glossary of carnatic music

7/25/2019 Glossary of Carnatic Music

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1/8/2016 Glossary of Carnatic music - Wikipedia, the free encyclopedia

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Contents

1 Main terms

1.1 Nda

1.1.1 Anahata Nda

1.1.2 Ahata Nda

1.2 ruti

1.3 Sthayi

1.4 Swaram

1.5 Rgam

1.6 rhanam

1.7 Avarhanam

1.8 Melakart

1.9 Asamprna Melakart

1.10 Chakra

1.11 Janya

1.12 Tlam

1.13 lpana

1.14 Niraval

1.15 Kalpanaswaram

1.16 Tnam

1.17 Rgamlika

1.18 Rgam Tnam Pallavi

1.19 Viruttam

1.20 Mandharma

1.21 Kalpita sangeetam

2 Swarams

2.1 Shadjam

2.2 Rishabham

2.3 Gndhram

2.4 Madhyamam

2.5 Panchamam

2.6 Dhaivatam

2.7 Nishdham

2.8 Anya swaram

Glossary of Carnatic musicFrom Wikipedia, the free encyclopedia

Carnatic musicterms are briefly described in this page. Major terms have their own separate article pages, while minor terms are defined /described here. Most of the keerthanas/kritis used in Carnatic music is based on Telugu language.

The order of terms is from basic to related terms, rather than alphabetic.

Main terms

Nda

darefers to music or musical sound.[1]It also refers to the tone of a musical instrument.[1]

Anahata Nda

Anhata Ndarefers to the naturally occurring sounds (literally not struck).[1]

Ahata Nda

Ahata Ndarefers to generated sounds or sounds made by efforts of man (literally struck).[1]

ruti

rutiis musical pitch. It is considered equivalent to tonic of western music. This is the pitch atwhich the droneis set, which is usually played by a tambura.

Sthayi

In Carnatic music, Sthayirefers to the octave, especially in the Telugu language.Madhyamasthayirefers to the middle octave, Tara sthayirefers to the upper octave andMandra sthayi

refers to the lower octave. [2]

SwaramSwaramor Swarais a single note. Each swaram defines the position of note in relation to theruti.

Rgam

A rgamprescribes a set of rules for building a melody - very similar to the Western concept ofmode. Different combination of swarams and swaram phrases form different rgams.

rhanam

rhanamof 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 thergam.

Avarhanam

Avarhanamof a rgam is the descending scale of the rgam. It describes the rules for singingdescending notes of a rgam.

Melakart

AMelakart rgamis one which has all seven swarams, namely, Sa, Ri, Ga, Ma, Pa, Dha andi(sampoorna rgam). The rhanam and avarhanam of a melakartragam are strictly

ascending and descending scales. It is also known asjanaka rgam(parent rgam), because other

rgams are derived from it.

Asamprna Melakart

One of the 72parent rgamsfirst created by Venkatamakhin which did not have strict rules ofascending / descending scales, did not insist on inclusion of all 7 swaras nor disallow vakra

rayogas(zig zag notes in scale).

Chakra

A chakraconsists of a group of 6Melakart rgams, which differ from each other only in theDhaivathamandNishadham.
https://en.wikipedia.org/wiki/Melakartahttps://en.wikipedia.org/wiki/Avarohanahttps://en.wikipedia.org/wiki/Avarohanahttps://en.wikipedia.org/wiki/Musical_modehttps://en.wikipedia.org/wiki/Carnatic_musichttps://en.wikipedia.org/wiki/N%C4%81dahttp://-/?-http://-/?-http://-/?-http://-/?-http://-/?-https://en.wikipedia.org/wiki/Melakarta#Chakrashttps://en.wikipedia.org/wiki/Venkatamakhinhttps://en.wikipedia.org/wiki/Melakarta_(asampurna_scheme)https://en.wikipedia.org/wiki/Sampoorna_ragahttps://en.wikipedia.org/wiki/Melakartahttps://en.wikipedia.org/wiki/Avarohanahttps://en.wikipedia.org/wiki/Arohanahttps://en.wikipedia.org/wiki/Musical_modehttps://en.wikipedia.org/wiki/Melodyhttps://en.wikipedia.org/wiki/Ragahttps://en.wikipedia.org/wiki/Swarahttps://en.wikipedia.org/wiki/Telugu_languagehttps://en.wikipedia.org/wiki/Sthayihttps://en.wikipedia.org/wiki/Carnatic_musichttps://en.wikipedia.org/wiki/Tanpurahttps://en.wikipedia.org/wiki/Drone_(music)https://en.wikipedia.org/wiki/Tonic_(music)https://en.wikipedia.org/wiki/%C5%9Aruti_(music)https://en.wikipedia.org/wiki/N%C4%81dahttps://en.wikipedia.org/wiki/Carnatic_music


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2.9 Sthi

2.10 Anga

2.11 Gamaka

2.12 Vdi

2.13 Samvdi

2.14 Vivdi

2.15 Anuvdi

3 Janya rgams

3.1 Praygam

3.2 Vishesha Praygam

3.3 Varjya

3.4 Vakram

3.5 Upnga

3.6 Bhshnga

3.7 Nishdhntya

3.8 Dhaivatntya

3.9 Panchamntya

3.10 Madhyama sruti

4 Swaram counts

4.1 Samprna rgam

4.2 Shdava rgam

4.3 Owdava rgam

4.4 Svarantara rgam

5 Tlam components

5.1 Jathi

5.2 Gati

5.3 Laghu5.4 Dhrutham

5.5 Anudhrutham

5.6 vartanam

5.7 Eduppu

6 Tlams

6.1 Rpaka tlam

6.2 Triputa tlam

6.3 Dhruva tlam

6.4 Matya tlam

6.5 Jhampa tlam

6.6 Ata tlam

6.7 Eka tlam

6.8 dhi tlam

Janya

AJanya rgamis one which is derived from aMelakartrgam. It may have (a) a subset of theseven swarams Sa, Ri, Ga, Ma, Pa, Dha and Ni (varjya rgam), (b) an external swaram (anyaswaram) not found in its parent or (c) vakra praygamof swarams in rhanam or Avarhanam(zig-zag sequence of notes, instead of strictly ascending or descending scales).

Tlam

Tlamrefers to the rhythm cycle or beat cycle for a particular song.

lpana

lpanais a preface to a song, which explores the rgam of the song, without any lyrics. It is aslow improvisation with no tlam(rhythm).

Niraval

iravalorNeravalis the repeated singing of one or two lines of a song, with improvisedexposition in each repetition.

Kalpanaswaram

Kalpanaswaramliterally means imagined swarams. It is the singing of swarams of the rgam ofa 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 termKalpana. It is an improvisation of the rgam, by singing the swarams, namelySa, Ri, Ga, Ma, Pa, Dha and Ni.

Tnam

Tnamis rhythmic / rhythm based improvisation of the rgam. It is done with rhythm basedsyllables like tha, nam, thom and na. It is usually included as second part in aRgam Tnam

Pallavi.

Rgamlika

Rgamlika, which literally meansgarland of rgams, is a composition that has different versesset to different rgams.Rgamlikaswarams refers to singing ofKalpanaswaramsin differentrgams.

Rgam Tnam Pallavi

Rgam Tnam Pallaviis a rendition of Carnatic music which lends to total improvisation, indifferent forms. It consists ofRgam lpana(rgam), Tnamand aPallaviline. The pallaviline is sung many times in different speeds, different ranges of the rgam and different octaves.This is usually followed byKalpanaswarams, sometimes in multiple rgams (rgamlika).

ViruttamViruttamis a devotional verse or phrase sung (without talam) in an impromptu choice of rgamor rgamlika usually before a song. The rgam (or last rgam in case of rgamlika) is usuallythe same as that of the song that follows.

Mandharma

andharmais the concept of impromptu or spontaneous improvisation, which is one of theimportant aspects of Carnatic music. There are many types of improvisations, likeRgam

lpana, Thnam,Niraval, ViruttamandKalpanaswaram.

Kalpita sangeetam

Kalpita sangeetamis music that is already composed, learnt and practiced. It is opposite ofanodharma sangeetam, which complementsKalpita 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
http://-/?-http://-/?-http://-/?-https://en.wikipedia.org/wiki/Manodharmahttps://en.wikipedia.org/wiki/Viruttamhttps://en.wikipedia.org/wiki/Ragam_Tanam_Pallavihttps://en.wikipedia.org/wiki/Ragam_Tanam_Pallavihttps://en.wikipedia.org/wiki/Kalpanaswaramhttps://en.wikipedia.org/wiki/Niravalhttps://en.wikipedia.org/wiki/Alapanahttps://en.wikipedia.org/wiki/Tala_(music)https://en.wikipedia.org/wiki/Janya#Varjya_ragashttps://en.wikipedia.org/wiki/Janya


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6.9 Khanda chpu tlam

6.10 Misra chpu tlam

6.11 Desdhi tlam

7 Kala

8 Learning exercises

8.1 Sarali varisai

8.2 Swarvali

8.3 Janta varisai

8.4 Dhttu varisai

8.5 Alankra

9 Types of composition

9.1 Geetham

9.2 Swarajati

9.3 Varnam

9.4 Keerthanam

9.5 Kriti

9.6 Thillana

10 Parts of a composition

10.1 Pallavi

10.2 Anupallavi

10.3 Charanam

10.4 Chittaswaram

10.5 Muktyi swaram

11 Other

11.1 Tani avartanam

11.2 Tukkada

11.3 Avadhana Pallavi12 References

13 External links

The second swaram in the scale isRishabham(Ri). It has three pitch possibilities, namelySuddha, Chathusrutiand Shatsruti.

Gndhram

The third swaram in the scale is Gndhram(Ga). It has three pitch possibilities, namelySuddha, SdhranaandAntara.

Madhyamam

The fourth swaram in the scale isMadhyamam(Ma). It has two pitch possibilities, namelySuddhaandPrati.

Panchamam

The fifth swaram in the scale isPanchamam(Pa). It is invariant.

Dhaivatam

The sixth swaram in the scale isDhaivatam(Dha). It has three pitch possibilities, namelySuddha, Chathusrutiand Shatsruti.

Nishdham

The seventh swaram in the scale isNishdham(Ni). It has three pitch possibilities, namelySuddha,KaisikiandKkali.

Anya swaram

Anya swaramin ajanyargam is a swaram that is not found in its parent rgam (melakartrgam).Anyameans outside the set/ group.

Sthi

Sthirefers to an octaveof music. There are 5sthisin Carnatic music, namely,Anumandra(lowest),Mandra(literally means chant, which means lower),Madhya(literally means middle),

Tara(means higher) andAthitara(meaning very high). Most artists sing over two octaves or twoand a half octaves range (within Mandra, Madhya and Tara sthais). Very few can sing well in

bigger range of 3 or more octaves.

Anga

Angameans part. In the context of a rgam's scale, the termspoorvanga(meaning former part, inthis case first-half) and uttaranga(latter part, or second-half) are used. Sa, Ri, Ga and Manotesin a scale are referred arepoorvanga, whilePa, Dha and Niare referred as uttaranga

Gamaka

Gamakais the term used for variations of theswaramsin a scale. It can refer to the shake of thenote, grace around the note, decoration or embellishment of the swaram. It is an integral part ofmost rgams, as it is not arbitrary but is essential part of the structure/ scale.

Vdi

Vdi swaramin a rgam is the main/ primary swaram of importance in it. A vdiswaram isrepeated quite often in a rendition.

Samvdi

Samvdi swaramin a rgam has a concordant effect with the vdi swaram. It has a good effect to the ear (melody or pleasing) along with thevdi. In western music it is equivalent of the consonant.

Vivdi

Vivdi swaramin a rgam has a discordant effect with the vdi swaramin it. It may not have a pleasing effect when sounded together, butcomposers use appropriate phrases so that such discordant effect is skipped or avoided. In western music it is equivalent of the dissonant.

Anuvdi

Anuvdi swaramin a rgam has neither concordant nor discordant effect with the vdi swaram.

Janya rgams

Praygam
https://en.wikipedia.org/wiki/Vivadihttps://en.wikipedia.org/wiki/Vadi_(music)


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A musical notes phrase of a rgam (series of swarams sung in a particular rgam) is known as Praygam.

Vishesha Praygam

Visheshameansspecial. Hence, important phrases of a rgam are known as Vishesha Praygams.

Varjya

Missing swarams in ajanyargam, when derived from a melakartrgam are referred as varjya. For example,RishabhamandPanchamamare varjyainHindolamwhen derived fromNatabhairavi.

Vakram

Swarams are said to be vakramin a rgam, if either therhanam,Avarhanamor both, do not follow a strictly ascendingor descendingorder. They go up and down (example, 2 steps forward one step back). In such a rgam, these swarams should always use the same order inorder to give the unique melody of the rgam.

Upnga

Ajanya rgamis Upngaif all the swarams in its scale are strictly derived from its melakart rgam(parent). There are no anyaswarams(external swarams).

Bhshnga

Ajanya rgamisBhshngaif an anyaswaram is introduced in its scale, when derived from its melakart rgam(parent).

Nishdhntya

Ajanya rgamisNishdhntyaif the highest note that can be played is theNishdham. The rules for such rgams are that they should beplayed or sung within the single octave -Ni, Sa, Ri, Ga, Ma, Pa, Dha, Ni. Examples areNadanamakriyaandPunngavarlirgams.

Dhaivatntya

Ajanya rgamisDhaivadhntyaif the highest note that can be played is theDhaivatam. The rules for such rgams are that they should beplayed or sung within the single octave -Dha, Ni, Sa, Ri, Ga, Ma, Pa, Dha . ExampleKurinjirgam.

Panchamntya

Ajanya rgamisPanchamntyaif the highest note that can be played is thePanchamam. The rules for such rgams are that they should beplayed or sung within the single octave -Pa, Dha, Ni, Sa, Ri, Ga, Ma, Pa. ExampleNavrojrgam.

Madhyama sruti

Tuning thesruti(tonic note) toMa(and also changingPastring of Tambura toMa) is calledMadhyama sruti. It is usually set forPanchamntya,DhaivadhntyaandNishdhntyargams.

Swaram counts

The following terms are applicable to ascending scale (rhanam) of a rgam, descending scale (avarhanam) of a rgam, or the rgam as awhole.

Samprna rgam

Sampurna rgamis a rgam that has all seven swarams, namely, Sa, Ri, Ga, Ma, Pa, Dha and Ni .

Shdava rgam

Shdava rgamis a rgam that has only six of the seven swarams in its scale.

Owdava rgam

Owdava rgamis a rgam that has only five of the seven swarams in its scale. It is a pentatonic scale.

Svarantara rgam

Svarantara rgamis a rgam that has only four of the seven swarams in its scale.

Tlam components

Jathi

Jathiof a tlamspecifies beat countof the rhythm cycle. It specifically applies to lagucomponent(s) of the tlam and not necessarily to theentire tlam. The different jathis are tisra (three beats in lagu), chathusra (four), khanda (five), misra (seven) and sankeerna (nine).
https://en.wikipedia.org/wiki/Sampoorna_ragahttps://en.wikipedia.org/wiki/Tanpurahttps://en.wikipedia.org/wiki/Natabhairavihttps://en.wikipedia.org/wiki/Hindolam


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Gati

Gatiof a tlamspecifies sub-divisions of a beat in a composition. It is also referred as Nadai. Chathusragati is the most common (four),followed by Tisra(three). Others areKhanda,Misraand Sankeerna.

Laghu

Laghuis the component of a tlamwhich is the variant part. Its beat count is dependent on thejtiof the tlam. The action for countingincludes a tap / clap, followed by a count of sub-beats of the full rhythm cycle. Note that a tisra jti laghu is actually 1 clap and 2 counts = 3

beats.

Dhrutham

Dhruthamis the component of a tlamwhich is invariant and includes only two beats. Its action includes a tap / clap, followed by a veechu(wave).

Anudhrutham

Anudhruthamis the component of a tlamwhich is invariant and includes only one beat. Its action is a tap / clap.

vartanam

vartanamof a tlamrefers to one cycle of the tlam. Most tlams have at least 1 lagu, except for the rare tlams (see tlam page).

Eduppu

Eduppu, from Tamil, meansstart. Eduppu denotes the point within thevartanamof a tlamwhen a composition or stanza in a compositionbegins. Onru(one beat later, meaning second beat), Onrarai(one and half beat later, meaning between 2nd and 3rd beat) are common, otherthan Samam(meaning equal) which starts in synchronization with the beginning of a tlam.

Tlams

Rpaka tlam

Rpaka tlamrefers to the group of tlamsthat consist of 1 dhrutam, followed by 1 lagu. Rpaka tlamalso refers to chathusra-jathi rpaka

tlamas a default (2 + 4 = 6 beats in an vartanam).

Triputa tlam

Triputa tlamrefers to the group of tlamsthat consist of 1 lagu, followed by 2 dhrutams. Triputa tlamalso refers to tisra-jathi triputa tlamas a default (3 + 2 + 2 = 7 beats in an vartanam).

Dhruva tlam

Dhruva tlamrefers to the group of tlamsthat consist of 1 lagu, followed by 1 dhrutam, followed by two lagus. Dhruva tlamalso refers tochathusra-jathi dhruva tlamas a default (4 + 2 + 4 + 4 = 14 beats in an vartanam), unless a different jathi is specified.

Matya tlam

atya tlamrefers to the group of tlamsthat consist of 1 lagu, followed by 1 dhrutam, followed by 1 lagu. Matya tlamalso refers tochathusra-jathi matya tlamas a default (4 + 2 + 4 = 10 beats in an vartanam).

Jhampa tlam

Jhampa tlamrefers to the group of tlamsthat consist of 1 lagu, followed by 1 anudhrutam, followed by 1 dhrutam. Jhampa tlamalso refersto misra-jathi jhampa tlamas a default (7 + 1 + 2 = 10 beats in an vartanam).

Ata tlam

Ata tlamrefers to the group of tlamsthat consist of 2 lagus, followed by 2 dhrutams.Ata tlamalso refers to khanda-jathi ata tlamas adefault (5 + 5 + 2 + 2 = 14 beats in an vartanam).

Eka tlam

Eka tlamrefers to the group of tlamsthat consist of 1 lagu only.Eka tlamalso refers to chathusra-jathi eka tlamas a default (4 beats in anvartanam).

dhi tlam

dhi tlamrefers to chathusra-jathi triputa tlam(4 + 2 + 2 = 8 beats in an vartanam), which is very common in Carnatic music. This is theequivalent of 8 beat / 16 beat of Western music.

Khanda chpu tlam
https://en.wikipedia.org/wiki/Tala_(music)


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Khanda chpurefers to a tlam with 10 beat vartanam (Khanda literally means 5) which does not fit into above classification of tlams.

Misra chpu tlam

isra chpurefers to a tlam with 14 beat vartanam (Misra literally means 7) which does not fit into above classification of tlams.

Desdhi tlam

Desdhirefers to dhi tlamwith (8 beat vartanam), where the eduppuis one and a half beats from beginning of varatanam(onrarai).

KalaKalarefers 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

Sarali varisaiis used to learn the swarams in the octave, usually inMymlavagowlaragam. It is learnt in simple straight ascending anddescending fashion and a few variations. It is also learnt in multiple speeds (kalams).

Swarvali

Avalimeans rowor arrangement. Swarvaliare exercises with different arrangements of swarams. It is shortened and referred as Sarali, as inSarali varisaidescribed above.

Janta varisai

Janta varisaiare 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. Itis also usually learnt inMymlavagowlargam.

Dhttu varisai

Dhttuliterally means jump.Dhttu varisaiare exercises used to learn the swarams in zig-zag fashion, so that more control of the notes anddifferent 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 thatdifferent rhythm aspects are learnt.

Alankra

Alankrameans decoration. These exercises are groups or patterns of swarams, each of which are set to seven main tlams, so that rhythmaspect is also learnt together with different rgams.

Types of composition

Geetham

Geethammeanssongor melody. Geethams are the first songs that are learnt. They are very short and are the first exercises where singinglyricsalong with their swaram patterns are learnt.

Swarajati

Swarajatilead to learning bigger songs / compositions after learning Geethams. They are set to different rgams and lead towards learningvarnamsand kritis.

Varnam

Varnamis a type of composition which is suited for vocal exercises of a wide variety of Carnatic music aspects, including slow and fast tempoof 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

KeerthanamorKritiis the category of most compositions in Carnatic music. A concert consists mainly of Keerthanams with zero or one ofVarnam,Rgam Thnam Pallaviand Thillnincluded in appropriate order.

Kriti

ForKriti, seeKeerthanamabove.

Thillana
http://-/?-http://-/?-http://-/?-http://-/?-https://en.wikipedia.org/wiki/Kritihttps://en.wikipedia.org/wiki/Varnamhttps://en.wikipedia.org/wiki/Kritihttps://en.wikipedia.org/wiki/Varnamhttps://en.wikipedia.org/wiki/Swarajatihttps://en.wikipedia.org/wiki/Geethamhttps://en.wikipedia.org/wiki/Alankarahttps://en.wikipedia.org/wiki/Mayamalavagowla


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Thillnis a composition consisting of rhythmsyllables, likeDheem, thom, tarana and thaaniin first two stanzas, followed by a one or twoline lyric. In instrumental performances, it is a melodic rhythmic piece.

Parts of a composition

Pallavi

Pallaviis the first verse in a composition, especially varanams,KeerthanamsorKritis.

Anupallavi

Anupallaviis an optional verse that follows thepallaviin a composition, especially keerthanamsor kritis.

Charanam

Charanamsare the verse(s) that follow thepallavior anupallavi(if present).

Chittaswaram

Chittaswaramsare set swaram phrases (solfa passages), in a composition, usually a kriti, appended to enrich its beauty. It is sung at the end ofthe anupallaviand charanam.

Muktyi swaramuktyi swaramsare the swaram phrases (solfa passage) that occur after the anupallaviin tna varnamsand which serves as the concluding

part of theprvanga(first part). This is more related to the songs for dance performances, like Bharatanatyam.

Other

Tani avartanam

Tani avartanamrefers to the extended solo that is played by the percussionists in a concert.

Tukkada

Tukkadasare compositions played towards the end of Carnatic concerts.

Avadhana Pallavi

Avadhana Pallaviis a classical form of performing a composition set to two different talas.

References

1. Prof. P Sambamoorthy (2005), South Indian Music - Vol I, Chennai, India: The Indian Music Publishing House, p. 51-622. http://chinmayaswaranjali.org/music_lesson_06.htm

1. A practical course in Carnatic music by Prof. P. Sambamurthy, 15th edition published 1998, The Indian Music publishing house2. Ragas in Carnatic musicby Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications3. Raganidhiby P. Subba Rao, Pub. 1964, The Music Academy of Madras4. South Indian music, Books I, II and III, by Prof. P. Sambamurthy, 18th edition published 2005, The Indian Music publishing house

External links

Online dictionary within Carnatic music handbook from carnatica.net (http://carnatica.net/onlinedictionary/onlinemain.htm)Dictionary of some South Indian Musical terms (http://www.saigan.com/heritage/music/terms.htm)

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