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.

The classical music tradition of south India.
The other major classical music tradition in India is Hindustani, from north India.

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

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

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)

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 Thyararaja, Muthuswamy Dikshitar, and Shyama Shastri (18th-early 19th century).

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 first section of a kriti, consisting of a theme and its variations (sangathis).
A short reprise of the theme appears at the end of each of the other sections.

A raga is outlined by a scale, typically consisting of 5-7 notes in Carnatic music. However, the scale is just the skeleton; the appropriate gamakas are also crucial. Typical phrasing is also important in delineating a raga.
There are 72 parent ragas in the Carnatic melakarta system, each with a full set of 7 notes, and many more ragas with fewer notes that are derived from these.

Within each section of a kriti, a sangathi is the name given to the melodic theme of that section, as well as to each of its variations.

Improvisatory sections that conclude at the theme statement, aligning with the correct point in the tala (rhythm cycle).
The concerto-kriti’s Movement IV features swarams that conclude at the theme statement of the Anupallavi reprise.

The rhythm cycle that governs a kriti, swarams or other Carnatic musical form.
Both pieces on this album use Adi tala, an 8-beat rhythm cycle, which is the most commonly used tala in Carnatic music.

A long-necked lute with 4 strings tuned to the tonic, upper tonic, and dominant (or subdominant, if the dominant is not present in the raga).
The strings are plucked in succession, providing a continuous tonal reference and foundation for the music, while creating a resonant, immersive atmosphere.

In augmentation, a voice or instrument plays the theme at a slower pace — that is, the note values of the theme are augmented.
An example (in the video below) occurs in the Fugue-Kriti’s Pallavi (Movement I). Here, the veena and solo cello play the fugue subject at half the original tempo.
They are preceded by the violin, which enters 1½ beats earlier with a variation of the subject at the original tempo. This creates a canon — a structure made of staggered, overlapping layers of the same melody.
The combination is referred to as canonic augmentation.

Example: Canonic Augmentation

A style of rigorous counterpoint developed during the Baroque era of Western classical music (17th-18th centuries).
J.S. Bach is its most renowned exponent, and this style is generally considered the pinnacle of contrapuntal writing.

Refers to the era from roughly 1650-1900, during which tonal harmony became the dominant harmonic system of Western classical (art) music.
The 20th century saw the development of several alternate harmonic systems to tonal harmony.

A multi-movement form in Western classical music in which one or more featured soloists are accompanied by an orchestra.
One of the concerto’s movements often concludes with a cadenza, a free-rhythmic solo passage showcasing the soloist. In the concerto-kriti, the harp plays a cadenza at the end of Movement II.

The combination of multiple independent melodic lines to create an interwoven texture. This texture arises from the horizontal interplay of distinct melodies, as well as the vertical combination of notes to create harmonic progressions.

The fifth note of a scale. In Carnatic music, this corresponds to Pa.

A term that can refer to a texture or compositional style, as well as to a form. As a texture or style, it is highly contrapuntal, featuring multiple independent voices that are closely interwoven. As a form — developed most fully in the Baroque era — its characteristic feature is the exposition, or opening section.
The exposition begins with a melodic subject, usually with an identifiable profile, and sometimes paired with a countersubject. This is followed by sequential entries of the subject at the tonic and dominant (the latter called the answer).
A layered structure is created by these staggered entries, each restating the theme at a different pitch while earlier voices continue with independent material.

Example: Fugue Subject (Violin)

Example: Countersubject (Violin) combined with Answer at the Dominant (Flute)

Within the tonal framework, the system where chords have specific roles or functions for harmonic direction and goals. Its foundation is the tension of the dominant (V) chord resolving to the stability of the tonic (I) chord — a progression that creates a strong sense of forward movement and resolution.

The note just a half-step below the tonic, producing a strong pull toward the tonic. It is a key component of the dominant (V) chord, which resolves to the tonic (I) chord. This V–I progression — from tension to resolution — lies at the heart of Western tonal harmony.

A short musical idea that recurs and is developed during the piece.

In a fugue, this refers to a phrase in one voice being closely followed by the same phrase in another voice, while still fitting together contrapuntally.
(The term stretto means “tight” or “close” in Italian.)
For example, in the Fugue-Kriti, a stretto is used between the violin and veena in mm. 75–76 of the Charanam (Movement III; measure numbers appear at the top of the video.)

Example: Stretto

The distinct tone color of an instrument or voice — what makes it sound unique, even when playing the same pitch at the same dynamic level as another instrument.
In Western classical music, its role expanded through orchestration in the 19th century and grew further with a compostional focus on new sounds in the 20th century.

The harmonic system underlying much of Western classical music from the common practice period (ca. 1650–1900) — and still foundational to popular music today.
It is built around a tonal center (tonic), uses major and minor scales, and features chords with functional relationships to that tonal center.

The first and central note of a scale — the “home” pitch.
In Carnatic music, this corresponds to Sa.