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  Sangathi / sangati Are musical phrases applied to a base phrase, and referred in the context of variations, either with subtle or gross modifications, improvisations or changes. Saint Thyagaraja is credited with introducing sangati-s into the kriti form. A particular variation of a phrase in a kriti or song with slight or large changes in tune and gamakas. Each phrase maybe repeated with different small or large variations or sangatis. While it is difficult to quantify change, the change is about the melodic content alongside structural many times. Below quoted from Ramesh Mahadevan. Sometimes, in a kriti, the first lines will be varied systematically as the singer repeats it over and over. (This happens even in some movie songs). That is, the Pallavi will be sung intentionally in different melodies as it gets repeated. The text of the line will be the same, but the music will be different. Such variations are called 'Sangatis'. These variations or Sangatis are intended

Poorvanga, Uttaranga An anga in general means a sub-division, a part of the whole. Literally Purvanga; means the first section /part Uttaranga; the latter section /part In Indian music, it denotes one of the two parts (tetrachords) of the octave. First, to the saptaka (S, R, G, m, P, D, N), add the taara Sa (S'). This is the octave (S, R, G, m, P, D, N, S'). Now the octave is divided into two parts: (1) Sa to Ma: S, R, G, m; (2) P to S': P, D, N, S'. These constitute the two anga-s. The first part is called poorvanga, the lower tetrachord. The second part is called uttaranga, the upper tetrachord. Each part has four members, and the two parts are similarly constructed. Raw Source; http://sapthaswaras.blogspot.com/2009/01/poorvanga-and-uttaranga.html

Sthayi   A sthayi is an octave, one range of sa, ri, ga, ma, pa, dha, ni, and the upper Sa, which becomes the lower sa for the next higher octave. The term 'octave' is self-explanatory: octa=eight, as it contains eight individual notes.   There are five sthayis (Octaves) namely #1. Anumandra sthayi - Two dots below the swara #2. Mandra sthayi - One dot below the swara #3. Madhya sthayi - Swara without dots #4. Thara sthayi - One dot above the swara #5. Athi Thara sthayi - Two dots above the swara In Carnatic music, a range of three octaves is generally used. They are the Mandra, Madhya and Tara Sthayi, referring to the lower, middle and higher octaves respectively. The normal human sthayi is the madhyama (central) sthayi. Anumandra sthayi and Athi thara sthayi cannot be achieved with vocal pitch and is possible with instruments. #Music #terminology, #musicology #Carnatik, #Carnatic