Dictionary

The most commonly used thalam in Carnatic music. Formally known as Chathusra Jathi Triputa Thalam, it has the pattern Laghu + Dhrutham + Dhrutham = 4+2+2 = 8 beats per cycle.

The fundamental unit of rhythmic time in Carnatic music. Positions and durations of notes are measured in aksharas. One beat contains a number of aksharas determined by the nadai (e.g., 4 aksharas per beat in Chathusra nadai).

A structural subdivision of a thalam cycle. The three angam types — Laghu, Dhrutham, and Anudhrutham — combine to form the seven suladi sapta thalams. Each angam type has a characteristic hand-gesture pattern for keeping time.

The smallest angam type, consisting of a single beat marked by a clap. Represented by the symbol U in thalam notation.

The second section of a composition, following the Pallavi. It develops the melodic theme further and typically moves to a higher pitch range.

A foreign note — a swara not belonging to the ragam being performed. Anya swaras are occasionally used as passing notes for ornamental effect.

The ascending scale of a ragam, listing the swaras from Sa to the upper Sa. Together with the avarohanam, it defines the ragam's melodic framework.

The descending scale of a ragam, listing the swaras from the upper Sa back down. Some ragams use different swaras in ascent and descent (vakra ragams).

One complete cycle of the thalam. All notes in a composition are organized within avartanams. For example, one cycle of Adi thalam (8 beats × 4 aksharas) = 32 aksharas.

A class of thalams with fixed irregular beat groupings, unlike the suladi sapta thalams. Khanda Chapu (2+3) and Misra Chapu (3+2+2) are the two standard chapu thalams.

The final main section of a composition, often the longest. In a kriti, the structure is Pallavi → Anupallavi → Charanam. Some compositions have multiple charanams.

The most common rhythmic subdivision, with 4 aksharas per beat. Solkattu: Tha-ka-dhi-mi. This is the default nadai in most Carnatic compositions.

A section of pure swara passages (without lyrics) that follows the Charanam in some compositions, especially varnams. Showcases the ragam through elaborate melodic patterns.

An angam type consisting of 2 beats, marked by a clap followed by a wave. Represented by the symbol O in thalam notation.

Fast tempo (4× multiplier), quadrupling the aksharas per beat. Used for brisk, energetic passages and the culminating sections of compositions.

Ornamental oscillation or embellishment applied to a swara. Gamakas are essential to ragam identity — the same note in different ragams may have different gamakas.

A technique of shifting the tonic (Sa) to a different swara in a scale, thereby deriving a new ragam from an existing one. Used to explore relationships between ragams.

A note sustained beyond its initial akshara. In notation, the continuation is shown with commas (,) filling the subsequent positions while the note rings.

A derived ragam that takes a subset of swaras from its parent melakarta ragam. A janya may omit swaras (varja) or use zigzag patterns (vakra) in its scale.

Determines the number of beats in a Laghu angam. The five jathi values — Thisra (3), Chathusra (4), Kanda (5), Misra (7), and Sankeerna (9) — create different cycle lengths for the same thalam pattern.

The speed or tempo at which a composition is performed. Three levels exist: Vilambita (slow, 1×), Madhyama (medium, 2×), and Druta (fast, 4×). Higher kalam means more aksharas fit per beat.

A rhythmic subdivision of 5 aksharas per beat. Solkattu: Tha-ka-tha-ki-da. Creates an energetic, asymmetric rhythmic feel.

A Sanskrit numbering system used to encode the melakarta number in the first two syllables of each melakarta ragam's name. This allows deriving the scale from the name alone.

The most common form of Carnatic composition, typically in three sections: Pallavi, Anupallavi, and Charanam. Kritis form the core repertoire of Carnatic concerts.

A variable-length angam type whose beat count is determined by the jathi. Marked by a clap followed by finger counts. Represented by the symbol I in thalam notation.

The middle octave register — the default pitch range. Notes in Madhya sthayi are written without any octave markers.

Medium tempo (2× multiplier), doubling the number of aksharas per beat compared to Vilambita. The most common performing speed for many compositions.

The lower octave register. Notes in Mandra sthayi are written with a dot below the swara letter, indicating they sound one octave lower than Madhya.

One of the 72 parent ragams in the Carnatic system. Each melakarta has exactly 7 swaras in both ascent and descent (sampoorna scale). All other ragams (janyas) derive from these 72.

A swara passage that concludes a section, typically found in varnams. It provides a melodic bridge back to the Pallavi after the Anupallavi.

The number of subdivisions per beat (also called gati). The five nadai values — Thisra (3), Chathusra (4), Kanda (5), Misra (7), and Sankeerna (9) — determine how many aksharas fill each beat.

A horizontal line drawn above notes to indicate they are at a higher speed than the baseline. One overline = 2nd speed (double density), two overlines = 3rd speed (quadruple density).

The opening section of a composition, presenting the main melodic theme. The Pallavi typically contains the composer's signature (mudra) and is repeated after each subsequent section.

A melodic framework that defines which swaras (notes) can be used and how they relate to each other. Each ragam has a unique mood (rasa) and characteristic phrases that distinguish it.

The emotional mood or aesthetic essence of a ragam. Each ragam evokes specific emotions — for example, Kalyani suggests joy and grandeur, while Thodi conveys pathos and devotion.

A simple thalam with the pattern Dhrutham + Laghu. In its common Chathusra jathi form, it has 2+4 = 6 beats per cycle. Widely used in devotional compositions.

The lyrical text of a composition, aligned syllable-by-syllable with the swaras above. Each syllable maps to one or more aksharas in the notation.

A scale that uses all seven swaras. All 72 melakarta ragams are sampoorna in both ascent and descent. Janya ragams may omit swaras (making them shadava, audava, etc.).

A melodic variation of a phrase, progressively elaborating the original line. Compositions are often taught with multiple sangathis that gradually increase in complexity.

Rhythmic syllables used for percussion recitation and practice (e.g., Tha-ka-dhi-mi for Chathusra nadai). Each nadai has its own characteristic syllable pattern.

The density of notes within the rhythmic grid. 1st speed is the baseline, 2nd speed doubles the note density (notes shown with one overline), and 3rd speed quadruples it (two overlines).

The octave register of a note. Three registers exist: Mandra (low, dot below), Madhya (middle, no marker), and Thara (high, dot above).

The seven foundational thalam patterns of Carnatic music: Dhruva, Matya, Rupaka, Jhampa, Triputa, Ata, and Eka. Combined with the five jathis, they produce 35 possible thalams.

An individual musical note. The seven swaras of Carnatic music are Sa (S), Ri (R), Ga (G), Ma (M), Pa (P), Da (D), and Ni (N). Sa and Pa are fixed; the other five have variants.

The specific pitch position of a swara. Most swaras have multiple variants (e.g., R1, R2, R3) representing different pitches. The melakarta system organizes all 16 swara sthanas.

The practice of marking beats with hand gestures during performance. Laghu uses a clap followed by finger counts, Dhrutham uses clap-wave, and Anudhrutham uses a single clap.

The rhythmic framework of a composition, defining the repeating cycle of beats. A thalam is built from angams (Laghu, Dhrutham, Anudhrutham) and kept by hand gestures during performance.

The upper octave register. Notes in Thara sthayi are written with a dot above the swara letter, indicating they sound one octave higher than Madhya.

A rhythmic subdivision of 3 aksharas per beat, creating a triplet feel. Solkattu: Tha-ki-da.

A ragam whose scale includes zigzag or non-linear note sequences rather than a straight ascending/descending pattern. This gives the ragam a distinctive melodic contour.

A foundational composition type used for practice and training. Varnams systematically explore a ragam through structured sections: Pallavi, Anupallavi, Muktayi Swaram, Charanam, and Chittai Swaram.

The slowest tempo, serving as the base speed (1× multiplier). Each beat contains the basic number of aksharas determined by the nadai. Most compositions begin in Vilambita.

A dissonant swara combination. Certain swara pairs (like R1 with G1) create harsh intervals that most ragams avoid, though some vivadi ragams deliberately use them for unique moods.