Kriti music thingy

https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=video&cd=&ved=2ahUKEwis7_W_m8rzAhXxGTQIHeqOBoQQtwJ6BAgDEAM&url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3Dn4Tb0OOFkA4&usg=AOvVaw27xHWfshLP8EHuKbWf70U6

Has a soothing yet exciting tone

Majority of kriti songs have a homophonic texture

Has a non-metric style of music

Also has a largo tempo for a calming effect

Has various types of instruments, including citars, hand drums, maracas. etc

Some Kritis have a verse between the anupallavi and the charaṇam, called the chiṭṭaswara. This verse consists only of notes, and has no words. Other krithis, particularly some of Oottukkadu Venkata Kavi and Muthuswami Dikshitar's compositions, are intentionally composed without an annupallavi, where the verse after the pallavi is called the samashti charanam. Still others have some more sāhityā at the end of the charaṇam, set in madhyamakāla (few lines within a song that are sung faster than the rest of it).^[1]

There are krithi's, such as Thyagaraja's Enduku Nirdhaya that have no annupallavi but many short charanams. Often, the artists take up certain lines of a Krithi for neraval. One of the greatest explorers of the krti form was Oottukkadu Venkata Kavi (1700–1765), who has created numerous varieties within this form, often with innovations in contrasting speeds, gaits (gatis) and lyrical variation (sahitya-sangatis), sectional partitioning and singular blending of rhythmic syllables and lyrics.

Wikipedia.org