“Viriboni” in Bhairavi ragam by Pacchimiriam Adiyappa in Telugu. “Valachi Vacchi” in Navaraagamalika in Telugu (9 ragas, similar to Ragamalika which literally translates to a garland of ragams. “Era Naapai” in Todi raagam by Patnam Subramania Iyer in Telugu. “Evvari Bodhana” in Abhogi ragam by Patnam Subramania Iyer in Telugu. “Ninnukori” in Mohanam ragam by Poochi Srinivasa Iyengar in Telugu. “Sami Ninne” in Shree ragam composed by Karur Devudu Iyer in Telugu. So therefore each beat and finger count is placed twice. In most of the Adi Tala Varnams the tala is placed in the 2 kalai version. Varnams are generally sung in two varieties of talas, or metric systems, Adi Tala (8 beat cycle) and Ata Tala (14 beat cycle), where Ata Tala varnams are generally more complicated and advanced. Some performers do not follow this though, preferring to sing the entire composition in ‘madhyama kala’ or relatively fast pace. Each swara passage is sung, followed by the lyrics of the charanam. The rest of the composition (Charanam onwards) is sung in a ‘madhyama kala’ or approximately 1.5 times the speed used at the start. 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 most classical example of this is the Viribhoni varnam in Bhairavi, which is sung after omitting one of its chitta swaras and the anubandham. In modern times, some old varnams are even sung partially, by omitting the anubandham part. It is found more often with very old Varnams and it is less prevalent in the newer varnams. Some varnams have this additional part that follows the charanam and chitta(Ettugadda) swaras, that is sung with lyrics or sahitya thus leading back to the muktaayi(Chitta) swara or the first pallavi line itself. 
The swaras occur in several groups or stanzas. In a Pada varnam, there are lyrics which correspond to the Charanam swaras.
Chitta Swara or Ettugadda Swaram: Sung completely with syllables. In Pada Varnas it is known as Muktaayi Swara-Sahitya. Muktaayi: Sung completely with syllables-or swaras - (like s (sa) r (Ri) g(ga) m(ma) p (pa) d(da) n(ni) (sa)(This is the higher version of the normal one). Anupallavi: A sort of recapitulation, sung with lyrics or sahitya also. Pallavi: The first section of the Varnam, sung with lyrics or sahitya. 
The varnam is subdivided into several sections: Named for its tanam-like rhythmic qualities, tana varnams only have lyrics for the pallavi, anupallavi and charanam. The melodic patterns in a varnam are considered to be characteristic patterns of a particular raga. 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. 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. 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).Ĭonsidered as probably the most complex form in Carnatic music, varnams play a significant role in Carnatic music. They also come different taalams (beat cycles). There are different types of varnams, such as taana varnam, pada varnam, daru varnam and ragamalika varnam. 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 chittaswaras.
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