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| Early south indian composition from which the Kriti is derived |
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| The method employed by Thyagaraja and other bhagavatars the involved going from house to house and playing for food. |
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| Small version of the larger carnatic suite, the Kriti |
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| Kirtana in praise of divine name |
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| songs that are festive pieces celebrating the deity in a series of worshipful acts. |
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| Caste of indian who is a priest or teacher |
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| farmer, merchant, artisan caste member |
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| First composer of Tamil kritis |
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| temple ensemble musicians |
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| Word from which raga is derived which means, “colored with a reddish tint.” |
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| Crooked—refers to non-linear raga |
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| Musical phrases of 2 or more swara that are important to a raga |
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| Initial note or beginning note of a musical phrase |
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| ending note of a musical phrase |
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| Frequently occuring swara |
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| Swara used only in passing/sparingly |
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kAmavardhini (Pantuvarali) |
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| lower swara (in terms of placement within the solfege) |
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| swara higher pitched (with regard to the solfege position) |
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| What two ragas take ONLY tivra/komala swaras |
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| A raga with notes absent in arohana/avarohana |
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| consists of stopping on a particular note or singing the same note consecutively |
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| taking swaras in ascending order |
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| taking swaras in descending order |
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| a mix of sthayi, arohi and avarohi singing |
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| descendent who grouped the melakartas into chakras |
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| when a swara or more is absent in A or Av. |
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| both arohana and avarohana are varjya (missing a swara) |
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| Swara where the vakra nature of the raga starts |
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| swara where the vakra nature of a raga ends |
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