Carnatic music, known as Karnāṭaka saṃgīta or Karnāṭaka saṅgītam in the South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala and Tamil Nadu, and Sri Lanka. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda. The other subgenre being Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style.
The Pancharatna kritis are a set of five kritis (songs) in Carnatic classical music, composed by the 18th-century Indian composer Tyagaraja. All the kritis, as is the case with almost all of Tyagaraja's compositions, are penned in Telugu, except the first one, which is composed in Sanskrit. The songs are: "Jagadananda karaka", "Dudukugala Nanne", "Sadhinchene", "Kanakana Ruchira" and "Endaro Mahanubhavulu".
Hanumatodi, more popularly known as Todi, is a rāgam in Carnatic music. It is the 8th melakarta rāgam in the 72 melakarta rāgam system. This is sung very often in concerts. It is a difficult rāgam to perform in owing to its complexity in prayoga. It is called Janatodi in Muthuswami Dikshitar school of Carnatic music. Its Western equivalent is the Phrygian mode. Todi in Carnatic music is different from Todi (thaat) of Hindustani music. The equivalent of the Hindustani raga Todi in Carnatic music is Shubhapantuvarali. The equivalent of Carnatic Todi in Hindustani is Bhairavi thaat in terms of notes, but the two sound very different due to differing uses of gamakas.
Charanam in Carnatic music is usually the end section of a composition which is sung after the anupallavi.
A Tillana or thillana is a rhythmic piece in Carnatic music that is generally performed at the end of a concert and widely used in classical indian dance performances. It was popularised by Dr. M Balamuralikrishna and some other musicians A Tillana uses tala-like phrases in the pallavi and anupallavi, and lyrics in the charanam.
Anandabhairavi or Ananda Bhairavi is a very old melodious rāgam of Carnatic music. This rāgam also used in Indian traditional and regional musics. Ānandam (Sanskrit) means happiness and the rāgam brings a happy mood to the listener.
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. Every Carnatic concert has one or many music pieces that showcases the singer's prowess and intellect in the form of Manodharma sangeetham. Often the centerpiece of a Carnatic concert will explore all the five types of manodharma. It serves as an important and integral aspect of Carnatic music.
Ragam Tanam Pallavi (RTP) is a form of singing in Carnatic music which allows the musicians to improvise to a great extent. It is one of the most complete aspects of Indian classical music, demonstrating the entire gamut of talents and the depth of knowledge of the musician. It incorporates raga alapana, tanam, niraval, and kalpanaswara. In more elaborate ragam tanam pallavis, a tani avartanam may follow.
In Carnatic Music, Kalpanaswaram, is melo-rhythmic raga improvisation in a specific tala. As part of swarakalpana, the musician delivers increasingly complex, improvised sequences in the Indian music solfege within or towards the end of a composition. Swarakalpana is integral to the Pallavi portion of a Ragam Thanam Pallavi and typically follows the neraval. It is also common for seasoned artists to perform swarakalpana during recitals of various other kritis.
Geetam, (Sanskrit: गीतम्; gītaṃ) the simplest music form in Carnatic music, was created by Purandara Dasa in order to introduce talas with sāhityaṃ (lyrics).
Swarajati is a form in Carnatic music, which is helpful before learning a varnam. It has pallavi, sometimes an anupallavi, and at least one charanam. The themes of swarajathis are usually either bhakthi, love or courage. It is a composition which usually has a pleasing melody and are suitable for singing in early lessons, musical concerts and dance concerts. The most popular and the oldest known Swarajathi is in Huseni raga, hau re raa bhagaya in Telugu by Melattur Veerabhadrayya. Swarajatis have been composed in numerous raagas - Bilahari, Hamsadhwani, Kalyani, Janjuti, Kamas, etc.
Bhairavi is a janya rāgam in Carnatic music. Though it is a sampoorna rāgam, it has two different dhaivathams in its scale making it a Bhashanga Ragam, and hence is not classified as a melakarta rāgam.
Kharaharapriya is a rāga in Carnatic music. It is the 22nd melakarta rāga in the 72 melakarta rāga system. It is possible that the name of the ragam was originally Harapriya but it was changed to conform to the Katapayadi formula. Kharaharapriya has a distinct melody and brings out the Karuna rasam, invoking pathos in the listeners. The Kafi thaat of Hindustani music is the equivalent of Kharaharapriya. Its Western equivalent is the Dorian mode.
Carnatic music terms are briefly described in this page. Major terms have their own separate article pages, while minor terms are defined / described here.
Ramapriya is a rāgam in Carnatic music. It is the 52nd melakarta rāgam in the 72 melakarta scale system of Carnatic music. It is called Ramāmanōhari in Muthuswami Dikshitar school of Carnatic music.
Shadvidamargini is a ragam in Carnatic music. It is the 46th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Stavarājam in Muthuswami Dikshitar school of Carnatic music.
Saveri is a Carnatic music ragam. This raga is a janya of the 15th Melakarta raga Mayamalavagowla. This raga brings out karuna rasa, i.e. it brings mood of compassion.
Amr̥tavarṣiṇi is a rāgam in Carnatic music, created in the early nineteenth century by Muthuswami Dikshitar. It is an audava rāgam in which only five of the seven swaras are used. It is a janya rāgam, fairly popular in Carnatic music. There is a belief that Amr̥tavarṣiṇi causes rain, and that the Carnatic composer Muthuswami Dikshitar brought rain at Ettayapuram, Tamil Nadu, India by singing his composition, Aanandaamrutakarshini amrutavarshini.
Niroshta is a rāgam in Carnatic music. It is a pentatonic scale. It is a derived scale, as it does not have all the seven swaras.
Darbar is a ragam in Carnatic music. The raga is a comparatively recent entry to Carnatic Music, possibly in the earlier part of the 18th century.
