Subba Rao, Pub. 1964, The Music Academy of Madras
2549:
is the art of performing percussion syllables vocally.
2135:
is used to learn the swarams in the octave, usually in
518:
is musical pitch. It is considered to be equivalent to
1838:
when a composition or stanza in a composition begins.
729:
rāgam. It may have (a) a subset of the seven swarams
1974:
as a default (7 + 1 + 2 = 10 beats in an āvartanam).
1951:
as a default (4 + 2 + 4 = 10 beats in an āvartanam).
2629:
2609:
by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications
2572:
1905:
as a default (3 + 2 + 2 = 7 beats in an āvartanam).
1352:. Hence, important phrases of a rāgam are known as
1207:(meaning former part, in this case first-half) and
2198:(in Kannada) literally means to jump or to skip.
1989:that consist of 2 lagus, followed by 2 dhrutams.
1897:that consist of 1 laghu, followed by 2 dhrutams.
522:of western music. This is the pitch at which the
106:for phonetic transcriptions, with an appropriate
2673:
1882:as a default (2 + 4 = 6 beats in an āvartanam).
1690:of the rhythm cycle. It specifically applies to
1090:(Dha). It has three pitch possibilities, namely
1034:(Ga). It has three pitch possibilities, namely Ś
2488:and which serves as the concluding part of the
2210:, so that different rhythm aspects are learnt.
1874:that consist of 1 dhrutam, followed by 1 lagu.
1629:is a rāgam that has all seven swarams, namely,
1260:swaram is repeated quite often in a rendition.
1114:(Ni). It has three pitch possibilities, namely
1010:(Ri). It has three pitch possibilities, namely
1552:if the highest note that can be played is the
1524:if the highest note that can be played is the
1492:if the highest note that can be played is the
2667:Dictionary of some South Indian Musical terms
2261:along with their swaram patterns are learnt.
1058:(Ma). It has two pitch possibilities, namely
832:. It is usually included as second part in a
437:
1719:gati is the most common (four), followed by
1297:in a rāgam has a discordant effect with the
1271:in a rāgam has a concordant effect with the
1180:(literally means chant, which means lower),
644:is one which has all seven swarams, namely,
1279:. In Western music it is equivalent of the
702:, which differ from each other only in the
52:Learn how and when to remove these messages
2084:is one and a half beats from beginning of
444:
430:
2568:
2566:
2564:
2562:
2375:
599:- very similar to the Western concept of
595:prescribes a set of rules for building a
204:Learn how and when to remove this message
186:Learn how and when to remove this message
2020:as a default (4 beats in an āvartanam).
1211:(latter part, or second-half) are used.
149:This article includes a list of general
2234:
1842:(one beat later, meaning second beat),
1237:is the term used for variations of the
743:swaram) not found in its parent or (c)
2674:
2559:
2411:is an optional verse that follows the
1830:. Eduppu denotes the point within the
665:
2119:
2038:
870:
528:is set, which is usually played by a
2601:A practical course in Carnatic music
2049:
1340:
962:
654:). The ārōhanam and avarōhanam of a
135:
58:
17:
2528:
1669:
1658:
1110:The seventh swaram in the scale is
13:
1420:or both, do not follow a strictly
1215:notes in a scale are referred are
1054:The fourth swaram in the scale is
1006:The second swaram in the scale is
894:
863:
155:it lacks sufficient corresponding
96:for transliterated languages, and
76:of its non-English content, using
14:
2698:
2625:
2506:
2472:
2436:are the verse(s) that follow the
1619:
1567:
1030:The third swaram in the scale is
994:The first swaram in the scale is
33:This article has multiple issues.
2646:
2632:
2225:beautiful arrangement of swarams
2127:
2060:
1885:
1636:
1611:
1530:Dha, Ni, Sa, Ri, Ga, Ma, Pa, Dha
1323:
898:, sometimes in multiple rāgams (
799:
226:
140:
63:
22:
2447:
2364:is a composition consisting of
2347:
2331:included in appropriate order.
2175:
2070:
1954:
1908:
1862:
1647:
1558:Pa, Dha, Ni, Sa, Ri, Ga, Ma, Pa
1539:
1511:
1498:Ni, Sa, Ri, Ga, Ma, Pa, Dha, Ni
1479:
725:is one which is derived from a
560:refers to the upper octave and
485:
41:or discuss these issues on the
2581:
2370:Dheem, thom, tarana and thaani
2190:
2075:
1931:
1780:
1631:Sa, Ri, Ga, Ma, Pa, Dha and Ni
1129:
731:Sa, Ri, Ga, Ma, Pa, Dha and Ni
646:Sa, Ri, Ga, Ma, Pa, Dha and Ni
112:multilingual support templates
1:
2573:Prof. P Sambamoorthy (2005),
2552:
2415:in a composition, especially
2401:
2307:
2033:chathusra-jathi triputa tālam
2023:
2012:that consist of 1 lagu only.
927:
861:swarams refers to singing of
841:
619:
556:refers to the middle octave,
496:
467:
2589:"Chinmaya Swaranjali |"
2264:
2144:
2000:
1977:
1926:chathusra-jathi dhruva tālam
1880:chathusra-jathi rūpaka tālam
1795:
1455:
1452:swarams (external swarams).
1172:in Carnaatic music, namely,
1105:
1077:
1069:
1049:
1001:
632:
564:refers to the lower octave.
7:
2539:
2426:
2354:
2213:
2080:
1949:chathusra-jathi matya tālam
1761:
1368:rāgam, when derived from a
1328:
1025:
905:
739:), (b) an external swaram (
606:
10:
2703:
2682:Carnatic music terminology
2575:South Indian Music - Vol I
2517:
2380:
2239:
1692:
1412:in a rāgam, if either the
1308:
1263:
1184:(literally means middle),
989:
981:
789:Sāhitya vinyāsam / Niraval
782:
775:
763:
684:(zig zag notes in scale).
2293:
2018:chathusra-jathi eka tālam
1903:tisra-jathi triputa tālam
1857:
1814:
1431:
1403:
1359:
1286:
1229:
1156:
698:consists of a group of 6
687:
567:
537:
2501:
2334:
2204:sa ma ri ga, sa ri ga ma
1972:misra-jathi jhampa tālam
1738:
1674:
1596:. It is usually set for
849:, which literally means
820:
750:
713:
508:
2607:Ragas in Carnatic music
2107:
2095:
2008:refers to the group of
1985:refers to the group of
1962:refers to the group of
1939:refers to the group of
1916:refers to the group of
1893:refers to the group of
1870:refers to the group of
1699:
1448:(parent). There are no
1408:Swarams are said to be
1245:
1195:
584:
472:
170:more precise citations.
2376:Parts of a composition
1995:khanda-jathi ata tālam
1788:is the component of a
1769:is the component of a
1746:is the component of a
1372:rāgam are referred as
1168:of music. There are 5
1151:outside the set/ group
552:refers to the octave.
232:Tanjavur-style tambura
1364:Missing swarams in a
867:in different rāgams.
830:tha, nam, thom and na
2325:Rāgam Thānam Pallavi
2235:Types of composition
1723:(three). Others are
974:, which complements
972:Manodharma sangeetam
74:specify the language
72:This article should
2687:Glossaries of music
1580:(and also changing
1188:(means higher) and
877:Rāgam Tānam Pallavi
835:Rāgam Tānam Pallavi
666:Asampūrna Melakartā
312:Rāgaṃ Tānaṃ Pallavi
271:Asaṃpūrṇa Mēḷakarta
2619:South Indian music
2120:Learning exercises
2039:Khanda chāpu tālam
1664:Svaraantara rāagam
1394:when derived from
1354:Vishesha Prayōgams
871:Rāgam Tānam Palavi
2172:described above.
2050:Misra chāpu tālam
1826:(in Tamil) means
1341:Vishesha Prayōgam
1213:Sa, Ri, Ga and Ma
976:Kalpita sangeetam
968:Kalpita sangeetam
963:Kalpita sangeetam
851:garland of rāgams
676:first created by
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134:
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114:may also be used.
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2534:Avadhana Pallavi
2529:Avadhana Pallavi
2368:syllables, like
1670:Tālam components
1659:Svarantara rāgam
1576:(tonic note) to
1502:Naadanaa makriya
1223:are referred as
1086:in the scale is
811:imagined swarams
809:literally means
700:Melakartā rāgams
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1500:. Examples are
1482:
1474:melakartā rāgam
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1446:melakartā rāgam
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1376:. For example,
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554:Madhyama sthayi
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2474:
2473:Muktāyi swaram
2471:
2449:
2446:
2444:(if present).
2428:
2425:
2403:
2400:
2382:
2379:
2377:
2374:
2356:
2353:
2336:
2333:
2309:
2306:
2304:help warm-up.
2295:
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2266:
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2238:
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2192:
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1910:
1907:
1887:
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1809:see tālam page
1797:
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1626:Sampurna rāgam
1621:
1620:Sampūrna rāgam
1618:
1613:
1610:
1594:Madhyama sruti
1569:
1568:Madhyama sruti
1566:
1541:
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1481:
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1361:
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1330:
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1325:
1322:
1314:Anuvādi swaram
1310:
1307:
1288:
1285:
1269:Samvādi swaram
1265:
1262:
1247:
1244:
1231:
1228:
1221:Pa, Dha and Ni
1197:
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1158:
1155:
1131:
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983:
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949:Sāhityavinyāsa
929:
926:
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904:
895:Kalpanaswarams
872:
869:
864:Kalpanaswarams
843:
840:
822:
819:
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798:
784:
781:
765:
762:
752:
749:
745:vakra prayōgam
715:
712:
689:
686:
682:vakra prayogas
670:One of the 72
667:
664:
634:
631:
621:
618:
608:
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586:
583:
569:
566:
544:Carnatic music
539:
536:
510:
507:
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484:
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458:Carnatic music
452:
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336:Sarasvati Vīṇā
333:
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220:Carnatic music
212:
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194:
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148:
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139:
132:
131:
110:. Knowledge's
71:
69:
62:
57:
31:
30:
28:
21:
9:
6:
4:
3:
2:
2699:
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2495:Bharatanatyam
2491:
2487:
2483:
2479:
2470:
2468:
2464:
2460:
2456:
2455:
2454:Chittaswarams
2445:
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2422:
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2409:
2399:
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2291:
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2256:
2252:
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2232:
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2221:
2211:
2209:
2205:
2201:
2197:
2188:
2186:
2182:
2173:
2171:
2170:Saraḷe varise
2167:
2163:
2159:
2155:
2151:
2142:
2140:
2139:
2134:
2133:Saraḷe varase
2128:Saraḷe varase
2125:
2117:
2114:
2105:
2102:
2093:
2091:
2087:
2083:
2082:
2078:), where the
2077:
2074:with (8 beat
2073:
2072:
2067:
2061:Desādhi tālam
2058:
2056:
2047:
2045:
2036:
2034:
2030:
2021:
2019:
2015:
2011:
2007:
1998:
1996:
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1984:
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1969:
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1961:
1952:
1950:
1946:
1942:
1938:
1929:
1927:
1923:
1919:
1915:
1906:
1904:
1900:
1899:Triputa tālam
1896:
1892:
1891:Triputa tālam
1886:Triputa tālam
1883:
1881:
1877:
1873:
1869:
1855:
1853:
1849:
1845:
1841:
1837:
1833:
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1667:
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1645:
1643:
1642:Shādava rāgam
1637:Shādava rāgam
1634:
1632:
1628:
1627:
1617:
1612:Swaram counts
1609:
1607:
1603:
1602:Dhaivadhāntya
1599:
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1522:Dhaivadhāntya
1519:
1509:
1507:
1506:Punnāgavarāli
1503:
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1477:
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1379:
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1367:
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1324:Janthi rāgams
1321:
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1167:
1164:refers to an
1163:
1154:
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1127:
1125:
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922:
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887:
883:
882:Rāgam Ālāpana
879:
878:
868:
866:
865:
860:
856:
852:
848:
839:
837:
836:
831:
827:
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816:
812:
808:
807:
806:Kalpanaswaram
800:Kalpanaswaram
797:
795:
791:
790:
780:
778:
777:
772:
771:
761:
759:
758:
748:
746:
742:
738:
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732:
728:
724:
722:
711:
709:
705:
701:
697:
696:
685:
683:
679:
678:Venkatamakhin
675:
674:
673:parent rāgams
663:
661:
657:
653:
652:
647:
643:
641:
630:
628:
627:
617:
615:
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604:
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598:
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582:
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562:Mandra sthayi
559:
555:
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545:
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118:
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109:
102:
92:
82:
75:
70:
61:
60:
55:
53:
46:
45:
40:
39:
34:
29:
20:
19:
16:
2654:Music portal
2640:India portal
2618:
2612:
2606:
2600:
2583:
2574:
2544:
2543:
2533:
2532:
2522:
2521:
2511:
2510:
2493:
2489:
2486:tāna varnams
2485:
2481:
2477:
2476:
2466:
2462:
2458:
2452:
2451:
2448:Chittaswaram
2441:
2437:
2431:
2430:
2420:
2416:
2412:
2406:
2405:
2395:
2391:
2385:
2384:
2369:
2365:
2359:
2358:
2346:
2340:
2338:
2328:
2324:
2320:
2316:
2312:
2311:
2298:
2297:
2285:
2279:
2275:
2269:
2268:
2258:
2254:
2250:
2244:
2243:
2228:
2224:
2218:
2217:
2207:
2203:
2199:
2195:
2194:
2184:
2181:Jaṇṭi varase
2180:
2179:
2176:Jaṇṭi varase
2169:
2165:
2161:
2157:
2153:
2149:
2148:
2136:
2132:
2131:
2123:
2112:
2111:
2100:
2099:
2089:
2085:
2079:
2069:
2065:
2064:
2054:
2053:
2044:Khanda chāpu
2043:
2042:
2032:
2028:
2027:
2017:
2013:
2009:
2005:
2004:
1994:
1990:
1986:
1982:
1981:
1971:
1968:Jhampa tālam
1967:
1963:
1960:Jhampa tālam
1959:
1958:
1955:Jhampa tālam
1948:
1944:
1940:
1936:
1935:
1925:
1922:Dhruva tālam
1921:
1917:
1914:Dhruva tālam
1913:
1912:
1909:Dhruva tālam
1902:
1898:
1894:
1890:
1889:
1879:
1876:Rūpaka tālam
1875:
1871:
1868:Rūpaka tālam
1867:
1866:
1863:Rūpaka tālam
1851:
1847:
1843:
1839:
1835:
1831:
1827:
1823:
1819:
1818:
1804:
1800:
1799:
1789:
1785:
1784:
1774:
1770:
1766:
1765:
1755:
1751:
1747:
1743:
1742:
1732:
1728:
1724:
1720:
1716:
1712:
1708:
1704:
1703:
1691:
1687:
1683:
1679:
1678:
1663:
1662:
1653:Owdava rāgam
1652:
1651:
1648:Owdava rāgam
1641:
1640:
1630:
1624:
1623:
1615:
1606:Nishādhāntya
1605:
1601:
1598:Panchamāntya
1597:
1593:
1592:) is called
1589:
1581:
1577:
1573:
1571:
1561:
1557:
1553:
1550:Panchamāntya
1549:
1545:
1543:
1540:Panchamāntya
1533:
1529:
1525:
1521:
1517:
1515:
1512:Dhaivatāntya
1505:
1501:
1497:
1493:
1490:Nishādhāntya
1489:
1485:
1483:
1480:Nishādhāntya
1473:
1469:
1465:
1461:
1459:
1449:
1445:
1441:
1437:
1435:
1425:
1421:
1417:
1413:
1409:
1407:
1397:Natabhairavi
1395:
1389:
1385:
1381:
1377:
1373:
1369:
1365:
1363:
1353:
1349:
1345:
1344:
1334:
1332:
1317:
1313:
1312:
1302:
1298:
1291:
1290:
1280:
1276:
1272:
1268:
1267:
1257:
1250:
1249:
1238:
1234:
1233:
1224:
1220:
1216:
1212:
1208:
1204:
1200:
1199:
1189:
1185:
1181:
1177:
1173:
1169:
1165:
1161:
1160:
1150:
1146:
1142:
1138:
1134:
1133:
1123:
1119:
1115:
1111:
1109:
1099:
1095:
1091:
1087:
1081:
1073:
1063:
1059:
1055:
1053:
1043:
1039:
1035:
1031:
1029:
1019:
1015:
1011:
1007:
1005:
995:
993:
985:
975:
971:
967:
966:
957:Kalpanāsvara
956:
952:
948:
944:
940:Rāga Ālāpane
938:
932:
931:
917:
914:(in Kannada)
910:
909:
899:
893:
889:
885:
881:
875:
874:
862:
858:
854:
850:
846:
845:
833:
829:
825:
824:
814:
810:
804:
803:
793:
787:
786:
774:
768:
767:
755:
754:
744:
740:
736:varjya rāgam
734:
730:
726:
719:
717:
707:
703:
699:
693:
691:
681:
671:
669:
660:janaka rāgam
659:
655:
649:
645:
638:
636:
624:
623:
611:
610:
590:
588:
578:
572:
571:
561:
557:
553:
547:
541:
529:
523:
513:
512:
501:
500:
491:Anāhata Nāda
490:
489:
486:Anahata Nāda
477:
476:
463:
456:
455:
417:
353:(Citra Vīṇā)
279:Compositions
200:
182:
173:
154:
122:
108:ISO 639 code
104:}}
98:{{
94:}}
88:{{
84:}}
78:{{
73:
49:
42:
36:
35:Please help
32:
15:
2417:keerthanams
2392:Keerthanams
2200:Dāṭu varase
2191:Dāṭu varase
2158:arrangement
2055:Misra chāpu
1945:Matya tālam
1937:Matya tālam
1932:Matya tālam
1786:Anudhrutham
1781:Anudhrutham
1572:Tuning the
1546:janya rāgam
1518:janya rāgam
1486:janya rāgam
1462:janya rāgam
1438:janya rāgam
1318:vādi swaram
1299:vādi swaram
1273:vādi swaram
1135:Anya swaram
1130:Anya swaram
1096:Chathusruti
1016:Chathusruti
558:Tara sthayi
351:Goṭṭuvādyaṃ
325:Instruments
168:introducing
2676:Categories
2553:References
2482:anupallavi
2463:anupallavi
2442:anupallavi
2408:Anupallavi
2402:Anupallavi
2348:Keerthanam
2313:Keerthanam
2308:Keerthanam
2086:āvaratanam
2071:ādhi tālam
2068:refers to
2031:refers to
2029:Ādhi tālam
2024:Ādhi tālam
1688:beat count
1686:specifies
1584:string of
1560:. Example
1532:. Example
1476:(parent).
1426:descending
1418:Avarōhanam
1225:uttaraanga
1217:poorvaanga
1209:uttaraanga
1205:poorvaanga
1176:(lowest),
1174:Anumandara
1100:Shatshruti
1082:The sixth
934:Manōdharma
928:Manōdharma
921:(in Tamil)
900:rāgamālika
859:Rāgamālika
847:Rāgamālika
842:Rāgamālika
779:(rhythm).
704:Dhaivatham
626:Avarōhanam
620:Avarōhanam
502:Ahata Nāda
497:Ahata Nāda
468:Main terms
402:Shruti box
363:Percussion
346:Nādasvaraṃ
151:references
38:improve it
2613:Raganidhi
2523:Tukkadaas
2433:Charanams
2271:Swarajati
2265:Swarajati
2162:Svarāvaḷi
2145:Svarāvaḷi
2076:āvartanam
2014:Eka tālam
2006:Eka tālam
2001:Eka tālam
1991:Ata tālam
1983:Ata tālam
1978:Ata tālam
1832:Āvartanam
1801:Āvartanam
1796:Āvartanam
1733:Sankeerna
1717:Chathusra
1554:Panchamam
1526:Dhaivatam
1494:Nishādham
1466:Bhāshānga
1456:Bhāshānga
1422:ascending
1382:Panchamam
1378:Rishabham
1370:melakartā
1303:dissonant
1281:consonant
1190:Athitaara
1143:melakartā
1112:Nishādham
1106:Nishādham
1088:Dhaivatam
1078:Dhaivatam
1070:Panchamam
1056:Madhyamam
1050:Madhyamam
1040:Sādhārana
1020:Shatsruti
1008:Rishabham
1002:Rishabham
884:(rāgam),
727:Melakartā
708:Nishadham
656:melakartā
640:Melakartā
633:Melakartā
413:Composers
367:Mr̥daṅgaṃ
292:Svarajati
266:Mēḷakarta
176:July 2020
44:talk page
2546:Konnakol
2540:Konnakol
2490:pūrvanga
2467:charanam
2427:Charanam
2361:Thillānā
2355:Thillana
2329:Thillānā
2276:Geethams
2220:Alankāra
2214:Alaṅkāra
2168:, as in
1777:(wave).
1767:Dhrutham
1762:Dhrutham
1608:rāgams.
1508:rāgams.
1414:Ārōhanam
1391:Hindolam
1346:Vishesha
1335:Prayōgam
1329:Prayōgam
1219:, while
1145:rāgam).
1032:Gāndhāra
1026:Gandhara
953:Ugābhōga
919:Viruttam
912:Ugābhōga
906:Ugābhōga
613:Ārōhanam
607:Ārōhanam
418:Glossary
238:Concepts
125:May 2019
2518:Tukkada
2438:pallavi
2413:pallavi
2387:Pallavi
2381:Pallavi
2351:above.
2281:varnams
2246:Geetham
2240:Geetham
2187:rāgam.
2090:onrarai
2066:Desādhi
1844:Onrarai
1754:of the
1586:Tambura
1564:rāgam.
1536:rāgam.
1534:Kurinji
1350:special
1309:Anuvādi
1264:Samvādi
1239:swarams
1178:Mandara
1170:sthāyis
1124:Kaakali
1120:Kaisiki
996:Shadjam
990:Shadjam
982:Swarams
890:Pallavi
815:Kalpana
794:Neraval
783:Niraval
770:Ālāpana
764:Ālāpana
531:tambura
397:Tambura
382:Kanjira
377:Morsing
317:Tillana
307:Kīrtana
164:improve
117:See why
2421:kritis
2396:Kritis
2366:rhythm
2345:, see
2321:Varnam
2300:Varnam
2294:Varnam
2287:kritis
2259:lyrics
2255:melody
2249:means
2229:tālams
2223:means
2208:tālams
2166:Saraḷe
2152:means
2081:eduppu
2010:tālams
1987:tālams
1964:tālams
1941:tālams
1918:tālams
1895:tālams
1872:tālams
1858:Tālams
1824:Eduppu
1820:Graham
1815:Graham
1775:veechu
1725:Khanda
1562:Navroj
1468:if an
1442:Upānga
1432:Upānga
1410:vakram
1404:Vakram
1386:varjya
1374:varjya
1360:Varjya
1348:means
1295:swaram
1293:Vivādi
1287:Vivādi
1254:swaram
1235:Gamaka
1230:Gamaka
1182:Madhya
1166:octave
1162:Sthāyi
1157:Sthāyi
1149:means
1116:Suddha
1092:Suddha
1084:swaram
1060:Suddha
1044:Antara
1012:Suddha
888:and a
855:rāgams
695:chakra
688:Chakra
597:melody
574:Swaram
568:Swaram
549:Sthayi
538:Sthayi
387:Thavil
372:Ghaṭaṃ
357:Violin
332:Melody
297:Varṇaṃ
153:, but
2502:Other
2459:kriti
2342:Kriti
2335:Kriti
2317:Kriti
2150:Avaḷi
1852:tālam
1848:Samam
1836:tālam
1834:of a
1828:start
1805:tālam
1803:of a
1790:tālam
1771:tālam
1756:tālam
1748:tālam
1744:Laghu
1739:Laghu
1729:Misra
1721:Tisra
1713:Nadai
1709:tālam
1707:of a
1693:laghu
1684:tālam
1682:of a
1680:Jathi
1675:Jathi
1574:sruti
1366:janya
1186:Taara
1139:janya
1137:in a
1064:Prati
1036:uddha
886:Tānam
826:Tānam
821:Tānam
776:tālam
757:Tālam
751:Tālam
723:rāgam
721:Janya
714:Janya
642:rāgam
592:rāgam
579:Swara
525:drone
520:tonic
515:Śruti
509:Śruti
393:Drone
302:Kr̥ti
287:Gītaṃ
251:Svara
246:Śruti
2465:and
2339:For
2327:and
2284:and
2251:song
2196:Dāṭu
2113:Kāla
2108:Kāla
2101:Layā
2096:Layā
1840:Onru
1752:jāti
1731:and
1705:Gati
1700:Gati
1604:and
1504:and
1470:anya
1450:anya
1384:are
1380:and
1277:vādi
1258:vādi
1252:Vādi
1246:Vādi
1201:Anga
1196:Anga
1147:Anya
1122:and
1098:and
1062:and
1042:and
1018:and
955:and
945:Tāna
741:anya
706:and
601:mode
585:Rāga
479:Nāda
473:Nāda
341:Veṇu
261:Tāḷa
256:Rāga
81:lang
2484:in
2440:or
2419:or
2394:or
2315:or
2253:or
2156:or
2154:row
2092:).
1822:or
1811:).
1588:to
1548:is
1520:is
1488:is
1464:is
1440:is
1424:or
1388:in
916:or
902:).
792:or
577:or
542:In
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