CHAPTER 6 Varn ams for Creativity - Information and...
Transcript of CHAPTER 6 Varn ams for Creativity - Information and...
CHAPTER 6
Varn����ams for Creativity
This chapter defines what creativity means in music and analyses how
varn�ams lay the foundation for creative singing and improvisation in
Carnātic music particularly while singing rāga ālāpana, kalpanāsvaram and
tānam
Creativity is the mental process by which new ideas and things come
into existence. Creative experience is the unique character of an individual
and creativity may not always be the same in the same person. Creativity in
music is being motivated to achieve, being driven to explore new avenues
within the bounds of lakśan�a or the grammar of music. In a creative effort,
the artist surrenders himself to the art and what is born is a combination of
intuition and what has been learnt over the years.
Classical music gives a lot of scope for freedom of expression. Yet
this expression has to remain within a set of rules and regulations, within a
framework of codified principles. The area where this creativity forms the
basis is called Kalpanā Sangītam as opposed to Kalpita Sangīitam wherein
composers give the musical forms. Creativity exists in conceiving a rāga,
estalishing its unique svarūpa by exploring its typical, dominant and defining
sancāras. Embellishing the various sancāras in order to create variety can
further develop the rāga.
Established major and popular rāgas have been sung for so long that
the great masters of yesteryears and the vidvāns must have explored almost
all the possible bhāva oriented sancāras already and vidus�is of today. In any
rāga there are core sancāras, which are essential to bring out the maximum
rāga bhava. This is what makes an alāpana familiar to a listener.
Apart from the core sancāras, musicians try to include aesthetically
attractive phrases through improvisation. These may be interesting patterns
and may be at high speed to sustain the interest of the audience. Though
retrieved from memory, it is not a repetetive exercise but is an unfoldment of
a musical idea. Years of practice helps in presenting a familiar idea with
perfection and at the same time there is ease and precision in presenting an
unexpected idea.
This improvisation implies a spontaneity and not necessarily creation
of never heard before sancārās. Creativity in this context implies singing
based on the spur of the moment. The background to this is the training
imparted beforehand. Our classical music is centuries old and we can draw
from the wealth of the musical forms particularly varn�ams
Creativity or manodharma is what distinguishes Indian classical music
from other types of music. In precomposed music, it is the composer who is
the genius and his originality shines through his composition.
In classical music the real test of a musician is his or her prowess in
creativity. At first rāga singing may be repetitive, the phrases may be
discontinuous and ideas limited. With greater the exposure to the rāga
through learning compositions or through a process of trial and error, one may
learn the nuances of a rāga.
6.1 Creativity in Carnātic Music
The areas that require the creativity or manodharma in a Carnātic
musician are in:
� Rāga Alāpana
� Kalpana svaram
� Niraval
� Tanam
� Pallavi
The question may arise as to how one can train ones imagination.
For this one has to understand the learning process. The mind registers visual
and audio images. These are retrieved by the individual whenever the need
arises to use the musical images. Any phrase that has been repeated often is
bound to come to the surface quickly. Also it is important to have a logical
sequence of rāga phrases, which comes with experience. One has to have a
sharp mind to draw the right phrases at the right time but with sufficient
practice it will happen automatically with little or no effort as the mind is
trained enough. Familiarity with the phrases is important and it has to be oft
reopeated for it to be etched in the mind well. This is where training in
varn�ams will help. They will help reinforce key rāga phrases, graha and
nyasa svaras
Svara jnānam or an understanding of svaras
It is important for a singer to have a proper understanding of svaras.
Whatever anybody sings as sāhitya or text should appear as svaras in the ears
of the singer. Only then the person is said to have acquired svara jnānam.
The varn�am is very important in this respect as the svaras are first taught
before the corresponding sāhitya is introduced. Thus the singer is able to
relate to the svara sthāna erasily. An instrumentalist gets a grasp of the svaras
quickly as the notes are essential for playing but for a vocalist it requires
greater effort to identify the svaras that are being used while singing.
The SR makes a reference to svara jnānam while describing the uses
of alankāras or tonal embellishments
Raktilābhah� svara jnānam varn�āngānām vicitratā|90
(Creation of delightfulness, tonal perception and the variety of tonal
structure)
Svara jnānam literally refers to an understanding of the tones and
the microtones used in our music. In Carnātic music the world implies a
thorough understanding of the notes employed in different rāgas.
The notes that a rāga employs, its arrangement in the octave are part of the
scale. A rāga employs certain tonal accents, which are unique. Though some
rāgas may share the same note technically and musicologically, in reality they
may all vary in their pitches. There may be subtle sruti variations expressed as
a quartertone or microtone and this breathes life into the rāga.
Ability to reproduce a given tone- this tests the aural capacity and the
capacity to reproduce a given sound or phrase. The human voice is directed by
the brain and depends on neurological stimulus as well as memory. Any
phrase that has been previously heard or tried is likely to be easier to
reproduce. Sometimes a musical phrase may sound simple but it may take a
lot of practice before it is achieved. This is referred to as ‘svara sadhana’. It is
a search for the right positioning of the note and no book can explain this. It
has to be taught by a Guru and internalized by the student. This is the reason
90
SR Vol.I section 6 pp. 265
why the same note or combination of notes produced by two different
musicians is never the same.
Svara Sthānas-Varn�ams introduce the singer to a whole array of notes and
perfection of the svara sthānas or note positions comes entirely through
practice. Again these note positions may vary to some extent based on the
guru one learns from as there may be subtle sruti variations and differences in
inflections between different schools of music.
The same note may have subtle sruti variations depending on the gamakas, the
preceding and succeeding note. Also though two rāgas may technically have
the same note position, the way they are rendered differently often brings life
to the rāga. This can be learnt from varn�ams
6.2 Rāga Ālāpana
Ālāpa in Sanskrit literally means to introduce, and the rāga ālāpana
introduces to the listener the entire gamut of a rāga.
Rāga ālāpana may be short or long depending on the composition that
it precedes and also the stage in a concert where it is trendered. In either
situation, the rāga svarupa or rāga bhāva has to be brought out quickly. This
has to be ideally done in the opening phrase itself.
In a ālāpana certain syllables like ta da ri na sound musical. The
vowel sound ā or ī are used profusely along with the consonant sounds. Our
treatises have prescribed a rāga vistāra paddhati or a procedure to be followed
while elaborating a rāga.
This consists of three main stages:
� Āks�iptika – introduction
� Rāga vardhani – the body of the ālapana
� Sthāyi and Makarin�i – conclusion
The introduction to the rāga is usually commmenced in the madhya
sthāyi and then followed with a few appropriate sancāras in the mandra and
madhya sthāyi. Hower there is no hard and fast rule about beginning in the
madhya sthāyi. One can also begin in the tāra s�adja and descend to the
lower notes and then hower in the madhya sthāyi. This entirely depends on the
rāga nd the mood of the artist. At this stage of āks�iptika, the identity of the
rāga is intoduced to the listener. Typical rāga phrases are sung to establish the
rāga that is being sung.
The next stage or Rāga Vardhani is the main part of the ālāpana.
Phrases which reveal the melodic entity are sung with vises�a as well as rakti
prayōgas.This part of the ālāpana is mainly in vilamba or slow tempo
interspersed with madhyama and durita kala (medium and fast tempo)
After this one traverses stage by stage the entire madhya sthāyi before
reaching the tāra s�adja. Sancārās with a variety of rāga phrases are
introduced. Following this a few brisk phrases in quick tempo known as
birghas are sung. This is the dominant feature of the later part of the rāga
vardhani.
This is followed by sthāyi wherein a singer may start on a particular
note sing a phrase and come back to the same note. The makarin�i or
conclusion is also referred to as vartani where there is a final rounding off of
the rāga before the singer settles on the madhya s�adja or pancama to
conclude. Although this format has been laid out, in practice the rāga ālapana
often is left to the mood and creativity of the artist. It may be long or short as
the length of concert and succeeding song require.
There are many aspects of the rāga that one can learn from varn�ams.
As mentioned earlier, one is the svara sthānas or position and combination of
notes of a particular rāga are introduced through varn�ams.
Secondly, a student learns to identify rāgas even before singing an
alapana. The varn�am is a very useful tool for this as it introduces the shape
of a rāga to a beginner. There are varn�ams in all major rāgas like Tōdi,
Śankarābharan�am, Kalyān�i and Kāmbhōji. There are also varn�ams in
rakti rāgas like Sahāna, Kedāragaula, Sāvéri and Begada.
Modern varn�ams have been composed in newer rāgas like
Nalinakānti, Hamīrkalyān�i and Behāg . There are also varn�ams like
Maguva ninne in Nārāyan�agaula which are not commonly sung today. This
varn�am establishes the rāga identity and differentiates it from the closely
allied rāga Kedāragaula. It is through varn�ams that we understand the shape
of the rāga.
6.2.1 Rāga Phrases
Rāga ālapana is all about singing the key rāga phrases in the right
proportion in the right combinations and with a sense of originality.
Sometimes a singer maybe singing perfectly within the rāga and yet the
impact may not be effective. This is because the appropriate phrases may not
be used at the correct juncture. Also the break up of phrases has to be clear
punctuated by either a pause or a stress in between. The break up of phrases
is very important in a varn�am and can help in later creativity.
The second ettukada svara in charanam of the Nāyaki varn�am
(Khanda Triputa tālam) has a typical example.
s����ns����p,d – pdnndp- dp, - rmpd – n| ndp - dpmr - ggrs - rmpdp||
If the phrases are wrong, the rāga itself may change (saranga and kalyani) also
rāga phrases bring out the rāga swaroopam.
For instance in the Kalyān�i adi tāla varn�am Vanajākśi in the muktāyi
svaram
s� r�, n s� n d n, s� n d p m g r|
s r s - p , m - d , | p – n d r� s� n d n ||
The same if rendered with the phrases differently may sound like Sāranga
s� r�, n s� n d n, s� n d p m g r|
s r s p , m d , - | p n d - r� s� n d n ||
Rāgas have typical phrases that give them their unique identity. Very
often there may be rāgas with similar svara combinations and just a single
note differentiating them but the typical svara phrases and stress on differing
svaras or nyāsa in differing svaras will differentiate the rāgas.
Many varn�ams begin the composition with a typical rāga phrase
and it is curious to note that very often phrases are used for the pallavi as well
as the beginning of the muktāyi svaram
1. The gāndharam is a very important note in Mōhanam and in the
varn�am Ninnukōri the pallavi starts with g, g, r, , , the anupallavi
with g, g, p, and the caranam with g, g, g p g r
2. The Kāmbhōji varn�am Sarasijanābha begins in the mandra
sthayi with the typical phrase p�, d�, s , r n� d� p� and the
muktayi starts again in the mandra sthāyi n� p� d� s, s Both
are typical Kāmbhoji phrases but the first one employs kaisiki n
and the latter kākali n thus the varn�am establishes the
bhas�anga rāga with the use of both the nis�ādams
3. The Sāvéri varn�am Sarasuda begins s, r, g, r g r, , , and the
muktāyi svara also begins s, r g r s r, with just the spaces or
kārvais changing as the phrase is typical of Sāvéri.
4. The Bégada varn�am Intacalamu begins d p m, g r s, r n� d�
d� p� p� s , s , and the muktāyi svaram begins with a similar
phrase d, p m, d p m g r,
5. The Sāranga varn�am Intamōdi has the typical phrase r g m r s in
the first laghu itself. The pallavi begins in the tara sadjam and so
also the muktayi svaram
6. The Tōdi varn�am Eranāpai begins in the tāra sthayi s�, , s� n d
and it is followed by p d n n d p a very typical Todi sancāra. The
anupallavi begins n d d n d d n showing how the rāga bhāva can
be explored with just these three notes
7. The Srirāgam varn�am Sami ninne begins on the pancamam - p, ,
p m r g r s n�, p� n� s r n. s, , , , , and the muktāyi svaram
begins p, p m r r g r r s s n� n� p� n� n� s,
8. The Bilahari varn�am Inta Cauka again begins in the tāra sthayi
with the typical phrase s� , , s� n d p d using the kākali nisādam
and the muktāyi svara begins with identical notes s� , , s� n d p d
9. s� d p m g r is a phrase typical of Sankarābharan�am with the
omission of the nis�ādam in the avarohan�am and occurs many
times in the varn�am Sāmi ninne. This phrase may be used in rāga
ālāpana as well.
10. The Durbār varn�am Calaméla includes the unique phrase of g,
g, r s in the first āvartana starting p m r g, g, r s and the muktāyi
svaram uses the same svaras but with different spaces or kārvais
p m r g r s
The reason for repeating the opening phrase in the muktāyi svaram is
to reinforce key rāga phrases in the mind of the singer. The importance of a
particular phrase in a rāga is stressed.
Typical rāga phrases
1. Gaula
The phrase r g m r s is typical of the rāga Gaul�a. The Gaul�a
varn�am Celimikōri begins with
r, g, m, r s n���� s r, r r s s | n� p� n� s r m r p | m g m , , r r s ||
Ce li mi kō - - - ri va - - chi - - yu - - - na - - - - - - di - - ||
2. Kānada
a. A typical phrase for Kānada is r p g , m r s
The Kānada ata tala varn�am Neranammiti begins with
, , , , , , , , * r , r p g, g , g m r s s n���� r s r, , ,
- - - - - - - - nera- nam- mi- - - ti - - - - - - -
b. The svaras dhaivatam and nis�ādam are used in varying
combinations to bring out the beauty of the rāga Kānada in the second
ettukada svara. This can be replicated in akāra and rāga alāpana.
d, n – p d p – m p m g m n d, n- p m g m r|
s r g m d, n s� p d p n d p g m d, n s�|
r� n s� n p m g m | d, n s� r� g� m � r� ||
s� n p m n d, n*
3. Kedāram
The Navarāgamālika begins in the rāga Kedaram and with the mandra
pancamam, which is typical of Kedāram. The phrase s m g m p n is also
typical of the rāga
p���� , n���� , s , , , s n� s r s s n� n� |
va - la - ci - - - va - - - ci - - - |
s m g m p n p p | m m g g r r s n�||
yu - - - nna - - - |nā - - - - pai - - -||
4. Ānandabhairavi
Poochi Srinivāsa Iyengar’s varn�am rārā sāmi opens with a typical
Ānandabhairavi phrase p g m, p,
p g m, p, , , m d p m p m g r
rā rā sā mi
5. Kalyān����i
In the adi tāla varn�am Vanajākśi the caranam opens with an oscillating
nis�ādam which is typical of the rāga. n , , , , , s���� d s���� n d p m g m, | p, , , , ,
This entire phrase can be used for rāga ālāpana with only slight
variations in the kārvais and speed. The ālāpana can be further developed with
the following phrases
p, d n s� d s�, n d pm
d, n s�, n d pm
g m p d n s�, n d pm
6. Sāvéri
Kothavāsal Venkatarāma Iyer’s Sāvéri varn�am Sarasūda begins
with s, r, g, rg, r, , , , The rāga ālāpana can be developed beginning with this
phrase
s, r g, r r , , s, r r s n� d� ,,
d� s r g, , r r, ,
g s r, , g r, , g d� , , d� s r g, , r r, ,
7. Sahānā
Tiruvottriyur Tyagayyar’s varn�am Karunimpa begins with the
phrase p, m, g, g m r, g r s, Sahāna is a rakti rāga and it is these typical
phrases that bring out the feel of the rāga. The rāga can be developed in the
following manner
p m g m r,
r g m p,,m g m r g r s r s, r - n� s d�, - n� d� p.,, m� d� n� s r , ,
8. Kédāragaula
A closely allied rāga to Sahāna, a varn�am Sāmi daya juda by the
same composer in Kédāragaula has typical phrases that can be used to build
the rāga. s����, n d p - m p n d – p d p, m g | r , , This can be followed be the
phrases
m p nd – d p mg r, ,
r m, g r , , pp.
r, p mg r, ,
9. Bégada
Vin�a Kuppayyar’s varn�am Inta Calamu in Bégada begins with
the phrase d p m, g r s, r n���� d���� d���� p���� p���� s ,
To sing ālāpana in the rāga one can begin with the phrase
d p m p g r s-
s, r g r s n� d. p s s g , g ,
10. Rītigaula
Yet another varn�am Vanajakśa by Vin�a Kuppayyar in the rāga
Rītigaula has the phrase g m n n, s���� n s����,, * n s���� g���� g���� m���� in the
anupallavi. This is a typical phrase, which occurs in most ālāpanas in the rāga.
It can be developed in the following manner
n d m, , n n s�, ,
n d m, , g m n n s�, ,
n s� g� r� s�, s,
11. Tōdi
The caran�am starts with the madhyamam m , m, g , , r s r g r | m, g
, m , . The region around the madhyamam can be elaborated with many
phrases starting and ending on the madhyamam. An example is given in audio
cd II.
6.2.2 The Range of a Rāga
Depending on the rāga, the emphasis on the sthayi or octave differs.
Some rāgas like Bhairavi and Sahāna have a lot of mandra sancāras while
varn�ams in rāgas like Kedāragaula and Kal�yāni have a lot of tāra sthāyi
sancāras. Rāgas like Kedāram begin in the mandra pancamam.
Often the range helps in differentiating closely allied rāgas. For instance
the Ritigaula varn�am has sancāras upto the mandra pancamam whereas the
Ānandabhairavi varn�am only goes down uto the mandra nis�ādam as that
is the range of the rāga. Rītigaula and Ānandabhairavi are closely allied rāgas
but certain phrases differentiate them.
The phrase p� n� n� s can be sung in the mandra sthāyi and m n n
s� in the madhya sthayi. These phrases are seen in the Rītigaula ata tāla
varn�am Vanajāksa. The Anandabhairavi varn�am Sāminīpai does not
extend below the mandra nis�ādam. g r n� is a typical phrase for the rāga
Ānandabhairavi and is seen in the composition.
The varn�am begins on the nis�ādam * n� , , s , , n� s g r n� ......
Both these varn�ams are by Vin�a Kuppayyar and it is possible he
composed in both these closely allied rāgas to make the distinction between
the two clear.
6.2.3 Graha Svara
Each rāga has permissible graha or starting note of a rāga phrase.
‘Graha’ literally means ‘to hold’. These graha svaras or commencing notes
are important in rāga ālāpana, niraval as well as in kalpana svaram.
The graha svara or starting point can be different each time even
though the same rāga is rendered. That is why though there are many
varn�ams in the same rāga, their graha svara is often different. The Tāna
Varn�a Tarangini is a compilation with many varn�ams each rāga and hence
has been used as a reference for graha svaras. The following graha svaras may
be seen in the pallavis of varn��ams:
1. Kalyani
a. Composer -Patnam Subramanya Iyer
Tālam - Ādi
s ����s���� , s� n d � r� s� n n d d p m g m|
vana jā --kshi rō - - - - - i -- |
b. Composer - Kooranādu Natesa Pillai
Tāl�am - Tiśra triputa
g , m , p , , , d , , , |
kāma bā dha
c. Composer - Śyāma Śastri
Tāl�am - tisra matyam)
n, , d , , p m p d n d |
ni ve ga ti
d. Composer – Wālājāpet Venkataraman�a Bhāgavatar
Tāl�am - Ādi
r���� s�, s� n d s� n d p m g m r g m|
sarō jā ksha nin
e. Composer Pallavi Gōpāla Iyer
Tāl�am - Khanda at�a
s, n� d� n� s r g * d m p g g, , r r, , ,|
va na jā
In a sampūrna rāga taking all the seven notes there are greater chances
of having multiple graha svaras. For instance in Kalyāni, the graha svaras
range from tāra s�adjam, nis�ādam, dhaivatam and gandharam.
2. Mōhanam
On the other hand in a rāga like Mōhanam, which is audava and takes
only fewer notes the graha svaras will also be limited. Of the seventeen
Mōhana varn�ams listed in Tāna Varn�a Tarangini Part 3 - seven of them
have the gāndhāram as the graha svaram. This is by far the most natural
beginning for Mohanam. Four begin with the pancamam, three with tāra
shadjam, two with the ādhāra s�adjam and one dhaivatam. No varn�am
starts on the ris�abham thus making it clear that it cannot be used as a
starting point or graha svara for Mōhanam.
The same idea can be translated while singing ālāpana in Mōhanam.
Ideally one can begin on the gāndhāram. Even when developing the rāga
phrases starting rāga phrases in graha svaras will enhance the beauty of the
rāga. The nyāsa svara is usually a note lower and in this case the risabham.
3. Ānandabhairavi
In the rāga Anandabhairavi, there are fourteen varn�ams in the TVT
seven of them begin in the pancamam, five on the tāra s�adjam and one in
the ādhara s�adjam and one on the mandra nis�ādam.
In the rāga Ānandabhairavi, the s�adjam and pancamam are the most
important graha svaras and that is made clear through the varn�am.
4. Ārabhi
In the case of Ārabhi, which is again an audava rāga or pentatonic
there are seventeen varn�ams listed in TVT. Of these two begin in
ris�abham, four in the dhaivatam, two in tāra s�adjam and eight in the
pancamam. For Ārabhi, the pancamam is a resting note and is very important
for the rāga. Usually the pancamam is followed by a combination of m g and
r with diffrering kārvais. No varn�am starts on the madhyamam. Again the
gāndhāram is there in the avarōhan�am but it does not have a separate status.
It follows the madhyamam like a shadow and is not a graha svara. All this can
be learnt from varn�ams and used while singing the ālāpana.
These are demonstrated very well in varn�ams and act as a guide as
to which note one can rest on while singing and again which note to begin an
ālāpana.
6.2.4 Nyāsa Svara
The nyāsa svara is very important in rāga ālāpana, as it is the
concluding or resting note. These are significant pauses in a rāga ālapana and
are similar to punctuation in a language. While singing an ālāpana, each rāga
phrase is gently concluded in a particular svara that differs based on the rāga.
Varn�ams give a good idea of which notes may be used as nyāsa svaras
1. Bhairavi
A typical resting note or nyāsa svara for the rāga Bhairavi is the
ris�abham. The Bhairavi varn�am Viribon�i rests on the ris�abham in the
first āvarta
n�, s , r,, g s r, g r g g r, , ,
A change in the nyasa svara or even elongating a note sometimes may
change the rāga.
2. Mōhanam
The ris�abham is a strong resting note for Mōhanam and that is seen
in the varn�am in many phrases
i. Poochi Srinivāsa Iyengar’s varn�am Ninnukōri the first phrase has
the r as a nyāsa svara g , g , r , , ,
ii. Puliyur Duraiswami Iyer’s varn�am Ninnekōri in the same rāga
also begins g, p , g , r r , , ,
While elaborating the rāga, beginning with the gāndharam, the resting
note is the ris�abham. The following phrases are commonly sung
g r s r g, , r
g p g, , r
s r g p g , , r
3. Ārabhi
This rāga has both the graha and nyāsa svara as ris�abham as seen in
the opening phrase of the varn�am Sarasijamukhirō r, m g r,
The ālapana could typically begin with a rāga phrase starting on the r
and also close with the same note
r, , sr m , g r , ,
d� s r m , g r , ,
d p m , g r , ,
4. Kédāragaula also has the ris�abha as the nyāsa svara and is seen in the
ettukada of the varn�am Sāmi daya juda. In just two āvartanas there are eight
phrases with the notes m g r. While singing the svaras attention has to be
paid to the splitting of the phrases and a stress or a kind of voice modulation
has to be employed with each new phrase.
d p m g r - p m g r - m g r - g r s g| r - s n� d� p� - n. s n� |s r s - r m g r - p ||
m g r - m p n d p s� n s� - r� s m���� g���� r����| s� n d p n d p m | g r - p m g r -
m p||
5. Valaji
In rāgās like Valaji the dhaivatam is a beautiful resting note. The
second ettukada in Lālgudi Jayarāman’s varn�am has many phrases ending in
the dhaivatam and the caran�am sāhityam also begins in the d.
d, p g p s g p d, s p g d pn| d, p g s g s n� |d , n s g p d n|| dāsahrudaya
6.2.5 Gamakas
A very unique aspect of Carnātic music is the type of gamakas or
embellishments that are used. This can be an oscillation, a quiver, a swing, a
glide or a touch of a neighbouring note. These gamakas vary based on the rāga
and can be trained only orally. Although musicians have tried to introduce
methods of notating songs with gamaka signs the same note may take
different shades based on the rāga phrase, the preceding or succeeding note.
These nuances are best learnt directly under a guru. Except for the s�adja and
pancama, which are held in the exact theoretical position, all other notes are
displaced based on rāga requirement. This is the strength of our music.
Gamakas are graces or embellishments that are of great importance in the
melodic system of music. This includes not just shakes and oscillations but a
manipulation of a note in any manner to enhance the musical effect. Matanga
was the earliest to use the term gamakas in his definition of rāgas. Although
infine varieties are possible Sārn�gadeva enumerates fifteen or pancadaśa
gamakas.
Svarasya kampo gamakah� srotra citta sukhāvahah�91
The shake of a note that pleases the mind and the ear is defined as a
gamaka and he goes on to list fifteen gamakas.
1. Tiripa
2. Sphurita
3. Kampita
4. Līna
5. Āndōlita
6. Vali
7. Tribhinna
8. Kurul�a
9. Āhata
10. Ullāsita
11. Plavita
12. Humpita
13. Mudrita
14. Nāmita
15. Miśra
91
SR Vol II Pg.172
Though numbered as fifteen there are some only suitable for
instruments such as āndōlita, vali and tribhinna. All these graces may not be
produced by the voice. The gamakas differ from the point of view of duration,
stress, speed and manner of production, extent of shake and their magnitude.
Subbarāma Dikshitar in the SSP has devised a system of notation with
detailed gamaka signs. Though initially written for instrumental music,
particularly the Veena, Subbarāma Dikshitar mentions in his explanation of
gamaka signs those that are meant only for instruments and those best
expressed in the voice. There is mention of the pancadaśa gamakas. The SSP
lists fifteen types of gamakas and has put in print the notes that take the
particular gamakas.
1. Kampitam or a shake shown as the symbol over the note. Other
varieties of kampitam are
2. Līinam
3. Āndōlitam
4. Plavitam
5. Sphuritam shown as ∴∴∴∴ i.) Stressing the second note in the
ārohan�a krama ii) pratyāhatam in the avarohan�a krama when
notes are sounded as s(r)s n(s)n. The note bracketed is sounded
subtly before uttering the next note.
6. Tirupam or nokku shown as w above the note indicates a stress
7. Āhatam where the stress on the earlier note is called ravai shown
as ٨ and stress on later note called kandippu shown as √
8. Vali is for Vin�a playing referring to sounding many notes from a
single position
9. Ullāsitam is a jāru or glide shown as / upward glide or ettra jāru
and \ downward glide or irakka jāru
10. Humpitam is the sound of humkāram
11. Kurul�am is with reference to Vin�a playing
12. Tiripam is with reference to Vin�a playing
13. Mudritam is only for vocal music and refers to keeping the mouth
closed and singing with the sound of ‘mmmm’
14. Namitam refers to voice modulation and singing with a lesser force
15. Misritam refers to a mix of the above gamakas
The subtle gamaka variations give life to a rāga. A varn�am in the
rāga like Bhairavi will include many of the above-mentioned gamakas. While
we speak of svaras like catusruti ris�abham, śuddha gāndhāram, śuddha
dhaivatam etc. there are subtle sruti or tonal variations based on the phrase
and the preceding and succeeeding note. This can be learnt through studying
varn�ams in the oral tradition.
While efforts have been made to notate with gamaka signs such
graces cannot be learnt from print. A person conversant with the music will
produce the right gamakas almost instinctively and that comes from
introducing varn�ams with gamakas to students of music at the early stage of
their musical training.
Varn�ams are very useful in this regard. After training in sarali,
janta, alankārams etc. the student is taught gītams where the notes employed
are fairly simple and flat. It is with varn�ams that gamakas are introduced for
the first time.
Singing varn�ams in a slow manner particularly in four kalai or in
the first speed will help a student understand the extent of oscillation of a
note. The same when rendered in the second speed will be different and in
high speed it will not be possible to oscillate the notes, as that will hamper
speed. (Sāvēri varn�am Sarasūda demonstrated in audio 2)
If followed carefully, the student can get a feel of the rāga with an
understanding of the gamaka signs in the book. This is however not advisable
for a beginner but is meant for a person who has areasonable understanding of
the rāga. An example of gamaka signs used in the SSP is given in appendix v.
The SSP is an exception and not all varn�am books have notation
with the gamaka signs but learning under an experienced Guru would help in
understanding gamakas suitable for each rāga. The gamaka would be
different for a particular note sometimes based on the preceding or succeeding
note.
6.2.6 Rare Prayōgas
Varn�ams have remained relatively unchanged unlike kritis as both
svara and sahitya that is the solfa syllables and text are sung. Also there are
usually no sangatis in varn�ams so except for minor variations, varn�ams
are rendered in a similar manner by most musicians. The Begada varn�am
Inta calamu has prayogas like d n s r which is not in vogue today so it is often
rendered as d r s r. Reference to earlier books show that the varn�am has
such prayogas in Begada and varn�ams are thus a reference for rare and
archaic prayogas or usages in a rāga.
6.3 Kalpana Svara
Kalpana svara is a part of manōdharma sangīitam where the musician
weaves patterns or sings various combinations of svaras within a rāga after
rendering a composition, usually a kriti. Kalpana svaram is rendered directly
after a kriti is completed or after a niraval is done. Sometimes kalpanasvaram
is sung even for varn�ams. This is to get a grip of the svaras used in a
particular rāga. The foundation for this is laid while singing varn�ams. The
entire uttarāngam or latter portion of varn�ams consists of svaras known as
ettukada svaras. The third ettukada as mentioned earlier is most often in
sarvalaghu. This has the range of possibilities and permutation and
combinations.
In classical music rendering the ālāpana brings out the soul of the
music and the technical skill of the artist is expressed through kalpana svara.
Although svaras are sung, they are not rendered in a scalar manner but with
the required gamakas and rāga bhava.
The method of singing kalpana svaram is usually to begin in the slow
tempo and usually for just half an āvartana at the begining. This is followed
by increasing the number of āvartanas, and rendering different varieties of
svara combinations in the slow speed for the chosen sāhitya line. There is no
time limit or āvartana limit to this and is usually left to the imagination of the
artist. At this stage the artist may conclude his rendition with a korvai or a
pattern.
In Carnātic music, while rendering kalpana svara apart from rendering
the svaras with rāga bhāva and with different combinations, an important
aspect is ‘kan�akku’ or calculation. This can be expressed in an overt way or
can be embedded in a subtle manner. Both these aspects of rāga bhava and
mathematical calculations can be developed by practising the muktāyi and
ettukada svaras in varn�ams.
While singing kalpana svara in the second speed, it has to be exactly
double the speed of the slower one so one has to make sure to begin at a pace
where one can sing the double speed with confidence. For this practice of an
entire varn�am in two speeds will be of great help. This is to make sure that
the svaras are articulated well in the second speed as well.
After kalpana svaras are rendered in the first speed, brisk svaras are
rendered for the same sāhitya line. Here again, initially svaras are sung for
half a tāla cycle and progressively increasing lengths of svaras are sung. This
may culminate in a complex svara pattern called a kōrvai.
It is not a rule that both the speeds of svaras have to be sung.
Sometimes a few brisk āvartanās of svara kalpana may be sung and sometimes
a few āvartanās of the slow speed alone may be sung in rāgas like
Devagāndhāri or Neelāmbari.
An analysis of the caran�am or uttarāngam varn�ams shows that the
first ettukada begins with a lot of kārvais and are suitable for singing in the
first kālam.
The second ettukada is a combination of kārvais and singly notes and
marks the transition between slow speed and the higher speed.
The third ettukada as mentioned earlier is entirely sarvalaghu or
svarās without any spaces between them. For singing kalpana svaram in the
second speed, this practice is of great help.
It is not enough if one sings high speed with a lot of repetion or just
going up and down the three sthāyis. There has to be variety, differing
combinations and patterns and also exposition restricting the range of svaras.
These are lessons that can be learnt from varn�ams
The last ettukada in varn�ams is usually a longer one running into
four āvartanas. This has acombination of kārvais as well as single notes. This
goes into the tāra sthayi, may include many yati patterns and climax in a
kōrvai particularly in modern varn�ams. This is very similar to singing of
kalpana svaram, except that the combinations are left to the impromtu
exposition of the artist. The artist may subconsciously draw from all that one
has learnt in the past particularly the ettukada svarams of varn�ams
6.3.1 Sarvalaghu
Singing svaras with a flow is often referred to as sarvalaghu, literally
‘all short’ possibly referring to the fact that svaras are sung in succession
without pauses or breaks between them. Such svara singing helps in
developing a command over the rāga phrases. Many musicians of yesteryears
sang in this manner and the emphasis was more on rāga bhava than on
mathematical calculations. The SSP mentions the term ‘sarvalaghu’ above
ettukada svaras that have no kārvais or spaces. It is always very difficult to
sing svaras continuously without any long note and these svaras ensure
practice in sarvalaghu. In most varn�ams with four ettukada svaras in the
caranam, the third one is usually a sarvalaghu.
Some varn�ams may not have the sarvalaghu svara. Singing without
kārvai or spaces is a difficult exercise and practising such svara patterns is of
great help for rendering later kalpana svaras. A study of ettukada svaras from
different varn�ams will show the svara variations and patterns created
1.The third ettukada of the Sāvéri varn�am Sarasuda has an example.
d n d m g r - n d m g r s - d m g r |
s g r s n� d� - r s n� d� - p� d� s r –m p ||
d- m p d - s� n d - r� s �n d p- d s �r �g� |
d s� r�- p d s �- m p d – g �r �s �n d p m ||
2. The third ettukada Bégada varn�am Intacalamu of Poochi
Srinivāsa Iyengar
m g m pd – m d p m g – r g m p - s p|
m g r – p m g r s | n� d� p� - r s n� g r ||
s m g r - p m g d p – s� n d r� s� - m� g� |
r� - s� r� n r� s� - p d | m d p – g m r g m ||
3. The third ettukada svaram in the Hamsadhvani varn�am Jalajāksa
of Mānambucāvadi Venkatasubbayyar has very interesting patterns in the
sarvalaghu
n p g r - n� g r n� - p� n� p�s n.r s g |
r p g n p s� n r� | n g� r� -n r� n p g||
p n s� r� g� - g p n s� r� - r g p n s� n ||
g� r� s� n p - r� s� n p g – r n� s r g p ||
4. The third ettukada of the Todi ādi tāla varn�am Erānāpai is
entirely sarvalaghu as well as pancama varjam
d n d m gm – n d m g r s – d m g r |
s- g r n� d� n� r n� | d� n� s r g m d m ||
d n s� r� n d n s� - r� g� r� n – d n d m |
g r s - g� r� n d m g r s - n� s r g m ||
5. The Ārabhi varn�am Sarasijamukhirō of Pallavi Duraiswami Iyer
has a fifth ettukada of four āvartanās with a profusion of janta svaras typical
of Ārabhi and except for a single kārvai in a risabham, is entirely sarvalaghu.
d d p p m g r r m g r r s s n� d� |
r r s- m g r - p p | m g r – m g r s r ||
m p d d p p – m g r s – r m m p p d |
s r m g r – p m d | d p - m p d s� n d ||
d d s� r� s� s� r� s� n d r� , s� - s� n d |
r� s� r� m� g� r� s� r� | m� g� r� - s� � r� s� n d ||
r� r� s� - s �n d - s� n d d p – m p d m p |
d s� d p - m g r - s n� d� - r s r – m p d ||
6. In rakti rāgās like Sahāna it is extremely difficult to sing sarvalaghu
and at the same time retain the rāga bhāva. The ettukada svara in the
varn�am Karunimpa is very helpful in this regard. Phrases like p m g m r g r
– and p m d n s����, which bring out the rāga bhāvam of Sahāna are present
in the varn�am.
p d m p g m - r g m – p m g m r g r |
s r n� s d� - n� s r | g m - s r g m p d ||
p m d n s���� - r� s� r� n s� r� g � m� - r� g � r�|
s� r� n r� s� - d n s� - d n d – p d – m p m ||
While singing kalpanā svaram, it is common to begin with a few brisk half
āvartana of svaras. Sarvalaghu svarās in varn�ams are very useful for this.
Also singing without any kārvai requires a complete command over the svara
phrases.
6.3.2 Svara Patterns
Varn�ams as a composition have a large part assigned to exposition
of kalpita or already created svara patterns in the uttarāngam as part of the
ettukada svaras. A careful study and analysis of this reveals a whole range of
patterns. The patterns range from simple twin svaras to complex patterns
involving multiple svaras. These patterns may be mathematical or involve
‘kanakku’ as it is referred to in Tamil.
1. Sahāna
A simple pattern may be seen in the Sahāna varn�am Karunimpa
s���� s���� , - p p , - r r , - n� s r g m p m||
2. Kānada
The Kānadā varn�am Neranammiti has a pattern in the last last
ettukada.
g���� g����, m���� r���� s� - n r���� , s���� n p – g g, m r s
Here the same phrase g g, m r s is repeated in the tāra and madhya
sthāyi. This phrase is typical of the rāga and enhances its beauty.
3. Srīrāgam
The Srirāga varn�am Sāmininne has a third ettukada with repetition
of phrases beginning with the nis�adam.
n, p m r g r s n���� , p���� m� p� n� s r | n����, s r g r r s |n����, s r m r g r ||
n���� , s r p m r s n���� s r m p n p | n, s���� r� n s� n p | n , p m r m p n ||
4. Ānandabhairavi
In the Ānandabhairavi varn�am Rārāsāmi of Poochi Srinivāsa
Iyengar the fourth ettukada has a pattern using key phrases in the rāga -
ps� - s p and p� s Here again p s is used in the mandra and madhya sthāyi.
p s���� n - r� s� n d p - s p m - d p m g r - | p���� s n� - s g r n� s | p m g r g m
p, ||
5. Mandāri
The Mandāri varn��am Vanjākśa of Mysore Vāsudevachar has
many patterns. This example has a repetition of a pattern of eight svarās, six
times followed by a pattern of six repeated twice.
m p n p m n p m - g m pm g p m g -| r g m g r m g r - s r g r s r s n� ||
p� n� p� s n� r s r - g rg m g m p n|- s� r� s� s� n p -p n p p m g -r g m
p||
6. Vasanta
In the Vasanta varn�am Ninnukori the 4th
ettukada has an interesting
pattern in the second āvartana that is repeated.
s� , , , , , n s� r� n, d mg, r | s, , , , , g� r� | s� n, d m d, - n||
s� n, d m g , m d m , - g - r s , - n� | d� n� , - s r n� , s| mg , -m d, ,, ||
7. The Kathanakutūhalam varn�am Sharanagata of Calcutta
Krishnamurthy has a pattern in the second ettukada with the madhyamam with
a kārvai repeating itself and finally joining the caran�a sāhitya line.
m, d d n g g p m, n d p m g r| m, d n g p s r m�, g� r� s� n d p || 92
mārabhanjana
92
Compositions of Calcutta Krishnamurthy p. 6
8. Nalinakānti
Lalgudi Jayarāman’s varn�am Nīvegatiyani in Nalinakānti has a third
ettukada, which is an example of unique patterns ranging from mandra to the
tāra sthāyi using the phrase
n p m g r
n p n m p n mn p n r m p n r n | p m p r m p n p| r� n g� r� m� g� r� n||
p m g r g� r� n p m g r r� n p m g | r n���� p����m g r n p m���� g���� r���� n p m g
r || marakoti
9. One of the simplest patterns is seen used in many varn�ams and rendered
in akāram can help train the voice to get correct svara positions.
1) In the Śrirāga varn�am fifth ettukada has patterns of three
s� r� g� - n s� r� - p n s� - m p n – r m p - s| r m
2) The Mandāri varn�am has patterns of four in the last ettukada
p n s� r� - m p n s� - g m p n – r g m p – s r g m
3) In the last ettukada of the Kalyān�i varn�am Vanajākshi
s� r� g� - n s� r� - d n s� - m d n – g m d n |
10. Subbarāma Dikshitar’s cauka varn�am Sāmi enta ni in Surutti in praise
of Niravalsvami Ettendra is a magnificent varn�am with the essence of
Surutti rāga. This varn�am is in rūpaka tālam (though mentioned as adi talam
in the Tamil version of the SSP) and has a lot of mixed kālapramān�am
unlike the usual varn�ams. It has unique ettukada svaras in the caran�am
with svara sāhityam and a lot of svarākśarams.
P,, d m, gm r, pm I p,, m r, p s� n, d n |
Pā ta lā dari rā jana I pā la sā rasa kan di ra |
P,, r m p n� s m r m, I p,, s� n d r� n, d s� n |
Pā vanuda nira man�i ye I pā riyepu du nīi jalaja |
P,, n d n s� n, d r m I p,, g�, r� s� n p, m p |
Pā damulane nammi nadi I pā limpumu kru pār n�ava |
He has composed a similar ettukada using the nis�adam and the
sahitya beginning with ni.
Mudicondān Venkatarāma Iyer has composed a varn�am in the rāga
Kharaharapriya, Sāmi nenarunci with a caran�am ettukada repeated the
madhyamam many times, first with a kārvai of three and then two.
m, , p d n p , , - n d p m, , g| r g m , , s r g| m , , p m g m , |||, g m p m , , s� n d p
m , g r r| p m , n� s r g m |, - p m p d n s� n|| ( mārakoti)
A similar repetion of the madhyamam may be seen in the Kāmbhōji varn�am
Sarasijanābha
Patterns in avarōhana or descent
There are many patterns in avarōhan�a krama or descending order
and need extra care while singing. It always more difficult to sing a
descending pattern and varn�ams give many exercises for practising such
patterns.
1. The Todi ādi tāla varn�am Erānāpai has some descending phrases
in the avarōhan�am
r� n d m g r – n d m g r – d m g r s|
2. The Mohana varn�am Ninnekori of Puliyur Doraiswami Iyer has
such descending phrases in the last ettukada
d �r s - g r s - p g r s, - d p g r s- || s� d p g r s
A combination of patterns
The Mōhana varn�am of Puliyur Doraiswami Iyer has many
interesting patterns in the last ettukada. Very often varn�ams have patterns
that can be used while singing kalpana svara. This inclusion however has to be
Mohana varnam
0
100
200
300
400
500
600
p , , , , , d s d d p g d p g r g , , , , , p d s d p g r s r g
svara
svara
fre
quency
subtle and should not at any point sound like the varn�am. Varn�am
composers have probably exhausted many combinations and patterns in a rāga
and one can draw from this resource.
The svara movements in the four āvartanas of the varn�am in
Mōhana rāga can be shown graphically in the following page.
Āvartana 1
p , , , , , d s d d p g d p g r
360 360 360 360 360 360 405 480 405 405 360 300 405 360 300 256
g , , , , , p d s d p g r s r g
300 300 300 300 300 300 360 405 480 405 360 300 256 240 256 300
The above pattern from the last ettukada of the Mōhana varn�am has
two significant pauses, one on the pancamam and the other on the gāndhāram
which is the jeeva svara for Mōhanam. The movement from the gāndhāram to
the dhaivatam is also very aesthetic and is also repeated in subsequent
āvartanās. The end note of gāndhāram leads to the natural repetition of the
āvartanam from the pancamam.
Mohana varnam
0
50
100
150
200
250
300
350
400
450
p , g d , g p , r g , s r , d s d r s g r s p g r s , d p g r s
svara
svara
fre
quency
Āvartana 2
p , g d , g p , r g , s r , d s
360 360 300 405 405 300 360 360 270 300 300 240 270 270 203 240
d r s g r s p g r s , d p g r s
203 270 240 300 270 240 360 300 270 240 240 405 360 300 270 240
In the above pattern, the svara phrase of 1+ 2 is repeated many times.
In such a pattern the first note is softened and the second note is rendered with
greater emphasis. The pattern of g d, g p, r g, s r, d� s, has to be rendered
not as flat notes but with gamakas touching the higher note from the lower
one. The lowest note reached is the mandra dhaivatam. The latter half of the
āvartana has a yati pattern Srōtōvāha that is increasing in length.
Mohana varnam
0
100
200
300
400
500
600
700
s d p g r s r g p d s r g d s r p d s g p d r g p s r g d s r g
svara
Svara
fre
qu
en
cy
Āvartana 3
s d p g r s r g p d s r g d s r
480 405 360 300 270 240 270 300 360 405 480 540 600 405 480 540
p d s g p d r g p s r g d s r g
360 405 480 300 360 405 270 300 360 240 270 300 203 240 270 300
After a sweeping descent there is a steady ascent followed by a step
like descending pattern. This pattern - s r g - d s r – p d s – g p d - which has
the feel of going zigzag is repeated in many varn�ams such as Mysore
Vasudevachār’s Mandāri varn�am. Such a movement repeated in akāra or
eekāra is very helpful to train the voice.
Mohana varnam
0
100
200
300
400
500
600
700
p g d p s d r s g r s d , r s d s p , d g p d r s d p g r g p d
Svara
Svara
fre
quency
Āvartana 4
p g d p s d r s g r s d , r s d
360 300 405 360 480 405 540 480 600 540 480 405 405 540 480 405
s p , d g p d r s d p g r g p d 480 360 360 405 300 360 405 540 480 405 360 300 270 300 360 405
This āvartana has a kind of datu pattern in ascent p g d p s� d r� s�
and ends with a flowing descent from the tāra ris�abham. Singing the entire
ettukada with the four āvartanas will train the voice in a range of vocal
activities.
6.3.3 Yati Patterns
The term yati is used in describing the shape of a pattern in a musical
composition. Yati patterns mentioned in varn�ams may be used
kalpanāsvara.
There are six types of yatis. These are:
1. Sama means straight or equal, and the sama yati is one in which
the rhythmic progression is fairly straightforward. This is also
referred to as pippīlika, resembling the straightforward line of ants.
2. The mridanga yati is one in which the rhythmic syllables at the
beginning and end of the pattern have less counts than those in the middle of
the pattern. Thus, if they were written down, the shape of the mridangam
could be traced around them, as a mridangam is large in the middle and tapers
towards the two ends. A highly elementary example would be:
g r s
g r g r s
g r s
3. The damarū yati is shaped like the hourglass drum after which it is
named. So a damarū progression would appear like the following:
g r s n s
g r s n
g r s
g r s n
g r s n s
4. The gōpuchcha yati is named after the cow’s tail. It begins large
and tapers down to the end. For example:
g r s n d,
r s n d,
s n d ,
n d ,
d,
5. Srōtōvaha yati is named after the flow of water, which starts small
and spreads as it proceeds. Reversing the above pattern, beginning with one
syllable and progressively adding syllables would make it an example of
srōtōvaha yati.
6. In contrast, the vis�ama yati is one in which the pattern cannot be
confined to one of these shapes.
The various yati shapes can be discerned in notation patterns of
musical compositions, particularly in varn�ams.
1. In the Bhairavi Ata tāla varn�am Viribōn�i the third ettukada has
the example of a srōtōvāha yati.
n.s || m g r s p m g r s d p m g r n d p m g r | s - s� n d p m g r
n����s
m g rs
p m g r s
d p m g r
n d p m g rs
s ֹ n d p m g r
2. Though referred to as a pada varn�am Pankajākshi in ādi tālam in
Kāmbhōji rāga by Mahāvaidyanātha Sivan has the gait of a tāna varn�am
and can be considered to be one. This varn�am has many yati patterns. An
example of sama yati meaning equal or uniform, also referred to as Pippilika
(ant) yati beacuse of the uniform movement or flow is found in the last ettkada
svara
n n d d – p p m m – g g r s - n���� p���� d���� s
m g m p- d p m p – d r���� s���� n – p d s���� s����
The same ettukada svara also has an example of mridanga yati in
another āvartana. Here the svara pattern starts with small phrases, increases in
size and diminishes again.
p d n – m p d n – g m p d n – r g m p d n – g m p d n – m p d n – p d (ni dāni pai)
A visual representation of the shape of the mridangam can be seen if
the svarās are arranged in the following manner.
pd n
m p d n
g m p d n
r g m p d n
g m p d n
m p d n
p d
Such a pattern can be used while rendering kalpana svaram and an
example is rendered in audio cd 2.
9. The Sankarābharanam rāga ata tāla varn�am Calaméla jésé of
Svāti Tirunal� has the example of Srōtōvaha yati, where the phrases are
small at first and progressively become larger like the flow of a river.
d n
p d n
m p d n
g m p d n
r g m p d n
s r g m p d n
10. The Ānandabhairavi varn�am Rārā sāmi of Poochi Srinivasa
Iyengār has the example of a Gopuccha yati decreasing progressively, in the
last āvarta of the fourth ettukada
g���� r���� s���� n d p, - r���� s���� n d p,- s���� n d | p, - n d p, - d p| , - p, - m g r g m ||
g���� r���� s���� n d p,
r���� s���� n d p,
s���� n d p,
n d p,
d p,
p,
Practice of such descending phrases is very useful in developing speed
and many varn�ams include such phrases. Descending phrases are always
more difficult to render and require enormouus practice. When these svaras
are rendered in akāram or with vowel extensions and with increasing speed at
every effort, skill in high-speed phrases will definitely improve. Also such
practice will ensure proper svara sthāna in the voice and the voice will not slip
into other svara sthānas.
6.3.4 Practice within a Range of Svaras
, , , , * g, m g - r, g r - s, , ,| s s r r g s r s n� d���� -p���� , d���� d���� s, - s p���� d����
d���� |
In- - - ta - - - - - - - - - - - - - - - - cha - - - - la - - -
s- p����d���� , d����s , r g – s r p mg- s r || g r s n. p� d� s r
- - - - - - - - - - mu-- se - - - - ya - - -
Pallavi Gōpāla Iyer’s ata tala varn�am inta calamu in Kāmbhōji has
just the three svaras ‘p���� d���� s’ with differing kārvais to enhance its beauty.
Just changing the position of the kārvais gives a totally different feel to the
svaras. It is also possible to get variety by just juxtaposing and changing the
kārvai positions between svaras.
Practice of svaras within a particular range will force the mind to
think of varying permutations and combinations within a limited range thus
giving a lot of scope for expansion of svara patterns.
Transferring this idea while practising other rāgās will also help. The
key point lies in selecting the range most suited for the rāga. For instance in
Kāmbhōji it is ‘p d s�‘ in Ānandabhairavi it is ‘g m p’, in a rāga like
Mōhanam it can be ‘s r g p’ hovering mainly around the antara gāndharam.
The Ānandabhairavi varn�am Rārāsami of Poochi Srinivāsa Iyengār
has a muktāyi svaram where the first āvartana hovers a lot around the madhya
sthayi g m p. The reason why practice within a range of svaras is helpful is
that it will allow the singer to think and exhaust all possible combinations of
svaras within that range.
A graphical representation of the svaras will show how the notes lie
within a restricted range
0
50
100
150
200
250
300
350
400
p , , m p m g r n s g r p m g r g , , , p m g r g m p m g r g m
akshara count
sv
ara
fre
qu
en
ce
n����2 s r2 g2 m1 p d2 n2 s����
213.35 240 266.7 288 320 360 400 426.7 480
The muktāyi svaram represented above is as follows:
p, , m p m g r - n���� s g r- p m g r |g, , - g p m g r| - g m p m g r g m||
The Nāttai ata tāla varn�am Srinātha given in PSV has a sixth
ettukada, which has many variations within the range of s to m in the madhya
sthāyi and in the mandra sthāyi upto p.
s s r s m m r s, m m r s r s m m , r s |
r s , s n���� p���� s n���� p���� n���� p���� p���� , p���� - n���� p s s , s
The idea of keeping to a particular range for practice and exposition is
to exhaust as many svara combinations as possible within that range. It is
always more aesthetic than just going up and down the gamut of svaras.
6.3.5 Eduppu
Based on the eduppu or starting svara of the caran�am sāhitya line,
the ending note of the ettukada svara may vary. Sometimes it may all end in
the same note, some times each ettukada may end on a different note. This can
be adapted to any rāga and practised while singing kalpana svaram
1. The Sāvéri varn�am Sarasūda caranam line starts on the
dhaivatam. Three of the ettukada svaras end on the madhyamam as the m d
usage is very beautiful for the rāga.
Caran����am
d, , m p d s� , n d p m -----
dā ni - -pai –ne - -
Ettukada svaras
1. d , , p , , , d , p , m , g , r , |
m, , p , , , d , |, n, d , p , m || dā ni pai
2. d, n p d p m p d n d m g r s d�|
s, r m p d s r | m p, m n d p m || dā ni pai
3. d n d m gm – n d m g r s – d m g r |
s- g r n� d� n� r n� | d� n� s r g m d m ||
d n s� r� n d n s� - r� g� r� n – d n d m |
g r s - g� r� n d m g r s - n� s r g m || dā ni pai
2. B. M Sundaram’s varn�am Madiloné in Ābhogi in khanda triputa
tālam ends each time on a different note before coming back to the
charan�am line. The charanam line again starts on the dhaivatam and starts
on the finger after the beat. The ettukadas end in the following manner:
1. ----|| d, s� , * dā
2. ---|| g m d s� * dā
3. ---|| g d m, * dā
4. ---|| s� r� g� ( in tisram) * dā
3. In the Tōdi varn�am in ādi tālam erānāpai all the ettukada svaras
end in the madhyamam and the caranam sāhityam begins on the dhaivatam.
The skill of the composer in making the entire caranam without the pancamam
and also ending each ettukada with the madhyamam is seen in the
composition.
4. Dr. T.R. Subramanyam’s varn�am Sendil Vāzh in Hamir Kalyāni
has many patterns in the caran�am. The sāhitya line starts on the
madhyamam with the svarākśara ‘Māl maruga’
The ettukada svara’s end on different notes to join with the
madhyamam which is the starting point of the caran�am sāhityam.
1. r, , s , , m* , g , p , m, d, | , p , , r�, , s� | , , d , , p , ,|| ( māl)
2. d, p m p g m*r s, - d, p m p s� n r� s, - s n� r s |, s d, - s p , - s| (mal)
In the above ettukada, the composer has ended with a pattern s d, - s
p, s| m, using the svarākśaram.
3. r s s – m* g p m*m* - m* g p m d p p- p | m d p s� n r� s� s� | -
p m d p p – s n� r||
s s- sm* g p m dp s� n r� s � g� r� s�| r� - d n r� s� s� - m p | n d
d – g m d p p|| ( māl)
In the above ettukada, the svara pattern progresses from, three, five,
seven and then nine svaras in the first āvarta. In the second āvarta there is a
dātu pattern followed by a kōrvai of three sets of five svaras. The ettukada
ends on the pancamam.
4. The fourth ettukada runs for four āvartas and ends in the typical
Hamir Kalyān�i phrase s, , n���� r , , s| ( māl) This ettukada ends on the
s�adja and the madhyamam is the samvādi note in the caran�am sāhitya.
5. The Hamsadhvani varn�am Pagavāri of Kothavāsal Venkatrama
Iyer each time finishes with a different svara before going on to the caran�am
sāhitya line on the tāra s�adjam. The end notes are nis�adam, tāra
ris�abham and the tara gāndhāram.
1. s� , , n , , p , , ,- g , r , s , | - r , , n� , , s , , , - r g p , p n || ( sāmi)
2. s� , , s� n p - g p n p , - g r s n� p�- | s, , r g r s n�, , - s r g p n s� r���� || (
sāmi)
3. s� n p g r - n p g - p g r s n� - g r s | p� s n� g r – n p g- s� n p g� r� p� g�
r�|| (sāmi)
4. s , , s� , s� r� g� s� r� , - r� s� n p g | n , , n p g r s | g, , p g r s n� ||
s g p s� , - g p n r,� - p n r� g, - r�| n p s�, - n p g s|, g p s� , s� r� g�|| (
sāmi)
6.3.6 Varja Prayogas
Sometimes, although a rāga is sampūrnam or takes all the seven notes,
its beauty is enhanced when some notes are dropped on the way in
ārōhan�am (ascent) or avarōhan�am (descent). This is referred to as ‘varja
prayōgam’. This is best seen in the Kalyān�i and Tōdi varn�ams.
1. An example from the ata tāla varn�am Kanakāngi of Pallavi
Gōpāla Iyer in Tōdi rāga. The third ettukada svara has a total varja or absence
of the pancamam.
g m n d ,d – g m d m. g r- g m,g r- s r|
g s,r- n� s d� n� , - g r r g , - d� n. s r g m|
g d, nd - g� r� n |, d d m , g - n d ||
m g r – n� s r g m *
2. The ādi tala varn�am Erānāpai has a caran�am with five ettukada
svaras which are all entirely pancama varjam or without the pancama svara.
Though the pancamam is not sung, the entire varn�am is the essence of Tōdi
rāga. The last ettukada alone is given as an example.
s�, , - n d n s�, , n d n n , , - d|
m d n d, - r� s� n | d , m – g , m d n ||
r� n d m g r – n d m g r – d m g r s|
n� s r g m d – sr g m d - m d n s� r�||
s� r g� r� , n - d n g� r� , n d n r� n|
, d – m d n s� , n| d m , - g m dd n||
s� r� g� - n s� r� - d n s� - m d n – g m d n |
s� r� g� m� g� r� - n d m g r – n s r g m ||
The entire ettukada of four avartanas have pancamam as the varja
svara using the svaras d m and there are some s�adja varja patterns with the
svaras r n being used.
3. The Sāvéri varn�am Sarasūda of Kothavāsal Venkatarāma Iyer
has an ettukada svara with part varja prayoga.
d n d m g r n d m g r s d m g r s g r s n d r s n d
4. The Kalyan�i ata tala varn�am Vanakjākshi of Pallavi Gōpāla
Iyer has such prayōgas too. The pallavi itself has many pancama varja
prayōgas, which enhances the beauty of Kalyāni. This is found also in the
fourth ettukada svara given in the SSP and is not popularly sung
n d d , , m g r r, , m g r n d p m g d
, g m / d m g r n d , d r� n d g� r� , n d s | n d p m g d¸ m | g r s g r r s n||
n d m g m p d n *
5. The Srirāga varn�am Sami ninne of Karur Devudu Ayya has the r
n prayoga omitting the s�adjam in between in the third as well as the fifth
ettukada
The voice gets used to a sequence of notes. Skipping a note in
between particularly the pancamam adds beauty to certain rāgas but at the
same time is difficult to sing. Practice in varja prayogas in varn�ams will
help in both rāga ālāpanā and kalpanā svaram. One will get a grip over the
svaras and get perfection in keeping to the svara sthanas.
Practice of these varn�ams will help one sing these varja prayogas
with relative ease as the voice is already trained with these phrases. While
skipping a note one has to be careful not to sound the notes in between and
that comes with practice in varn�ams.
6.3.7 Kōrvais
A kōrvai is a kind of climax or crescendo for svaras that are rendered
before reaching back the sahitya line or reverting to the words. Korvai literally
means weaving pattern earlier composers repeated a svara pattern four times
before concluding. This is seen in many of the earlier varn�ams. The Bégada
Ata Tāla varn�am Maracitlundédi of Patnam Subramanya Iyer has a pattern
of 6 repeated four times. The sāhitya line may not always correspond to the
svara pattern as singing in us�i was given great importance. The number 4 is
of great importance in music as a thread of catus�ra flows through most of
the music. Also the tradition was to give importance to even numbers and
even odd number of āvartās in a composition was frowned upon.
The concept of kōrvai has gained prominence over the last century.
Today the trend is to repeat a pattern thrice. The emphasis here is more on the
laya and rhythm. An analysis of varn�ams reveals that kōrvais are found
mainly in the varn�ams of the 19th and 20th centuries. This is reflected in the
historical period when the different varn�ams have been composed.
Varn�ams composed in the 18th
and 19th centuries have many ettukada svarās
and innumerable svara combinations with special emphasis on sarvalagu.
20th
century varn�ams have many more patterns using three, five or
seven svara groups and also building a crescendo or kōrvai with svarās.
A simple illustration would make clear how ideas from varn�ams
could be translated to kalpana svara singing. The first ettukada of the Sāvéri
varn�am has a pattern of seven. This can be repeated three times while
singing kalpana svaram. It will be useful particularly in misra cāpu talam as
multiples of seven svaras can be easily fitted into the talam while singing a
kōrvai.
d , , p, , d, p , m, g, r,| m, , p, , d , | , n , d, p , m || (danipai)
1. Veena Kuppayyar’s Begada varn�am Inta Calamu has a kōrvai in
the third ettukada with a pattern of three sets of five svaras.
s� r� n r� s� - p d m d p – g m r g m || pagavāri
2. Tiruvottriyur Tyāgayyar, Veena Kuppayyar’s son and disciple must
have been influenced by his Guru and his ata tāla varn�am kaliki ninne in
Sāveri has a unique ettukada sāhityam that begins in the tāra ris�abham. All
the ettukadas end in the dhaivatam before moving to the tāra ris�abham in a
samvādi relationship. The fifth ettukada ends in a beautiful kōrvai of 6+ 6+ 6
g� r� | , s� n d – n d, m || g r – s r, m p d* (paluku)
3. The last ettukada in the Surutti varn�am entō prema of
Tiruvotriyur Tyāgayyar has a kōrvai, again a pattern of 5+ 5+ 5 or fifteen
svaras.
s�, n d p – m, g r s – n� , s r m|| pantamela
4. Composers of the late twentieth century have laid greater emphasis
on svara patterns particularly in scalar rāgas. Lālgudi Jayarāman’s varn�am
Nivegatiyani in Nalinakānti ends in a complex rhythmic pattern before joining
with the caran�am sāhityam. A finale of a pattern is also referred to as
makutam in Carnātic music meaning ‘crown’
n s�, g� r�, , r�|| m� g� r� s� n - p n, r� s� , , s g� r� s� n p – m p ,
s� n , , p s� n p m g r||
For a student of music, practice of these kōrvais and developing
similar korvais in other rāgas will introduce the person to creating korvais
while singing kalpana svaras.
Modern composers have included a kind of pattern known as
‘poruttam’ where the pattern will resemble the beginning of the eduppu or
sahitya line to be sung after the svaram. The Hamirkalyāni varn�am of T.R.
Subramaniam described in detail in Chapter 3 has such ettukadas.
6.3.8 Rāgamālika Svaram
One’s grip over the rāga can be expressed through rāgamālika svaram
smoothly transiting from one rāga to another. This type of svara singing is
present in the performing tradition particularly after a pallavi is rendered.
Singing such rāgamalika kalpana svaram requires a lot of skill as one can slip
easily into another rāga. The key point in moving from one rāga to another is
to move on to the next rāga from a common note.
Vinjimuri Varadarāja Iyengar’s Ghanarāga pancaka varn�am
Calamela has an example of a single ettukada in five rāgas. (Given in
Appendix iv and rendered in audio cd 2)
( Nāttai) s� n p m , n p m n n p p m m r r | s , , m r, s s| s r, g m p d n||
( Gaula) s� n , p m g m r s n�, p� n� s r m | s r m p , n m p | s , r m p n s�, |
( Ārabhi) s� n d d s� s� r� r� m� g� r� r� s� n d d | d r� r� d s� s�
p d | m p m g r s r m||
(Śrirāgam) p n s� r, g� r� s� r� , s� n p n s� r� |( Varāl����i) s� , n d m g¸r s g r
g m p d n|| ( Palumaru..)
Veena Seshanna’s varn�am in Béhag Kāmakoti in Miśra Triputa
tālam also has a rāgamālika svaram at the end. There is an avarta of svaras in
different rāgas like Hindōla, Mālavasri, Kānada, Natanārāyan�i, Ābhōgi,
Ābhérini, Hindustāni Kāpi, Kōkila, Kamala Manohari, Garudadhvani, Khamāj
and Jhenjhuti concluding with Behag. His varn�am in Bégada is concluded in
a similar manner.
6.4 Tānam Singing
Tānam singing is that part of manodharma or creative singing where
the rāga is rendered with syllables ‘a nam ta’ repeated. The vowel ‘a’ is
repeated along with the word ananta. This was probably chosen as an
auspicious syllable similar to the ténaka of the prabandhas. No ikāra or ukāra
is sung. This is probably because ‘a’ is the most natural sound and allows air
to flow freely. Tānam singing employs a very aesthetic combination and
permutation of notes. It also makes effective use of janta svaras or pairs of
notes and āhata and pratyāhata gamakas. There is a profusion of such usages
in varn�ams and hence practising parts of varn�ams as tāna exposition will
help in later tānam singing as part of a rāgam tānam pallavi.
Literally, tānam refers to stretching or elaboration according to the
Sanskrit lexicon ‘tanyaté vistāryaté iti tānah�‘ this kind of stretching of
syllables is seen in varn�ams as well.
In Tamil literature there is reference to people singing ‘tenna
tenavenru’ and this could have evolved into tānam. In Hinustāni music,
singing ‘tans’, refers to singing of rāga phrases. They are fast paced melodic
phrases. Dhrupad singing commences with a ‘nom tom ālāp’ where syllables
such as ri , da , tom , nom and yali are employed to unfold the rāga in slow,
medium and fast tempo.
In the tānam of Carnātic music, the syllables ‘ a’ ‘nam’ and ‘ta’ are
used creating innumerable patterns. This is rendered in a medium tempo and
is synonymous with madhyama kāla. Though there is no tālam adhered to,
there is an inherent rhythmic movement in tānams
Even before varn�ams were composed, early books and manuscripts
carried a portion known as the citta tāna. This was popular in the 18th and 19
th
centuries and was designed more for the veena. The stress syllables to be
used played on the veena, were shown by alternate plucking and strumming of
the strings. This was useful for developing fingering and plectral techniques.
‘A detailed exposition of the rāga is attempted in these tānas and they have
become a valuable lakśya for rāgas. Manuscripts belonging to the 18th and 19
th
centuries contain tanas for common and rare rāgas like Sālanganāta,
Nādanāmakriya, Nāta, Ānandabhairavi and others’93
Practising varn�ams in akāra can help while rendering tānams. The
varn�am itself must be rendered in a slightly higher speed than the first speed
for tānam singing. It can be rendered first in akāra or the syllable ‘a’ and later
with the tānam syllables ‘ a’ ‘nam’ and ‘ta’. Example in audio cd 2
A single important factor that is common to both tānam and
varn�ams is the fact that they both shine in the madhyama kālam or medium
tempo and tānam is synonymous with madhyama kālam. The varn�am of
course has the epithet of ‘tāna’ attached to its name.
The list of varn�ams in the SSP (appendix vi) shows that out of the
40 varn�ams in print, 27 are tāna varn�ams, 11 cauka varn�ams, 1 pada
varn�am and 1 svara sthāna varn�am. Cauka varn�ams as the name implies
93
Tanjore as a Seat of Music, Dr. Seetha pp. 348
are rendered slow with a lot of gamakas and hence may be unsuitable for
singing tānam. The SSSS also lists a number of varn�ams as ‘tāna
varn�amulu’
While it may appear that singing in the madhyama kālam or a medium
tempo is easy, it is not easy to sing tānams. It requires a special practice with
knowledge of when to stress the syllables. It also requires the ability to weave
patterns in the catusra gati without keeping an overt beat on the hand.
The PSV has list of 25 varn�ams (appendix vi), which are all tāna
varn�ams. This includes fourteen varn�ams of Veena Kuppayyar and the
rest by Tiruvottriyur Tyāgayyar. The TVT compiled by Dr. B.M. Sundaram
has 880 tāna varn�ams
Trying to sing tānams using the varn�am as a base can be done in the
following manner choosing a rāga that is appropriate for tānam rendition. One
does not have to follow the tāla movement of the varn�am strictly but
generally use the pattern.Tānam has to rendered with a regular rhythm and
usually follows the catuśra beat. Taking any varn�am in rāgas such as Sāveri
or Bhairavi and repeating the same with tānam syllables will make it sound
like a tānam rendition. It is important that the thread of nādam is continuous.
S�anmukhapriya varn�am Sarasamuto of Mudicondan
Venkatarāma Iyer in Tiśra Dhruvam (3+ 2 + 3 + 3) a tālam with a total count
of eleven. (This example has been rendered in the audio cd 2) The notation
for this varn�am is given in appendix iv
d n, d p m - g m p d , p|m - p d n d - d n d|
a a , namta - a a a nam ta - a a a a nam ta
d p, m g, r s r g, r | g m p d – m p d n s�, , , ||
a namta ta a a a a aa nam m mt nam m m ta, , ||
In many varn�ams it is interesting to note that these kārvais are very
often three or five spaces. Whenever there is a vowel extension between
syllables, it is known as kārvai or a space between consonant sounds The
usage of kārvais of three or five are common in both niraval and tānam
rendition. Use of such kārvais while rendering tānam will make it quite
challenging. Tānam is essentially sung in madhyama kāla and the same tempo
is maintained throughout. A number of patterns of typically 3, 5 or 7 are
usually combined and sometimes they are woven in such a manner and
brought to a climax.
This kārvai of three or five is common in the first ettukada of varn�ams. They
may be seen in the following examples:
1. Hamsadhvani varn�am - Jalajākśa
n , , p , , g , , , r , s , n� , |
p���� , , r , , n���� , | , - s , r , g , p ||
2. Todi varn�am- éranāpai
g , , m , , g , , , r , n� , r � |
s, , d ����, , n���� , | , - s , r , g , m||
3. Vasanta varn�am - Ninnu Kōri
s���� , , n, , d , m , , g , , r , |
s, , n� , , d� , | n� s , g m d d n ||
4. Mukhāri varn�am - éranapai
n , , d , , p , m , , g , , r , |
s , , n� , , d� , | s , , r , m pd||
5. The Hamsadhvani varn�am Jalajāksa of Mānambucāvadi
Venkatasubbayyar has a ettukada with patterns of three alternating
with two
p, , m , d m , g r, s, n� d�, |
p , , s , n. r , | s g , r , , g , m||
6. The carana line of the Sāveri varn�am Sarasuda has patterns of
three kārvais repeated many times.
d , , - m p d - s� , n - d p m – g r s d|
dā ni pai né na
r, , - r s r – m p , - d p n – d p m p||
rū na ī vé la
The text or sāhityam follows the same pattern of three kārvais. Apart
from kārvais, patterns with svaras of varying proportion are seen in
varn�ams, which may be used while singing tānam. Whatever the kārvai
used, there is a kind of symmetry in thse patterns.
The second ettukada in most varn�ams will be useful for practice of
rendering tānams as they have a combination of single svaras and kārvais,
which is typical of tānams. Too many karvais may not give the required
impact of a madhyama kālam and similarly sarvalaghu may not be suitable.
The second ettukada usually has a balance of the two.
1. Tōdi varn�am - second ettukada
d , n d d m – g m d , m g , r s n.
a a a namta a a namta ta a a a
s , r g , m d n | s� n, d, m g m ||
a a a namta a a a namta ta a a ....
2. Sāvérī varn�am – second ettukada:
d , n p d p - m p d n d m g r s d�|
a a a namta a a a a a nam ta a a
s, r m p d s r m p, m n d p m||
a a a namta a a a a , nam ta a a
Observing the above pattern closely, one can see that the akaram fall
first on a kārvai of three spaces and then on a kārvai of five. The syllable of
‘nam’ falls on the fourth and sixth position after the kārvai. The stress in the
correct spaces and voice modulation is what makes tānam sound beautiful.
Practice of such descending phrases is very useful in developing speed
and many varn�ams include such phrases. Descending phrases are always
more difficult to render and require enormouus practice. When these svaras
are rendered in akāram or with vowel extensions and with increasing speed at
every effort, skill in high-speed phrases will definitely improve. Also such
practice will ensure proper svara sthāna in the voice and the voice will not slip
into other svara sthānas.
Though not obvious, patterns are incorporated in tānams in a subtle
manner. While singing tānams many of the yati patterns are used with stress
syllables enhancing the effect of the tānam.
The ghanarāgapancakam or rāgas Nattai, Gaula, Ārabhi, Vārāli and
Srirāgam are particularly suited for tānam rendition. Vinjimūri Varadarāja
Iyengār’s Ghanarāgapancakam varn�am will be very useful for practising
tānam and is given in the appendix iv. This varn�am was given to my Guru
by the composer’s family and has been rendered by the researcher in audio cd
2.
Since most tāna varn�ams have a single kālapramān�am or tempo
throughout they can be rendered in madhyama kalam and have a tanam like
movement. There is a continuous flow in medium tempo with the syllables ‘a
nan ta’. Some varn�ams lend themselves to tanam singing. If the sahitya or
the text of varn�ams is replaced with ‘a nan ta’ syllables, it will sound like a
tānam rendition. Practising varn�ams in this manner will help in later
manodharma particularly tānam rendition.
6.5 Pallavi
The pallavi is the ultimate challenge in improvisation or manōdharma
sangeetam. It is never rendered separately but always as a part of ‘rāgam
tānam pallavi’. A pallavi is preceded by an elaborate rāga ālāpana followed
by a tānam.
Pallavi involves choosing an appropriate sāhitya line and rendering
niraval in the chosen ‘ās’ or line. There are few words, lots of kārvais or
spaces and an aridi or the point where the beat of the tāla and syllable in the
sāhitya coincide.
While varn�ams lay the foundation for rāga ālāpana, kalpana svaram,
niraval and tānam, they share a common feature with pallavi too. The
sāhityam of the caranam is structured in such a way that it resembles a pallavi
line with an aridi and aridi kārvai.
For example in the Kalyāni rāga ādi tāla varn�am, the caran�am line
niluparāni appears to be like a pallavi line with the aridi at the syllable ‘ni’
followed by a kārvai.
n, , , , , s� d s� n d p m g m, | p, , , , ,
ni lu pa ra ni
An example from the Kambhoji rāga ata tāla varn�am illustrates the
point further. The darkened syllable is the aridi and the commas that follow
represent the aridi kārvai. The aridi kārvai functions in two ways. The pause
enhances the beauty of the line and at the same time allows the singer to take
an imperceptible breath.
, , , , , , , , s� , , , r� s� n d d p m g g| s, , , s, , ,
sā rva a bhou u| mā , , , , , ,
Thus the caranam sāhitya line of many varn�ams resembles the
pallavi line in structure. Since this line is repeated after each ettukada, it may
have been composed to keep the grip on the tāla and at the same time create
an impact.
6.6 An illustration of how a single varn����am may be used for voice
training and creativity.
Veena Kuppayyar’s Śankarābharan�am varn�am can be taken as an
example for training the voice in many different ways. This varn�am has
been chosen as it is the first varn�am given in the GVM and is taught to
almost all students of Carnātic music. Also this rāga is familiar to all systems
of music being equal to the major scale in Western music and the Bilāwal thāt
in Hindustani music.
Firstly, the varn�am may be rendered in three speeds i.e each time
doubling the previous speed.
In the first speed that is rendered slow, the gamakas or oscillations
play a very important role or else the rāga bhava will be lacking and the tune
will sound very flat. One of the major differences between a seasoned mature
singer and a beginner is the use of gamakas. However hard a learner may try,
it is initially very hard to reproduce some of the gamakas in the correct
frequencies.
In the middle speed, there will be a combination of gamakas and
single notes and here the voice will be very comfortable and this is the easiest
to render.
In the highest or third speed, there should be minimal gamakas, as that
will slacken the same pace throughout. Initially there may be a difference
between the speed in which one started off and the speed in which one ends.
This is because the voice has not had sufficient practice in singing in high
speed. Using a talameter may help in this regard. Without losing the depth or
svara sthānas, the varn�am should be rendered fast maintaining the same
pace.
Once this is achieved, one can look into subtler aspects to see how the
voice may be trained. Taking the first āvartana and looking carefully the
following can be seen:
1. Rāga phrases: the break up of rāga phrases is very important. These
phrases are either separated by a pause or by a slight voice modulation or
stress.
s� , , , n s� d n p , - m p m g m, |
p, - d n p , - d n s� r� s� n d n||
There are three pauses at the pancamam. The same would sound
totally different if the pauses are changed. The rāga effect will also be
missing.
s� , , , n s� - d n p , m - p m g m, |
p, d n - p , d n s� r � - s� n d n||
2. The phrase d n p, is repeated twice within the āvartana and shows
how it brings out the rāga svarupa. This phrase has to be rendered with a jāru.
The pancamam has to be brought down starting from the nis�adam – d n \ p,
The voice has to be trained to produce jārus or glides.
3. There should be an oscillation on the dīrgha or elongated
madhyamam at the end of the first laghu. The other two madhyamams are
held flat. Again this oscillation takes the madhyamam to a higher frequency,
as the succeeding note is the pancamam, which is a higher note in ascent.
4. The sadjam and pancamam are prakriti svaras and are not
oscillated. Though a dīrgha svara, the starting note, which is a s�adjam, is
held flat. This trains the voice in perfect sruti alignment.
5. Though a sampurn�a rāga, it is not necessary that all the notes be
sung successively. The phrases s d p and d n p are special for
Śankarābharan�am and following the varn�am one can use it in kalpana
svaram and rāga ālāpana.
6. The citta svaram or muktāyi svaram starts with
s� r�- ns� - d n s� - p d n s�. this can be progressed further following
the same pattern m p d n s�- g m p d n s-� r g m p d n s� - s r g m p d n s�
This pattern can be used to train the voice in ārohana krama or ascent.
These phrases can be first sung in a slow speed and then the speed can be
increased progressively as far as the voice can go maintaining the same pace.
7. This is followed by the pattern of pd - mp- gm – which can be
continued rg – sr – n� s- d� n�. This will help the voice in rendering
gamakas referred to as orikai in the SSP
8. The cittasvaram ends with s� n d p , m g r | s r, g m p d n|| which is
actually the ārohan�am and avarohan�am of the rāga . There is a single
kārvai in ascent and one in the descent. This karvai position can be shifted to a
different note each time and the ārohan�am and avarohan�am can be sung in
high speed in akāram for voice training.
9. The first ettukada has three notes with three kārvais each followed
by three notes of two kārvais each and then a single note with no kārvai.
p , , m , , p , , - g , m , r , g|
s , , r , , n� , | , s , r , g , m ||
A laghu has a single beat followed by three finger counts. The effect
of the above karvais is that often the solfa syllables do not coincide with the
beat but may come in ¼ or ¾ space. This gives a tremendous grip for the
voice over the laya aspect.
10. The first ettukada ended in a pattern of seven s , r , g , m which
can be used while singing kalpana svaram and can be replicated with different
svaras.
11. The ettukada sāhityam ends in the phrase g m - r g m which could
be seen as a pattern of three or five depending on where the stress is and
where the sāhitya syllable falls. The second, third and fourth ettukadas end
with patterns of five n� s r g m and s , r g m which again is ideal while
rendering kalpana svaram. Following this all the possible combinations in this
range can be worked out and used for kalpana svaram such as:
m g r g m : g m r g m: r g m g m : r s r g m
These patterns enhance the effect of the end of a kalpana svara
āvartana particularly if the eduppu of the composition is ½ idam or ¾ idam in
a two-kalai piece. This pattern of five will be a fitting end for a few āvartanas
of kalpana svaram.
12. The caran�am sāhityam starts on the pancamam. Although all the
ettukadas end on the madhyamam preceded by s, r and g, the kārvais are
different each time.
The first time it ends as : s , r , g , m||
The second ettkada as : n� s r g m||
The third and fourth ettukada as : s, r g m ||
Just changing the spaces between notes makes a world of difference in
the sound produced and in the impact it creates. Any varn�am may be taken
for training the voice but not all varn�ams may be equally effective. Ideally
varn�ams in major rāgas like Bhairavi, Tōdi, Kalyāni, Śankarābharan.am and
Kāmbhōji may be used as also rakti rāgas like Begada, Sāveri, Kedāragaula
and Rītigaula. Rāgās like Hamsadhvani and Bilahari may be learnt to develop
brisk movement in the voice.94
The notation for the Śankarābharan����a varn����am in ādi tālam Sāmi
Ninne kori composed by Veena Kuppayyar is given below for reference:
Pallavi:
s� , , , n s� d n p , - m p m g m , | p , - d n p , - d n | s� r� - s� n d p d n ||
sa . . . . . . . . . mi . - . . ni . . . . | nné . . . . - kō . . . . . . ri . ||
s� , - s � d p m p, p m g r – s r g – s | n� - p� d� n� s , - p m | g r – g m p , d n ||
cā - la . . . . ma ru . . . lu . . . . | kō . . . . . nna | . . – di . rā . . ||
Anupallavi:
s , - d d p m – d p , m – g p g , m r | g m p – d d p m p | d n s� n s� , r� g� ||
tā . . . . . . ma . . sa . . . . . . | mu . . sé . . ya . | . . . . . ka . . ||
m� g� r� - s� s� r� s� n d p d n s� r� s� , | s� d p – p , m g r | s m g
m p , d n ||
da . . . ya . . jū . . . . da . . ra. . | . . . ku . . . . | mā . . . . . rā . . .||
Muktāyi Svaram:
s� r� n s� d n s� - p d n s� - d p m – pd | m p – g m p – r g m | s r g m p d n s� ||
r� g � m� g� r� - g� r� s� n – p d n s�, p , | s� n d p , - m g r | s r, g m p d
n ||
Caran����am:
p , d n s� - s� n d p m g r g , m ,| p , m – d , p s� n | d p m – g m – r g m ||
94
For varn�ams used as examples in this chapter kindly refer to appendix viii
nī . . . . . ra . . jā . . . . . . . . . | kshi . . ni . . pai | . . . . . . . . . . . ||
Citta Svaram or Ettukada Svaram:
1. p , , - m , ,. p , , - g , m , - r , g | s , , - r , , - n , | , - s , r , g , m|| (Nīrajākshi)
2. p d , p m g – m p , m g m r g , r | s n� - d. n� , - p � d� n� | s r , - n� s r g m ||
(Nīrajākshi)
3. m , d p m g m , p – g m r g s , n� | s m g r s n. d� n� | s r g m p, g m || p d n – p d
n s� r� - s� g� r�, s� n d n | s� , - r� n d p , - d| m g r s , -r g m ||
(Nirajākshi)
4. p , - m p g m r g s , - m g r s n� - p�| d� , - n� s r s n� , | s r g m p , d p || s� ,
n - r� , s� - m� g� r� g� s� , n- p d n | s� , s� , n d p , | m g r s , - r g m||
(Nirajākshi)