Varnam
Varṇam is a type of composition in the Carnatic music system consisting of short metric pieces which encapsulate the main features (patterns of notes) of a "raga". Varnams capture the "raga bhavam", "ranjaka prayogas" "visesha sancharas", etc. "Dhatu" and "janta prayogas" (phrase usage) are usually part of a varnam. Understanding of these aspects is key to developing "manodharma sangeetham" (i.e., improvisation aspects of Carnatic music such as "raga aalapana", "swara kalpana", "neraval", etc.). Known for their complex structure, varnams are a fundamental form in Carnatic music. All varnams consist of lyrics, as well as "swara" passages, including a "pallavi , an anupallavi", "muktaayi swaras", a "charanam", and "chitta swaras". There are different types of varnams, such as "taana varnam", "pada varnam", "daru varnam" and "ragamalika varnam". They also come in different "taalams" (beat cycles). Though the most popular varnams are in "Aadi" and "Ata taalas", there are a number of varnams in other "talas" as well (e.g., "jampa tala", "triputa tala", "matya talam", "roopaka talam", etc). Considered as probably the most complex form in Carnatic music, varnams play a significant role in Carnatic music. A varnam is traditionally performed as an opening item by musicians in Carnatic music concerts to  act as warm-up for the musicians, or as a centre main piece in Bharatanatyam dance concerts. As a foundation to Carnatic music, varnams are also practised as vocal exercises by performers of Carnatic music, to help develop voice culture, and maintain proper pitch and control of rhythm. The melodic patterns in a varnam are considered to be characteristic patterns of a particular raga. Pallavi|"tanam" -like rhythmic qualities, "tana varnams" only have lyrics for the "pallavi", "anupallavi" and "charanam". With rhythmic elements like a "padam", "pada varnams" are generally sung to accompany South Indian classical dance, including "bharatanatyam". Unlike the  tana varnam which only has lyrics for the "pallavi", "anupallavi" and "charanam" and swaras for the rest of the sections, a "pada varnam" also has lyrics that correspond to the "muktaayi" and "chitta swaras" of the varnam, so generally, "pada varnams" contain more lyrical content than a "tana varnam". The "swaras" in this type of varnam are suitable for intricate footwork. "Padajathi varnams" are simply "pada varnams" that also contain "jatis", making them again more suitable for South Indian classical dance. Contents of a varnam. The name "varnam" (meaning 'letter') was likely given to this form of song due to  the prevalence of "swara" letters in this type of composition. Lyrical content of varnams are commonly either devotional or amorous. The varnam is subdivided into several sections: Varnams are traditionally rendered in a format that consists of "pallavi", "anupallavi" and "chitta swaram" ("mukthayi swaram") being sung first in a relatively slow pace and repeated immediately after in double the speed. The rest of the composition ("charanam" onwards) is sung in a "madhyama kala" or approximately 1.5 times the speed used at the start. Each "swara" passage is sung, followed by the lyrics of the "charanam". Some performers do not follow  this, though, preferring to sing the entire composition in "madhyama kala" or relatively fast pace. Varnams are generally sung in two varieties of "talas", or meter systems, "adi tala" (eight-beat cycle) and "ata tala" (fourteen-beat cycle), where "ata tala" varnams are generally more complicated and advanced. In most of the "adi tala" varnams, the "tala" is placed in the two-"kalai" version, so therefore, each beat and finger count is placed twice. Famous varnams. "Adi Tala" varnams include: "Ata Tala" varnams include: The "Arabhi" ragam varnam is supposed to be the only longest piece with "jantai" and "dhatu prayogas . The Mathe Malayadhwaja" by Harikesanalloor Mutthiah Bhasgavatar is a unique varnam because the chitta swara has two different types of "saahitya" arranged according to it. The first is a rhythmic poetry describing the king and has the Raaja mudra and the second is a lilting Solkattu swara which is embodied in expression by "bharatanatyam" dancers.