31:
1959:
1973:
1063:
must pick their ragams very carefully. Last but not least, the accompanying violinist should be able to render each of these ragams as well. Lot of mathematics is also involved in the presentation of an RTP. Therefore, only an artist with a good amount of knowledge in theory of carnatic music as well as practical experience can present a Ragam Tanam
Pallavi with ease.
1005:. This pallavi can also be sung in Tisra jathi Jhampa talam Tisra nadai which has 18 aksharas in a cycle. Hence the complete pallavi can be sung within two cycles of the talam i.e. 36 aksharas. This is an example of changing to a tala which when sung integral number of times gives the same number of aksharas as in the main tala.
1062:
RTP requires not only experience but formidable amount of planning. First and foremost is the sequence of the ragams—while the audience may not expect a logical order, the critics surely will. Secondly, since this part of the concert is likely to last anywhere between 40 and 60 minutes, the performer
1049:
and
Sumanesha Ranjani. Since the audience are likely to be unfamiliar with some of these ragams, they changed their Pallavi phrase at the end of each of these 4-5 minute renderings- for instance, they finished Janaranjini rendition with "Ranjani Kanchadala Lochani Brovavamma Thalli Janaranjani". A
377:
Some artists sing a ragamalika tanam too. Tanam is almost always rendered without percussion accompaniment; the element of rhythm is embedded within the repetition of the syllables "a-nam-tham". It is rendered in medium speed and just before commencing the third component of this composite form of
1058:
As stated in the previous section a contemporary RTP is rarely ever restricted to just one ragam. The artist sings ragamalika swarams and tanams. Experienced artists sing all the extra ragas other than the main raga in a reverse order before coming back to the main raga and then complete the RTP.
641:
vocalists include a Ragam Tanam
Pallavi (RTP). RTPs can be performed in any raga. Both popular as well as rare ragas can be used to perform a RTP. RTPs in rare ragas are common because the vocalist can present the pallavi with self-composed lyrics and hence need not search for or compose a
662:
In the recent time pallavis, the artist includes the name of the ragam in the words used in the
Pallavi. This helps the less-knowledgeable audience to identify the ragam (if the name of the ragam is not already announced) and also appeals to the audience as well as critics.
1059:
Others too come back to the main raga to finish the RTP section. It is very now-a-days to find an RTP without ragamalika. While the artist might spend 35–40 minutes on the main ragam , he or she will only devote about 4–5 minutes to each subsequent ragam.
985:
Sometimes, artists change the tala of the RTP from the main tala to another which has same number of aksharas or a tala which has some number of aksharas, which when sung some integral number of times equals the number of aksharas in the main tala.
270:
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
369:
The origin of this usage is not very clear. It could have originated from the sanskrit word "tanyate" (that which is elaborated) or "tena" indicative of an auspicious object. Tanam is rendered as a rhythmic variation of
628:
The
Pallavi challenges the musician's ability to improvise with complex and intricate patterns. The whole exercise is very demanding, both technically and musically, since all the artiste's musicianship is put to test.
648:
in the rare raga. In other words, artists often use the RTP portion of the concert to introduce their audience to ragams that are rarely sung. Many artists announce the name of the ragam before the pallavi portion.
768:
It has been time noticed from time immemorial, that multiple ragam pallavis are being used in the concert circle. In this, the artist keeps on shifting between all the ragas in the whole presentation. They can be
1021:
This is a type of RTP where a Raga which has many Ragas with a similar name are sung in an RTP. Ragas with similar names like Group of
Ranjani ragas, Bhairavi ragas or Varali ragas can be used for presentation.
329:- the first component. In this form of pure melodic improvisation, the musician starts with a refrain to create the mood of raga and lays a foundation for composition to follow. Each
361:
is one of the most important forms of the improvisation, and is integral to the RTP. It is the second component of this composite form of improvisation. Originally developed for the
759:- Khanda jathi Eka Talam with first akshara in Tisra nadai, second in Chatusra nadai, third in Khanda nadai, fourth in Misra nadai and fifth in Sankeerna nadai
1050:
musically literate audience often appreciate this approach, since this gives them 4–5 minutes to guess the ragam before the artist gives them the answer.
716:(5 nadais) pallavis are also presented by experienced and seasoned artists. The use of such Talams is under debate and the views of artists vary.
1103:
1079:
1657:
1521:"When Ranjani & Gayatri win the mind space ... - Carnatic Music Reviews - Darbar for claissical music / claissical dance"
580:
Nadai meaning each beat now carries 3 units) i.e. keeping the words and the length of the pallavi constant but changing the
1623:
1029:
where they used the
Pallavi phrase "Ranjani Kanchadala Lochani Brovavamma Thalli Niranjani"—their RTP was set to the ragam
998:
which has the same number of
Aksharas - 36. This is an example of changing to a tala which has the same number of aksharas
2006:
1596:
246:
798:'Sharavanabhava Guhane Shanmugane Ennai Ka Nataraja Mainda' (set to Ragas Kannada (Purvangam)and Kaanada (Uttarangam))
749:- Khanda jathi Ata talam with first Laghu in Chatusra Nadai, second Laghu in Tisra Nadai and Dhrutams in Khanda Nadai.
878:'Saraswathi Veena Pustaka Dharini Hari Vakshasthalaye Lalithe Maate Kanakadurge' in Ragas Saraswati, Lalitha and
1658:"The evenings of a well spent life: 2014 Feb 08 Ranjani Gayathri, HN Bhaskar, Delhi S Sairam Omkar G Rao @ RLKM"
590:
All this can be done from the start of the pallavi or from the Arudhi. Some singers do this presentation before
1131:
1166:
644:
927:
220:
215:
739:- Chatusra jathi Jhampa talam with Laghu in Tisra Nadai and Anudrutham and Dhrutam in Khanda Nadai.
1499:
1446:
1393:
1315:
1262:
691:'Brindavana Sarangan Bhoolokavaikunthan Srirangan' (set to Raga Brindavana Saranga) presented by
1107:
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1803:
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845:
239:
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1703:
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833:
736:
8:
841:
682:
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73:
1679:"Good Karma, Bad Tummy & Super Dinner: Ranjani & Gayathri Concert - rasikas.org"
1148:
897:
692:
686:
1878:
1853:
1828:
1778:
1728:
1678:
1033:. About 30 minutes into the RTP, when they started switching ragams, they switched to
432:. The Pallavi is usually a one-line composition set to a single or more cycle(s) of a
1631:
1570:
1336:
1283:
1205:
935:
728:- Khanda jathi Triputa talam with Laghu in Tisra Nadai and Dhrutams in Chatusra Nadai
232:
1986:
1140:
1026:
857:
849:
756:
883:
861:
837:
825:
792:
781:-4 raga pallavis. Some pallavis have been cited as examples for all these forms.
725:
678:
429:
138:
30:
1879:"Ranjani & Gayathri,3/29/14, Hindu Temple of Greater Chicago - rasikas.org"
961:
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22:
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2000:
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931:
685:
paavani' (set to Ragas
Vasantha, Bhairavi and Vasanthabhairavi) presented by
668:
617:
510:
104:
657:
513:, the artist is not allowed to change the locations of each syllable in the
1978:
1964:
1829:"Chathur raga(4 raga) RTP-a collection of what has been sung - rasikas.org"
1779:"Chathur raga(4 raga) RTP-a collection of what has been sung - rasikas.org"
1729:"Chathur raga(4 raga) RTP-a collection of what has been sung - rasikas.org"
1038:
960:'Nityakalyani Shravani Katyayani Palayamam Chaturveda Swaroopini' in Ragas
893:
879:
746:
700:
Presentation of
Pallavis using a Talam in two or more nadais within a cycle
586:
442:
could range from the simple to the complex and there may also be different
434:
374:, in chaturasra nadai, though there is no specific talam that is followed.
314:
308:
291:
153:
63:
1754:"A Raga Quartet - Sankarabharanam, Todi, Kalyani, Darbar - T. M. Krishna"
1046:
889:
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950:
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204:
148:
1804:"Ranjani-Gayatri at Rama Lalita Kala Mandira, Bengaluru - rasikas.org"
1152:
169:
94:
68:
1144:
1042:
969:
801:'Mohana Kannanai Pani Maname Ranjakamai Kuzhaloodum' (set to Ragas
721:
564:
515:
1362:"Ranjani Gayatri - Sankritilaya - SF Bay Area May 8 - rasikas.org"
941:'Saveri Balakanai, Mohana kumaranai Azhaitodiva Kalyani' in Ragas
914:'Shankarabharananai Azhaithodi vaadi Kalyani Darbarukku' in Ragas
812:'Arabhimanam vaittu adarippar ennai Anandabhairavi' (set to Ragas
720:'Dhananjaya Sarathey Dayanidhe Kripanidhe Rakshamam' (set to Raga
498:
or resting time which is an extension of the last syllable of the
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732:
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324:
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119:
1854:"Ranjani - Gayathri at San Jose, CA (May 4, 2014) - rasikas.org"
1311:
PALLAVI DARBAR 2015 - Carnatic Music Concert by Dr. Pantula Rama
1009:
Talamalika singing examples can be seen from the above citation
621:
phase and they would start exploring different Ragas during the
1987:
Sivakumar Carnatic Music Archive Ragam Talam Pallavi collection
965:
942:
926:
and Darbar - written by Kunrakudi Krishnaiyyar, popularized by
813:
470:
189:
174:
159:
109:
99:
89:
704:
Most pallavis are presented in a talam in a single nadai. But
464:
ends at the stroke of the beginning of the second half of the
1904:"Ranjani & Gayatri at Tampa, FL May 01,016 - rasikas.org"
1753:
599:
362:
353:
317:
279:
53:
1929:"Ranjani & Gayathri@Toronto - April 30th. - rasikas.org"
1468:"Ranjani & Gayathri@Toronto - April 30th. - rasikas.org"
1415:"Ranjani & Gayathri@Toronto - April 30th. - rasikas.org"
1230:
550:
in 3 different speeds, once with each Beat carrying 2 units
615:
Once these aspects are covered, the singer explores in the
509:
Executing niraval for a pallavi is unique, as, unlike in a
143:
58:
568:
constant. Once this is completed then they would sing the
1495:
M Balamuralikrishna Amrithavarshini & Ananda Bhairavi
658:
Introducing the name of the Ragam in the Pallavi sahityam
1442:
RAGAM TANAM PALLAVI By Ranjani Gayatri in Kutcheri 2010
731:'Raajamatangi Lathangi Maampahi Matangi' (set to Raga
468:
cycle or in the beginning of the shortest part of the
994:. It has 36 aksharas. This Pallavi can be sung using
1954:
671:
Veesuthe' (set to Raga Malayamarutham) presented by
519:, as this lessens the innate beauty of the pallavi.
632:
365:, it consists of expanding the raga with syllables
1053:
1998:
1307:
888:'Chiranda engal Nattai kurinji enbar' in Ragas
482:is the point of division of the two parts of a
1571:"Innovations in pallavi singing - rasikas.org"
1337:"Innovations in pallavi singing - rasikas.org"
1284:"Innovations in pallavi singing - rasikas.org"
1206:"Innovations in pallavi singing - rasikas.org"
1491:
1084:
240:
558:. They can also alter the speed of the Tala
295:. In more elaborate ragam tanam pallavis, a
1594:
1438:
1254:
1122:
1011:(This is from a concert of Ranjani Gayatri)
1231:"Ragam Tanam Pallavi - Brindavana Saranga"
1003:Khanda jathi Thriputa talam Chatusra nadai
992:Khanda jathi Thriputa talam Chatusra nadai
763:
494:there will be a brief pause called as the
333:has at least one raga associated with it.
247:
233:
554:, then 4 units and then 8 units per beat
1159:
1128:
1025:A good example is a recent rendition by
903:
824:Other examples of Dwi-raga pallavis are
791:The below examples are all presented by
452:has 2 portions to it. The first half of
677:Sruthi laya bhaava sangeetham adhai en
592:Swaraprastharam (Most common practice).
1999:
1992:R. Vedavalli demonstrates Ragam, Tanam
1655:
1502:from the original on 18 December 2021
1449:from the original on 18 December 2021
1396:from the original on 18 December 2021
1385:
1318:from the original on 18 December 2021
1265:from the original on 18 December 2021
980:
867:
784:
1129:Palackal, J. J. (1998). "untitled".
996:Chatusra jathi Ata Talam Tisra nadai
400:is derived from the three syllables
546:. So the singer will then sing the
502:and then the second portion of the
13:
1656:Prasad, Badari (8 February 2014).
637:Today, most concerts by prominent
428:is the equivalent of a refrain in
14:
2018:
1950:
1001:Consider the same pallavi set to
16:Form of singing in Carnatic music
1971:
1957:
1255:NadhamMusic (30 December 2013),
1016:
633:Contemporary Ragam Tanam Pallavi
486:. Between the first half of the
29:
1921:
1896:
1871:
1846:
1821:
1796:
1771:
1746:
1721:
1696:
1671:
1649:
1616:
1595:Mohan Kurup (10 October 2015),
1588:
1563:
1538:
1513:
1485:
1460:
1439:NadhamMusic (3 November 2013),
1432:
1407:
1379:
1354:
1329:
1308:SanskritiSeries (8 July 2015),
1301:
1276:
1090:
1054:Finishing a Ragam Tanam Pallavi
910:Some Chatur-raga pallavis are:
456:is an ascending piece of notes
1492:Hari Panavoor (26 June 2014),
1248:
1223:
1198:
1173:
1132:Yearbook for Traditional Music
1096:
1073:
652:
1:
1104:"Tanam singing - A dying art"
1066:
957:by Maharajapuram Ramachandran
1708:Rajan Parrikar Music Archive
1550:Rajan Parrikar Music Archive
1185:Rajan Parrikar Music Archive
930:. Sung by many artists like
874:Some Tri-raga pallavis are:
542:meaning each beat carries 4
7:
1080:Tanam singing - A dying art
594:Others alter the speed and
490:and the second half of the
313:"Ragam" in the context of "
10:
2023:
2007:Carnatic music terminology
990:Consider a pallavi set to
928:Ariyakudi Ramanuja Iyengar
608:such that the position of
562:and keep the speed of the
460:and the first half of the
389:
385:
351:
306:
266:) is a form of singing in
526:rendition is to sing the
1704:"Unusual Pallavi Themes"
1546:"Unusual Pallavi Themes"
1181:"Unusual Pallavi Themes"
530:in different speeds and
336:
302:
1386:Ra Ga (31 March 2016),
764:Pallavis in many Ragams
1525:www.carnaticdarbar.com
916:Dheerashankarabharanam
753:A Pancha Nadai Pallavi
35:Tanjavur-style tambura
905:Chatur-raga pallavis:
836:, Saranga/ Nayaki by
538:is set to Chatushtra
1630:. 23 December 2009.
1624:"In perfect harmony"
743:Raga Kalyani Pallavi
667:'Vandadum Solaiyile
504:Pallavi (Uttarangam)
1598:Ragam Tanam Pallavi
1258:Ragam Tanam Pallavi
976:by Ranjani Gayatri.
834:M.Balamuralikrishna
673:Sanjay Subrahmanyan
522:The basic style in
378:improvisation; the
331:Ragam tanam pallavi
260:Ragam Tanam Pallavi
115:Rāgaṃ Tānaṃ Pallavi
74:Asaṃpūrṇa Mēḷakarta
981:Talamalika in RTPs
869:Tri-raga pallavis:
786:Dwi-raga pallavis:
737:M.L.Vasanthakumari
612:remains constant.
604:and then sing the
534:In most cases the
936:Sikkil Gurucharan
816:(Poorvangam) and
805:(Poorvangam) and
757:Sudha Raghunathan
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1106:. Archived from
1100:
1094:
1091:Kassebaum (2000)
1088:
1082:
1077:
1041:, Megharanjani,
1027:Ranjani-Gayathri
898:T.N.Seshagopalan
858:Kalyanavasantham
850:T.N.Seshagopalan
793:Ranjani Gayatri.
693:T.N.Seshagopalan
687:T.N.Seshagopalan
446:being employed.
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1933:www.rasikas.org
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1608:
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1605:on 28 July 2023
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884:Ranjani Gayatri
872:
862:Bombay Jayashri
846:Sindhu Bhairavi
838:Ranjani Gayatri
826:Amrithavarshini
789:
766:
726:Ranjani Gayatri
724:) presented by
702:
660:
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635:
598:during singing
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36:
17:
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1110:on 4 July 2007
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830:Anandabhairavi
822:
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818:Anandabhairavi
810:
799:
788:
783:
765:
762:
761:
760:
750:
740:
729:
712:(3 nadais)and
701:
698:
697:
696:
689:
675:
669:Malayamarutham
659:
656:
654:
651:
634:
631:
544:matras (units)
462:Pallavi mostly
424:(variations).
390:Main article:
387:
384:
352:Main article:
338:
335:
307:Main article:
304:
301:
297:tani avartanam
268:Carnatic music
255:
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139:Sarasvati Vīṇā
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34:
26:
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23:Carnatic music
15:
9:
6:
4:
3:
2:
2019:
2008:
2005:
2004:
2002:
1993:
1990:
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1966:
1955:
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1924:
1909:
1905:
1899:
1884:
1880:
1874:
1859:
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1824:
1809:
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1017:Ragamala RTPs
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809:(Uttarangam))
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755:presented by
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572:in different
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474:, called the
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430:Western music
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416:(rhythm) and
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1979:Music portal
1965:India portal
1936:. Retrieved
1932:
1923:
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1907:
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1882:
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1857:
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1832:
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1757:
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1732:
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1707:
1698:
1686:. Retrieved
1682:
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1661:. Retrieved
1651:
1639:. Retrieved
1627:
1618:
1607:, retrieved
1603:the original
1597:
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1574:
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1524:
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1471:
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1434:
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1418:
1409:
1398:, retrieved
1388:
1381:
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1365:
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1340:
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1320:, retrieved
1310:
1303:
1291:. Retrieved
1287:
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1234:
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1213:. Retrieved
1209:
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1188:. Retrieved
1184:
1175:
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1124:
1112:. Retrieved
1108:the original
1098:
1086:
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984:
962:Mechakalyani
924:Mechakalyani
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904:
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778:
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752:
747:Pantula Rama
742:
714:pancha-nadai
713:
709:
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703:
661:
643:
636:
627:
623:Kalpanaswara
622:
618:Kalpanaswara
616:
614:
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581:
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569:
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560:(Pratilomam)
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397:
395:
376:
372:raga alapana
367:"a-nam-tam".
366:
358:
357:
330:
326:raga alapana
325:
323:" refers to
312:
309:Raga Alapana
299:may follow.
296:
292:kalpanaswara
290:
284:
278:
274:raga alapana
272:
263:
259:
258:
156:(Citra Vīṇā)
114:
82:Compositions
1389:Ka Shanmuka
1047:Sivaranjani
1043:Manoranjani
1039:Janaranjani
932:T.M.Krishna
708:2 nadais),
706:dwi-nadai (
653:Innovations
458:(Purvangam)
154:Goṭṭuvādyaṃ
128:Instruments
1067:References
1035:Sriranjani
951:Hanumatodi
920:Hanumatodi
679:vasam thaa
556:(Anulomam)
496:Vishranthi
205:Shruti box
166:Percussion
149:Nādasvaraṃ
1636:0971-751X
1628:The Hindu
733:Lathangi)
710:tri-nadai
552:(Vilomam)
500:Purvangam
408:(words),
396:The word
216:Composers
170:Mr̥daṅgaṃ
95:Svarajati
69:Mēḷakarta
2001:Category
1500:archived
1447:archived
1394:archived
1316:archived
1263:archived
970:Dhanyasi
842:Bhairavi
722:Bahudari
683:bhairavi
639:carnatic
576:(Mostly
565:Sahityam
516:sahityam
506:starts.
422:Vinyasam
221:Glossary
41:Concepts
1167:"Tanam"
1139:: 207.
1031:Ranjani
974:Revathi
966:Valachi
947:Mohanam
854:Mohanam
807:Ranjani
803:Mohanam
606:Pallavi
587:thalam.
584:of the
570:Pallavi
548:Pallavi
536:Pallavi
528:Pallavi
524:Pallavi
492:Pallavi
488:Pallavi
484:Pallavi
454:Pallavi
450:Pallavi
426:Pallavi
398:Pallavi
392:Pallavi
386:Pallavi
380:pallavi
321:Pallavi
286:niraval
200:Tambura
185:Kanjira
180:Morsing
120:Tillana
110:Kīrtana
1938:17 May
1913:17 May
1888:17 May
1863:17 May
1838:17 May
1813:17 May
1788:17 May
1763:17 May
1738:17 May
1713:16 May
1688:16 May
1663:16 May
1641:16 May
1634:
1609:16 May
1580:16 May
1555:16 May
1530:16 May
1506:16 May
1477:16 May
1453:16 May
1424:16 May
1400:16 May
1371:16 May
1346:16 May
1322:16 May
1293:16 May
1269:16 May
1240:16 May
1215:16 May
1190:16 May
1153:768616
1151:
1114:3 June
943:Saveri
890:Nattai
814:Arabhi
779:chatur
777:-3 or
610:Arudhi
601:Swaras
574:Nadais
532:Nadai.
480:Arudhi
476:Arudhi
471:Thalam
466:Thalam
438:. The
341:": -->
289:, and
190:Thavil
175:Ghaṭaṃ
160:Violin
135:Melody
100:Varṇaṃ
1758:Vimeo
1235:Vimeo
1149:JSTOR
1093:, 158
880:Durga
645:kriti
596:Nadai
582:nadai
578:Tisra
540:Nadai
511:kriti
444:gatis
363:veena
359:Tanam
354:Tanam
337:Tanam
318:Tanam
315:Ragam
303:Ragam
280:tanam
196:Drone
105:Kr̥ti
90:Gītaṃ
54:Svara
49:Śruti
1940:2016
1915:2016
1890:2016
1865:2016
1840:2016
1815:2016
1790:2016
1765:2016
1740:2016
1715:2016
1690:2016
1665:2016
1643:2016
1632:ISSN
1611:2016
1582:2016
1557:2016
1532:2016
1508:2016
1479:2016
1455:2016
1426:2016
1402:2016
1373:2016
1348:2016
1324:2016
1295:2016
1271:2016
1242:2016
1217:2016
1192:2016
1116:2013
972:and
953:and
938:etc.
852:and
773:-2,
440:tala
435:tala
414:Laya
406:Pada
343:edit
144:Veṇu
64:Tāḷa
59:Rāga
1141:doi
896:by
882:by
860:by
848:by
832:by
775:tri
771:dwi
264:RTP
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