Gamakas are the ornamental embellishments that give Carnatic music its characteristic beauty. The same scale played with different gamakas can sound like entirely different ragas.
SShadja (Sa) — the tonic, always present in every raga
R₁/R₂/R₃Rishabha — three variants: Shuddha, Chatushruti, Shatshruti
G₁/G₁/G₂Gandhara — three variants: Shuddha, Sadharana, Antara
M₁/M₂Madhyama — two variants: Shuddha (perfect 4th), Prati (augmented 4th)
PPanchama — the fifth, always pure, never altered
D₁/D₂/D₃Dhaivatam — three variants: Shuddha, Chatushruti, Shatshruti
N₁/N₁/N₂Nishada — three variants: Shuddha, Kaisiki, Kakali
-Rest — silence for one beat duration
|Bar line — marks the end of one tala cycle
,Half beat — note held for half a beat
;Quarter beat — note held for a quarter beat
±35 cents @ 6 HzOscillation starting from the lower note — the most common gamaka. Example: oscillation on Ga comes from Ri (gaa gaa rigari ma maa). Approximately 6 Hz, ±35 cents.
Notation: G₂~ M₁ P~
S R₂ G₂~ M₁ P D₂~ N₂ Ṡ
Kampita demo — G₂ and D₂ oscillate from below
±35 cents @ 6 Hz, upper-startOscillation starting from the higher note. Example: oscillation on Ma starts from Ma itself (gaa ma daa). Used for ragas requiring upper-neighbour emphasis.
Notation: G₂≈ D₂≈
S R₂ G₂~ M₁ P D₂~ N₂ Ṡ
Kampita from higher note demo
±70 cents @ 2.5 HzSlow, wide oscillation — a gentle swing of ±70 cents at 2.5 Hz. Used on sustained notes in ragas like Kalyani and Bhairavi to create a meditative, swaying quality.
Notation: G₂_ D₁_
S R₂ G₂_ M₁ P D₂_ N₂ Ṡ
Andola demo — G₂ and D₂ sway slowly
Double note, second emphasizedThrobbing — plain note followed by an emphasized repetition (double notes ascending). On Vina: second note is tapped. Written as SS = plain S then emphasized S. Develops sphuritam in Jantai Varisai.
Notation: S△ R△ G△
S R₂ G₂^ M₁^ P D₂^ N₂ Ṡ
Spurita demo — grace note flick on each note
Descending double noteReverse/descending form of Spurita. Double notes descending: skip back to lower note without lifting finger. Creates a characteristic 'pull-back' ornament.
Notation: S▽ N▽ D▽
Ṡ N₂ D₂ P M₁ G₂ R₂ S
Pratyahata demo — descending pull-back
+20 cents accent, 40 msStress accent — straight pull, no oscillation. In Shankarabharanam: sarigama — Ri given distinct stress. +20 cent push at note start, immediately settling to true pitch.
Notation: (S (P (Ṡ
(S R₂ G₂ (M₁ P (D₂ N₂ (Ṡ
Nokku demo — Sa, Ma, Dha, Tara Sa accented
Intermediate note impliedInvolves an anu-svara (intermediate note between two svaras). Vina: finger on svarasthana, fast pluck, lift finger on in-between svara. Creates a characteristic 'flick' with an implied intermediate pitch.
Notation: G∧ D∧
S R₂ G₂ M₁ P D₂ N₂ Ṡ
Ravai demo — intermediate note implied
Anu-svara above the noteSimilar to Ravai with the anu-svara above the line. In Surati: ma ga pa ma rii — Ga is implied, not played. The intermediate note is above the written note.
Notation: M∨ P∨
S R₂ G₂ M₁ P D₂ N₂ Ṡ
Khandippu demo — implied upper intermediate
Circular sweep, slow tempoWhirl of svaras in circular/sliding movements. Mostly used in chowka-kala (slow tempo) phrases. Creates a circular, sweeping melodic movement characteristic of slow-tempo elaboration.
Notation: G∩ M∩
S R₂ G₂_ M₁ P D₂_ N₂ Ṡ
Vali demo — circular sweep
−150 cents ascending glide, 120 msAscending slide from one svara to a higher one. Example: slide from Ma to Pa in 'Oh Jagadamba'. The voice glides upward from −150 cents below the target note over 120 ms.
Notation: S/R G/M P/D
S R₂/ G₂ M₁/ P D₂/ N₂ Ṡ
Yetra-jaru demo — ascending glide
−150 cents descending glide, 120 msDescending slide from one svara to a lower one. Example: Chandram bhaja — ni sa sa. The voice glides downward, creating smooth connected melodic lines in avarohana.
Notation: S\N G\R
Ṡ N₂ D₂ P M₁ G₂ R₂ S
Yeraka-jaru demo — descending glide
Light pull, subtleLight pull on the svara. Example: phrase ga ga ri sa of Bhairavi ata-tala-varna. A subtle, light ornament — less pronounced than Jaru, more like a gentle lean into the note.
Notation: G× R×
S R₂ G₂ M₁ P D₂ N₂ Ṡ
Odukkal demo — light pull
0.5× frequency ratio, deeper resonanceDot-below indicates the note is in the lower octave (Mandra Sthayi). Spectral model: deeper resonance, lower harmonic-to-noise ratio, fuller tone. Frequency = 0.5× Madhya.
Notation: Ṣ Ṛ G̣ Ṃ P̣ Ḍ Ṇ
.N₂ .D₂ P̣ .M₁ S R₂ G₂ M₁
Mandara Sthayi demo — lower octave ascent
2× frequency ratio, shimmer/detuneSuffix apostrophe indicates the note is in the upper octave (Tara Sthayi). Spectral model: higher spectral centroid, shimmer/detune effect, brighter and more delicate tone. Frequency = 2× Madhya.
Notation: Ṡ Ṙ Ġ Ṁ Ṗ Ḋ Ṅ
P D₂ N₂ Ṡ R₂' G₂' M₁' Ṗ
Tara Sthayi demo — upper octave ascent
>A struck note with emphasis. The note is played with force.
Strike the note with emphasis, creating a strong attack.
>PwA slow, wide oscillation between two notes.
Slowly oscillate between the main note and an adjacent note.
wD~A shake or oscillation of the note. The most common gamaka in Carnatic music.
Oscillate the pitch rapidly around the base note, creating a vibrato-like effect.
S~xA cut or interrupted note.
Play the note and then cut it off abruptly.
xP/A glide or portamento from one note to another.
Smoothly slide from one note to another without a break.
S/GvA bent note, where the pitch is lowered slightly.
Bend the pitch of the note slightly downward.
vNnA note that emphasizes the Nishada (seventh note).
Emphasize the seventh note with a special touch.
nN<A note approached from above with a slide down.
Slide down from the note above to reach the main note.
<RrA resonant, sustained note with gradual decay.
Play the note with full resonance and let it decay naturally.
rS^A sudden touch of the upper note before settling on the main note.
Briefly touch the note above before landing on the main note.
^G3A note that touches three adjacent notes.
Touch the note above, the main note, and the note below in quick succession.
3MuA joyful, bright ornament with an upward inflection.
Play the note with an upward inflection at the end.
uGPlain ascending scale — no gamakas
S R₂ G₂ M₁ P D₂ N₂ Ṡ
Plain notation (Shankarabharanam)
R₂ kampita (~), G₂ sphurita (^), M₁ jaru-up (/), D₂ andola (w), N₂ kampita (~)
S R₂~ G₂^ M₁/ P D₂w N₂~ Ṡ
With gamaka markers
Dot prefix = Mandara (low), plain = Madhya (mid), apostrophe = Tara (high)
.N₂ .D₂ S R₂ G₂ | M₁ P D₂ N₂ Ṡ
Three-octave phrase
5-note Audava raga — no Ma, no Ni
S R₂ G₂ P D₂ Ṡ
Mohanam pentatonic
Prati Madhyama (M₂) gives Kalyani its characteristic brightness
S R₂ G₂ M₂ P D₂ N₂ Ṡ
Kalyani ascending
Listen to master vocalists and instrumentalists to hear Gamakas applied in context.