Krithis - the heart of the repertoire

The krithi is Carnatic music's central art form: devotional poetry set in a raga and tala, refined over two centuries of concert practice. Once your varnams are steady, the krithi repertoire opens - and it never ends.

Anatomy of a krithi

Pallavi

The opening line and the krithi’s refrain - everything returns here.

Anupallavi

The second section, typically climbing into the upper reaches of the raga.

Charanam

The longer final section, often carrying the composer’s signature (mudra).

Sangati

Progressive melodic variations of a line - the krithi growing more ornate with each repeat.

Krithis to grow into

Kriti · Advanced

Endaro Mahanubhavulu

Sree · Adi tala · Tyagaraja. The fifth Pancharatna: a salute to all great souls, sung in chorus at every Tyagaraja aradhana.

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Kriti · Advanced

Jagadananda Karaka

Nattai · Adi tala · Tyagaraja. The first Pancharatna - a garland of names of Rama in blazing Nattai.

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Kriti · Advanced

Dudukugala

Gowla · Adi tala · Tyagaraja. The confessional third Pancharatna, in crisp Gowla.

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Kriti · Intermediate

Deva Deva

Mayamalavagowla · Rupaka tala · Swati Tirunal. A Swati Tirunal krithi in the students’ own Mayamalavagowla - a natural early krithi.

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Kriti · Intermediate

Dinamani Vamsha

Harikambhoji · Adi tala · Tyagaraja. Tyagaraja greets the scion of the solar dynasty in sweet Harikambhoji.

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Kriti · Intermediate

Bhakthi Biccha

Sankarabharanam · Rupaka tala · Tyagaraja. “Give me the alms of devotion” - Tyagaraja in the grand calm of Sankarabharanam.

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Kriti · Intermediate

Vatapi Ganapathim

Hamsadhwani · Adi tala · Muthuswami Dikshitar. Dikshitar’s invocation to Ganesha in Hamsadhwani - very likely the most-performed concert opener in Carnatic music.

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