Editing Carnatic music (section)

==Compositions==
{{Unreferenced section|date=August 2014}} 
In contrast to [[Hindustani classical music|Hindustani music]] of the northern part of India, 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.

''[[Geetham]]s'' and ''[[swarajati]]s'' (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 [[bhakthi|Indian devotional music]] have also been increasingly used in the Carnatic music repertoire. The performance of the [[Sanskrit]] ''[[shloka|sloka]]'', Tamil ''[[viruttam]], Kannada [[Ugabhoga]] and'' Telugu ''padyamu'' or ''sisapadya'' forms are particularly unique. Though these forms consist of lyric-based [[verse (popular music)|verses]], musicians improvise ''[[raga]]'' phrases in free rhythm, like an [[alapana]],<ref name="Higgins1987" /> so both the sound value, and the meaning of the text, guide the musician through elaborate melodic improvisations.<ref name="Higgins1985">{{cite journal  | last = Higgins |first = J. B.
|title = India| journal = Ethnomusicology|volume = 29 | issue = 1 |pages = 162–166  |year = 1985  | doi = 10.2307/852348  | jstor = 852348  | publisher = Society for Ethnomusicology}}</ref> Forms such as the ''[[Divya Prabandha|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 (music)|kriti]]'' (or ''kirtanam'').

===Varnam===
{{Main|Varnam}}

Varnams are short metric pieces which encapsulate the main features and requirements of a ''[[raga]]''.<ref>[[#Nettl2005|Nettl (2005)]], p189</ref> 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.<ref name="autogenerated2">{{cite web|url=http://www.karnatik.com/glossv.shtml|title=Royal Carpet: Glossary of Carnatic Terms V|work=karnatik.com}}</ref> All varnams consist of lyrics,<ref name="Bradnock 1992 p631">[[#Bradnock1992|Bradnock (1992)]], p631</ref> as well as swara passages, including a ''[[pallavi]]'', an ''[[Anupallavi (music)|anupallavi]]'', ''muktayi swaras'', a ''[[charanam]]'', and ''[[chitta swara|chittaswaras]]''.<ref name="autogenerated2" />

Known for their complex structure, varnams are a fundamental form in Carnatic music.<ref name="Bradnock 1992 p631"/> 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,<ref>[[#Gupta2006|Gupta (2006)]], p68</ref> and as a means of grabbing the attention of the audience.<ref name="autogenerated2" />

===Kriti===
{{Main|Kriti (music)}}
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&nbsp;lines.
# [[Anupallavi (music)|Anupallavi]]. This is the second verse, also as 2 lines.
# [[Charanam|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 (music)|kriti]]''. There are other possible structures for a ''kriti'', which may in addition include swara passages named ''chittaswara''. A ''chittaswara'' consists only of notes, and has no words. 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.