
Search:
(clear)
- abbreviation for kural (1)abbreviation for kural kaikilai
- Achalaswara
- Adhbutha
- ādhi
- Ādhithya
- ādhityathe 12th and last chakra, with melakartas that have M2, R3, and G3, comprising numbers 67 to 72
- Afternoon rāgaA rāga to be performed in the afternoon between 1pm - 4pm such as mukhāri or begaḍa.
- AgniIt means both Fire and the God of Fire. It is the 3rd chakra, with Ma1, Ri1 and Dha3, comprising meḷakarthās 13-18.
- Āhatham
- AhobalaThe seventeenth century author of the treatise Sangītha Pārijātha. He was the first one to calibrate the value of swaras in terms of the lengths of stretched strings.
- ĀkāraUsing the vowel 'aaa'... to sing rāga or a musical phrase instead of words or swaras. One may also use vowels like eee, ooo, ayyy, aii, ohhh, etc. Ākāram is usually indicated by dots, ex: kā...mā...kṣhi...
- Akāra-SādhhakamVocal practice, employing only the sound 'aaa'. This is done as part of the voice-culture exercises and results in richness of tone, timbre, clarity and strength of the voice.
- Akṣhara
- Akṣharakāla
- Alaṅkāram(1) - meaning a beautiful arrangement of swaras, it used to be a term for gamaka in the times of Bharatha (from AḍukkuAṇi) (2) - refers to the sapthaalaṅkārams, where the students are introduced for the first time to intricate thālas (SulādhiSapthathālas) and exercises in three speeds in(...)
- ĀlāpanaOne of the forms in manodhharma sangītha wherein a beautiful picture of the rāga free of rhythm is created by the performer in different octaves, starting from slow phrases to faster phrases gradually building the climax. Phrases used while rendering are Aa, Ee, Thanna, Thadharinna etc.
- AlārippuA dance style, which uses solkaṭṭu swaras - it is a beginning piece, often the first taught to dance students. It allows for expert gestures and intricate footwork coordinated in a strict manner in a fast-paced performance. Typically, the songs have no actual words, only solkaṭṭus.
- Alpanyāsa
- AlpathvamOne of the 13 lakṣhaṇas of a rāga.
- AltoThe second highest voice in Western harmony.
- AmśhamOne of the 13 characteristics (lakshaṇas) of a rāga.
- AnāgathaA viṣhama graham in which the music begins after the start of the thāḷa. For EgMāJānaki – Kāmbhoji- Thyāgarāja ;Marugelara – Jayanthashri - Thyāgarāja
- AnāhathaNādha
- ĀnandhaMeaning "peace" or "ultimate happiness," this is also sometimes used in singing of thānam.
- Āndhoḷana
- AntharagāndhāramThe highest of the 3 types of Ga - Ga3. It corresponds to E natural of the Western key of C.
- Antharamārgam
- Antiphony
- AnubandhaThe final and concluding section of an Ālāpanā.
- AnubhavaExperience
- AnudhruthamA type of thāḷa movement which is a single beat of the hand on the thigh. Its symbol is U. Considered a small (anu=small) dhrutham, it is equivalent to 1 akshara.
- Anumandhrasthāyi
- Anunādha
- AnupallaviUsually the second section of a song, after the pallavi and before the charaṇam, often of 2 lines. After this, the pallavi is repeated. Since anu means small, this is like a small pallavi. Generally it is believed that the idea which is introduced in the pallavi is elaborated more concretely(...)
- Anuswara
- Anuvādhi
- Anya
- ApanyāsamOne of the 13 lakṣhaṇas of arāga.
- Apaswara
- ApūrvarāgasRāgas which are uncommon or rare.
- Apūrvathāḷa
- ĀrathiA song or ritual performed with a flame and/or turmeric to drive away evil spirits. Ārathi songs are usually in maṅgaḷa rāgas
- Archika
- Ardhhakampitha rāga
- Āroha
- AṣhtapadhiLiterally "eight steps," this is a musical form, a type of sabhāgānam, also used in dance. Each has eight stanzas, plus one. The most famous is by Jayadheva and composed in devotion to Kriṣhṇa.
- Athikruthrathamamārgam
- AthimelivuIt is the same as anumandhrasthhāyi. (this nomenclature is used in the Dravidian or Thamizh tradition)
- AthīthaA viṣhamagraha in which the music starts before the beginning of the thāḷa (Also spelt as ateeta) For eg :Ninnuvinā – Poorvikalyāni – ShyāmaShāstri ; ChedebudhiMānura – Attāna - Thyāgarāja
- AthithārasthāyiThe octave above the thārasthāyi (two octaves above the middle octave), indicated by 2 dots above the note
- AthivalivuIt is the same as athithārasthāyi (this nomenclature is used in the Dravidian or Thamizh tradition)
- Aṭṭa
- AṭṭathāḷavarṇamA varṇam set iṇ aṭṭa thāḷa which usually has the same structures of other varṇams for example the pallavi, anupallavi and mukthāyiswara in the poorvānga or first half and the charaṇam and chittaswaras in the utharāngam. The edduppu in most starts at the ring finger. This may be due to the fact(...)
- ĀṭṭavarṇamAnother name for a padha varṇam
- AuḍavaMeaning 5, this indicates rāgas which use only 5 notes instead of 7 in either the ascending or descending scale (or both), leaving out 2 notes. Mohana is an auḍava-auḍava rāga because it uses only Sa Ri Ga Pa and Dha going both up and down.
- AuḍavamOne of the 13 lakshaṇas of a rāga dealing with whether it is an auḍava rāga in either the ascending or descending scale.
- Avanāddha VādyaPercussion Instruments covered with stretched skin, e.g. Mridangam.
- Avaroha
- ĀvarthanaOne cycle/bar of the particular rhythmic meter or thāḷa. For example, in ādhi thāḷa in madhya laya (medium tempo), one āvarthanam is 8 beats. Two āvarthanas are 16, etc.
- baanibAni means mould, but refers to a particular style of playing, characteristic of a pedigree of musicians, similar to the Hindustani gharana
- banathe 5th cakra, with melakartas that contain M1, R2, and G3, comprising numbers 25-30
- bassthe lowest voice in Western harmony
- bhaashaanga
- bhaashaanga kanDamthe 3rd section of a raagaanga raaga lakshaNa geetam, in which the names of the bhaashaanga raagas of the melakarta in which the geetam is sung are given in the saahitya
- bhaavabhaava 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, it allows two raagas to be distinct even when they have the same swaras in their scales, ex:(...)
- bhagutvamone of the 13 lakshaNas of a raaga
- bhajana devotional song, often sung in groups and in religious settings.
- bhakti
- bhayanakaa rasa, or feeling, of fear in songs or raagas, shown in raagas such as punnaagavaraaLi
- bhu
- bibatsa- a rasa, or feeling, of disgust in songs or raagas, shown in raagas such as aThaaNaa
- brahmathe 9th cakra, with melakartas having M2, R1 and G3, comprising numbers 49-54
- briga
- caapua 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. When no number is specified it is mishra caapu
- cakra
- caraNamliterally meaning "foot," it is the root of the song (which is like a tree). This is the end section of a song, sung after the pallavi and anupallavi. A song may have multiple caraNas. In songs which have no anupallavi, there is often a samaashTi caraNa, which combines the two
- caraNam swarasanother name for citta swaras in a varnam
- Carnaticpronounced kar-naa-tik, it is the South Indian form of classical music
- catshrutimeaning the little shruti, this is lower than satshruti but higher than shudda types of ri and da.
- catshruti dhaivatamthis is D2, the second of the 3 types of da. It corresponds to A natural of the Western key of C.
- catshruti rishabamthis is R2, the second of the 3 types of ri. It corresponds to D natural of the Western key of C.
- catush kalai
- catusra
- centsa unit of relative frequency, used to show relative pitches of notes
- chaayaanother name for the swaroopam of a raaga, but which describes the general sound or look of a raaga (its character)
- chaayaalaga
- chromatic scale
- citra maargama taaLa path which uses 8 swaras or 2 maattirais
- citratama maargam
- citratara maargam
- citta pallavi
- citta swaraa section of swaras set in taaLa sung after the anupallavi before singing the pallavi and again after the caraNam. In a varnam, many citta swaras are sung only after the caraNam, usually with the form that the 1st and 2nd take 1 aavartanam, the 3rd and 4th take 2, and the 5th take 4 (also(...)
- comma
- cowka kaalaa slow speed or kaala
- cowka varnamanother name for a pada varnam
- da (1)abbreviation in singing, same as dhaivatam
- da (2)an abbreviation for shuddha dhaivatam (D1)
- daaTu
- daaTu varisaia series of phrases for singing and playing for early music practice, which uses daaTu (taaTu) gamaka style swara combinations, in a jumping or non regular fashion. It is also called taanDu varisai
- daivika kOmalia divine Joker, who supposedly sings the kONangi Daru
- dakshina maargam
- Damaru yatia type of rhythmic pattern of swaras or words resembling a Damaru, a type of drum that is narrow in the middle and wide at the ends. It is a combination of srotovaaha and gOpucca yati. ex: sndp-ndp-dp-p-dp-ndp-sndp, or srgrsrsrgm (matya taaLa)
- dana
- dani
- danu
- Darusame as Daruvu
- Daruvua particular type of musical form (sabhaa gaanam), which relates a historical or puranic incident or ancient story, expressing love or the greatness of a generous person. It is often in madhyama kaalam, with pallavi, anupallavi (not always), and more than on caraNam, with a mixture of jatis.(...)
- dasavida gamaka10 forms of gamaka, listed here
- deergha
- dEshaadi
- dEsya (1)a raaga whose swaroopam is brought out by just aalaapanai, for example kaanaDaa, hameer kalyaaNi, hindustaani behaag
- dEsya (2)raagas that were brought to South India from North India, for example paras, maanD, jhinjoTi, and shenjuruTTi
- dhaivataantya
- dhaivatamthe 6th note, equivalent to la of Western do re mi syllables. It occurs in 3 types: shuddha dhaivatam, catshruti dhaivatam, and satshruti dhaivatam, which correspond to G#, A, and Bb respectively in the Western key of C
- dhruva
- dian abbreviation for catshruti dhaivatam (D2)
- dini
- dinu
- disithe 10th cakra, which uses M2, R2 and G2, comprising melas 55-60
- Divine Artmusic is often referred to by this term because it is considered linked to God
- divya prabhandama musical form, a type of sabhaa gaanam, see nalayira divya prabhandam
- do
- dOlakama gamaka, same as aandOLam
- dotdots are used in notation. A dot over a swara indicates it should be sung in the next higher octave (taara staayi), 2 dots indicate an even higher octave (ati taara staayi), a dot below indicates the lower octave (mandra staayi), and 2 dots below indicate the even lower octave (anu mandra(...)
- druta layaa fast, quick speed or tempo
- drutama taaLa movement which includes a beat and a wave (or a beat with the palm and a beat with the back of the hand), counting for 2 beats
- duan abbreviation for shatshruti dhaivatam (D3)
- dunu
- durbalaswaras that are not good to lengthen or dwell upon in a raaga, for example ga in aarabi
- durita kaalathis is the 2nd speed or kaala, which can hold half the number of swaras of the same speed as in 1st kaala if the taaLa is changed. Since the taaLa is held constant within a song, when one changes from madhyama kaala to durita kaala, double the number of swaras will be sung because they are(...)
- dwi kalai
- dwitiya pancaka raagaa type of ghana raaga, including raagas such as kEdaaram, naaraayaNa gowLa, saaranga naaTTai, bowLi, and reeti gowLa
- early morningghanakaala raagas meant to be sung in the early morning before sunrise (4-6 am), such as bhoopaaLam and bowLi
- eDupputhe place in a taaLa from which a song or a line or phrase from a song is begun. Songs may take sama eDuppu, starting at the beginning of the cycle, or (vishama graham) start a few swara counts (usually 2, 4, or 6) before (atita) or after (anaagata) the start of the taaLa cycle. A comma ,(...)
- Eka
- Eka kalai
- equal temperament
- ettukaaDi pallavi
- ettukaaDi swarasanother name for the cittai swaras of a varnam
- evening raagaa ghanakaala raaga suitable for singing at the end of the day in the evening (4-7 pm), such as shhanmugapriyaa, kalyaaNi, aananda bhairavi, vasantaa, naaTTai kurinji, and poorvi kalyaaNi
- Ezhisaia term for god as the incarnation of sounds, as is often considered
- fa
- fiftha jump from one note to the fifth note above it (8 half steps, inclusive). sa to pa is a perfect fifth, as is C to G
- first speed
- flat
- forenoonraagas meant to be sung before noon, from 9am up to noon, including such raagas as asaavEri, saavEri, and dEva manOhari
- fourth speed
- ga (1)- an abbreviation of gaandhaaram
- ga (2)abbreviation for shuddha gaandhaaram (G1)
- gaandhaaram
- gamaka
- gati
- geetaman abhyaasa musical form or "song" considered the simplest musical form, created by Purandara Daasa in order to introduce taaLas in combination with lyrics. Geetams have no absolutely defined divisions of pallavi, anupallavi or caraNam though these may be observed in many cases. Geetams last(...)
- ghana pancaka raagasone type of ghana raaga (as opposed to dwitiya pancaka raagas), which is heavy and elaborate. It has five members: naaTTai, gowLa, aarabi, shree, and varaaLi. These 5 raagas are often used in pancaratna kritis
- ghana raaga
- ghanakaalaraagas meant to be sung at a particular time of day. Each raaga is associated with at least one time of day (some are sarvakaalika - any time). The times are early morning (4-6am), morning after sunrise (6-9am), forenoon (9am-12pm), midday (noon-1pm), afternoon (1-4pm), evening (4-7pm), and(...)
- ghanamanother term for taanam
- gharaanaliterally "house," this is the house of the musician-teacher and his style of performing, in Hindustani music
- giabbreviation for saadhaaraNa gaandhaaram (G2)
- gOpart of the mela mnemonic, a word to represent the 3rd combination of danu (D1 and N3) in the 3rd melakarta in any cakra
- gOpucca yatia rhythmic pattern or swaras or words meaning cow's tail (go=cow), which has a broad beginning and narrows at the end. For example: pera bhayam, abhayam, bhayam
- graha bEdam
- graha swaras
- graham
- guabbreviation for antara gaandhaaram (G3)
- guru (1)this is a taaLa movement which has the symbol 8 and has eight beats. It is formed by a beat of four counts and a wave of the hand for 4 counts (or by a sarpini, making a looping eight with the hand horizontally)
- guru (2)a teacher of music or any other learning
- gurukula vaasam
- half-stepin Western music, the smallest distance from one note to the next (for example, on the piano), or the distance from one swarastaana to the next. s to r1, r1 to r2, m1 to m2, etc. are all half-steps. Two half-steps are equivalent to a whole-step. Half steps in Western notes are, for example,(...)
- hampitama rarely-used gamaka which uses the sound hoom (oo as in good) repeatedly
- harmonic minorin Western classical, a scale that is equal to the minor scale but that the 7th note is increase by a half-step in both the ascending scale and descending scale. This converts N2 to N3, making this scale equivalent to gowri manOhari
- harmony
- hasyaa rasa, or feeling, of laughter in a song or raaga, seen in raagas such as mOhanam, kEdaaram, and hamsadwani
- hecu staayi varisaiphrases for practice singing up to the taara staayi pa
- Hindithe primary language of India. Few Carnatic songs are in this language
- Hindustaanithe main system of Classical music performed in North India
- ili
- indu
- iraical
- irangu niral
- iraTTai kOvai varisaianother term for janTa varisai
- iraTTai kuralanother term for taara sa
- iravu paNNin the PaNN system, an evening raaga
- isai
- jaaru
- jaati
- jaavalia musical form (sabhaa gaanam), a type of song that is usually a love story with the characters naayaki (heroine), naayaka (hero), and tOzhi (close friend) and performed as classical dance (bharatanaaTyam). The compositions are often lively in madhyama kaala, expressing love through colloquial(...)
- jakkini Darua Daruvu or song where the first part of the saahityam is full of jatis and THEN the words are given. It also contains madhyama kaala prayOgams. Sometimes apoorva taaLams like guru jhampa are used
- janaka raaga
- janaka raaga lakshaNa geetama lakshana geetam in a melakarta raaga, which can tell about the swaras of the raaga and the janyas of the raaga in the saahitya. It was previously known as raagaana raaga lakshaNa geetam (which has 3 parts, see raagaanga raaga lakshaNa geetam)
- janTa varisaia series of musical phrases for early musical practice, in which swaras are sung in pairs, ex: ss rr gg mm pp dd nn SS. Also called iraTTai kOvai varisai
- janya
- janya raaga lakshaNa geetama lakshaNa geetam in a janya raaga, which tells about the swaras of the raaga and the melakarta from which the raaga is derived in the saahitya
- jatia phrase used in place of swaras or words (alongside them), usually such as dheem, takita, taam, tOm, often used in tillaanaas and dance-related songs
- jatiswarama 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. Some jatiswarams are in cowka kaalam or are raagamaalikas
- jeevaswaras that are vital to a raaga (give it life). For saavEri the jeeva swaras are ri, ma, and da
- jhampa
- just intonation
- kaakali nishaadam
- kaakapaadama taaLa movement of 16 beats, with a beat (4 counts), a wave upward (4 counts), a wave to the left (4 counts), and a wave to the right (4 counts). Its symbol is + and it is equivalent to 4 maattirais
- kaalathis refers to the speed at which a song or portion of a song (or swaras) is performed. For singing in 1st speed, there can be 1 note per beat in practice (4 notes in concerts and when singing kritis). In second speed, there are 2 notes per beat in music practice and 8 in concerts, in 3rd(...)
- kaarvaia pause or sustaining of a note while performing
- kadinavathe first line in the katapayaadi formula, which has 9 letters ka kha ga gha nga ca cha ja jha nya
- kaikilai
- kaisiki nishaadamthe second ni of 3, N2, which corresponds to Bb (B flat) in the Western key of C.
- kalai
- kalpana sangeetam
- kalpanaa swaramthe part of a performance or song when swaras are improvised to fit the taaLa and return to the pallavi or first part of another section of the song. It is usually done at the end of a song, but may also be done in the middle. The main performer and non-percussion accompanists take turns doing(...)
- kalpita sangeetammusic that is written in notation or generally fixed in how it should be performed (as opposed to kalpana sangeetam). Created music instead of creative music
- kampa vihina raagaa raaga with no swaras that have kampita gamakam (opposite of sarva swara gamaka vaarika raaga). Examples are katanakutoohalam and sindu raamakriyaa
- kanamanother name for kshanam
- kanDama section or part of a raagaanga raaga lakshaNa geetam (also see khaNDika)
- KannaDaa South Indian language spoken especially in the state of KarnaaTaka. Many South Indian songs are in this language
- KarnaaTaka
- karnaaTaka sampradaayam
- karpanai isaianother term for manOdharma sangeetam, or creative music
- karpanai swarasanother name for kalpanaa swaram
- kartaraagam- same as mElakarta
- karuNaaa rasa (or feeling) of kindness and generosity in a song or raaga, found in the raagas sahaanaa, naadanaamakriyaa, and kaanaDaa
- katapayaadi
- kaTTaithe pitch at which a performer performs. A kaTTai of 5, for example, is G in Western notation
- keertanaa sabhaa gaanam, a Carnatic song, usually of a devotional nature (vaidika gaanam). It has a saahitya to praise god or beg pardon, sometimes connected with puraanic incidents. The saahitya is more important in keertanas and it is said to have existed before the kriti. It has a pallavi, may or(...)
- keezh staayithe mandra staayi
- keezh staayi varisaisame as takku staayi varisai
- khaNDa
- khaNDa caapu
- khaNDika- the division of a song into sections such as pallavi, anupallavi and caraNam. Each section may be called a khaNDika
- kOlaaTTa Darua Daruvu that is a song sung during the time of dance
- kONangi Darua Daruvu that is a song supposed to be sung by a daivika kOmali (a divine Joker)
- koodal
- kOrvaia 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
- kOvai
- kOvai varisai
- Krishnaan incarnation of Lord Vishnu (preserver of the universe), known as a cowherd, beautiful flautist, a great King of Dwaaraka, and for his mischief around the gopis, his many female admirers
- kritia type of sabhaa gaanam, one of the most important types of songs with broad scope for neraval, kalpanaa swaras. They have a pallavi, anupallavi and at least 1 caraNam (or may have a samaashTi caraNa) with the same or different swara patterns in the caraNas. They can be either about God or(...)
- kriyaa
- ku
- ku-taabbreviation for kural taram
- ku-tuabbreviation for kural tutam
- ku-uabbreviation for kural uzhai
- ku-viabbreviation for kural vilari
- kural (1)
- kural (2)an ancient Tamil term from Silappadigaaram for notes that are of lower pitch (such as shuddha notes)
- kural kaikilai
- kural taram
- kural tutam
- kural uzhai
- kural vilari
- kutcErithe name for any Carnatic concert
- la
- laghu
- lakshaNaan essential characteristic of a raaga. There are 13 such lakshaNas for every raaga (see triOdasa lakshaNa)
- lakshaNa geetama type of geetam which 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
- lasya
- laya
- linessometimes lines are placed over swaras or words to indicate that they should be performed faster. A single line doubles the speed of the swaras, and a double line quadruples the speed of the swaras. (see also vertical line)
- ma (1)an abbreviation for madhyamam
- ma (2)
- maargammeaning path, there are 6 ways to render taaLa correctly (the shanmaargams): dakshina, vartika and citra maargams, used only in pallavi, and citratara, citratama and aticitratama maargams used in kritis. One of the 13 lakshaNas of a raaga
- maataa
- maattirai- a unit for reckoning musical time. The anudrutam is 1/4 maattirai, laghu is 1 maattirai, and kaakapaadam is 4 maattirais
- madhya layamedium speed or tempo
- madhya staayithe middle octave (as opposed to the lower or higher ones), also known as sama mandilam. This is the octave in which most of a performance will take place. Madhya staayi swaras usually have no dots accompanying them, and are often lowercase
- madhyaadi
- madhyama kaala- the 1st speed or kaala, with 4 swaras per beat
- madhyama shruti
- madhyamaantya
- madhyamam
- maguDa saahityawords for the maguDa swara
- maguDa swara
- major diatonic scale
- major scale
- MalayaaLama South Indian language, spoken especially in the Indian state Kerala. Some compositions are written in MalayaaLam
- mandilam
- mandra staayi
- mandramone of the 13 lakshaNas of a raaga
- mangaLaa raaga suitable for singing invocations and benedictory verses (aarati, mangaLam), such as sowraashTram, shuruTTi, madyamaavati, or yadukula kaambhOji
- mangaLama song that is an invocation to the gods thanking them for a good concert and to remove the evil eye and any bad karma caused by improper singing of raagas (for example, singing a morning raaga at an evening concert, etc.). It is sung at the end of a concert
- MaNipravaaLam
- manOdharma sangeetamliterally creative music (also kalpana sangeetam), as opposed to created (kalpita) music. It is created by the artist instantaneously on stage without precise preparation beforehand. There are 5 types of this creative, improvisational music (usually improvised during the performance, requiring(...)
- matya
- mEla(or mElam) abbreviation for mElakarta
- mela mnemonic
- mElakartaa main raaga, consisting of all seven notes in order in both the descending and ascending scales. There are 72 such raagas. To qualify as a mElakarta, a raaga must have all 7 swaras ascending and descending, they must be in the regular order, they must be of the same type (swarastaana)(...)
- melivu mandila varisaisame as takku staayi varisai, varisais to get to the mandra staayi pa
- melivu mandilamancient Tamil for mandra staayi
- melodic minorin Western music, the minor scale with the 6th and 7th notes shifted upwards by a half-step (one swarastaana) in the ascending scale only. This gives a scale with the aarOha of the mela varuNapriyaa and the avarOha of kharaharapriyaa
- melody
- mElstaayi varisaisame as hecu staayi varisai
- men's shrutiusually a man's shruti is at a pitch of 1 to 1 1/2 (equivalent to C or C# in Western notation)
- mi
- midday raagaa raaga suitable for performing in the middle of the day (around noon to 1 pm), such as madyamaavati, maNirangu, or shree raaga
- minor scalethe second most common scale in Western music, it is the equivalent of kharaharapriyaa raaga. It corresponds to the major scale by shift of sa downwards by 2 notes (4 swarastaanas, sa to d2), or a minor third. It is also called the Aeolian mode of the major scale
- minor third
- mishra
- mishra caapua taaLa of 7 beats, 3 plus 4, with the sound taka takiTa, formed by two quick beats (2) with the back of the hand, a pause (1) and then two slow beats (2 + 2)
- mishritamusing a mixture of different types of gamakas
- modea Western classical concept, in which at least one of the 7 notes of the major scale is changed (raised or lowered) to create a new scale. In this way, different scales can be formed, creating a subset of scales similar to raagas. There are many modes. The Aeolian mode of the major scale gives(...)
- moorcanaakaaraka
- moorcanaia gamaka that involves using the proper shaking required in the raaga that is being performed
- morning raagaa raaga suitable for performing in the morning (6-9 am) after sunrise (after the early morning raagas), such as bilahari, kEdaaram, or dhanyaasi
- mridanga yati- opposite of Damaru yati, this is a rhythmic pattern of swaras or words which is narrow at the ends and wide in the middle (a combination of srotovaaha and gOpucca yatis). ex: pdn-mpdn-gmpdn-mpdn-pdn
- mudal naDai
- mudra
- mudritama gamaka which involves humming, as in mmmm...
- muktaanga kampita raagas
- muktaayi swaraa section of swaras sung after the pallavi and anupallavi of a varnam
- munnar baagamfrom Silappadigaaram, an ancient Tamil word for poorvaangam
- Murugan
- music
- musical force
- na
- naabhitam
- Naada Brahmam
- naadam
- naDai
- nalayira divya prabhandama type of sabhaa gaanam which is a collection of 4000 hymns composed by 12 Vaishnava saints (Pogai Alwar, Bhutatalwar, Peialwar, Perialwar, Tirumazhisai Alwar, Tirupanalwar, Tirumangai Alwar, TinDaradipodi Alwar, Nammalwar, Madurakavi Alwar, KulasEkara Alwar, and AaNDaaL and compiled by(...)
- NaTaraaja
- natural minorsame as the minor scale
- navagrahameaning 9 planets, the navagraha kritis are 9 songs, each composed on a different planet. The most famous are by Dikshitar
- naya
- neravalsinging a single line or phrase from a song with varying tunes. This is usually done in the middle of a song, taking a particular phrase and expanding it, while still keeping the words split properly. It may also be performed in various raagas as a raagamaalika
- nEtrathe second cakra, which has 6 melakartas that contain M1, R1 and G2, numbered 7-12
- ni (1)abbreviation for nishaadam
- ni (2)abbreviation for kaisiki nishaadam (N2)
- ni-kaiabbreviation for nirai kaikilai
- ni-taabbreviation for nirai taram
- ni-tuabbreviation for nirai taram
- ni-uabbreviation for nirai uzhai
- ni-viabbreviation for nirai vilari
- night raagaa raaga meant to be sung only at night time, from 7-10 pm. This includes raagas such as neelaambari and kEdaara gowLa
- nirairefers to a higher pitch of swaras relative to one another, an ancient Tamil term from Silappadigaaram
- nirai kaikilai
- nirai taram
- nirai tutam
- nirai uzhai
- nirai vilari
- nishaadaantya
- nishaadam
- nissabdaas opposed to sasabda, these taaLa movements make sounds (beats, for example the anudrutam). It is found in sapta taaLas
- nonvivaaDi32 melakartas are not vivaaDi
- note
- notes
- nuabbreviation for kaakali nishaadam (N3)
- nyaasa
- nyaasamone of the 13 lakshaNas of a raaga that describes what nyaasa swaras the raaga has
- octave
- oliTamil word for sound
- one-fourth eDuppu
- one-half eDuppu
- pa (1)an abbreviation for pancamam
- pa (2)part of the mela mnemonic, a word to represent the 1st combination of dana (D1 and N1) in the 1st melakarta in any cakra
- paanaa MalayaaLam poetic style written in couplets
- pada varnama varnam that has rhythmic elements like a padam, meant for classical dance. It has cowka kaala (some madhyama kaala) swaras suitable for footwork, and saahitya for abhinayam at the muktaayi swaras as well as all the caraNas. Performed in aadi taaLa, roopakam and others. Also called cowka(...)
- padajati varnama varnam which contains some jatis in it, often meant for classical dance
- padama 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. The words are written through the mouth of the naayaka, naayaki or tOzhi,(...)
- padipancathe 3rd line in the katapayaadi formula, with 5 letters, pa pha ba bha ma
- pagal paNN
- pallavi (1)meaning sprout or bud (or leaf) in the comparison of a song with a tree, it is usually the first section of a song, which may be repeated again after the anupallavi and caraNas. It is usually short (1-2 lines)
- pallavi (2)
- pancamaantyaraagas whose scales range only up to madhyastaayipancamam, without touching da, ni, or taarasa. It also refers to raagas such as naadataarangini, which have scales like spmrgrs - Spndpmgrs that return to the madhyastaayisa
- pancamam
- pancamashruti
- pancaratnameans 5 gems, referring to 5 songs set in ghanaraagas, they are 5 songs on a specific subject or deity. The most famous pancaratnakritis are by Tyaagaraaja
- PaNNthe forerunner of raaga, before the split of Hindustani and Carnatic raaga. It consisted of audava, shaadava and sampoorna types with bhaashaanga types as well (with anyaswaras). Formerly there were 103, with 23 used in TEvaram
- paNNirunilamancient Tamil name for swarastaana
- paNNiruveeDuancient Tamil name for swarastaana
- perfect fifthsee fifth
- perfect thirdsee third
- pinnarbaagamancient Tamil name from Silappadigaaram for poorvaangam
- plutama taaLa movement which has 12 beats, a beat, then a wave to the left and a wave to the right. Its symbol is ^8.
- podupaNN
- poorvaangam (1)the first four swaras S R G M of the octave (as opposed to uttaraangam 1)
- poorvaangam (2)the combined set of pallavi, anupallavi and muktaayiswaras in a varnam
- poorvamelakartasthe 36 melakartas (1-36) that use shuddhamadhyamam, the shuddhamadhyamammelakartas
- prastaaram- meaning spreading out, it is a splitting of an anga into all of its possible component parts. For example, catusralaghu can be split the following ways: 1. | 2. U0 + U 3. 0 + 0 4. 0 + U + U 5. U + U0 6. U + 0 + U 7. U + U + 0 8. U + U + U + U
- pratimadhyamamthe higher ma, M2, used in the second 36 melakartas and their janyas, which corresponds to F# of the Western key of C
- pratimadhyamammelakartasthe uttaramelakartas
- pratyaavatam
- pravEshikaDarua Daruvu that is sung for introducing the actors and actresses of a musical play at the very beginning
- prayOgaa particular phrase that is characteristic of a raaga. It helps show the uniqueness of the raaga when performed and may also contain anyaswaras not present in the raaga scales
- pushpaanjaliliterally an offering of flowers, it is a traditional dance or song that is used as an offering, invocation, and welcome to the lord (usually Ganesha), gurus/teachers, and the audience. Flowers are offered and the performers begin the concert
- raabbreviation for shuddha rishabam (R1)
- raaga (1)a particular type of Indian scale, containing a defined combination of swaras (especially which is pleasant to hear). It is very similar to the Western concept of mode (see mode) - a set of notes with defined relationships with one another. For example, the Western major scale is equivalent to(...)
- raaga gnaanam
- raagaanga raaga lakshaNa geetama previous name for the janaka raaga lakshaNa geetam, which had 3 parts, a sutra kanDam in which the letters of the swarastaanas are placed in order in the saahitya, an upaanga kanDam in which the names of upaanga janya raagas of the melakarta are given, and a bhaashaanga kanDam in which the(...)
- raagam taanam pallaviabbreviated RTP, this is a piece in which raaga (2) is sung, followed by taanam, then singing of the pallavi or a song, followed by neraval and karpanai swaras. RTP is the only form that uses all 5 types of manOdharma sangeetam
- raagamaalikaliterally "garland of raagas," this is a composition in which different sections are performed in different raagas. Improvisations such as neraval, taanam, and kalpana swaram may also be done in multiple raagas. It may have pallavi, anupallavi, caraNam, citta swara in the same raaga as the(...)
- raagamaalika varnama varnam in which each section (pallavi, anupallavi, muktaayi swaram, caraNam, and each of the citta swaras) is in a different raaga. They can be taana varnams or pada varnams
- raagamudrathe signature name or other name of a raaga, which may be given in the saahitya of a song or section of a song in that raaga
- raagataaLamaalikaa sabhaa gaanam musical form in which each part is in a different raaga AND a different taaLa. The saahitya gives both the raagamudra and the taaLamudra. It is a difficult composition, and the most well known is Raamaswaamy Dikshitar's 108 raagataaLamaalika
- rakti
- rangethe number of swaras or octaves a singer or instrument can cover. A singer should be able to reach easily from the mandra staayi pa to the taara staayi pa, while instruments like the violin can easily be performed for 2 1/2 octaves (mandra staayi sa to taara staayi pa)
- ranjaka prayOgasprayOgas or phrases that bring out the melody and beauty of a raaga
- rasa
- rasikasomeone who appreciates (music), an audience member
- re
- ri (1)an abbreviation for rishabam
- ri (2)abbreviation for catshruti rishabam (R2)
- rishabam
- rishithe 7th cakra, containing melakartas with M1, R1, and G1, numbered 37-42
- roopaka
- rowdraa rasa, or feeling, of anger portrayed in a song or raaga. Raagas such as aThaaNaa and aarabi can show anger
- ruabbreviation for shatshruti rishabam (R3)
- rudrathe 11th cakra, containing melakartas with M2, R2, and G3, numbered 61-66
- rututhe 6th cakra, containing melakartas with M1, R3, and G3, numbered 31-36
- saan abbreviation of shadjam
- saadhaaraNameaning normal, this refers to the "ordinary" version of a raaga or a swara, especially gaandhaaram
- saadhaaraNa gaandhaaramthe second of 3 ga's (G2), which corresponds to E-flat (D#) in the Western key of C
- saadhaaraNa geetamsame as sancaari geetam
- saahityathe lyrics of a song (as opposed to the notes or swaras of the tune)
- sabhaa gaanammusical forms for concerts, includingvarnam (a link to abhyaasa gaanam), kritis, keertanais, tEvaram, tiruppugazh, divya prabhandam, tiruaruTpa, tirukkuraL, padam, jaavali, tillaanaa, raagamaalika, taarangam, ashTapadi, Daruvu, and pallavi
- sama eDuppubeginning a song (words, swaras, etc.) at the samam, at the first beat of the taaLa, as opposed to vishama graham
- sama grahamsame as sama eDuppu
- sama mandilamanother name for madhya staayi
- sama yati
- samaashTi caraNaa caraNa (last section of the song) combined with the anupallavi. It may have slow and faster speed sections, and is performed after the pallavi in the absence of an anupallavi
- samamthe first beat of the taaLa cycle (irrespective of where the song begins)
- samanya geetamsame as sancaari geetam
- sampoornaraagas having a full complement of swaras (sa ri ga ma pa da and ni in both ascending and descending scales) without any absent
- sampoorna raagaanother name for a mElakarta raaga
- sampradaayamtradition or the way things have been done in the past
- samudaaya kritikritis or songs composed in a group on a particular subject or deity, such as pancaratna kritis
- samvada Daru
- sancaaramsame as sancaari
- sancaari
- sancaari geetama geetam that uses sancaaris in mandra staayi poorvaangam or taara staayi uttaraangam. Also called saadhaaraNa or samanya geetam. This type of geetam has simple lyrics
- sangatia particular variation of a phrase in a kriti or song with slight or large changes in tune and gamakas. Each phrase maybe repeated with different variations or sangatis
- sankeerna raagas
- Sanskritan ancient language of India, which is usually used only in songs, prayers (slokas), and scriptures. Many composers have composed in Sanskrit
- sanyaasamone of the 13 lakshaNas of a raaga. Sanyaasam means asceticism
- saptameaning 7
- sapta alankaarams
- sapta taaLas
- sarali varisaia series of phrases that begin with the low swaras and move upwards, allowing students in the early phases of learning to match their swarastaanas and learn music. These are phrases such as, sr sr sr gm sr gm pd ns. Also known as a swaraavali
- Saraswati
- sarva kaalika raagasraagas that can be performed at any time of day, such as bhairavi, kaambhOji, shankaraabharaNam, and kalyaaNi
- sarva swara gamaka vaarika raagathese are raagas in which any note can be oscillated, even if all notes need not be oscillated. Thus, in kalyaaNi, any note can be oscillated, but G MUST be oscillated to give the feeling of the raaga. Also known as muktaanga kampita raagas, ex: mOhanam and tODi
- sasabda
- scale of equal temperamentthe scale used in Western music, where notes are exactly equally spaced with even intervals (for example, a piano) and played with little variation. The values of notes (in shankaraabharaNam or the major scale in cents are: s 0, r 200, g 400, m 500, p 700, d 900, n 1100, S 1200
- scale of just intonationthe scale used in Indian classical music, where notes are not equally spaced but are slightly offset (for example, violin), performed with variations and gamakas. The values of notes (in shankaraabharaNam or the major scale in cents are: s 0, r 204, g 386, m 498, p 702, d 906, n 1088, S 1200.(...)
- second speedthe 2nd kaala, usually using 2 swaras per beat when 1st speed uses only 1 (in early musical practice). However, if 1st speed uses 4 swaras per beat, for example, 2nd speed will use 8. In concerts, the 2nd speed usually uses 8 swaras per beat
- seianother name for a janya raaga
- semicolona semicolon indicates the equivalent of two commas, so that it is one-half eDuppu or two additional aksharakaalas. Thus if srgm becomes s;m then sa is first one count but in the second phrase it takes 3 counts
- sha
- shaadava
- shaadavamone of the 13 lakshaNas of a raaga, to describe whether the raaga is a shaadava raaga
- shaanta
- shadangams
- shadjam
- shanmaargamsthe 6 maargams (see maargam)
- sharpin Western music, a note that is a half-step (one swarastaana) higher, indicated by the symbol #. Thus B# is equal to C. Opposite of flat
- shatshruti
- shatshruti dhaivatamthe highest of 3 da's (D3), which corresponds to B-flat (A#) in the Western key of C
- shatshruti rishabamthe highest of 3 ri's (R3), which corresponds to E-flat (D#) in the Western key of C
- shishyaa student, one who learns (see guru)
- Shivagod of destruction, whose dance shakes the heavens. Also known as NaTaraaja
- shOdasangamsthe 16 angas formed by adding the viramam anga to the 6 existing angas
- shringaaraa rasa, or feeling, of romantic love or compassion in a song or raaga. Raagas such as asaavEri, bhairavi, husEni, kaanaDaa, kalyaaNi, kamaas, sahaanaa, and shuruTTi show shringaara rasa
- shrOtovaaha yatia river-like rhythmic pattern of swaras or words that is narrow at one end and widens, the opposite of gOpucca yati. For example, in the phrase dn-pdn-mpdn-gmpdn-rgmpdn-srgmpdn
- shruti (1)
- shruti (2)in tune, for example "always be sure you are singing in shruti"
- shruti bEdamthe same as graha bEdam, but not necessarily involving only the tonic note. Shruti bEdam may also involve shift of another note in the scale of a raaga to create a different one
- shruti box
- shruti maata laya pita
- shuddhameaning pure or good, this is a term used in raaga names and also in the first (lowest) forms or rishabam, gaandhaaram, madhyamam, and dhaivatam
- shuddha dhaivatamthe lowest of 3 da's (D1), which corresponds to G# (A-flat) in the Western key of C
- shuddha gaandhaaramthe lowest of 3 ga's (G1), which corresponds to E natural in the Western key of C
- shuddha madhyama melakartasthe 36 lower (1-36) melakartas with M1, also known as poorva melakartas
- shuddha madhyamamthe lower of 2 ma's (M1), used in the first 36 melakartas, which corresponds to F natural in the Western key of C
- shuddha raagas
- shuddha rishabamthe lowest of 3 ri's (R1), which corresponds to C# (D-flat) in the Western key of C
- Silappadigaaram
- sleshadouble-meaning or pun, sometimes used by composers to lend multiple meanings to the same line of a song
- slOkaa prayer or portion of a scripture used as prayer, often set to tune. It may also be sung as a raagamaalika
- sothe fifth note, a perfect fifth from do, in the major scale and the do re mi system in Western music
- solkaTTu(also sollukaTTu) literally spoken-sounds, these are sometimes called jatis. They are sounds intended to imitate percussion, such as the sounds of the mridangam. Common sounds are tAm, ta ki Ta, tOm, dhIm, tatanu, tarikiTa, janu, and dhirana, among others. Sometimes they are combined with(...)
- solkaTTu swara(see solkaTTu) singing of swaras without the swaraksharas but instead with jatis such as taam, dheem, tOm, etc., as often used in tillaanaas
- sopranothe highest voice in the Western system of harmony
- spuritama gamaka which uses repeated notes, in twos, for example ss rr gg mm pp dd nn SS. Musical force from the first note is given to the next note for emphasis
- srithe combination da-ni, or D1 and N2, found in the 2nd of 6 raagas in all 12 cakras (12 raagas out of the 72 melakartas)
- staayi
- suladi(from suda, an Indian word for geeta) a composition very much like the Bhagavad Gita in musical structure and arrangement. However, it is a taaLamalika, each section being in a different talas. Each section is independent by itself. As a result, the pallavi usually is not sung at the end.
- suladi geetamsimilar to a geetam, it can be a taaLamaalika, with each kanDam or section in a different raaga or it can be sung as a devotional song. It is often taught after alankaarams in many languages
- suladi sapta taaLassapta means 7, so these are 5 times 7 = 35 taaLas, created from the 7 major taaLa types by incorporating the different possible laghus (see intro to taaLa for more information). Also known as sapta alankaarams
- suraagaa good raaga, which removes the evil eye and wards off bad karma to the performers and audience for performance of raagas at other than the specified times (ex, singing a morning raaga at an evening concert), as well as for any other improper deeds during the concert. Suraagas such as(...)
- sutra kanDam
- swaagata Darua Daruvu that is a song where a person speaks to himself (a soliloquy)
- swara (1)
- swara (2)see kalpanaa swaram
- swara (3)
- swara namesthese are 16 even though there are only 12 swarastaanas, because 4 of the swaras (the vivaaDi ones) overlap in their pitch at times with others of the 12, and thus are distinct
- swara saahitya
- swara-pallavisame as jatiswaram
- swaraakshara
- swaraantaraa raaga having only 4 swaras in either or both of the scales (ascending, descending) ex, srgpS Snmgs is a swaraantara-swaraantara raaga. A swaraantara scale is missing 3 swaras, and this is the smallest possible size of a raaga (smaller ones are very difficult to sing and are not usually pleasing)
- swaraavaliavali means line or order, so this is a line of swaras, a regular set of swaras, also known as a varisai such as sarali varisai or kOvai varisai
- swarajatian abhyaasa musical form, which is helpful before learning varnam. It has pallavi, sometimes an anupallavi, and at least one caraNam. The themes are on bhakti, love, and courage. It is composition which usually has a pleasing melody and can be suitable for singing both in early lessons and in(...)
- swarastaanathe particular frequency of a swara in a given raaga. It is also the development of the seven swaras into their varieties, giving 12 swarastaanas (which have 16 names). Performers must make sure their swarastaanas are precise to ensure that the raaga is correctly elaborated
- swaroopamthe form or spirit of a raaga, related to the caaya
- taaLathe beat set for a particular composition (a measure of time). taaLas have cycles of a defined number of beats and rarely change within a song. taaLas have specific components, which in combinations can give rise to the variety of taaLas that exist (over 108), allowing different compositions(...)
- taaLam
- taaLamaalikaa type of sabhaa gaanam, a garland of taaLas, a composition in which each section is performed in a different taaLa. The taaLamudra of each taaLam is found in the saahityam of a taaLamaalika. It is also used in manOdharma sangeetam especially in pallavi. TiruvOtriyoor Tyaagaiyyar is said to(...)
- taaLamudra
- taana varnama varnam, named as such for it's taanam-like rhythmic qualities. It has saahitya only for the pallavi, anupallavi and caraNam. It is practiced in 2 to 3 speeds in aadi and sometimes other taaLas, often used in beginning training but also sung in concerts
- taanamthe second section in a raagam taanam pallavi in which the raaga is elaborated rhythmically (traditionally without rhythmic accompaniment) using the word "aananta." Taanam may be performed as a raagamaalika as well.
- taaNDava
- taanDavam
- taanDu varisaisame as daaTu varisai, so named because taanDu means to play, and one jumps during play, so these swaras jump around as if in play
- taara sa
- taara staayi
- taaramone of the 13 lakshaNas of a raaga, which indicates its ability to reach higher octaves
- taarangama type of sabhaa gaanam, a musical form
- taaTu varisaisame as daaTu varisai
- taaysame as a melakarta
- tadinavathe second (ta) line in the katapayaadi formula, which has 9 letters, Ta Tha Da Dha Na ta tha da dha na
- takku staayi
- takku staayi varisaiphrases (varisais) to practice in reaching the low mandra staayi pa
- tamburaan instrument used as a drone to set the pitch for a performance. Its (often) 4 strings are tuned to the mandra staayi pa, middle sa, middle sa, and taara sa
- Tamil
- tani aavartanamliterally a separate taaLa cycle, which is a section of a concert when the percussion instruments perform alone, without melodic accompaniment. If more than one percussion instrument is present, they first perform long solos then come together in beat and alternate to create intricate rhythms.(...)
- taramancient Tamil term from Silappadigaaram for nishaadam Telugu - a language of South India, particularly the state of Andhra Pradesh. Composers such as Tyaagaraajaa composed primarily in this beautiful language, and so there are many compositions in Telugu
- tenor
- tEvaram
- thirdin Western music, the jump from one note to another 5 half-steps away (covering 5 swarastaanas). For example, C to E, or in Carnatic, s to g3. Also called a perfect third (as opposed to a minor third)
- third speed3rd kaala, which typically uses 4 swaras per beat in musical practice. If the first speed uses 4 swaras per beat (as in concerts and kritis), the third speed becomes 16 swaras per beat in relation
- three-fourths eDuppusymbolized by ;, it is a gap of 3/4 beat before beginning the song (or starting the song 3/4 beat before the sama)
- ti
- tillaanaaa type of sabhaa gaanam, a musical form or composition that uses jatis (such as dheem, takiTa, taam, jham) as rhythmic phrases instead of words. It is composed to create a sense of enthusiasm and joy (the meaning of tillaanaa), and said to have originated from another composition called(...)
- tiral
- tiruaruTpaa musical form, a type of sabhaa gaanam
- tirukkuraLa musical form, a type of sabhaa gaanam
- tiruppugazha type of sabhaa gaanam, a musical form. One of the most famous is by Arunaagirinaatar which introduces many taaLas of the 108 taaLa system
- tishra
- tribhinnam
- triOdasa lakshaNas
- tripuccam
- tripuTa
- tutam
- upaanga
- upaanga kanDamthe 2nd section of a raagaanga raaga lakshaNa geetam, in which the names of the upaanga raagas of the melakarta in which the geetam is sung are given in the saahitya
- upapallavi
- uttara melakartas
- uttara pratiuttara Darua Daruvu that is a song containing a conversation between two people
- uttaraangam (1)the last four swaras of the ascending scale, P D N S as a group (as opposed to poorvaangam)
- uttaraangam (2)
- uyar kural
- uzhai
- vaaDisame as nonvivaaDi, these the original 12 swarastaanas and not the 4 vivaaDi swaras
- vaaDi mela
- vaasuthe 8th cakra, with melakartas containing M2, R1, and G2, comprising numbers 43-48
- vaggeyakaaraa composer of music or lyricist
- vaidika gaanama sacred (devotional) musical form, having some aspect of bhakti (devotion), including kritis, tEvaram, divya prabhandam, tiruppugazh, tiruaruTpa, and kaavaDi cindu
- vainikaan artist who plays the veena instrument (see Instruments
- vajra
- vakra
- valivuanother term for taara staayi
- valivu mandila varisaianother term for hecu staayi varisai, which practices singing up to the taara staayi pa
- varisaia type of abhyaasa gaanam, a regular set up of swaras in a line or order (also swaraavaLi)
- varnamone of the most important pieces, often the last in the early training period of music. Varnam is the link of abhyaasa and sabhaa gaanam. It gives the important sancaarams of the raaga and is good for practice. It is a composition with given swaras set up in the following form: pallavi,(...)
- varnanai Daru
- vartika maargama taaLa path that uses 16 swaras or 4 maattirais
- vEdathe 4th cakra, with melakartas containing M1, R2, and G2, comprising numbers 19-24
- veeraa rasa, or feeling, or braveness or courage portrayed in a song or by a raaga. Raagas such as bilahari, dEvagaandhaari, hamsadwani, and bEgaDa portray courage
- vertical linea vertical line usually divides sections of a phrase by parts of a taaLa, by separating the angas or sections. A double vertical line indicates the end of the phrase and of the aavartanam (taaLa cycle)
- vilambita kaalaa slower kaala (speed), compared to madhyama kaala, which is 1/2 kaala. In a taaLa taken slower than madhyama kaala by half, this speed uses 8 swaras where previously only 4 could fit. When the taaLa is constant, however, vilambita kaala can only accomodate 1 swara per beat when madhyama kaala(...)
- vilambita layaa slow speed or tempo
- vilari
- vilOmaa caapu taaLa which is like mishra caapu in having 7 beats but which has reversed order of 4 + 3. It is not often used
- vilOma citta swaracitta swara in the raagamaalika which is reversed
- vinyaasamone of the 13 lakshaNas of a raaga
- viramamanother anga, which allows combining of 2 angas, for example U and 0 are written with U above O as below: U 0 This gives another 10 angas, for a total of 16 (the shOdasangams, from anudrutam to kaakapaadam)
- virutama type of musical form that praises a god or goddess, usually sung before a song or separately. It is very devotional and is sung without taaLam
- visarjitama wave of the hand (as in the second part of the drutam)
- vishama grahamthe eDuppu that is NOT sama eDuppu, but can be either before or after the taaLa begins (atita or anaagata)
- vishama yatia yati in which the angas can be without definite order, ex: |(4) U |(4) 0 U I(4) 0
- vivaaDimeaning inimical, this refers to the unpleasantness of the swaras because two types of the same swara come close together. VivaaDi swaras are the 4 swaras other than the original 12 swarastaanas that make a total of 16 swarastaanas. These are shatsruti rishabam (R3), shuddha gaandhaaram (G1),(...)
- vivaaDi melas
- whole-step
- women's shrutiwomen usually sing at a pitch of about 4 1/2 to 5 (F# to G in Western notation)
- yadiashTathe fourth (and last) line of letters in the katapayaadi formula, with 8 letters, ya ra la va sha shha sa ha
- yati
- yEru nirala Tamil term for aarOha
- yiabbreviation for ili