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A little theory.
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Guides for curious listeners, practising musicians, and anyone finding their way into the music.

Field notes / 01 Traditional
Indian
Music.Begin with Carnatic music

01 / Traditional Indian Music

Carnatic music.

Carnatic music operates on a highly structured matrix of melody, rhythm, and form. This guide introduces the 72 Melakarta ragams, the 7 Suladi Sapta talams and their variations, and a repertoire that grows from first exercises to concert improvisation.

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01 / The melodic framework

72 ragams.
Twelve families.

The Melakarta system groups 72 parent ragams into 12 chakras, each containing six ragams. These parent scales use all seven swaras in both ascent (arohanam) and descent (avarohanam).

M1

Suddha Madhyamam

Chakras 1–6 · Ragams 1–36

01Indu1–6
  1. Kanakangi
  2. Ratnangi
  3. Ganamurthi
  4. Vanaspati
  5. Manavati
  6. Tanarupi
02Netra7–12
  1. Senavati
  2. Hanumatodi
  3. Dhenuka
  4. Natakapriya
  5. Kokilapriya
  6. Rupavati
03Agni13–18
  1. Gayakapriya
  2. Vakulabharanam
  3. Mayamalavagowla
  4. Chakravakam
  5. Suryakantam
  6. Hatakambari
04Veda19–24
  1. Jhankaradhvani
  2. Natabhairavi
  3. Keeravani
  4. Kharaharapriya
  5. Gowrimanohari
  6. Varunapriya
05Bana25–30
  1. Mararanjani
  2. Charukesi
  3. Sarasangi
  4. Harikambhoji
  5. Dheerasankarabharanam
  6. Naganandini
06Rutu31–36
  1. Yagapriya
  2. Ragavardhani
  3. Gangeyabhushani
  4. Vagadheeswari
  5. Shoolini
  6. Chalanata
M2

Prati Madhyamam

Chakras 7–12 · Ragams 37–72

07Rishi37–42
  1. Salagam
  2. Jalarnavam
  3. Jhalavarali
  4. Navaneetam
  5. Pavani
  6. Raghupriya
08Vasu43–48
  1. Gavambhodhi
  2. Bhavapriya
  3. Shubhapantuvarali
  4. Shadvidamargini
  5. Suvarnangi
  6. Divyamani
09Brahma49–54
  1. Dhavalambari
  2. Namanarayani
  3. Kamavardhani
  4. Ramapriya
  5. Gamanashrama
  6. Vishwambhari
10Disa55–60
  1. Shamalangi
  2. Shanmukhapriya
  3. Simhendramadhyamam
  4. Hemavati
  5. Dharmavati
  6. Neetimathi
11Rudra61–66
  1. Kantamani
  2. Rishabhapriya
  3. Latangi
  4. Vachaspati
  5. Mechakalyani
  6. Chitrambari
12Aditya67–72
  1. Sucharitra
  2. Jyotiswarupini
  3. Dhatuvardhani
  4. Nasikabhushani
  5. Kosalam
  6. Rasikapriya

Familiar points of entry: Hanumatodi (8) and Mayamalavagowla (15) use M1; Shanmukhapriya (56) and Mechakalyani (65) use M2.

02 / The rhythmic framework

Seven patterns.
Five ways to count.

The Suladi Sapta Talam system combines seven patterns with five jaathis to form 35 varieties. The jaathi changes the length of the laghu; the other two angas keep their counts.

L Laghu
A tap followed by finger counts. Its total is 3, 4, 5, 7 or 9, according to the jaathi.
D Drutam
Two counts: a tap and a wave.
A Anudrutam
One count: a single tap.
Choose a jaathi. See how each cycle changes.

Chaturasra jaathi: each laghu has 4 counts.

Seven talams · Chaturasra jaathi
TalamAngasCount itTotal
Dhruva L · D · L · LL · D · L · L4 + 2 + 4 + 414
Matya L · D · LL · D · L4 + 2 + 410
Rupaka D · LD · L2 + 46
Jhampa L · A · DL · A · D4 + 1 + 27
Triputa L · D · DAdi talamL · D · D4 + 2 + 28
Ata L · L · D · DL · L · D · D4 + 4 + 2 + 212
Eka LL44

Chaturasra-jaathi Triputa is Adi talam: 4 + 2 + 2 = 8 counts. Jaathi describes the laghu’s length; nadai or gati describes the subdivision of a beat.

Outside the 35-variety matrix

Chapu talams.

These familiar cycles have their own unequal groupings and rhythmic feel.

Misra Chapu

3 + 2 + 2

7 counts

Khanda Chapu

2 + 3

5 counts

03 / Pedagogy & performance

Practice becomes
repertoire.

Exercises establish control. Compositions give it shape. Improvisation opens it out. These forms offer a route through the repertoire, with depth at every stage.

  1. 01

    Foundational exercises

    Sarali & Janta Varisais

    Sarali builds fluency through ordered swara patterns. Janta develops paired-note articulation, steadiness and control.

  2. 02

    Beginner repertoire

    Geetham

    A short, continuous composition that brings melody, text and tala together without the elaborate development of a kriti.

  3. 03

    From study to performance

    Swarajati

    Combines swara passages and sahityam (lyrics). Raaravenu is a familiar learning example; the form also includes demanding concert works.

  4. 04

    Study & concert repertoire

    Varnam

    Develops raga phrases, rhythmic command and technique. Common sections include pallavi, anupallavi, muktayi swara, charanam and ettugada swaras. Often heard at the start of a concert.

  5. 05

    Core concert repertoire

    Kriti

    A major composed form, often devotional, commonly organised as pallavi, anupallavi and charanam. Sangatis and interpretive detail bring its melodic ideas to life.

  6. 06

    Advanced improvisation

    Ragam Tanam Pallavi

    An extended exploration of raga and rhythm: free melodic elaboration, rhythmic tanam and development of a pallavi theme. It is a major setting for manodharma, or creative improvisation.

Keep a copy close

Take the guide
with you.

The chakra lists, all 35 tala counts, and compositional forms in one printable reference.

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4 pages · Free reference guide
BCMC edition / September 2026