Music

Music Glossary

Arohanam is the ascending scale of notes in a raga.

Aadi Talam is the name of one of the most popular Talam or Rhythms used in Carnatic Music. Its full technical name according to the Carnatic Music’s Talam system is Chaturashra-Jaati Triputa Talam. It has eight aksharas, each being 4 svaras long. Many Kritis and around half of the Varnams are set to this Talam.

Sounds that occur naturally, without any definitive pattern or rhythm are called Anahata Nada. Nature sounds, and ambient noises fall under this category

Sounds that are generated by a conscious effort are known as Ahata Nada.

In Carnatic classical music, Alapana is a form of Manodharmam, or improvisation, that introduces and develops a raga (musical scale). It communicates the permitted notes and phrases of the Raga.

Anya Swaram of a rāgam is the Swaram that does not belong to the Arohana or Avarohana of its Melakarta (parent rāgam), but it is sung in Prayogams (phrases used in raga Alapana, Kalpanaswarams).

Anudhrutam, a single beat, notated ‘U’, a downward clap of the open hand with the palm facing down. Dhrutam, a pattern of two beats, notated ‘O’, a downward clap with the palm facing down followed by a second downward clap with the palm facing up.

‘Avarthanam ‘, refers to one cycle or complete round. Depending on the beats followed, the talas, one complete cycle will have counts of eight or six or other combinations. The artists will be playing at different speeds, adhering to the beats meticulously.

Avarohanam is the sequence of Swaras to be used in descent. The Arohanam and Avarohanam of a raga provide only a skeletal outline upon which the rest of the raga is formed.

Adi talam is the popular name for Chatushra Jaati Triputa talam. To illustrate, the Laghu of adi Talam has four beats (Chatushra) and the pattern is 1-0-0 (Triputa).

Alankara means decoration. These exercises are groups or patterns of Swaras, each of which is set to seven main Talams so that the rhythm aspect is also learned together with different Ragams.

It is usually sung at a higher pitch and adds more beauty to the music. Usually, the Anupallavi is shorter than the Charanam. In Sanskrit ‘anu’ means ‘next’. It literally means ‘next to Pallavi‘

In any raga in Arohana and Avarohana if only 5 notes are used to describe the raga then it is said to be Audava raga. Example: Mohana Ragam.

A Gamaka or decoration of a note which takes the form of going up and down in sequence, as in SRSG, SRSM, SRSP …

The amount of time it takes for 1 akshara or one swara to be performed.

In Carnatic music, the Akshipthika is the first part of the introductory part of the Alapana. It gives an idea about the raga (musical mode) in which the song is going to be sung.

Refers to raagas which take swaras (anya swaras) from raagas other than the parent mElakarta. For example, Saaranga takes a M1 which is not in its parent raga Kalyaani. A Raaga may take up to 3 such Swaras.

Bani means mould but refers to a particular style of playing, characteristic of a pedigree of musicians, similar to the Hindustani gharana.

Bhaava refers to a Raaga or song’s general expression, a collection of mood, tone, and the Gamakas, which create a unique effect. In combination with Prayogas, Sancaarams, and other aspects of Raaga.

The term Chowka is used to denote an extra slow tempo. Chowka Kalam is a similarity between Kala and Laya in Carnatic Music.

Charanam (meaning foot) in Carnatic music is usually the end section of a composition which is sung after the Anupallavi.

Chittaswaras are set swara phrases, in composition, usually, a Kriti, appended to enrich its beauty. It is sung at the end of the Anupallavi and Charanam.

A group of Taalas which traditionally consisted of a beat and a wave. It can be in counts of 3, 5, 7, or 9. The most common is Mishra Caapu (3+4=7 beats, takiTa takadimi), and Khanda Caapu (2+3=5, taka takiTa) is also used occasionally.

Refers to the number 4. Chatusra Jaati is 4 beats in the Laghu.

Another name for a Pada Varnam.

Dhruva Talam refers to the group of Talams that consist of 1 Laghu, followed by 1 Dhrutam, followed by two Laghus.

Desadhi refers to Adhi Talam, where the Eduppu is one and a half beats from the beginning of Avaratanam.

Dhattu (Kannada) literally means jump. Dhattu Varisai is exercises used to learn the Swaras in a zig-zag fashion so that more control of the notes and different combinations are achieved.

Dhrutham is the component of a talam which is invariant and includes only two beats. Its action includes a tap/clap, followed by a wave.

A Janya raga is Dhaivadhantya if the highest note that can be played is the Dhaivatam. The rules for such Ragams are that they should be played or sung within the single octave – Dha, Ni, Sa, Ri, Ga, Ma, Pa, Dha.

Eka talam refers to the group of talams that consist of 1 laghu only.

Eduppu denotes the point within the Avartanam of a Talam when a composition or stanza in a composition begins.

Gamaka is the term used for variations of the Swaras on a scale. It can refer to the shake of the note, grace around the note, decoration, or embellishment of the swara. It is an integral part of most Ragams, as it is not arbitrary but is an essential part of the structure/ scale.

Gati of a talam specifies sub-divisions of a beat in a composition. It is also referred to as Nadai. Chathusra gati is the most common (four), followed by Tisra (three).

Graham or Eduppu( Tamil) means to start.

Geetham means song or melody. Geethams are the first songs that are learned. They are very short and are the first exercises where singing lyrics along with their swara patterns are learned.

Gandhara is the third musical note and has a melodious middle ground to the scale and is pronounced as Ga in both Carnatic and Hindustani Classical Music.

A heavy and important Raaga, in which the Swaroopam is brought out by Taanam (Ghanam) or Madhyama kaalam.

A Rhythmic Pattern or Swaras or words meaning cow’s tail (go=cow), which has a broad beginning and narrows at the end.

The act of shifting the tonic note (sa) to another shruti (another note) in the middle of a song. It is usually done briefly to show the ability of one Raaga to become another by this shift.

The main system of Classical music performed in North India.

The opposite of Nadam, It is a Tamil term for sounds that are not beautiful and are disorderly.

A Tamil term for music, A system with beautiful sounds in an orderly fashion that is pleasant to hear.

Janta Varisai are exercises used to learn the Swaras in the octave in twin fashion and a few other combinations.

 A Janya raga is a Raga, which is said to be born or derived from a Melakarta raga. Hence the names Derivative raga and Secondary raga.

Jathi of a tālam specifies the beat count of the rhythm cycle. It specifically applies to the Laghu component(s) of the tālam and not necessarily to the entire tālam.

Jhampa talam refers to the group of talams that consist of 1 Laghu, followed by 1 Anudhrutam, followed by 1 Dhrutam.

A type of abhyaasa gaanam, similar to a Swarajati, often called a Swara-Pallavi. It has no Saahityam at all, but instead combines Jatis. It is used often in dance.

In Carnatic Music, Kalpanaswaram (also called Swarakalpana,) Manodharmaswara, or simply Swaras), is Melo-rhythmic raga improvisation in a specific tala.

Ancient Tamil term from Silappadigaaram for Gaandhaaram.

Kalpita Sangeetam is music that is already composed, Learned memorized, and practiced.

Kala refers to the change of tempo during a rendition of a song, typically doubling up the speed.

Konnakol is the art of performing percussion syllables vocally.

A pause or sustaining of a note while performing.

A type of Gamaka that involves swinging a note between two others, for example singing ri as sg sg sg… The symbol for Kampita Gamaka is a wavy line over the Swaras.

A Sabhaa gaanam, a Carnatic song, usually of a devotional nature (vaidika gaanam). It has a Sahitya to praise god sometimes connected with Puraanic incidents. The Sahitya is more important in keertanas and it is said to have existed before the kriti.

A Rhythmic phrase of several Taala cycles, usually having a repetition of 3 within it, which may be sung, played, or performed on a percussion instrument.

Kriyaa – meaning action, it is any single movement within an anga, such as a beat or a movement of a finger, or a wave. Thus a khanda jaati laghu will have 5 kriyaas.

Laghu (denoted by I) is a clap of the hand followed by counting of the fingers; these counts could vary from 3 to 4 to 5 to 7 to 9, based on the jatis, i.e. 3=Tishra, 4=Chatusra, 5=Khanda, 7=Mishra, 9=Sankirna.

Laya is the tempo or speed of a song. Carnatic music does not define a fixed laya to songs, but traditionally some songs have been sung fast or slow and hence are categorized that way.

An essential characteristic of a Raaga. There are 13 such Lakshanas for every Raaga.

A type of Geetam that tells about the Raaga in which it is sung, as opposed to Samanya geetam. They are of the type janaka raaga lakshana geetam and janya raaga lakshana geetam,.

The speed or tempo, is another name for tala or rhythm. It has 3 forms, Vilambita (slow), Madhya (medium), and Druta (fast) laya.

Matya Talam refers to the group of Talams that consist of 1 Laghu, followed by 1 Dhrutam, followed by 1 Laghu.

Muktayi Swaras are the swara phrases (Solfa passage) that occur after the Anupallavi in tana Varnams and which serve as the concluding part of the pūrvanga (first part). This is more related to the songs for dance performances, like Bharatanatyam.

Sampoorna ragas as the name suggests are those in which all 7 Swaras are present. They are also called Melakarta ragas. These ragas have all 7 Swaras or [notes] in their scales (only one of each swara, S, R, G, M, P, D, N), following strict ascending and descending scales, and are sung in all octaves.

In Carnatic music, Sthai or Staayi refers to the octave. Madhyama sthai refers to the middle octave, Tara sthai refers to the upper octave and Mandhira sthai refers to the lower octave.

Manodharma is a form of improvised South Indian classical Carnatic music. It is created on the spot during the performance while remaining within the confines of musical grammar, as codified in the raga and/or the tala.

With many songs that are sung throughout the two Indian classical genres, the Madhyam Swara is very important and is also pronounced as Ma, across the musical genres.

A unit for reckoning musical time. The Anudrutam is 1/4 Maattirai, Laghu is 1 Maattirai, and Kaakapaadam is 4 Maattirais.

The 1st speed or Kaala, with 4 Swaras per beat.

A Gamaka which involves humming, as in mmmm…

The regular sound that is created by a physical object through oscillations and vibrations and reaches our ears is called nada. There are two types of Nada-Ahat Nada and Anahat Nada.

The highest point on the pitch scale, this seventh musical note is called the Nishadam Swara and is universally pronounced as Ni in Indian Music.

In Carnatic music, Niraval or Sahitya Vinyasa is the elaboration and improvisation of melody for a particular line. Usually, just one or two lines of text from the song are sung repeatedly, but with improvised elaborations.

A Gamaka that involves swelling a note in volume and roundness, like a crescendo.

Raagas which range only up to the Madhya Staayi Nishaadam, without touching the Taara S.

Same as Staayi, the jump or the range from one note to the same note (same pitch) but sung higher. Thus  (S  R  G  M  P  D  N  S)  is one octave.

Pallavi is the first verse in a composition, especially varnams, Keerthanams or Kritis.

A Janya Ragam is Panchamantya if the highest note that can be played is the Panchamam. The rules for such Ragams are that they should be played or sung within the single octave – P  D   N   S   R   G   M   P .

Padam – a particular type of musical form or composition (Sabhaa Gaanam), meant for dance, that brings out the relationship of Naayaka-Naayaki (Hero and Heroine) as well as tozhi (close friend) to tell important truths.

A Varnam that has rhythmic elements like a padam, meant for Classical Dance. It has Cowka Kaala  Swaras suitable for footwork, and Sahitya for Abhinayam at the Muktaayi Swaras as well as all the Caranas. Performed in Aadi Taala, Roopakam, and others. Also called Cowka Varnam or Aatta Varnam.

In Indian classical music a series of musical notes on which a melody is based and which expresses different moods for different times of the day.

Ragam Tanam Pallavi is a rendition of Carnatic music that lends to total improvisation, in different forms.

Ragamalika, which literally means garland of Ragams, is a composition that has different verses set to different Ragams.

As the second Swara, It is one pitch higher than S and is pronounced as R in Carnatic music.

Rūpaka Talam refers to the group of Talams that consist of 1 Dhrutam, followed by 1 Laghu.

Rasa – a feeling or emotion portrayed by a raga or song. Bhakti rasa (devotion), karuNaa rasa (kindness), veera rasa (braveness), and Shringaara rasa (love) are the most common. Some ragas and songs have more than one rasa.

The Shruti or Sruti is the smallest interval of pitch that the human ear can detect and a singer or musical instrument can produce.

Sthayi is a term that is used to describe the Carnatic equivalent of the term ‘Octave’ in Western music. It refers to the pitch the person is going to sing at, according to which the tone of the accompanying instrument is adjusted as well.

Swaram is a single musical note. Each musical note that is sung in a certain way defines the position of that note in relation to the Sruti.

It is the first Swara and the base of the pitch foundation in Indian music. The singer begins their singing with this note usually.

There are some Janya Ragas that have 6 musical notes or Swaras that ascend and descend in a steady sequence – these are called Shadava Ragas.

Swarajati is a form of Carnatic Music, Which is helpful before learning a Varnam. It has a Pallavi, sometimes an Anupallavi, and at least one Charanam. The themes of Swarajathis are usually either Bhakthi, love, or courage.

Talam refers to the rhythm cycle or beats cycle for a particular song.

Tanam is a rhythmic / rhythm-based improvisation of the Ragam. It is done with rhythm-based syllables like tha, nam, thom, and na.

Thillana is a composition consisting of rhythm syllables, like Dheem, thom, tarana, and thaani in the first two stanzas, followed by a one or two-line lyric. In instrumental performances, it is a melodic rhythmic piece.

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

A Janya Ragam is Upanga if all the Swaras in its scale are strictly derived from its melakarta Ragam (parent)

Vakra Ragas are visually similar to a zig-zag pattern when elaborated.