Compositions
Carnatic music is taught and learned through compositions, which encode many intricate musical details, also providing scope for free improvisation. Nearly every rendition of a Carnatic music composition is different and unique as it embodies elements of the composer's vision, as well as the musician's interpretation.
A Carnatic composition really has two elements, one being the musical element, the other being what is conveyed in the composition. It is probably because of this fact that most Carnatic music compositions are composed for singing. In addition to the rich musical experience, each composition brings out the knowledge and personality of the composer, and hence the words are as important as the musical element itself. This poses a special challenge for the musicians because rendering this music does not involve just playing or singing the correct musical notes; the musicians are expected to understand what was conveyed by the composer in various languages, and sing musical phrases that act to create the effect that was intended by the composer in his/her composition.
There are many types/forms of compositions.
Geethams and swarajatis (which have their own peculiar composition structures) are principally meant to serve as basic learning exercises.
(Compositions more commonly associated with Indian classical dance and Indian devotional music have also been increasingly used in the Carnatic music repertoire. Forms such as the divya prabandham, thevaram and ugabhoga are often performed similarly, however, these forms can also have a set melody and rhythm like the devaranama, javali, padam, thillana and thiruppugazh forms.)
The most common and significant forms in Carnatic music are the varnam and the kriti (or kirtanam).
Varnam
Varnams are short metric pieces which encapsulate the main features and requirements of a raga.
The features and rules of the raga (also known as the sanchaaraas of a raga) include how each note of the raga should be stressed, the scale of the raga, and so on. All varnams consist of lyrics, as well as swara passages, including a pallavi, an anupallavi, muktayi swaras, a charanam, and chittaswaras.(Chittaswaram is a pre-set melodic phrase in Carnatic music that embellishes a musical composition (krithi). These phrases are typically sung after the anupallavi and are repeated after the charanam. While composed by musicians, not the original composer of the krithi, they are an integral and structured part of a composition that enhances its beauty and showcases the raga's contours. )
Known for their complex structure, varnams are a fundamental form in Carnatic music.
Varnams are practised as vocal exercises in multiple speeds by performers of Carnatic music, to help develop voice culture, and maintain proper pitch and control of rhythm. In Carnatic music concerts, varnams are often performed by musicians as the opening item – acting as a warm up for the musicians, and as a means of grabbing the attention of the audience.
Varnams are foundational pieces in Carnatic music combining raga, laya, and sahitya; beginners should start with relatively straightforward ragas and simpler taala patterns. Below is a curated list of starter varnams (both ālāpana/śruti-focused and tālam-oriented), grouped by ease and learning focus, with brief notes on character and typical tempo.
Beginner — easy melodic lines, clear phrases, good for voice production and neraval/kalpana swara practice
- “Viriboni” in Bhairavi (Adi) — classic, slow and meditative muktayi and chittaswaras useful for swara exercises.
- “Sami Ninne” in Kalyani (Adi) — lyrical, bright, excellent for gamaka control and phrase shaping.
- “Sami Ninne” (alternate famous varnam in Kalyani often used) — good for practicing sahitya clarity.
- “Evvari Bodhana” in Sahana (Adi) — gentle, songlike, manageable tempo for beginners.
To set the base for learning Varnams, Please start with learning Mohanam Varnam (Ninnu Kori), This Varnam helps you define a Varnam.
Then, go with Shankarabharanam Varnam( Sami Ninne), Since, you must have learnt Saralai Varsais, Jantai Varsais and NottuSwarams in this raga along with Mayamalavagowla raga, this will strengthen the concept of Varnams very well.
Then go with Abhogi Varnam( Evvari Bhodhana), It might seem challenging at the first, due to the amount of lower sthayai varsais, but it is one Varnam that will strengthen your continuous singing skills as a Varnam is a very huge piece of music.
Then, try Kalyani Varnam( Vana Jakshi) and Vasantha Varnam(Ninne Kori),
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Kriti
Carnatic songs (kritis) are varied in structure and style, but generally consist of three units:
Pallavi. This is the equivalent of a refrain in Western music, with 1 or 2 lines.
Anupallavi. This is the second verse, also as 2 lines.
Charana. The final (and longest) verse that wraps up the song. The Charanam usually borrows patterns from the Anupallavi. There can be multiple charanas.
This kind of song is called a keerthanam or a kriti. There are other possible structures for a kriti, which may in addition include chittaswara. Still others have a verse at the end of the charana, called the madhyamakāla. It is sung immediately after the charana, but at double speed