Concert Repertoire Planning

Structure, raga selection, tala variety, and the art of building a complete Carnatic concert programme

Guru TierConcert StructureRaga SelectionRepertoire

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Tempo60 BPM

🎶Tambura

P̣·S·S·Ṣ

Standard Concert Structure

Opening

Varnam10–15 min

Establishes the concert's musical foundation. Demonstrates technical precision.

Traditionally in a bright, auspicious raga — Adi Tala. Viriboni (Bhairavi), Ninnukori (Mohanam), or Sarasiruha (Sankarabharanam) are popular choices.

2nd Item

Kriti (with Alapana)15–20 min

First major Kriti — usually in a popular raga. Alapana precedes the Kriti.

Choose a raga that the audience will recognise — Kalyani, Todi, Bhairavi, Kharaharapriya. The Alapana should be 5–10 minutes.

3rd Item

Kriti (lighter raga)10–15 min

Contrast with the previous item — a lighter, more melodic raga.

Hamsadhvani, Mohanam, Bilahari, Hindolam. No Alapana — go straight to the Kriti.

4th Item

Ragam Tanam Pallavi (RTP)30–45 min

The centrepiece of the concert. The most elaborate item — Alapana, Tanam, and Pallavi.

Choose a raga with depth — Todi, Bhairavi, Kalyani, Shankarabharanam. The Alapana alone can last 20–30 minutes.

5th Item

Tukkadas (short pieces)20–30 min

Lighter items after the RTP — Javalis, Tillanas, Devotional songs.

Javalis in Kapi, Paras, Khamaj. Tillana in Brindavana Saranga or Dhanasri. End with a Mangalam.

Closing

Mangalam2–3 min

Auspicious conclusion. Traditionally in Suddha Dhanyasi or Madhyamavati.

Mangalam is a short, devotional piece that concludes the concert on an auspicious note.

•Contrast: alternate between serious (ghana) and light (rakti) ragas.

•Variety: use different parent Melakartas — avoid two ragas from the same Melakarta in sequence.

•Time of day: traditionally, certain ragas are associated with morning, afternoon, evening, or night.

•Season: some ragas are associated with specific seasons (Vasantha for spring, Hindolam for monsoon).

•Audience: gauge the audience's familiarity — include at least 2–3 popular ragas.

•Balance: include both Melakarta and Janya ragas.

•Emotional arc: build from devotional/serious to light/joyful over the course of the concert.

Tala	Typical Usage
Adi Tala (8 beats)	Most common — used for the majority of Kritis and the Varnam.
Rupaka Tala (6 beats)	Used for lighter Kritis and Javalis.
Misra Chapu (7 beats)	Used for popular Kritis — Bhaja Govindam, Endaro Mahanubhavulu.
Khanda Chapu (5 beats)	Used for some Kritis and Javalis.
Tishra Eka (3 beats)	Used for Tillanas and some Kritis.