Generally, a varnam is sung as follows:PallaviAnupallaviMuktayi SwaramPallavi (in double speed)Repeat, then Pallavi sung in triple speed, or in original speed.CharanamCharanam Swara Group 1CharanamCharanam Swara Group 2CharanamCharanam Swara Group 3CharanamCharanam Swara Group 4CharanamPallavi:In Carnatic music pallavi is the thematic line of a song. It is usually one cycle long and repeated twice or thrice in order to give the percussionist the idea of the chosen taalam. Sometimes it is repeated a few more times using different phrases of the Ragam to which the song is set.The life of the song, the word pallavi consists of a wide range of items that are considered as a single item:pa is derived from padam which means word or phrase;lla comes from layam which means poetry or rhythm;vi is from vinyasam which means imaginationIn Carnatic music, pallavi also forms a part of a special type of rendition called Ragam Thanam Pallavi. Ragam in this context is the initial alapana of chosen ragam (elaboration and exploration of its scale). Thanam is elaboration of the ragam using percussion syllables. Pallavi, a single line of one talam cycle duration, is chosen for further elaboration of the ragam in different speeds, octaves, ragam phrases, etc.The Pallavi is mainly presented as the piece-de-resistance of the concert. In the Mysore-Bani style of concert presentation usually the Raga-Tana-Pallavi is presented in the same raaga as of the Varnam with which the concert is startedAnupallavi:In Carnatic music, the anupallavi comes after the pallavi and is usually the second section of any composition. It is then followed by one or more charanams. The anupallavi is optional. In such compositions pallavi is followed by one or more charanams.Charanam:Charanam (meaning foot) in Carnatic music (South Indian classical music) is usually the end section of a composition which is sung after the anupallavi.[1]There may be multiple charanams in a composition which make up different stanzas, but in compositions that do not have an anupallavi, there often exists a samraashti charanam that combines both the anupallavi and charanam of the composition[1] which directly follows the pallavi.The charana swaras are grouped in four different ways:1st - one tala cycle.2nd - one tala cycle.3rd - two long tala cycles4th - four long tala cyclesThere are generally 35 swara groups in every varnam. In a concert, the entire charanam section is sung at approximately 1.5 speed. Sometimes when repeating the Pallavi the Annupallavi and Muktayi Swarams are repeated in double or triple speed.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. In most of the Adi Tala Varnams the tala is placed in the 2 kalai version. So therefore each beat and finger count is placed twice.Famous VarnamsAdi Tala Varnams include:"Sami Ninne" in Sree Ragam composed by Karur Devudu Iyer"Ninnukori" in Mohanam ragam by Poochi Srinivasa Iyengar"Evvari Bodhana" in Abhogi ragam by Patnam Subramania Iyer"Valachi Vacchi" in Navaragamalika (9 ragas, similar to Ragamalika which literally translates to a garland of ragams.Ata Tala Varnams include:"Viriboni" in Bhairavi ragam by Pacchimiriam Adiyappa"Nera Nammithi" in Kaanada ragam by Poochi Srinivasa Iyengar"Chalamela" in Sankarabharanam by Swati TirunalThe Arabhi ragam varnam is supposed to be the only longest piece with jantai and tattu prayogas.The Valachi vachi varnam is a Navaragamalika composition. The "MATHE MALAYADHWAJA" is a very Unique Varnam due to the fact that the Chitte swara has two different types of sahitya arranged according to it. The first is a rhythmic poetry describing the king and has the Raja mudra and the second is a liting Solkattu swara which is very nicely embodied in expression by bharatanatyam dancers