embellished according to the notes that appear immediately before and after. This is called Alangaaram (Gamakkam). Taking into consideration all these special notes, PaN Isai is different from Karnatik Music. Karnatik Music as two variations of each of the variables; Ri, Ga, Ma, Dha and Ni. PaN Isai has 4 variations of each of the 5 variable. Plus the 2 constants; Sa and Pa, there are 22 variations of the 7 basic notes. The ancient name for Raagam is Niram. Melakarta was called Thaai Niram and Raagams born from there were call Say Niram. The ancient name for ThaaLam is PaaNi. For example, Rupaka Talam was PaaNi MoonDRoththu. Before Sa, Ri, Ga... Tamils used the 12 Tamil Vowels. Looking at a keyboard, they would've used the 5 KuRil (Short Sounds) for the black keys and the 7 NeDil (Long Sounds) for the white keys. Some of the panns and their equivalent Carnatic ragas were: Panchamam – Ahiri Pazham Panchuram - Sankarabharanam Meharahkkurinchi - Neelambari Pazhanthakka Ragam - Arabhi Kurinchi - Malahari Natta Ragam – Panthuvaraali Inthalam - Nathanamakriya Thakkesi - Kambhoji Kausikam - Bhairavi Nattappadai – Gambhiranaattai GandharaPanchamam – Kedara Gowlai Panns in Saivite hymns After the Sangam period and during the occupation of the Tamil country by Kalabhras, Tamil music was dormant for a period of a few centuries. With the advent of the Saivite saints Manikkavacakar (100 AD), Sundarar (900 AD), Thirunavukkarasar and Thirugnana Sambanthar (7th century CE) who used the ancient panns in their hymns (Tevaram), Tamil music experienced a revival. Only through these Tirumurais, hymns by Seerkaazhi Muthuthaandavar, hymn by Marimutha Pillai, Arunagirinathar, Ramalinga Swamigal and the hymns of Vaishnavite Alvars we can still experience the ancient traditions of the Tamil panns. Sambanthar used the following seven panns: nattapaadai, Thakka ragam, Pazhanthakka ragam, Thakkesi, Kurinji, Viyazhak kurinji, and Meharahakkurinji. Manikkavacagar used Mulai Pann (Mohana Raagam) for the majority of his Thiruvasagam and Thirukkovaiyar. There are a few of his hymns where he used Bowli, Megaragakkurinji and Kalyaani. Sundaramoorthi SwamigaL wise widely influenced by Thirunyaanasambandhar SwamigaL and Thirunaavukkarasar 'Appar' SwamigaL, who used PaN Koli quite often. In actual, only Thirunaavukkarasar SwamigaL sang the Dhehvaaram, which made-up the 4th, 5th and 6th ThirumuRaigaL. Thirunyaanasambandhar SwamigaL wrote the ThirukaDaikaapu, which makes up the 1st, 2nd and 3rd ThirumuRaigaL. Thiru Sundharamoorthi SwamigaL wrote the ThirupaaTTu, which makes up the 7th ThirumuRai. Thiru MaaNikkavaasagar's Thiruvaasagam and Thirukkohvaiyaar makes up the 8th