Sadhakams - Kannada PDF

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A book on Sādhakams by K.N. Shivakumar, Dallas, USA.
PREFACE
In the summer of 2016, Prasad had a one-

week break in his four months US tour, and
I was also at home in between project
assignments. We had planned to go over my
“Junior Carnatic Learning” book and make
improvements to it by adding few more
Sadhakams on top of those my Guru Vidwan
Shri A.V. Prakash taught me (Late Prakash
meshtru is the father of Prasad). As the
number of Sadhakams he had were many, we
decided to have them in its own book.
These Sadhakams are the creative teaching
aids of the genius of Prasad for his flute
students. I am happy that we could compile
them into a book and made available on the
Sangeet Bharati platform for the benefit of
the larger group.
Music related topics which were read, heard,
seen and experienced over a period are
captured as tidbits in this book. They appear
on the pages which otherwise had empty
spaces. Users of this book too can contribute
emailing the tidbits in short paragraphs to
sangeetbharatimusic@gmail.com. They will
be made available in the subsequent releases
of this book or other Sangeet Bharati
publications.
As this PDF book is evolving with corrections
and additions, multiple versions of this book
exist. So, always download the latest copy
from www.sangeet-bharati.org. Also, write
to sangeetbharatimusic@gmail.com with
any comments, suggestions or feedback.
Together we make this work a nice free
eBook available for all.
We thank www.hindubhagwan.com for
permitting us to use their Bhagawan Shiva
image for the cover pages.
Dhanyawād
K.N. Shivakumar.
Dallas, USA.
SĀDHAKAMS
Sadhakams (Kannaḍa: ಸಾಧಕಗಳು, pronounced as sādhakams) or “Bhruga Sadhaka Varases” or simply
“Bhrugas” are early lessons in Carnatic classical music to practice speed and perfection in singing,
fingering (Flute), bowing (Violin) or plucking (Veena) with each new raga a Carnatic student learns.
These are practiced to have good control over voice or over an instrument.
A Quora contributor describes Sadhakams as brisk swara phrases which are truly the invention of the
Great Maestros playing Nagaswarams, inspired partly by the vibrato employed by the Western music
band performances in the court of Tanjavur. It attracted and inspired many Vidwans and Vocalists.
Flutists and Violinists practiced and included them in their renditions. The vidwat and renditions of
Nagaswaram players and Flutists had a great impact on the Vocalists to such an extent that, they
modeled their singing on Nagaswaram tradition, leading to the vocalization of the instrumental
technique. Shri G.N. Balasubrahmanyam, popularly called GNB was credited for popularizing
Sadhakams.
Practicing
Unlike Swaravalis, these abhyasagana lessons are practiced without a restriction of tala (rhythm). And
hence, these can be practiced in any speed by maintaining the clarity of swaras. One such exercise is
already introduced at the beginning of the chapter Gitams in Juniors Carnatic Learning book.
Sadhakams start with simple phrases and move towards fast, intricate and complex phrases. The
phrases are separated by tabs in this book. If a phrase has broken in between, it is for readability and
should be practiced as one unit. All three octaves from mandra-sthayi ‘P’ to tara-sthayi ‘P’ (the range
possible in flute) are used in Sadhakam phrases.
There is no specific order or method to practice Sadhakams. But Sadhakams in this book are arranged
to practice from left to right and right to left or top to bottom and bottom to top. If you are following
this book, practice the way they are compiled.
Flutists should practice with blowing control - holding breath longer, cutting the breath for discrete
swara (santar or tutu-kara) or continuous (nirantar) playing etc. Increase holding the breath longer
and longer, blow faster and faster, play the whole line in one breath etc. maintaining the clarity of notes.
To start with, practice Sadhakams in Mayamalavagaula and Hemavati ragas. With this, you cover all
twelve swarasthanas. Refer the fingering chart in the next section for how these swarasthanas are
played on a flute.
Vocalists should practice Sadhakams in akara, ikara, ukara, ekara, okara etc in all new ragas. Practicing
it early in the morning helps to develop the voice and sing madhyama-kala crisp. When akara
Sadhakams are practiced, there should not be any jaw movement but only the vocal cords are engaged.
In a sequence of learning with structured Carnatic syllabus (Refer Juniors Carnatic Learning book
Sangeet Bharati | Practice, Perform, Promote and Unite

for complete syllabus), where does this Sadhakams fit in? Practicing Sadhakams should start in parallel
with Geetams. And apply these Sadhakam techniques in your structured learning of Carnatic items.
Have Sadhakams learning in two parts – one by practicing in plain notes and the same practice by
applying Gamakams. In this level, flute fingering will improve, and you will learn few more fingering
techniques beyond those given in the fingering chart. You may need the guidance of a Guru at this time.
Students learning instrumental music should also learn vocal music from a vocal Guru as this helps
them to improve the knowledge on swarasthanas and raga identification.
Practicing Sadhakams help later in raga or alap - a manodharma aspect of Carnatic music in
sabhagana, which also goes without a restriction of tala.
Sadhakams in Hindustani music

Sadhakams got immense importance both in Carnatic and Hindustani music. Sadhakams are called
riyaz (pronounced: riyāz) in Hindustani music. Riyaz is rigorously followed by the students as well as
exponents of vocal and dance forms. The riyaz which often starts as early as four in the morning, is
taken seriously by the students as it requires intensity, discipline and commitment for years and forms
an important component in the Guru-shishya parampara (teacher-student tradition).
Importance of Sadhakams
According to Smt. Anuradha Mahesh, a great composer and a musician Shri Patnam Subrahmanya Iyer
had a refractory voice and used to practice every morning in the early hours in neck-deep water to
improve his voice quality. This is called Jala Sadhakam or practicing in the water. Also, she says, the
best method is to keep on practicing for at least 45 minutes every day and drinking at least eight glasses
of water to keep the vocal cords in form.
In another online article, Smt. Vimala Sriram explains how Sadhakams helped Semmangudi Shri
Shrinivasa Iyer, an exponent in Carnatic music to become what he was. Maharajapuram Santanam and
Semmangudi Shrinivasa Iyer were disciples of Maharajapuram Vishwanatha Iyer. Yet both developed
very distinct styles of their own called Bani (pronounced: bāni), after imbibing the essence of Carnatic
music from their Guru. Semmangudi, to start with was rather handicapped by his voice, which had a
restricted range. With intense Sadhakam, and fully aware of the limitations of a voice such as his, he
developed a style where he could produce a very distinctive and distinguished way of rendering.
Bani is a Hindustani term which refers to a unique art-style which distinguishes one artist from another. Many
stalwarts like Semmangudi, Maharajapuram set their own style of rendering. GNB developed a style where he
puts his rich voice to maximum use to enrich his rendition.
Not all musicians, though from a famous music family could set a trend. Children of great maestros who learn
music from their parents may follow the parents blindly, not making a niche for themselves. Most they may
become another good singer rather a distinguished one, albeit with a great heritage. It is possible for a musician
to evolve his own style only when he gains mastery over his art.
Sangeet Bharati | Practice, Perform, Promote and Unite

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Sangeet Bharati | Practice, Perform, Promote and Unite. Page 1

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So, no day should pass in the life of a music student without practicing even a tiniest of a tiny music piece.

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The power of Indian music and its Gurukul style of grooming is such that, in their two hundred years of occupation, the
Britishers couldn't kill this system and replant British system in its place the way they did it for other education systems
and institutions of the Indian subcontinent.

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|| ‹¸Á zÀ¤ zÁ ‹¸Á | zÀ¤ zÁ | ‹¸Á zÀ¤ ||


5. || ¸Àj ¸Àj j„ªÀÄj ªÀiÁ | ¥Á „„ | ¸Àj ¸Àj ||

‹¸À ¤ zÀ ¥À ªÀÄ „ ‹¸À ¤
|| ‹¸Á zÀ¤ zÁ ¥Á | ªÀiÁ „„ | ‹¸Á ‹¸À¤ ||

6. || ¸Àj ¸Àj j„ªÀÄj ªÀiÁ | ¥Á ªÀÄ¥À | ªÀÄUÁªÀÄ j„ ||

|| ‹¸Á zÀ¤ zÁ ¥Á | UÀ¥À UÀ¥À | zÁ zÁ‹¸ÀzÀ ||

7. || ¸Àj ¸Àj j„ªÀÄj ªÀiÁ | ¥Á UÀ¥À | UÀzÀ ¥Á ||

|| ‹¸Á zÀ¤ zÁ ¥Á | UÀ¥À UÀ¥À | j„ ªÀiÁ ||

UÀªÀÄ¤¹:
j „ªÀÄ j = "jµÀ¨sÀA" ºÁUÉAiÉÄÃ EgÀÄvÀÛzÉ DzÀgÉ "ªÀÄzsÀåªÀÄ"ªÀÅ UÀªÀÄPÀ ªÀÄzsÀåªÀÄªÁUÀÄvÀÛzÉ (¦¼ÀîAUÉÆÃ«AiÀÄ£ÀÄß ªÀÄÄAzÀPÉÌ ¸Àé®à ªÁ°¹
2 1 2
CAvÀgÀ UÁAzsÁgÀªÀ£ÀÄß £ÀÄr¸ÀÄªÀÅzÀÄ).
¥ÀUÀ2, UÀ2zÀ2 ªÀÄvÀÄÛ UÀ2¥À = E°è£À 'UÀ'ªÀ£ÀÄß UÀªÀÄPÀ UÁAzsÁgÀzÀ°è (J¯Áè ªÀÄ£ÉUÀ¼À£ÀÄß ªÀÄÄaÑPÉÆAqÀÄ) £ÀÄr¸ÀÄªÀÅzÀÄ.
Indian Kings and Music: The Kings in India were not only the great rulers and administrators, but they were also well
educated with great qualities. Many of them were musicians too with composing capabilities like Shri Swati Tirunaal of
Travancore kingdom and Shri Jayachamarajendra Wodeyar of Mysuru kingdom. In your Carnatic journey, you will
encounter Tillanas and Krutis of these two kings.
If Swati Tirunal and Jayachamarajendra Wodeyar were of recent Indian History, many more can be quoted from ancient
India like Vikramaditya who patronaged the musicians and literary figures like Kalidasa, Shri Krishnadevaraya of
Vijayanagara empire. These are just a few names immediately pop out of anyone's memory.

gÁUÀ: PÁªÀÄªÀ¢üð¤ (51£ÉÃ ªÉÄÃ¼ÀPÀvÀð) vÁ¼À: D¢
¸À j1 UÀ 3 ªÀÄ2 ¥À zÀ1 ¤3 ‹¸À
DgÉÆÃºÀt: ¸Àj ¸Àj UÁ ¥ÀªÀÄ ¥ÀzÀ ¥ÀzÀ ‹¸À¤ ‹¸Á

‹¸À ¤3 zÀ1 ¥À ªÀÄ2 UÀ 3 j1 ¸À
CªÀgÉÆÃºÀt: ¤‹¸À ¤„ ¥ÀzÀ ¥Á ªÀiÁ(UÀ¥ÀªÀi

( Á ) UÁ ¸Àj ¸Á
1. || ¸Àj ¸Àj UÁ ¥ÀªÀÄ | ¥ÀzÀ ¥ÀzÀ | ‹¸À¤ ‹¸Á ||

|| ¤‹¸À ¤„ ¥ÀzÀ ¥Á | UÀ¥ÀªÀiÁ UÁ | ¸Àj ¸Á ||
2. || ¸Àj ¸Àj UÁ ¥ÀªÀÄ | ¸Àj ¸Àj | UÁ ¥ÀªÀÄ ||
|| ¸Àj ¸Àj UÁ ¥ÀªÀÄ | ¥ÀzÀ ¥ÀzÀ | ‹¸À¤ ‹¸Á ||

‹¸À ¤ zÀ ¥À ‹¸À ¤ zÀ ¥À
|| ¤‹¸À ¤„ ¥ÀzÀ ¥Á | ¤‹¸À ¤„ | ¥ÀzÀ ¥Á ||

3. || ¸Àj ¸Àj UÁ ¥ÀªÀÄ | ¸Àj ¸Àj | ¸Àj ¸Àj ||

‹¸À ¤ zÀ ¥À ‹¸À ¤ ‹¸À ¤
|| ¤‹¸À ¤„ ¥ÀzÀ ¥Á | ¤‹¸À ¤„ | ¤‹¸À ¤„ ||

4. || ¸Àj ¸Àj UÁ ¸Àj | ¸Àj UÁ | ¸Àj ¸Àj ||

‹¸À ¤ zÀ ‹¸À ¤ zÀ ‹¸À ¤
|| ¤‹¸À ¤„ zÁ zÀ‹¸À | ¤„ zÁ | zÀ‹¸À ¤„ ||


5. || ¸Àj ¸Àj UÁ ¥ÀªÀÄ | ¥Á „„ | ¸Àj ¸Àj ||

‹¸À ¤ zÀ ¥À ªÀÄ „ ‹¸À ¤
|| ¤‹¸À ¤„ ¥ÀzÀ ¥Á | ¥ÀªÀÄ ¥ÀªÀÄ | ªÀÄ‹¸À ¤„ ||

6. || ¸Àj ¸Àj UÁ ¥ÀªÀÄ | ¥Á ªÀiÁ | UÁ ¸Àj ||

|| ¤‹¸À ¤„ ¥ÀzÀ ¥Á | ªÀÄ¥À ªÀÄ¥À | zÀ¤ zÀ¤ ||

7. || ¸Àj ¸Àj UÁ ¥ÀªÀÄ | ¥Á ªÀÄ¥À | ªÀÄzÀ ¥Á ||

|| ¤‹¸À ¤„ ¥ÀzÀ ¥Á | ªÀÄ¥À ªÀÄ¥À | UÁ UÀ¥ÀªÀiÁ ||

PÉÆ¼À®ÄªÁzÀ£À°è CzsÀð¸ÀégÀUÀ¼ÁzÀ "j1, zÀ 1, ¤3 ªÀÄvÀÄÛ ªÀÄ2" £ÀÄr¸ÀÄªÀÅzÀÄ PÀµÀÖªÀÇ ºÁUÀÆ C¥À¸ÀégÀªÀÇ DV PÉÃ½zÀgÉ -
1. DgÉÆÃºÀtzÀ°è '¤'AiÀÄ£ÀÄß ‹¸À¤ JAzÀÆ, ¥ÀæwªÀÄzsÀåªÀÄªÀ£ÀÄß ¥ÀªÀÄ JAzÀÆ £ÀÄr¹.
2. CªÀgÉÆÃºÀtzÀ°è 'zÀ'ªÀ£ÀÄß ¥ÀzÀ JAzÀÆ, 'j'AiÀÄ£ÀÄß ¸Àj JAzÀÆ £ÀÄr¹.
Importance of music listening: Imitation is the first step towards learning. This statement applies to voice training too.
Concentrated listening is the basic requirement for music seekers. By listening more and more, the brain creates and
stores a mental image of music - the notes, the tunes, the rhythm, the speed, the words, the volume, the tonal quality of
a voice or an instrument. These are stored in the brain. When we try to sing, this mental image coordinates with the
Laryngeal muscles to produce the music required. Thus, it can be easily understood that, the more we hear, the more
we listen, there will be a better ability of voice production. We should listen with all the aspects of a musical form in our
minds like tonal quality, phonetic quality, time intervals, the microtones (shrutis), expressional effects of a voice. The
more deeply we listen, the better the quality of music we will render. Better the mental and physical coordination, better
will be the voice production. This is a first, basic, fundamental and unavoidable step towards learning the music.

gÁUÀ: ¨sÉÊgÀ« (20£ÉÃ ªÉÄÃ¼ÀPÀvÀð £Àl¨sÉÊgÀ« d£Àå ªÀÄvÀÄÛ ¨sÁµÁAUÀ gÁUÀ) vÁ¼À: D¢
¸À j2 UÀ 2 ªÀÄ1 ¥À zÀ2 ¤2 ‹¸À
DgÉÆÃºÀt: ¸Àj ¸Àj j„ªÀÄj ªÀiÁ ¥ÀzÀ ¥ÀzÀ zÁ‹¸ÀzÀ ‹¸Á

‹¸À ¤2 zÀ1 ¥À ªÀÄ1 UÀ 2 j2 ¸À
CªÀgÉÆÃºÀt: ‹¸Á ‹¸ÁzÀ‹¸À ¥ÀzÀ1 ¥Á ªÀÄ¥À ªÀÄUÁªÀÄ j„ ¸Á
1. || ¸Àj ¸Àj j„ªÀÄj ªÀiÁ | ¥ÀzÀ ¥ÀzÀ | zÁ‹¸ÀzÀ ‹¸Á ||

‹¸À ¤ zÀ1 ¥À ªÀÄ UÀ j ¸À ("ªÀÄ¥À" zÀ°è '¥À' £ÀÄr¸À¨ÉÃPÀÄ,
|| ‹¸Á ‹¸ÁzÀ‹¸À ¥ÀzÀ1 ¥Á | ªÀÄ¥À ªÀÄUÁªÀÄ | j„ ¸Á || DzÀgÉ PÉÃ½¹zÀAwgÀ¨ÁgÀzÀÄ.)
2. || ¸Àj ¸Àj j„ªÀÄj ªÀiÁ | ¸Àj ¸Àj | j„ªÀÄj ªÀiÁ ||

‹¸À ¤ zÀ1 ¥À ‹¸À ¤ zÀ1 ¥À
|| ‹¸Á ‹¸ÁzÀ‹¸À ¥ÀzÀ1 ¥Á | ‹¸Á ‹¸ÁzÀ‹¸À | ¥ÀzÀ1 ¥Á ||

‹¸À ¤ zÀ1 ¥À ªÀÄ UÀ j ¸À
|| ‹¸Á ‹¸ÁzÀ‹¸À ¥ÀzÀ1 ¥Á | ªÀÄ¥À ªÀÄUÁªÀÄ | j„ ¸Á ||
3. || ¸Àj ¸Àj j„ªÀÄj ªÀiÁ | ¸Àj ¸Àj | ¸Àj ¸Àj ||

‹¸À ¤ zÀ1 ¥À ‹¸À ¤ ‹¸À ¤
|| ‹¸Á ‹¸ÁzÀ‹¸À ¥ÀzÀ1 ¥Á | ‹¸Á zÀ‹¸À | zÀ‹¸À zÁ ||

4. || ¸Àj ¸Àj jUÀ ¸Àj | ¸Àj jUÀ | ¸Àj ¸Àj ||

‹¸À ¤ zÀ ‹¸À ¤ zÀ ‹¸À ¤
|| ‹¸Á zÀ¤ zÁ ‹¸Á | zÀ¤ zÁ | ‹¸Á zÁ ||


5. || ¸Àj ¸Àj j„ªÀÄj ªÀiÁ | ¥Á „„ | ¸Àj ¸Àj ||

‹¸À ¤ zÀ1 ¥À ªÀÄ „ ‹¸À ¤
|| ‹¸Á ‹¸ÁzÀ‹¸À ¥ÀzÀ1 ¥Á | ªÀiÁ „„ | ‹¸Á zÁ ||

6. || ¸Àj ¸Àj j„ªÀÄj ªÀiÁ | ¥Á ªÀÄ¥À | ªÀÄUÁªÀÄ j„ ||

‹¸À ¤ zÀ1 ¥À ªÀÄ ¥À zÀ ¤
|| ‹¸Á ‹¸ÁzÀ‹¸À ¥ÀzÀ1 ¥Á | UÀ¥À UÀ¥À | zÁ ‹¸ÀzÀ ||

7. || ¸Àj ¸Àj j„ªÀÄj ªÀiÁ | ¥Á UÀ¥À | UÀzÀ ¥Á ||

‹¸À ¤ zÀ1 ¥À ªÀÄ ¥À UÀ ªÀÄ
|| ‹¸Á ‹¸ÁzÀ‹¸À ¥ÀzÀ1 ¥Á | UÀ¥À UÀ¥À | j„ ªÀiÁ ||

Raga Bhairavi: Though Bhairavi is a sampoorna raga (scale having all seven notes), it has two different "dhaivatams"
in its scale making it a Bhashanga Raga. Hence, it is not classified as a melakarta raga (parent scale).
This is one of the ancient ragas, prevalent since 1500 years. Though a Raga called Bhairavi also exists in Hindusthani
music, it is very different from the Carnatic Bhairavi. Hindustani's Bhairavi is more corresponds to Carnatic's Todi.
Considered one of the tough ragas, Flute legend Shri Mahalingam as a child, played by himself the Bhairavi varnam
"Viriboni" composed by Shri Pacchimiriam Adiyappa.

UÀªÀÄPÀzÀ°è dAnªÀgÀ¸ÉUÀ¼ÀÄ
PÉ¼ÀV£À «µÀAiÀÄUÀ¼À£ÀÄß F ¥ÀÄ¸ÀÛPÀzÀ ªÀÄÄA¢£À CªÀvÀgÀtÂPÉAiÀÄ°è ¤ÃqÀ¯ÁUÀÄªÀÅzÀÄ.
1. dAnAiÀÄ£ÀÄß »ÃUÉÃ KPÉ £ÀÄr¸À¨ÉÃPÀÄ JA§ÄzÀ£ÀÄß «ªÀgÀªÁV ¥Àæ¸ÀÄÛvÀ¥Àr¸ÀÄªÀÅzÀÄ.

2. UÀªÀÄPÀ «µÀAiÀÄªÁV «¸ÀÄÛçvÀ ¯ÉÃR£À ªÀÄvÀÄÛ
3. E£ÀÆß ºÉaÑ£À ¸ÁzsÀPÀUÀ¼ÀÄ ªÀÄvÀÄÛ UÀªÀÄPÀ C¨sÁå¸ÀUÀ¼ÀÄ.

UÀªÀÄPÀzÀ°è dAnªÀgÀ¸ÉUÀ¼ÀÄ ªÀÄÄAzÀÄªÀj¢zÉ . . .
¸ÀégÀªÀÅ ¥ÀÄ£ÀgÁªÀvÀð£ÉAiÀiÁUÀÄªÀÅzÉÃ dAn CxÀªÁ ¸ÀÄájvÀ UÀªÀÄPÀ. F C¨sÁå¸ÀzÀ°è dAnAiÀÄ£ÀÄß ««zsÀ «zsÁ£ÀUÀ¼À°è ªÉÃtÄ«£À°è
C¨sÀå¹¸ÉÆÃt.
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PÁPÀ½AiÀÄ£ÉßÃ £ÀÄr¸ÀÄªÀgÀÄ.)
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UÀUÀ = UÁjUÀ (ªÀiÁAiÀiÁªÀiÁ¼ÀªÀUË¼À CxÀªÁ AiÀiÁªÀÅzÉÃ gÁUÀ«zÀÝgÀÆ, EzÀÄ ZÀvÀÄ±ÀÈw jµÀ¨sÀªÉÃ DVgÀÄvÀÛzÉ.
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¥À¥À = DgÀ£ÉÃ ¨ÉgÀ½¤AzÀ ºÉÆqÉAiÀÄÄªÀÅzÀÄ.
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¤¤ = £Á®Ì£ÉÃ ¨ÉgÀ½¤AzÀ ºÉÆqÉAiÀÄÄªÀÅzÀÄ.
‹¸À‹¸À = ‹¸Á¤‹¸À
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*****
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jj = j„¸Àj
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zÀzÀ = zÁ¥ÀzÀ
¤¤ = ¤„zÀ¤
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UÀªÀÄPÀ 'ªÀÄ': DgÀÆ ªÀÄ£ÉUÀ¼À£ÀÄß ªÀÄÄaÑ, K¼À£ÉÃ ªÀÄ£ÉAiÀÄ£ÀÄß (QgÀÄ¨ÉgÀ½¤AzÀ) ¸Àé®àªÉÃ vÉgÉzÀÄ £ÀÄr¸ÀÄªÀÅzÀÄ.

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|| ¤¤ zÀzÀ ¥À¥À zÀzÀ | ¤¤ zÀzÀ | ¥À¥À ªÀÄªÀÄ ||
|| zÀzÀ ¥À¥À ªÀÄªÀÄ ¥À¥À | zÀzÀ ¥À¥À | ªÀÄªÀÄ UÀUÀ ||
|| ¥À¥À ªÀÄªÀÄ UÀUÀ ªÀÄªÀÄ | ¥À¥À ªÀÄªÀÄ | UÀUÀ jj ||
|| ªÀÄªÀÄ UÀUÀ jj UÀUÀ | ªÀÄªÀÄ UÀUÀ | jj ¸À¸À ||
£ÉgÉªÀÄ£ÉAiÀÄ ¸ÀégÀUÀ¼ÀÄ §AzÀ°è, DªÀgÀtzÀ°è ¤ÃrgÀÄªÀ ¸ÀÆZÀ£ÉAiÀÄAvÉ £ÀÄr¸ÀÄªÀÅzÀÄ.

4. || ¸À¸À j¸À ¸Àj ¸Àj | ¸À¸À jj | UÀUÀ ªÀÄªÀÄ || (¸À¸À j„¸Àj ¸Àj¸Àj ¸Àj¸Àj . . .)
|| jj UÀj jUÀ jUÀ | jj UÀUÀ | ªÀÄªÀÄ ¥À¥À || (jj UÁjUÀ jUÀjUÀ jUÀjUÀ . . .)
|| UÀUÀ ªÀÄUÀ UÀªÀÄ UÀªÀÄ | UÀUÀ ªÀÄªÀÄ | ¥À¥À zÀzÀ || (UÀUÀ ªÀiÁUÀªÀÄ UÀªÀÄUÀªÀÄ UÀªÀÄUÀªÀÄ . . .)
|| ªÀÄªÀÄ ¥ÀªÀÄ ªÀÄ¥À ªÀÄ¥À | ªÀÄªÀÄ ¥À¥À | zÀzÀ ¤¤ || (ªÀÄªÀÄ ¥ÁUÀ¥À UÀ¥ÀUÀ¥À UÀ¥ÀUÀ¥À . . .)
|| ¥À¥À zÀ¥À ¥ÀzÀ ¥ÀzÀ | ¥À¥À zÀzÀ | ¤¤ ‹¸À‹¸À || (¥À¥À zÁ¥ÀzÀ ¥ÀzÀ¥ÀzÀ ¥ÀzÀ¥ÀzÀ . . .)
|| ‹¸À‹¸À ¤‹¸À ‹¸À¤ ‹¸À¤ | ‹¸À‹¸À ¤¤ | zÀzÀ ¥À¥À || (‹¸À‹¸À ¤‹¸À¤‹¸À ¤‹¸À¤‹¸À ¤‹¸À¤‹¸À . . .)
|| ¤¤ zÀ¤ ¤zÀ ¤zÀ | ¤¤ zÀzÀ | ¥À¥À ªÀÄªÀÄ || (¤¤ zÀ¤zÀ¤ zÀ¤zÀ¤ zÀ¤zÀ¤ . . .)
|| zÀzÀ ¥ÀzÀ zÀ¥À zÀ¥À | zÀzÀ ¥À¥À | ªÀÄªÀÄ UÀUÀ || (zÀzÀ ¥ÀzÀ¥ÀzÀ ¥ÀzÀ¥ÀzÀ ¥ÀzÀ¥ÀzÀ . . .)
|| ¥À¥À ªÀÄ¥À ¥ÀªÀÄ ¥ÀªÀÄ | ¥À¥À ªÀÄªÀÄ | UÀUÀ jj || (¥À¥À UÀ¥ÀUÀ¥À UÀ¥ÀUÀ¥À UÀ¥ÀUÀ¥À . . .)
|| ªÀÄªÀÄ UÀªÀÄ ªÀÄUÀ ªÀÄUÀ | ªÀÄªÀÄ UÀUÀ | jj ¸À¸À || (ªÀÄªÀÄ UÀªÀÄUÀªÀÄ UÀªÀÄUÀªÀÄ UÀªÀÄUÀªÀÄ . . .)

zÁlÄ¸ÀégÀUÀ¼ÁzÀ UÀ¸À, ªÀÄj, ¥ÀUÀ, zÀªÀÄ, ¤¥À ªÀÄÄAvÁzÀªÀÅ, £ÉgÉªÀÄ£ÉAiÀÄ ¸ÀégÀUÀ¼ÁzÀ jUÀ, UÀªÀÄ, ªÀÄ¥À ªÀÄÄAvÁzÀÄªÀ£ÀÄß
DªÀgÀtzÀ°è ¤ÃrgÀÄªÀ ¸ÀÆZÀ£ÉAiÀÄAvÉ £ÀÄr¹.
5. || ¸À¸À jj UÀ¸À jUÀ | ¸À¸À jj | UÀUÀ ªÀÄªÀÄ || (UÀ¸À = ¸ÀUÀ¸Á jUÀ = jUÀjUÀ )
|| jj UÀUÀ ªÀÄj UÀªÀÄ | jj UÀUÀ | ªÀÄªÀÄ ¥À¥À || (ªÀÄj = jªÀÄj„ UÀªÀÄ = UÀªÀÄUÀªÀÄ )
|| UÀUÀ ªÀÄªÀÄ ¥ÀUÀ ªÀÄ¥À | UÀUÀ ªÀÄªÀÄ | ¥À¥À zÀzÀ || (¥ÀUÀ = UÀ¥ÀUÁ ªÀÄ¥À = UÀ¥ÀUÀ¥À )
|| ªÀÄªÀÄ ¥À¥À zÀªÀÄ ¥ÀzÀ | ªÀÄªÀÄ ¥À¥À | zÀzÀ ¤¤ || (zÀªÀÄ = ªÀÄzÀªÀiÁ ¥ÀzÀ = ¥ÀzÀ¥ÀzÀ )
|| ¥À¥À zÀzÀ ¤¥À zÀ¤ | ¥À¥À zÀzÀ | ¤¤ ‹¸À‹¸À || (¤¥À = ¥À¤¥Á zÀ¤ = zÀ¤zÀ¤ )
|| ‹¸À‹¸À ¤¤ zÀ‹¸À ¤zÀ | ‹¸À‹¸À ¤¤ | zÀzÀ ¥À¥À || (zÀ‹¸À = zÀ‹¸ÀzÀ‹¸À ¤zÀ = ¤¥ÀzÁ )
|| ¤¤ zÀzÀ ¥À¤ zÀ¥À | ¤¤ zÀzÀ | ¥À¥À ªÀÄªÀÄ || (¥À¤ = ¥À¤¥À¤ zÀ¥À = ¥ÀzÀ¥Á )
|| zÀzÀ ¥À¥À ªÀÄzÀ ¥ÀªÀÄ | zÀzÀ ¥À¥À | ªÀÄªÀÄ UÀUÀ || (ªÀÄzÀ = ªÀÄzÀªÀÄzÀ ¥ÀªÀÄ = ¥ÀUÀ¥Á )
|| ¥À¥À ªÀÄªÀÄ UÀ¥À ªÀÄUÀ | ¥À¥À ªÀÄªÀÄ | UÀUÀ jj || (UÀ¥À = UÀ¥ÀUÀ¥À ªÀÄUÀ = UÀªÀÄUÁ )
|| ªÀÄªÀÄ UÀUÀ jªÀÄ UÀj | ªÀÄªÀÄ UÀUÀ | jj ¸À¸À || (jªÀÄ = jªÀÄjªÀÄ UÀj = UÁ¸Àj )
6. || ªÀÄªÀÄ UÀUÀ jj UÀUÀ | ¸À¸À jj | UÀUÀ ªÀÄªÀÄ ||

|| ¥À¥À ªÀÄªÀÄ UÀUÀ ªÀÄªÀÄ | jj UÀUÀ | ªÀÄªÀÄ ¥À¥À ||
|| zÀzÀ ¥À¥À ªÀÄªÀÄ ¥À¥À | UÀUÀ ªÀÄªÀÄ | ¥À¥À zÀzÀ ||
|| ¤¤ zÀzÀ ¥À¥À zÀzÀ | ªÀÄªÀÄ ¥À¥À | zÀzÀ ¤¤ ||
|| ‹¸À‹¸À ¤¤ zÀzÀ ¤¤ | ¥À¥À zÀzÀ | ¤¤ ‹¸À‹¸À ||
|| ¥À¥À zÀzÀ ¤¤ zÀzÀ | ‹¸À‹¸À ¤¤ | zÀzÀ ¥À¥À ||
|| ªÀÄªÀÄ ¥À¥À zÀzÀ ¥À¥À | ¤¤ zÀzÀ | ¥À¥À ªÀÄªÀÄ ||
|| UÀUÀ ªÀÄªÀÄ ¥À¥À ªÀÄªÀÄ | zÀzÀ ¥À¥À | ªÀÄªÀÄ UÀUÀ ||
|| jj UÀUÀ ªÀÄªÀÄ UÀUÀ | ¥À¥À ªÀÄªÀÄ | UÀUÀ jj ||
|| ¸À¸À jj UÀUÀ jj | ªÀÄªÀÄ UÀUÀ | jj ¸À¸À ||
PÉ¼ÀV£À dAnAiÀÄ°è "¸ÀªÀÄ ªÀÄvÀÄÛ UÀªÀÄ" §gÀÄªÀ°è, vÉgÉzÀ (UÀªÀÄPÀzÀ) "UÀ ªÀÄvÀÄÛ ªÀÄ" £ÀÄr¸ÀÄªÀÅzÀÄ. F dAnAiÀÄ ®WÀÄ
¨sÁUÀzÀ UÀªÀÄPÀªÀ£ÀÄß DªÀgÀtzÀ°è ¤ÃrzÉ. zÀÈvÀ¨sÁUÀªÀ£ÀÄß dAn 1, 2 ºÁUÀÆ 3gÀ°è C¨sÀå¹¹zÀAvÉAiÉÄÃ C¨sÀå¹¸ÀÄªÀÅzÀÄ.
7. || ¸ÀªÀÄ UÀªÀÄ jUÀ ¸Àj | ¸À¸À jj | UÀUÀ ªÀÄªÀÄ || (¸ÀªÀÄ¸ÀªÀÄ UÀªÀÄUÀªÀÄ jUÀjUÀ ¸Àj¸Àj . . .)
|| j¥À ªÀÄ¥À UÀªÀÄ jUÀ | jj UÀUÀ | ªÀÄªÀÄ ¥À¥À || (j„¥Á UÀ¥ÀUÀ¥À UÀªÀÄUÀªÀÄ jUÀjUÀ . . .)
|| UÀzÀ ¥ÀzÀ ªÀÄ¥À UÀªÀÄ | UÀUÀ ªÀÄªÀÄ | ¥À¥À zÀzÀ || (UÀzÀUÀzÀ ¥ÀzÀ¥ÀzÀ UÀ¥ÀUÀ¥À UÀªÀÄUÀªÀÄ . . .)
|| ªÀÄ¤ zÀ¤ ¥ÀzÀ ªÀÄ¥À | ªÀÄªÀÄ ¥À¥À | zÀzÀ ¤¤ || (ªÀÄ¤ªÀÄ¤ zÀ¤zÀ¤ ¥ÀzÀ¥ÀzÀ ªÀÄ¥ÀªÀÄ¥À . . .)
|| ¥À‹¸À ¤‹¸À zÀ¤ ¥ÀzÀ | ¥À¥À zÀzÀ | ¤¤ ‹¸À‹¸À || (¥À‹¸À¥À‹¸À ¤‹¸À¤‹¸À zÀ¤zÀ¤ ¥ÀzÀ¥ÀzÀ . . .)
|| ‹¸À¥À zÀ¥À ¤zÀ ‹¸À¤ | ‹¸À‹¸À ¤¤ | zÀzÀ ¥À¥À || (¥À‹¸À¥Á ¥ÀzÀ¥ÀzÀ ¥À¤zÀ¤ zÀ‹¸Á¤ . . .)
|| ¤ªÀÄ ¥ÀªÀÄ zÀ¥À ¤zÀ | ¤¤ zÀzÀ | ¥À¥À ªÀÄªÀÄ || (ªÀÄ¤ªÀiÁ ªÀÄ¥ÀªÀÄ¥À ¥ÀzÀ¥ÀzÀ ¥À¤„zÀ . . .)
|| zÀUÀ ªÀÄUÀ ¥ÀªÀÄ zÀ¥À | zÀzÀ ¥À¥À | ªÀÄªÀÄ UÀUÀ || (UÀzÁUÀ UÀªÀÄUÀªÀÄ ¥ÁUÀªÀÄ ¥ÀzÀ¥ÀzÀ . . .)
|| ¥Àj UÀj ªÀÄUÀ ¥ÀªÀÄ | ¥À¥À ªÀÄªÀÄ | UÀUÀ jj || (¥ÁjUÀ jUÀj„ jªÀÄUÁ UÀ¥ÁªÀÄ . . .)
|| ªÀÄ¸À j¸À UÀj ªÀÄUÀ | ªÀÄªÀÄ UÀUÀ | jj ¸À¸À || (¸ÀªÀÄ¸Á ¸Àj¸Àj ¸ÀUÀ¸Àj jªÀÄUÁ . . .)
Though this book with explanations looks a self-help guide, this can't be a substitute for a Guru.

¸ÁzsÀPÀ - 1
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¸ÁzsÀPÀ - 2
1. Œ¤ŒzÀŒ¥À ¸ÀŒ¤ŒzÀ j¸ÀŒ¤ UÀj¸À ªÀÄUÀj ¥ÀªÀÄUÀ zÀ¥ÀªÀÄ ¤zÀ¥À

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Œ¥ÀŒ¤Œ¥ÀŒzÀŒ¥Á Œ¥À¸ÀŒ¤„Œ¥ÀŒzÀ ŒzÀj¸ÁŒ¤„ Œ¤UÀ¸Àj¸Á ¸ÀªÀÄUÁ¸Àj j¥ÀUÀªÀÄUÁ UÀzÀ¥ÁUÀªÀÄ ªÀÄ¤¥ÀzÀ¥Á
¥À‹¸À¤„¥ÀzÀ zÀ‹j‹¸Á¤„ ¤‹UÀ‹¸À‹j‹¸Á ‹¸À‹ªÀÄ‹UÁ‹¸À‹j ‹¥Á‹ªÀiÁ‹UÁ
‹UÀ‹ªÀÄ‹¥À ‹j‹UÀ‹ªÀÄ ‹¸À‹j‹UÀ ¤‹¸À‹j zÀ¤‹¸À ¥ÀzÀ¤ ªÀÄ¥ÀzÀ UÀªÀÄ¥À

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jUÀjUÀªÀiÁ ¸Àj¸ÀjUÁ Œ¤¸ÀŒ¤¸Àj„ ŒzÀŒ¤ŒzÀŒ¤¸Á Œ¥ÀŒzÀŒ¥ÀŒzÀŒ¤„
2. ¸ÀŒ¤ŒzÀŒ¥À j¸ÀŒ¤ŒzÀ UÀj¸ÀŒ¤ ªÀÄUÀj¸À ¥ÀªÀÄUÀj zÀ¥ÀªÀÄUÀ ¤zÀ¥ÀªÀÄ ‹¸À¤zÀ¥À

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Œ¥À¸ÀŒ¤„Œ¥ÀŒzÀŒ¥Á Œ¥Àj¸ÁŒ¤„Œ¥ÀŒzÀ ŒzÀUÀ¸Àj¸ÁŒ¤„ Œ¤ªÀÄUÁ¸Àj¸Á ¸À¥ÀUÀªÀÄUÁ¸Àj jzÀ¥ÁUÀªÀÄUÁ UÀ¤¥ÀzÀ¥ÁUÀªÀÄ ªÀÄ‹¸À¤„¥ÀzÀ¥Á
¥À‹j‹¸Á¤„¥ÀzÀ zÀ‹UÀ‹¸À‹j‹¸Á¤„ ¤‹ªÀÄ‹UÁ‹¸À‹j‹¸Á ‹¥Á‹ªÀiÁ‹UÁ‹j„
‹j‹UÀ‹ªÀÄ‹¥À ‹¸À‹j‹UÀ‹ªÀÄ ¤‹¸À‹j‹UÀ zÀ¤‹¸À‹j ¥ÀzÀ¤‹¸À ªÀÄ¥ÀzÀ¤ UÀªÀÄ¥ÀzÀ jUÀªÀÄ¥À

¸ÀjUÀªÀÄ Œ¤¸ÀjUÀ ŒzÀŒ¤¸Àj Œ¥ÀŒzÀŒ¤¸À
‹j‹UÀ‹j‹UÀ‹ªÀiÁ‹¥Á ‹¸À‹j‹¸À‹j‹ªÀÄ‹UÀ‹ªÀiÁ ¤‹¸À¤‹¸À‹j‹UÀ‹j‹UÀ zÀ¤zÀ¤‹¸À‹j‹¸À‹j ¥ÀzÀ¥ÀzÀ‹¸À¤‹¸Á UÀ¥ÀUÀ¥ÀzÀ¤zÀ¤ UÀªÀÄUÀªÀÄ¥ÀzÀ¥ÀzÀ jUÀjUÀ¥ÀUÀ¥Á
¸Àj¸ÀjªÀÄUÀªÀiÁ Œ¤¸ÀŒ¤¸ÀjUÀjUÀ ŒzÀŒ¤ŒzÀŒ¤¸Àj¸Àj Œ¥ÀŒzÀŒ¥ÀŒzÀ¸ÀŒ¤¸Á
Kabirdas, Meerabai, Purandaradas, Dikshitar, Jayadev, Namadev, Narada, Annamayya, Tyagaraja, Tansen and many others effectively used music as a
powerful means of communicating the subtle and sensitive thoughts and ideas to the people. They composed and sung Bhajans, Abhangs and Keertanas.

3. j¸ÀŒ¤ŒzÀŒ¥À UÀj¸ÀŒ¤ŒzÀ ªÀÄUÀj¸ÀŒ¤ ¥ÀªÀÄUÀj¸À zÀ¥ÀªÀÄUÀj ¤zÀ¥ÀªÀÄUÀ

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‹¸À‹j‹UÀ‹ªÀÄ‹¥À ¤‹¸À‹j‹UÀ‹ªÀÄ zÀ¤‹¸À‹j‹UÀ ¥ÀzÀ¤‹¸À‹j ªÀÄ¥ÀzÀ¤‹¸À UÀªÀÄ¥ÀzÀ¤

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‹¸À‹j‹¸À‹j‹UÁ‹ªÀiÁ‹¥Á ¤‹¸À¤‹¸À‹j‹UÀ‹j‹UÀ‹ªÀiÁ zÀ¤zÀ¤‹¸À‹j‹¸À‹j‹UÁ ¥ÀzÀ¥ÀzÀ‹¸À¤‹¸Á‹j„ UÀ¥ÀUÀ¥ÀzÀ¤zÀ¤‹¸Á UÀªÀÄUÀªÀÄ¥ÀzÀ¥ÀzÀ¤„
jUÀjUÀUÀ¥ÀUÀ¥ÀzÁ ¸Àj¸ÀjUÀªÀÄUÀªÀÄ¥Á Œ¤¸ÀŒ¤¸ÀjUÀjUÀªÀiÁ ŒzÀŒ¤ŒzÀŒ¤¸Àj¸ÀjUÁ Œ¥ÀŒzÀŒ¥ÀŒzÀ¸ÀŒ¤¸Áj„
4. UÀj¸ÀŒ¤ŒzÀŒ¥À ªÀÄUÀj¸ÀŒ¤ŒzÀ ¥ÀªÀÄUÀj¸ÀŒ¤ zÀ¥ÀªÀÄUÀj¸À ¤zÀ¥ÀªÀÄUÀj ‹¸À¤zÀ¥ÀªÀÄUÀ

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Œ¥ÀUÀ¸Àj¸ÁŒ¤„Œ¥ÀŒzÀŒ¥Á Œ¥ÀªÀÄUÁ¸Àj¸ÁŒ¤„Œ¥ÀŒzÀ ¥ÁUÀªÀÄUÁ¸Àj¸ÁŒ¤„ UÀzÀ¥ÁUÀªÀÄUÁ¸Àj¸Á UÀ¤¥ÀzÀ¥ÁUÀªÀÄUÁ¸Àj UÀ‹¸À¤„¥ÀzÀ¥ÁUÀªÀÄUÁ
UÀ‹j‹¸Á¤„¥ÀzÀ¥ÁUÀªÀÄ ¥À‹UÀ‹¸À‹j‹¸Á¤„¥ÀzÀ¥Á zÀ‹ªÀÄ‹UÁ‹¸À‹j‹¸Á¤„¥ÀzÀ ‹¥Á‹ªÀiÁ‹UÁ‹¸À‹j‹¸Á¤„
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"The note Sa is said to be the soul, Ri is called the head, Ga is the arms, Ma the chest, Pa the throat, Dha the hips, Ni the feet. Such are the seven limbs of the
modal scale."
- (Narada Samhita 2:53-54)

5. ªÀÄUÀj¸ÀŒ¤ŒzÀŒ¥À ¥ÀªÀÄUÀj¸ÀŒ¤ŒzÀ zÀ¥ÀªÀÄUÀj¸ÀŒ¤ ¤zÀ¥ÀªÀÄUÀj¸À ‹¸À¤zÀ¥ÀªÀÄUÀj

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"The mind, under the sway of the senses, is likened to a raging elephant confined within a garden. Nadam is likened to a goad because it draws and directs the
mind towards the internal absorption and union with its source. Just as music can calm and relax the mind, making one completely forget problems and worries,
so absorption in the subtle nadam brings forgetfulness of the external world."
- (Hatha Yoga Pradipika 4:91-94)

¸ÁzsÀPÀ - 3
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"A raga is a work of art in which the tune, the song, the picture, the colors, the season, the hour and the virtues are so blended together as to produce a
composite production to which the West can furnish no parallel."
- Mr. Percy Brown, formerly of the School of Art, Kolkata.

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Naada Chikitsa (Music Therapy) is used to improve the health, cure deceases, bring harmony between humanity and nature, balance the Chakras in the
human body, bring unity among the body, mind and soul, and to purify the environment and elevate the spiritual realm. For this, different ragas are played to
affect different parts of the body, different Chakras, different nerve centers, different elements of panchabhutas, and different zodiac signs. The Music is directed
at reducing the stress, lessen the distress, minimize the strain, decrease the worries, lower the anxiety, remove the negative emotions, increase the
concentration, create positive vibrations and finally calm the mind.

¸ÁzsÀPÀ - 4
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ŒzÀŒ¤Œ¤¸À¸ÀjjUÀUÀªÀÄªÀÄ¥À¥ÀzÀzÀ Œ¥ÀŒzÀŒzÀŒ¤Œ¤¸À¸ÀjjUÀUÀªÀÄªÀÄ¥À¥À
E°èAzÀ ªÀÄÄA¢£À ¸ÁzsÀPÀUÀ½UÉ UÀªÀÄPÀUÀ¼À£ÀÄß ¤ÃrgÀÄªÀÅ¢®è. «zsÁåyðUÀ¼ÀÄ E£ÀÄß ªÀÄÄAzÉ ¸ÁzsÀPÀUÀ¼À£ÀÄß UÀªÀÄPÀ«®èzÉAiÀÄÆ (¸ÁzsÁgÀt
¸ÀégÀUÀ¼À°è), UÀªÀÄPÀªÀ£ÀÄß ¸ÀévÀ: ¥ÀæAiÉÆÃV¹AiÀÄÆ C¨sÀå¹¸ÀÄªÀÅzÀÄ.
According to Poojya Shri. Ganapati Sacchidananada Swamiji of Datta Peetham, Mysuru, there is a definite relation
between the seven notes of music and the seven colors of the VIBGYOR spectrum. Further, these colors and musical
notes also happen to be related to the metaphysical energy centers (Chakras) of the human body as mentioned below.
1. Ni : Violet - Sahasrara (Crown)

2. Dha : Indigo - Agna (Brow)
3. Pa : Blue - Vishuddha (Throat)
4. Ma : Green - Anahata (Heart)
5. Ga : Yellow - Manipooraka (Navel)
6. Ri : Orange - Swadhishthana (Pelvic)
7. Sa : Red - Mooladhara (Base)

¸ÁzsÀPÀ - 5
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‹¥À‹¥À‹ªÀÄ‹UÀ ‹¥À‹¥À‹ªÀÄ‹UÀ ‹¥À‹¥À‹ªÀÄ‹UÀ ‹¥À‹¥À‹ªÀÄ‹UÀ ‹ªÀÄ‹ªÀÄ‹UÀ‹j ‹ªÀÄ‹ªÀÄ‹UÀ‹j ‹ªÀÄ‹ªÀÄ‹UÀ‹j ‹ªÀÄ‹ªÀÄ‹UÀ‹j ‹UÀ‹UÀ‹j‹¸À ‹UÀ‹UÀ‹j‹¸À ‹UÀ‹UÀ‹j‹¸À ‹UÀ‹UÀ‹j‹¸À
‹j‹j‹¸À¤ ‹j‹j‹¸À¤ ‹j‹j‹¸À¤ ‹j‹j‹¸À¤ ‹¸À‹¸À¤zÀ ‹¸À‹¸À¤zÀ ‹¸À‹¸À¤zÀ ‹¸À‹¸À¤zÀ ¤¤zÀ¥À ¤¤zÀ¥À ¤¤zÀ¥À ¤¤zÀ¥À
zÀzÀ¥ÀªÀÄ zÀzÀ¥ÀªÀÄ zÀzÀ¥ÀªÀÄ zÀzÀ¥ÀªÀÄ ¥À¥ÀªÀÄUÀ ¥À¥ÀªÀÄUÀ ¥À¥ÀªÀÄUÀ ¥À¥ÀªÀÄUÀ ªÀÄªÀÄUÀj ªÀÄªÀÄUÀj ªÀÄªÀÄUÀj ªÀÄªÀÄUÀj
UÀUÀj¸À UÀUÀj¸À UÀUÀj¸À UÀUÀj¸À jj¸ÀŒ¤ jj¸ÀŒ¤ jj¸ÀŒ¤ jj¸ÀŒ¤ ¸À¸ÀŒ¤ŒzÀ ¸À¸ÀŒ¤ŒzÀ ¸À¸ÀŒ¤ŒzÀ ¸À¸ÀŒ¤ŒzÀ
Œ¤Œ¤ŒzÀŒ¥À Œ¤Œ¤ŒzÀŒ¥À Œ¤Œ¤ŒzÀŒ¥À Œ¤Œ¤ŒzÀŒ¥À
7. Œ¤Œ¤ŒzÀŒ¥À ¸À¸ÀŒ¤ŒzÀ jj¸ÀŒ¤ UÀUÀj¸À ªÀÄªÀÄUÀj ¥À¥ÀªÀÄUÀ zÀzÀ¥ÀªÀÄ ¤¤zÀ¥À ‹¸À‹¸À¤zÀ ‹j‹j‹¸À¤ ‹UÀ‹UÀ‹j‹¸À ‹ªÀÄ‹ªÀÄ‹UÀ‹j
‹¥À‹¥À‹ªÀÄ‹UÀ
‹¥À‹¥À‹ªÀÄ‹UÀ ‹ªÀÄ‹ªÀÄ‹UÀ‹j ‹UÀ‹UÀ‹j‹¸À ‹j‹j‹¸À¤ ‹¸À‹¸À¤zÀ ¤¤zÀ¥À zÀzÀ¥ÀªÀÄ ¥À¥ÀªÀÄUÀ ªÀÄªÀÄUÀj UÀUÀj¸À jj¸ÀŒ¤ ¸À¸ÀŒ¤ŒzÀ
Œ¤Œ¤ŒzÀŒ¥À
8. Œ¤Œ¤ŒzÀŒ¥ÀŒzÀŒ¤ ¸À¸ÀŒ¤ŒzÀŒ¤¸À jj¸ÀŒ¤¸Àj UÀUÀj¸ÀjUÀ ªÀÄªÀÄUÀjUÀªÀÄ ¥À¥ÀªÀÄUÀªÀÄ¥À zÀzÀ¥ÀªÀÄ¥ÀzÀ ¤¤zÀ¥ÀzÀ¤

‹¸À‹¸À¤zÀ¤‹¸À ‹j‹j‹¸À¤‹¸À‹j ‹UÀ‹UÀ‹j‹¸À‹j‹UÀ ‹ªÀÄ‹ªÀÄ‹UÀ‹j‹UÀ‹ªÀÄ ‹¥À‹¥À‹ªÀÄ‹UÀ‹ªÀÄ‹¥À
‹¥À‹¥À‹ªÀÄ‹UÀ‹ªÀÄ‹¥À ‹ªÀÄ‹ªÀÄ‹UÀ‹j‹UÀ‹ªÀÄ ‹UÀ‹UÀ‹j‹¸À‹j‹UÀ ‹j‹j‹¸À¤‹¸À‹j ‹¸À‹¸À¤zÀ¤‹¸À ¤¤zÀ¥ÀzÀ¤ zÀzÀ¥ÀªÀÄ¥ÀzÀ ¥À¥ÀªÀÄUÀªÀÄ¥À

ªÀÄªÀÄUÀjUÀªÀÄ UÀUÀj¸ÀjUÀ jj¸ÀŒ¤¸Àj ¸À¸ÀŒ¤ŒzÀŒ¤¸À Œ¤Œ¤ŒzÀŒ¥ÀŒzÀŒ¤
"Thus, each raga comes and goes with its store of smiles or tears, of passion or pathos, its noble and lofty impulses,
and leaves its mark on the mind of the hearer."
- Shri Lakshmana Pillai

¸ÁzsÀPÀ - 6
dAnAiÀÄ£ÀÄß ªÉÃUÀªÁV £ÀÄr¸ÀÄªÀ C¨sÁå¸ÀPÁÌV F ¸ÁzsÀPÀUÀ¼À£ÀÄß gÀa¸À¯ÁVzÉ. EªÀ£ÀÄß UÀªÀÄPÀ«®èzÉ, ¸ÁzsÁgÀt dAnAiÀÄ°è C¨sÀå¹¸ÀÄªÀÅzÀÄ.
1. ¸Áj¸À¸Á„„ j„UÀjj„„„ UÁªÀÄUÀUÁ„„ ªÀiÁ¥ÀªÀÄªÀiÁ„„ ¥ÁzÀ¥À¥Á„„ zÁ¤zÀzÁ„„ ¤„‹¸À¤¤„„„ ‹¸Á‹j‹¸À‹¸Á„„
‹¸Á‹j‹¸À‹¸Á„„ ¤„‹¸À¤¤„„„ zÁ¤zÀzÁ„„ ¥ÁzÀ¥À¥Á„„ ªÀiÁ¥ÀªÀÄªÀiÁ„„ UÁªÀÄUÀUÁ„„ j„UÀjj„„„ ¸Áj¸À¸Á„„
2. ¸Áj¸À¸Áj¸À¸Á„„ j„UÀjj„UÀjj„„„ UÁªÀÄUÀUÁªÀÄUÀUÁ„„ ªÀiÁ¥ÀªÀÄªÀiÁ¥ÀªÀÄªÀiÁ„„ ¥ÁzÀ¥À¥ÁzÀ¥À¥Á„„

zÁ¤zÀzÁ¤zÀzÁ„„ ¤„‹¸À¤¤„‹¸À¤¤„„„ ‹¸Á‹j‹¸À‹¸Á‹j‹¸À‹¸Á„„
‹¸Á‹j‹¸À‹¸Á‹j‹¸À‹¸Á„„ ¤„‹¸À¤¤„‹¸À¤¤„„„ zÁ¤zÀzÁ¤zÀzÁ„„ ¥ÁzÀ¥À¥ÁzÀ¥À¥Á„„ ªÀiÁ¥ÀªÀÄªÀiÁ¥ÀªÀÄªÀiÁ„„

UÁªÀÄUÀUÁªÀÄUÀUÁ„„ j„UÀjj„UÀjj„„„ ¸Áj¸À¸Áj¸À¸Á„„
3. ¸Áj¸À¸Áj¸À¸Áj¸À¸Á„„ j„UÀjj„UÀjj„UÀjj„„„ UÁªÀÄUÀUÁªÀÄUÀUÁªÀÄUÀUÁ„„ ªÀiÁ¥ÀªÀÄªÀiÁ¥ÀªÀÄªÀiÁ¥ÀªÀÄªÀiÁ„„

¥ÁzÀ¥À¥ÁzÀ¥À¥ÁzÀ¥À¥Á„„ zÁ¤zÀzÁ¤zÀzÁ¤zÀzÁ„„ ¤„‹¸À¤¤„‹¸À¤¤„‹¸À¤¤„„„ ‹¸Á‹j‹¸À‹¸Á‹j‹¸À‹¸Á‹j‹¸À‹¸Á„„
‹¸Á‹j‹¸À‹¸Á‹j‹¸À‹¸Á‹j‹¸À‹¸Á„„ ¤„‹¸À¤¤„‹¸À¤¤„‹¸À¤¤„„„ zÁ¤zÀzÁ¤zÀzÁ¤zÀzÁ„„ ¥ÁzÀ¥À¥ÁzÀ¥À¥ÁzÀ¥À¥Á„„

ªÀiÁ¥ÀªÀÄªÀiÁ¥ÀªÀÄªÀiÁ¥ÀªÀÄªÀiÁ„„ UÁªÀÄUÀUÁªÀÄUÀUÁªÀÄUÀUÁ„„ j„UÀjj„UÀjj„UÀjj„„„ ¸Áj¸À¸Áj¸À¸Áj¸À¸Á„„
4. ¸Áj¸À ¸Áj¸À ¸Áj¸À ¸Áj¸À ¸Áj¸À ¸Áj¸À ¸Áj¸À ¸Á„„

j„UÀj j„UÀj j„UÀj j„UÀj j„UÀj j„UÀj j„UÀj j„„„
UÁªÀÄUÀ UÁªÀÄUÀ UÁªÀÄUÀ UÁªÀÄUÀ UÁªÀÄUÀ UÁªÀÄUÀ UÁªÀÄUÀ UÁ„„
ªÀiÁ¥ÀªÀÄ ªÀiÁ¥ÀªÀÄ ªÀiÁ¥ÀªÀÄ ªÀiÁ¥ÀªÀÄ ªÀiÁ¥ÀªÀÄ ªÀiÁ¥ÀªÀÄ ªÀiÁ¥ÀªÀÄ ªÀiÁ„„
¥ÁzÀ¥À ¥ÁzÀ¥À ¥ÁzÀ¥À ¥ÁzÀ¥À ¥ÁzÀ¥À ¥ÁzÀ¥À ¥ÁzÀ¥À ¥Á„„
zÁ¤zÀ zÁ¤zÀ zÁ¤zÀ zÁ¤zÀ zÁ¤zÀ zÁ¤zÀ zÁ¤zÀ zÁ„„
¤„‹¸À¤ ¤„‹¸À¤ ¤„‹¸À¤ ¤„‹¸À¤ ¤„‹¸À¤ ¤„‹¸À¤ ¤„‹¸À¤ ¤„„„
‹¸Á‹j‹¸À ‹¸Á‹j‹¸À ‹¸Á‹j‹¸À ‹¸Á‹j‹¸À ‹¸Á‹j‹¸À ‹¸Á‹j‹¸À ‹¸Á‹j‹¸À ‹¸Á„„
‹¸Á‹j‹¸À ‹¸Á‹j‹¸À ‹¸Á‹j‹¸À ‹¸Á‹j‹¸À ‹¸Á‹j‹¸À ‹¸Á‹j‹¸À ‹¸Á‹j‹¸À ‹¸Á„„

¤„‹¸À¤ ¤„‹¸À¤ ¤„‹¸À¤ ¤„‹¸À¤ ¤„‹¸À¤ ¤„‹¸À¤ ¤„‹¸À¤ ¤„„„
zÁ¤zÀ zÁ¤zÀ zÁ¤zÀ zÁ¤zÀ zÁ¤zÀ zÁ¤zÀ zÁ¤zÀ zÁ„„
¥ÁzÀ¥À ¥ÁzÀ¥À ¥ÁzÀ¥À ¥ÁzÀ¥À ¥ÁzÀ¥À ¥ÁzÀ¥À ¥ÁzÀ¥À ¥Á„„
ªÀiÁ¥ÀªÀÄ ªÀiÁ¥ÀªÀÄ ªÀiÁ¥ÀªÀÄ ªÀiÁ¥ÀªÀÄ ªÀiÁ¥ÀªÀÄ ªÀiÁ¥ÀªÀÄ ªÀiÁ¥ÀªÀÄ ªÀiÁ„„
UÁªÀÄUÀ UÁªÀÄUÀ UÁªÀÄUÀ UÁªÀÄUÀ UÁªÀÄUÀ UÁªÀÄUÀ UÁªÀÄUÀ UÁ„„
j„UÀj j„UÀj j„UÀj j„UÀj j„UÀj j„UÀj j„UÀj j„„„
¸Áj¸À ¸Áj¸À ¸Áj¸À ¸Áj¸À ¸Áj¸À ¸Áj¸À ¸Áj¸À ¸Á„„

5. ¸ÀjUÀjj¸À¸Á jUÀªÀÄUÀUÀjj„ UÀªÀÄ¥ÀªÀÄªÀÄUÀUÁ ªÀÄ¥ÀzÀ¥À¥ÀªÀÄªÀiÁ ¥ÀzÀ¤zÀzÀ¥À¥Á zÀ¤‹¸À¤¤zÀzÁ ¤‹¸À‹j‹¸À‹¸À¤¤„

‹¸À‹j‹UÀ‹j‹j‹¸À‹¸Á
‹¸À‹j‹UÀ‹j‹j‹¸À‹¸Á ¤‹¸À‹j‹¸À‹¸À¤¤„ zÀ¤‹¸À¤¤zÀzÁ ¥ÀzÀ¤zÀzÀ¥À¥Á ªÀÄ¥ÀzÀ¥À¥ÀªÀÄªÀiÁ UÀªÀÄ¥ÀªÀÄªÀÄUÀUÁ jUÀªÀÄUÀUÀjj„

¸ÀjUÀjj¸À¸Á
6. ¸ÀjUÀj ¸ÀjUÀj j¸À¸Á jUÀªÀÄUÀ jUÀªÀÄUÀ UÀjj„ UÀªÀÄ¥ÀªÀÄ UÀªÀÄ¥ÀªÀÄ ªÀÄUÀUÁ ªÀÄ¥ÀzÀ¥À ªÀÄ¥ÀzÀ¥À ¥ÀªÀÄªÀiÁ
¥ÀzÀ¤zÀ ¥ÀzÀ¤zÀ zÀ¥À¥Á zÀ¤‹¸À¤ zÀ¤‹¸À¤ ¤zÀzÁ ¤‹¸À‹j‹¸À ¤‹¸À‹j‹¸À ‹¸À¤¤„ ‹¸À‹j‹UÀ‹j ‹¸À‹j‹UÀ‹j ‹j‹¸À‹¸Á
‹¸À‹j‹UÀ‹j ‹¸À‹j‹UÀ‹j ‹j‹¸À‹¸Á ¤‹¸À‹j‹¸À ¤‹¸À‹j‹¸À ‹¸À¤¤„ zÀ¤‹¸À¤ zÀ¤‹¸À¤ ¤zÀzÁ ¥ÀzÀ¤zÀ ¥ÀzÀ¤zÀ zÀ¥À¥Á
ªÀÄ¥ÀzÀ¥À ªÀÄ¥ÀzÀ¥À ¥ÀªÀÄªÀiÁ UÀªÀÄ¥ÀªÀÄ UÀªÀÄ¥ÀªÀÄ ªÀÄUÀUÁ jUÀªÀÄUÀ jUÀªÀÄUÀ UÀjj„ ¸ÀjUÀj ¸ÀjUÀj j¸À¸Á
7. ¸Áj„UÁ ªÀÄUÀj„UÀ j¸Á„„ j„UÁªÀiÁ ¥ÀªÀÄUÁªÀÄ UÀj„„„ UÁªÀiÁ¥Á zÀ¥ÀªÀiÁ¥À ªÀÄUÁ„„ ªÀiÁ¥ÁzÁ ¤zÀ¥ÁzÀ ¥ÀªÀiÁ„„
¥ÁzÁ¤„ ‹¸À¤zÁ¤ zÀ¥Á„„ zÁ¤„‹¸Á ‹j‹¸À¤„‹¸À ¤zÁ„„ ¤„‹¸Á‹j„ ‹UÀ‹j‹¸Á‹j ‹¸À¤„„„ ‹¸Á‹j„‹UÁ ‹ªÀÄ‹UÀ‹j„‹UÀ ‹j‹¸Á„„
‹¸Á‹j„‹UÁ ‹ªÀÄ‹UÀ‹j„‹UÀ ‹j‹¸Á„„ ¤„‹¸Á‹j„ ‹UÀ‹j‹¸Á‹j ‹¸À¤„„„ zÁ¤„‹¸Á ‹j‹¸À¤„‹¸À ¤zÁ„„ ¥ÁzÁ¤„ ‹¸À¤zÁ¤ zÀ¥Á„„
ªÀiÁ¥ÁzÁ ¤zÀ¥ÁzÀ ¥ÀªÀiÁ„„ UÁªÀiÁ¥Á zÀ¥ÀªÀiÁ¥À ªÀÄUÁ„„ j„UÁªÀiÁ ¥ÀªÀÄUÁªÀÄ UÀj„„„ ¸Áj„UÁ ªÀÄUÀj„UÀ j¸Á„„
8. ¸Áj„UÁ ªÀÄUÀUÀjj„ UÀjj¸À¸Á j„UÁªÀiÁ ¥ÀªÀÄªÀÄUÀUÁ ªÀÄUÀUÀjj„ UÁªÀiÁ¥Á zÀ¥À¥ÀªÀÄªÀiÁ ¥ÀªÀÄªÀÄUÀUÁ

ªÀiÁ¥ÁzÁ ¤zÀzÀ¥À¥Á zÀ¥À¥ÀªÀÄªÀiÁ ¥ÁzÁ¤„ ‹¸À¤¤zÀzÁ ¤zÀzÀ¥À¥Á zÁ¤„‹¸Á ‹j‹¸À‹¸À¤¤„ ‹¸À¤¤zÀzÁ
¤„‹¸Á‹j„ ‹UÀ‹j‹j‹¸À‹¸Á ‹j‹¸À‹¸À¤¤„ ‹¸Á‹j„‹UÁ ‹ªÀÄ‹UÀ‹UÀ‹j‹j„ ‹UÀ‹j‹j‹¸À‹¸Á
‹¸Á‹j„‹UÁ ‹ªÀÄ‹UÀ‹UÀ‹j‹j„ ‹UÀ‹j‹j‹¸À‹¸Á ¤„‹¸Á‹j„ ‹UÀ‹j‹j‹¸À‹¸Á ‹j‹¸À‹¸À¤¤„ zÁ¤„‹¸Á ‹j‹¸À‹¸À¤¤„ ‹¸À¤¤zÀzÁ

¥ÁzÁ¤„ ‹¸À¤¤zÀzÁ ¤zÀzÀ¥À¥Á ªÀiÁ¥ÁzÁ ¤zÀzÀ¥À¥Á zÀ¥À¥ÀªÀÄªÀiÁ UÁªÀiÁ¥Á zÀ¥À¥ÀªÀÄªÀiÁ ¥ÀªÀÄªÀÄUÀUÁ
j„UÁªÀiÁ ¥ÀªÀÄªÀÄUÀUÁ ªÀÄUÀUÀjj„ ¸Áj„UÁ ªÀÄUÀUÀjj„ UÀjj¸À¸Á
E±qÉålÉ ÌWû ÍxÉkrÉÎliÉ MüÉrÉïÍhÉ lÉ qÉlÉÉåUjÉæÈ |

lÉ ÌWû xÉÑmiÉxrÉ ÍxÉÇWûxrÉ mÉëÌuÉzÉÎliÉ qÉÑZÉå qÉ×aÉÉÈ ||
Tasks come to fruition only by effort, not by wishful thinking. Prey does not just walk into a sleeping Lion’s mouth.
And so, the music for a music student.

¸ÁzsÀPÀ - 7
QèµÀ×ªÁzÀ F ¸ÁzsÀPÀUÀ¼À£ÀÄß vÀÄvÀÄ-PÁgÀ (lAVAUï) C¨sÁå¸ÀPÁÌV gÀa¸À¯ÁVzÉ.
1. ¸À¸À¸Á jjj„ UÀUÀUÁ ªÀÄªÀÄªÀiÁ ¥À¥À¥Á zÀzÀzÁ ¤¤¤„ ‹¸À‹¸À‹¸Á
‹¸À‹¸À‹¸Á ¤¤¤„ zÀzÀzÁ ¥À¥À¥Á ªÀÄªÀÄªÀiÁ UÀUÀUÁ jjj„ ¸À¸À¸Á
2. ¸À¸Á¸À jj„j UÀUÁUÀ ªÀÄªÀiÁªÀÄ ¥À¥Á¥À zÀzÁzÀ ¤¤„¤ ‹¸À‹¸Á‹¸À
‹¸À‹¸Á‹¸À ¤¤„¤ zÀzÁzÀ ¥À¥Á¥À ªÀÄªÀiÁªÀÄ UÀUÁUÀ jj„j ¸À¸Á¸À
3. ¸Á¸À¸À j„jj UÁUÀUÀ ªÀiÁªÀÄªÀÄ ¥Á¥À¥À zÁzÀzÀ ¤„¤¤ ‹¸Á‹¸À‹¸À
‹¸Á‹¸À‹¸À ¤„¤¤ zÁzÀzÀ ¥Á¥À¥À ªÀiÁªÀÄªÀÄ UÁUÀUÀ j„jj ¸Á¸À¸À
4. ¸À¸À¸À¸À jjjj UÀUÀUÀUÀ ªÀÄªÀÄªÀÄªÀÄ ¥À¥À¥À¥À zÀzÀzÀzÀ ¤¤¤¤ ‹¸À‹¸À‹¸À‹¸À
‹¸À‹¸À‹¸À‹¸À ¤¤¤¤ zÀzÀzÀzÀ ¥À¥À¥À¥À ªÀÄªÀÄªÀÄªÀÄ UÀUÀUÀUÀ jjjj ¸À¸À¸À¸À
5. ¸À¸À¸À¸À ¸À¸À¸À¸À jjjj jjjj UÀUÀUÀUÀ UÀUÀUÀUÀ ªÀÄªÀÄªÀÄªÀÄ ªÀÄªÀÄªÀÄªÀÄ ¥À¥À¥À¥À ¥À¥À¥À¥À
zÀzÀzÀzÀ zÀzÀzÀzÀ ¤¤¤¤ ¤¤¤¤ ‹¸À‹¸À‹¸À‹¸À ‹¸À‹¸À‹¸À‹¸À
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If music concerts are considered a therapy, it increases the efficiency, elevates the mood, increases the memory,
dispels the fear, creates positive feelings, improves sleeping patterns, boosts the immunity and improves the mood.

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Creating Sadhakams
There are 72 melakarta (mela) ragas in Carnatic music based on 12 swarasthanas (semitones) such as
S R1 R2(G1) R3(G2) G3 M1 M2 P D1 D2(N1) D3(N2) and N3. Each mela raga applied with permutations and
combinations of these swarasthanas result in 484 janya ragas. Even if we consider an arithmetic
projection and not melodic feasibility, these 72 mela ragas together have the potential of giving colossal
34,776 janya ragas. To know how these numbers are derived, refer the write up at
https://rudiseitz.com/2013/03/15/janya-ragas-34776-or-26864/.
The sadhakams you practiced so far are good enough to practice any mela raga. Similarly, we can also
create many more such sadhakams for a mela. But how about writing sadhakams for such a massive
number of janya ragas? Practically it is impossible or results in a gigantic repetition. Hence here comes
the necessity of learning the technique or art of creating our own sadhakams.
Let’s begin with the sadhakams my Guru Vidwan Shri A.V. Prakash of Mysuru taught me while learning
raga Hindola, a janya of 20th mela Natabhairavi with the scale S G2 M1 D1 N2 Ṡ and Ṡ N2 D1 M1 G2 S. First
let’s understand and reverse engineer to find out the patterns he used for the raga Hindolam and how
we can build sadhakams for other ragas.
1. sssss . . . ggggg . . . mmmmm . . . ddddd . . . nnnnn . . . ṡṡṡṡṡ . . .
ġġġġġ . . . ṁṁṁṁṁ . . . . .
2. s . . . sg . . . sgm . . . sgmd . . . sgmdn . . . sgmdnṡ . . . sgmdnṡġ . . .

sgmdnṡġṁ . . . . .
3. s . . . gs . . . mgs . . . dmgs . . . ndmgs . . . ṡndmgs . . . ġṡndmgs . . .

ṁġṡndmgs . . . . .
4. sgmg gss . . . gmdm mgg . . . mdnd dmm . . . dnṡn ndd . . . nṡġṡ ṡnn . . .
ṡġṁġ ġṡṡ . . . . .
5. sgm sgm sgm . . . . .

sgmd sgmd sgmd . . . . .
sgmdn sgmdn sgmdn . . . . .
sgmdnṡ sgmdnṡ sgmdnṡ . . . . .
sgmdnṡġ sgmdnṡġ sgmdnṡġ . . . . .
sgmdnṡġṁ sgmdnṡġṁ sgmdnṡġṁ . . . . .
6. sgm sgm sgm . . . . .

gmd gmd gmd . . . . .
mdn mdn mdn . . . . .
dnṡ dnṡ dnṡ . . . . .
nṡġ nṡġ nṡġ . . . . .
ṡġṁ ṡġṁ ṡġṁ . . . . .
Sangeet Bharati | Practice, Perform, Promote and Unite Page 41

Creating your own Sadhakams
1. Observer the patterns from the given sadhakams.
2. Think of all possible octaves for a raga.
3. Build a simple sequence of each note starting from lowest octave – same note four times, eight
times, twelve times etc.
4. Look for a combination of nearby notes.
5. Use datu pattern of combinations.
6. Play all these in reverse order too.
7. Lastly, practice the same with Gamakams by finding the notes on which a Gamakam can be
applied.
Sangeet Bharati | Practice, Perform, Promote and Unite Page 42

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