A system of 72 parent ragas in Carnatic music, each containing seven notes. 
Many other ragas, with 5 or 6 notes, are derived from these parent ragas.

The most prevalent form in Carnatic music, typically structured in three sections.
A more detailed description is provided in the Fugue-Kriti section of the website.
The canonical composers of kritis, known as the Trinity, are Thyagaraja, Muthuswamy Dikshitar, and Shyama Shastri (18th-early 19th century).

These include expressive oscillations, glides between notes, grace notes, and microtonal inflections.
They are an indispensible element of a raga in Indian classical music.
A further discussion of gamakas can be found in the website’s Compositional Approach section.

Example: Gamakas (Violin)

A short, contrasting rhythmic passage that, if included, appears at the end of the Anupallavi.
It is featured in the fugue-kriti, but not in the concerto-kriti.

Example: Chittaswaram

Third section of a kriti, consisting of a theme and its variations (sangathi).

The second section of a kriti, consisting of a theme and its variations (called sangathi).
It is often in a higher register.
In some kritis (as in the fugue-kriti), the Anupallavi may include a Chittaswaram, a short constrasting rhythmic passage.