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)