Alankarams

Raga: Mayamalavagowla (15th Melakartha Ragam)

Arohana: S R1 G3 M1 P D1 N3 S
Avarohana: S N3 D1 P M1 G3 R1 S
Notation Courtesy: Rani, www.karnatic.com and Chitraveena Ravi Kiran's book

Notes from Chitra Veena Ravi Kiran's book (with some additions):

Musical Phrases: It is important to first practice karvai (long notes: see the sarali varisai
class) before the varishais. Gradually simple combinations of notes can be tried. Teachers
can introduce small musical phrases like GM , - GMP, - DDP, - PMG, - MGR, -
GMGRS- and so on. Over a few sessions, the phrases can get perceptibly sophisticated.

Akaaram: After a few such sessions, the same phrases can be rendered using the vowel
"a" as in "America". This is called "akaaram" and it is a very integral part of Carnatic
music, with particular reference to vocal music. Thus, exposure to akarams is very
essential at this stage, albeit in a simple form.

Varishais - Sequences:

The great composer Purandara Dasa, hailed as the Father of Carnatic music, created a set
of fundamental exercises nearly 500 years ago, which are followed even today.
There are 4 main types of varishais.

Sarali Varishais: These fundamental sequences enable the student to get a feel of
melody with rhythm. The logic is quite obvious here. The 1st varishai is a plain ascent
and descent of the notes of the raga. The 2nd varishai focuses on the second note from S,
namely R (in the ascent) and N (in the descent). The 3rd varishai centers on the third note
(G and D) in the ascent and descent respectively. The fourth varishai concentrates on the
fourth note M and P. This goes on upto the 7th varishai. The last 3 are general exercises.
Some books have split the last sarali varishai into 5 parts, but singing it as a single
varishai is more instructive.

Janta Varishais: These are forceful sequences, which facilitate the students to add
weight and majesty to their voice. They make use of a form of ornamentation called
"spuritham" which is rendering a note twice: plain the first time, and with force from the
previous note (i.e. the note just below this note in frequency) in the raga the second time.
Teachers must take care that the concept of sphuritham is very clearly embedded in the
students' minds. The tendency to render it in a bland and insipid manner should be
avoided.

Melsthayi Varishais: These are higher octave sequences, which increase the students'
vocal or instrumental range. Again, the logic is easy to understand. The first is the
simplest asn every subsequent exercise adds a new phrase to the previous one. The
progressively cover notes upto Pa in the higher octave.
Dhatu Varishais: These are zigzag sequences that increase the students' overall
command of notes.

Alankarams: These are multi-tala sequences composed in the 35 talas. But usually 7 of
these are selected and taught to the students.

Students should be taught to render all these exercises in at least 3-4 speeds. Once they
perfect this technique, they could practice most of them in the 3rd speed. It is ideal to
render each varishai twice, once just with the swaras, and again, with akaaram.

Speeds in Carnatic music: In carnatic music, speed is relative. It is measured as the

number of notes per beat of the tala, rather than the number of notes per second or
minute.
The first speed is rendering one note per unit of the tala. The 2nd speed is exactly double
of this, i.e. two notes per unit. The 3rd speed is four notes per unit. The 4th is eight notes
per unit. The 5th is 16 notes per units and 6th speed is 32 notes per unit.
Speed of the tala is rarely varied; only the speed of the music is. But even this is not
accomplished in an arbitrary manner. There is a mathematical precision to it. For
instance, the 2nd speed is exactly twice as fast and the third is exactly twice as fast as the
second and so forth.

Advanced exercises:
Some selected varishais can be repeated with:
- Akaram, Ee-kaaram, U-kaaram
- With Gamakas, in different speeds
- In different sampurna ragas: Kalyani, Shankarabharanam, Kharaharapriya, Thodi
- In selected symmetrical janya ragas (without tala): Mohana, Hamsadhwani, Sri ranjani,
- In selected asymmetrical janya ragas: Bilahari, Mohana Kalyani
- In selected vivadi ragas: Ganamurthi, Chala Natai
- In bhashanga ragas: Bhairavi
- In different nadais: thrishram, khanda, mishra
(this is particularly useful for instrumental practice)

Notation hints: (this notation follows Rani's notes in www.karnatik.com)

s = sa ; r = ri ; g = ga ; m = ma ; p = pa; d = dha ; n = ni ;
Capitalized letters are in the higher octave.
Letters with a period "." after them are in the lower octave.

===============================================================

1. Chatushra Jaati DRUVA TALAM Alankaram:

I4 0 I4 I4 = 4 + 2 + 4 + 4 = 14 beats
 I4 0 I4 I4
s r g m | g r | s r g r | s r g m ||
r g m p | m g | r g m g | r g m p ||
g m p d | p m | g m p m | g m p d ||
m p d n | d p | m p d p | m p d n ||
p d n S | n d | p d n d | p d n S ||
S n d p | d n | S n d n | S n d p ||
n d p m | p d | n d p d | n d p m ||
d p m g | m p | d p m p | d p m g ||
p m g r | g m | p m g m | p m g r ||
m g r s | r g | m g r g | m g r s ||

2. Chatushra Jaati MATYA TALAM Alankaram:

I4 0 I4 = 4 + 2 + 4 = 10 beats

I4 0 I4
s r g r | s r | s r g m ||
r g m g | r g | r g m p ||
g m p m | g m | g m p d ||
m p d p | m p | m p d n ||
p d n d | p d | p d n S ||
S n d n | S n | S n d p ||
n d p d | n d | n d p m ||
d p m p | d p | d p m g ||
p m g m | p m | p m g r ||
m g r g | m g | m g r s ||

3. Chatushra Jati RUPAKA TALAM Alankaram:

0 I4= 2 + 4 = 6 beats

0 I4
s r | s r g m ||
r g | r g m p ||
g m | g m p d ||
m p | m p d n ||
p d | p d n S ||
S n | S n d p ||
n d | n d p m ||
d p | d p m g ||
p m | p m g r ||
m g | m g r s ||
4. Mishra Jati JHAMPA TALAM Alankaram:
I7 U 0 = 7 + 1 + 2 = 10 beats

I7 U 0
s r g s r s r | g | m , ||
r g m r g r g | m | p , ||
g m p g m g m | p | d , ||
m p d m p m p | d | n , ||
p d n p d p d | n | S , ||
S n d S n S n | d | p , ||
n d p n d n d | p | m , ||
d p m d p d p | m | g , ||
p m g p m p m | g | r , ||
m g r m g m g | r | s , ||

5. Thrisra Jati TRIPUTA TALAM Alankaram:

I3 0 0 = 3 + 2 + 2 = 7 beats

I3 0 0
s r g | s r | g m ||
r g m | r g | m p ||
g m p | g m | p d ||
m p d | m p | d n ||
p d n | p d | n S ||
S n d | S n | d p ||
n d p | n d | p m ||
d p m | d p | m g ||
p m g | p m | g r ||
m g r | m g | r s ||

6. Khanda Jati ATA TALAM Alankaram:

I5 I5 0 0 = 5 + 5 + 2 + 2 = 14 beats
 I5 I5 0 0
s r , g , | s , r g , | m , | m , ||
r g , m , | r , g m , | p , | p , ||
g m , p , | g , m p , | d , | d , ||
m p , d , | m , p d , | n , | n , ||
p d , n , | p , d n , | S , | S , ||
S n , d , | S , n d , | p , | p , ||
n d , p , | n , d p , | m , | m , ||
d p , m , | d , p m , | g , | g , ||
p m , g , | p , m g , | r , | r , ||
m g , r , | m , g r , | s , | s , ||

7. Chatushra Jati EKA TALAM Alankaram:

I4 = 4 beats

I4
s r g m ||
r g m p ||
g m p d ||
m p d n ||
p d n S ||
S n d p ||
n d p m ||
d p m g ||
p m g r ||
m g r s ||

8. Sankeerna Jati EKA TALAM Alankaram:

I9 = 9 beats

Version 1:

I9
s , r , g , m p d ||
r , g , m , p d n ||
g , m , p , d n S ||
S , n , d , p m g ||
n , d , p , m g r ||
d , p , m , g r s ||

Version 2:

I9
s r , g m , p d n ||
r g , m p , d n S ||
S n , d p , m g r ||
n d , p m , g r s ||

=============================================================
 ANALEKARA
Ragam: Suddha Saveri (29th mela janyam)
Talam: Triputa
Thisra Jathi

Arohanam : S R2 M1 PD2 S Avarohanam: S D2 PM1 R2 S

Sahityam:
Aanalekara Unni Poladi Sakala Shaastrapuraana
Dheenam Taala Dheenam Taala Parigathu Rere
Setu Vaaha Pariga Tamnam Jataajoota

Meaning: (Adapted From: Perfecting Carnatic Music, Level 1 by Chitraveena Ravikiran)

Even as we watch ("aanalekara"), the water (unni") stored in a tank leaks through another outlet
(pooladi"). In the same manner, my life has been wasted ("parigathu") without the awareness
("dheenam") of the ancient texts and scriptures (shastras and puraanas).

R M R | R S | D S || S , S | D P | M P ||
A - na | le - | ka ra || un - ni | po - | la di ||

D D S | D , | D P || P M R | D D | D P ||
sa ka la | sha - | sthrapu || ra - na | di - | nam - ||

P , P | D D | D P || P , P | M P | D P ||
tha - la | di - | nam - || tha - la | pa ri | ga thu ||

P M R | S R | S R || P M P | S R | S R ||
re - re | a - | - - || a - - | a - | - - ||

P P D | P P | M R || R S R | M , | M , ||
a - - | a - | - - || se - thu | va - | ha - ||

D P D | S , | S , || R R S | D P | M P ||
pa ri ga | tham - | nam - || ja ta - | ju - | - ta ||

D D S | D , | D P || P M R | D D | D P ||
sa ka la | sha - | sthrapu || ra - na | di - | nam - ||

P , P | D D | D P || P , P | M P | D P ||
Tha - la | di - | nam - || tha - la | pa ri | ga thu ||
P M R | S R | S R || P M P | S R | S R ||
re - re | a - | - - || a - - | a - | a - ||

P P D | P P | M R || R S R | M , | M , ||
a - - | a - | - - || se - thu | va - | ha - ||

D P D | S , | S , ||
pa ri ga | tham - | nam - ||
 Dhatu varisai

Raga: Mayamalavagowla (15th Melakartha Ragam)

Arohana: S R1 G3 M1 P D1 N3 S
Avarohana: S N3 D1 P M1 G3 R1 S
Talam: Adi
Notation Courtesy: Rani, www.karnatic.com and Chitraveena Ravi Kiran's book

Notes from Chitra Veena Ravi Kiran's book (with some additions):

Musical Phrases: It is important to first practice karvai (long notes: see the sarali varisai
class) before the varishais. Gradually simple combinations of notes can be tried. Teachers
can introduce small musical phrases like GM , - GMP, - DDP, - PMG, - MGR, -
GMGRS- and so on. Over a few sessions, the phrases can get perceptibly sophisticated.

Akaaram: After a few such sessions, the same phrases can be rendered using the vowel
"a" as in "America". This is called "akaaram" and it is a very integral part of Carnatic
music, with particular reference to vocal music. Thus, exposure to akarams is very
essential at this stage, albeit in a simple form.

Varishais - Sequences:

The great composer Purandara Dasa, hailed as the Father of Carnatic music, created a set
of fundamental exercises nearly 500 years ago, which are followed even today.
There are 4 main types of varishais.

Sarali Varishais: These fundamental sequences enable the student to get a feel of
melody with rhythm. The logic is quite obvious here. The 1st varishai is a plain ascent
and descent of the notes of the raga. The 2nd varishai focuses on the second note from S,
namely R (in the ascent) and N (in the descent). The 3rd varishai centers on the third note
(G and D) in the ascent and descent respectively. The fourth varishai concentrates on the
fourth note M and P. This goes on upto the 7th varishai. The last 3 are general exercises.
Some books have split the last sarali varishai into 5 parts, but singing it as a single
varishai is more instructive.

Janta Varishais: These are forceful sequences, which facilitate the students to add
weight and majesty to their voice. They make use of a form of ornamentation called
"spuritham" which is rendering a note twice: plain the first time, and with force from the
previous note (i.e. the note just below this note in frequency) in the raga the second time.
Teachers must take care that the concept of sphuritham is very clearly embedded in the
students' minds. The tendency to render it in a bland and insipid manner should be
avoided.

Melsthayi Varishais: These are higher octave sequences, which increase the students'
vocal or instrumental range. Again, the logic is easy to understand. The first is the
simplest asn every subsequent exercise adds a new phrase to the previous one. The
progressively cover notes upto Pa in the higher octave.

Dhatu Varishais: These are zigzag sequences that increase the students' overall
command of notes.

Alankarams: These are multi-tala sequences composed in the 35 talas. But usually 7 of
these are selected and taught to the students.

Students should be taught to render all these exercises in at least 3-4 speeds. Once they
perfect this technique, they could practice most of them in the 3rd speed. It is ideal to
render each varishai twice, once just with the swaras, and again, with akaaram.

Speeds in Carnatic music: In carnatic music, speed is relative. It is measured as the

number of notes per beat of the tala, rather than the number of notes per second or
minute.
The first speed is rendering one note per unit of the tala. The 2nd speed is exactly double
of this, i.e. two notes per unit. The 3rd speed is four notes per unit. The 4th is eight notes
per unit. The 5th is 16 notes per units and 6th speed is 32 notes per unit.
Speed of the tala is rarely varied; only the speed of the music is. But even this is not
accomplished in an arbitrary manner. There is a mathematical precision to it. For
instance, the 2nd speed is exactly twice as fast and the third is exactly twice as fast as the
second and so forth.

Advanced exercises:
Some selected varishais can be repeated with:
- Akaram, Ee-kaaram, U-kaaram
- With Gamakas, in different speeds
- In different sampurna ragas: Kalyani, Shankarabharanam, Kharaharapriya, Thodi
- In selected symmetrical janya ragas (without tala): Mohana, Hamsadhwani, Sri ranjani,
- In selected asymmetrical janya ragas: Bilahari, Mohana Kalyani
- In selected vivadi ragas: Ganamurthi, Chala Natai
- In bhashanga ragas: Bhairavi
- In different nadais: thrishram, khanda, mishra
(this is particularly useful for instrumental practice)

Notation hints: (this notation follows Rani's notes in www.karnatik.com)

s = sa ; r = ri ; g = ga ; m = ma ; p = pa; d = dha ; n = ni ;
Capitalized letters are in the higher octave.
Letters with a period "." after them are in the lower octave.

===============================================================

1. Pattern:
Swara: sm - gm- rg - sr and sgrg - srgm
Laya: 14 - 34- 23 - 12 and 1323 - 1234
s m g m | r g | s r ||
s g r g | s r | g m ||
r p m p | g m | r g ||
r m g m | r g | m p ||
g d p d | m p | g m ||
g p m p | g m | p d ||
m n d n | p d | m p ||
m d p d | m p | d n ||
p S n S | d n | p d ||
p n d n | p d | n S ||
S p d p | n d | S n ||
S d n d | S n | d p ||
n m p m | d p | n d ||
n p d p | n d | p m ||
d g m g | p m | d p ||
d m p m | d p | m g ||
p r g r | m g | p m ||
p g m g | p m | g r ||
m s r s | g r | m g ||
m r g r | m g | r s ||

2. Pattern:
Swara: sr- sg-rg-rm and smgr - srgm
Laya: 12-13-23-24 and 1432 - 1234

s r s g | r g | r m ||
s m g r | s r | g m ||
r g r m | g m | g p ||
r p m g | r g | m p ||
g m g p | m p | m d ||
g d p m | g m | p d ||
m p m d | p d | p n ||
m n d p | m p | d n ||
p d p n | d n | d S ||
p S n d | p d | n S ||
S n S d | n d | n p ||
S p d n | S n | d p ||
n d n p | d p | d m ||
n m p d | n d | p m ||
d p d m | p m | p g ||
d g m p | d p | m g ||
p m p g | m g | m r ||
p r g m | p m | g r ||
m g m r | g r | g s ||
m s r g | m g | r s ||

===============================================================
 Janta varisai

Raga: Mayamalavagowla (15th Melakartha Ragam)

Arohana: S R1 G3 M1 P D1 N3 S
Avarohana: S N3 D1 P M1 G3 R1 S
Talam: Adi
Notation Courtesy: Rani, www.karnatic.com and Chitraveena Ravi Kiran's book

Notes from Chitra Veena Ravi Kiran's book (with some additions):

Musical Phrases: It is important to first practice karvai (long notes: see the sarali varisai
class) before the varishais. Gradually simple combinations of notes can be tried. Teachers
can introduce small musical phrases like GM , - GMP, - DDP, - PMG, - MGR, -
GMGRS- and so on. Over a few sessions, the phrases can get perceptibly sophisticated.

Akaaram: After a few such sessions, the same phrases can be rendered using the vowel
"a" as in "America". This is called "akaaram" and it is a very integral part of Carnatic
music, with particular reference to vocal music. Thus, exposure to akarams is very
essential at this stage, albeit in a simple form.

Varishais - Sequences:

The great composer Purandara Dasa, hailed as the Father of Carnatic music, created a set
of fundamental exercises nearly 500 years ago, which are followed even today.
There are 4 main types of varishais.

Sarali Varishais: These fundamental sequences enable the student to get a feel of
melody with rhythm. The logic is quite obvious here. The 1st varishai is a plain ascent
and descent of the notes of the raga. The 2nd varishai focuses on the second note from S,
namely R (in the ascent) and N (in the descent). The 3rd varishai centers on the third note
(G and D) in the ascent and descent respectively. The fourth varishai concentrates on the
fourth note M and P. This goes on upto the 7th varishai. The last 3 are general exercises.
Some books have split the last sarali varishai into 5 parts, but singing it as a single
varishai is more instructive.

Janta Varishais: These are forceful sequences, which facilitate the students to add
weight and majesty to their voice. They make use of a form of ornamentation called
"spuritham" which is rendering a note twice: plain the first time, and with force from the
previous note (i.e. the note just below this note in frequency) in the raga the second time.
Teachers must take care that the concept of sphuritham is very clearly embedded in the
students' minds. The tendency to render it in a bland and insipid manner should be
avoided.

Melsthayi Varishais: These are higher octave sequences, which increase the students'
vocal or instrumental range. Again, the logic is easy to understand. The first is the
simplest asn every subsequent exercise adds a new phrase to the previous one. The
progressively cover notes upto Pa in the higher octave.

Dhatu Varishais: These are zigzag sequences that increase the students' overall
command of notes.

Alankarams: These are multi-tala sequences composed in the 35 talas. But usually 7 of
these are selected and taught to the students.

Students should be taught to render all these exercises in at least 3-4 speeds. Once they
perfect this technique, they could practice most of them in the 3rd speed. It is ideal to
render each varishai twice, once just with the swaras, and again, with akaaram.

Speeds in Carnatic music: In carnatic music, speed is relative. It is measured as the

number of notes per beat of the tala, rather than the number of notes per second or
minute.
The first speed is rendering one note per unit of the tala. The 2nd speed is exactly double
of this, i.e. two notes per unit. The 3rd speed is four notes per unit. The 4th is eight notes
per unit. The 5th is 16 notes per units and 6th speed is 32 notes per unit.
Speed of the tala is rarely varied; only the speed of the music is. But even this is not
accomplished in an arbitrary manner. There is a mathematical precision to it. For
instance, the 2nd speed is exactly twice as fast and the third is exactly twice as fast as the
second and so forth.

Advanced exercises:
Some selected varishais can be repeated with:
- Akaram, Ee-kaaram, U-kaaram
- With Gamakas, in different speeds
- In different sampurna ragas: Kalyani, Shankarabharanam, Kharaharapriya, Thodi
- In selected symmetrical janya ragas (without tala): Mohana, Hamsadhwani, Sri ranjani,
- In selected asymmetrical janya ragas: Bilahari, Mohana Kalyani
- In selected vivadi ragas: Ganamurthi, Chala Natai
- In bhashanga ragas: Bhairavi
- In different nadais: thrishram, khanda, mishra
- Starting off-beat (eg: after 1 or 3 aksharams after the beat)
(this is particularly useful for instrumental practice)

Notation hints: (this notation follows Rani's notes in www.karnatik.com)

s = sa ; r = ri ; g = ga ; m = ma ; p = pa; d = dha ; n = ni ;
Capitalized letters are in the higher octave.
Letters with a period "." after them are in the lower octave.

===============================================================
1. Basic ascent/descent with janta
s s r r | g g | m m ||
p p d d | n n | S S ||

2. Janta Emphasis (starting and ending) at each of the seven notes

Laya pattern: 11-22-33-44 and 11-22-33-44
(12-12-12-12)
s s r r | g g | m m ||
r r g g | m m | p p ||
g g m m | p p | d d ||
m m p p | d d | n n ||
p p d d | n n | S S ||
S S n n | d d | p p ||
n n d d | p p | m m ||
d d p p | m m | g g ||
p p m m | g g | r r ||
m m g g | r r | s s ||

3. Zigzag: srgr-rgmg-... pattern, but in janta.

Laya pattern: 11-22-33-22 and 11-22-33-44
(12-12-12-12)
s s r r | g g | r r ||
s s r r | g g | m m ||
r r g g | m m | g g ||
r r g g | m m | p p ||
g g m m | p p | m m ||
g g m m | p p | d d ||
m m p p | d d | p p ||
m m p p | d d | n n ||
p p d d | n n | d d ||
p p d d | n n | S S ||
S S n n | d d | n n ||
S S n n | d d | p p ||
n n d d | p p | d d ||
n n d d | p p | m m ||
d d p p | m m | p p ||
d d p p | m m | g g ||
p p m m | g g | m m ||
p p m m | g g | r r ||
m m g g | r r | g g ||
m m g g | r r | s s ||

4. Janta with single notes (eg: ssr-ssr-sr), and pattern repeated.

Laya pattern: 112-112-12 and 11-22-33-44
(123-123-12)
s s r - s | s r | s r ||
s s r r | g g | m m ||
r r g - r | r g | r g ||
r r g g | m m | p p ||
g g m - g | g m | g m ||
g g m m | p p | d d ||
m m p - m | m p | m p ||
m m p p | d d | n n ||
p p d - p | p d | p d ||
p p d d | n n | S S ||
S S n - S | S n | S n ||
S S n n | d d | p p ||
n n d - n | n d | n d ||
n n d d | p p | m m ||
d d p - d | d p | d p ||
d d p p | m m | g g ||
p p m - p | p m | p m ||
p p m m | g g | r r ||
m m g - m | m g | m g ||
m m g g | r r | s s ||

5. Janta with single notes (eg: ssrrg-srg), and pattern repeated.

Laya pattern: 11223-123 and 11-22-33-44
(12345-123)
s s r r | g - s | r g ||
s s r r | g g | m m ||
r r g g | m - r | g m ||
r r g g | m m | p p ||
g g m m | p - g | m p ||
g g m m | p p | d d ||
m m p p | d - m | p d ||
m m p p | d d | n n ||
p p d d | n - p | d n ||
p p d d | n n | S S ||
S S n n | d - S | n d ||
S S n n | d d | p p ||
n n d d | p - n | d p ||
n n d d | p p | m m ||
d d p p | m - d | p m ||
d d p p | m m | g g ||
p p m m | g - p | m g ||
p p m m | g g | r r ||
m m g g | r - m | g r ||
m m g g | r r | s s ||

6. Janta with dheergams interspersed (ss, - rr, -gg) and pattern repeated.
 Laya pattern: 11, - 22, - 33 and 11-22-33-44
(123- 123 - 12)
s s , r | r , | g g ||
s s r r | g g | m m ||
r r , g | g , | m m ||
r r g g | m m | p p ||
g g , m | m , | p p ||
g g m m | p p | d d ||
m m , p | p , | d d ||
m m p p | d d | n n ||
p p , d | d , | n n ||
p p d d | n n | S S ||
S S , n | n , | d d ||
S S n n | d d | p p ||
n n , d | d , | p p ||
n n d d | p p | m m ||
d d , p | p , | m m ||
d d p p | m m | g g ||
p p , m | m , | g g ||
p p m m | g g | r r ||
m m , g | g , | r r ||
m m g g | r r | s s ||

7. Janta with dheergams interspersed in a slightly different pattern (s,s - r,r -gg) and
pattern repeated.
Laya pattern: 1,1 - 2,2 - 33 and 11-22-33-44
(123- 123 - 12)
s , s r | , r | g g ||
s s r r | g g | m m ||
r , r g | , g | m m ||
r r g g | m m | p p ||
g , g m | , m | p p ||
g g m m | p p | d d ||
m , m p | , p | d d ||
m m p p | d d | n n ||
p , p d | , d | n n ||
p p d d | n n | S S ||
S , S n | , n | d d ||
S S n n | d d | p p ||
n , n d | , d | p p ||
n n d d | p p | m m ||
d , d p | , p | m m ||
d d p p | m m | g g ||
p , p m | , m | g g ||
p p m m | g g | r r ||
m , m g | , g | r r ||
m m g g | r r | s s ||

8. Triple janta (sss-rrr-gg) and pattern repeated. Note that this janta and the previous two
jantas all had a laya base pattern of 123-123-12 - 1234-5678; but they divided the three
counts in different ways.
Laya pattern: 111 - 222 - 33 and 11-22-33-44
(123- 123 - 12)
s s s r | r r | g g ||
s s r r | g g | m m ||
r r r g | g g | m m ||
r r g g | m m | p p ||
g g g m | m m | p p ||
g g m m | p p | d d ||
m m m p | p p | d d ||
m m p p | d d | n n ||
p p p d | d d | n n ||
p p d d | n n | S S ||
S S S n | n n | d d ||
S S n n | d d | p p ||
n n n d | d d | p p ||
n n d d | p p | m m ||
d d d p | p p | m m ||
d d p p | m m | g g ||
p p p m | m m | g g ||
p p m m | g g | r r ||
m m m g | g g | r r ||
m m g g | r r | s s ||

9. One line has dheergams (s , r g , - s r g) followed by janta pattern.

Dheergams at the first and third notes of the pattern.
Laya pattern: 1, 23 , - 123 and 11-22-33-44
(12345-123)
s , r g | , - s | r g ||
s s r r | g g | m m ||
r , g m | , - r | g m ||
r r g g | m m | p p ||
g , m p | , - g | m p ||
g g m m | p p | d d ||
m , p d | , - m | p d ||
m m p p | d d | n n ||
p , d n | , - p | d n ||
p p d d | n n | S S ||
S , n d | , - S | n d ||
S S n n | d d | p p ||
n , d p | , - n | d p ||
n n d d | p p | m m ||
d , p m | , - d | p m ||
d d p p | m m | g g ||
p , m g | , - p | m g ||
p p m m | g g | r r ||
m , g r | , - m | g r ||
m m g g | r r | s s ||

10. One line has dheergams (s r , g , - s r g) followed by janta pattern.

Dheergams at the second and third notes of the pattern.
Laya pattern: 1 2 , 3 , - 123 and 11-22-33-44
(12345-123)
s r , g | , - s | r g ||
s s r r | g g | m m ||
r g , m | , - r | g m ||
r r g g | m m | p p ||
g m , p | , - g | m p ||
g g m m | p p | d d ||
m p , d | , - m | p d ||
m m p p | d d | n n ||
p d , n | , - p | d n ||
p p d d | n n | S S ||
S n , d | , - S | n d ||
S S n n | d d | p p ||
n d , p | , - n | d p ||
n n d d | p p | m m ||
d p , m | , - d | p m ||
d d p p | m m | g g ||
p m , g | , - p | m g ||
p p m m | g g | r r ||
m g , r | , - m | g r ||
m m g g | r r | s s ||

11. One line has dheergams (s , r , g - s r g) followed by janta pattern.

Dheergams at the first and second notes of the pattern.
Laya pattern: 1 , 2 , 3 - 123 and 11-22-33-44
(12345-123)
s , r , | g - s | r g ||
s s r r | g g | m m ||
r , g , | m - r | g m ||
r r g g | m m | p p ||
g , m , | p - g | m p ||
g g m m | p p | d d ||
m , p , | d - m | p d ||
m m p p | d d | n n ||
p , d , | n - p | d n ||
p p d d | n n | S S ||
S , n , | d - S | n d ||
S S n n | d d | p p ||
n , d , | p - n | d p ||
n n d d | p p | m m ||
d , p , | m - d | p m ||
d d p p | m m | g g ||
p , m , | g - p | m g ||
p p m m | g g | r r ||
m , g , | r - m | g r ||
m m g g | r r | s s ||

12. Janta with dhatu-style jumps and zig-zag (ss mm gg rr) followed by janta pattern.
Laya pattern: 11- 44 - 33 -22 and 11-22-33-44
(12-12-12-12)
s s m m | g g | r r ||
s s r r | g g | m m ||
r r p p | m m | g g ||
r r g g | m m | p p ||
g g d d | p p | m m ||
g g m m | p p | d d ||
m m n n | d d | p p ||
m m p p | d d | n n ||
p p S S | n n | d d ||
p p d d | n n | S S ||
S S p p | d d | n n ||
S S n n | d d | p p ||
n n m m | p p | d d ||
n n d d | p p | m m ||
d d g g | m m | p p ||
d d p p | m m | g g ||
p p r r | g g | m m ||
p p m m | g g | r r ||
m m s s | r r | g g ||
m m g g | r r | s s ||

===============================================================

Janta Varishai in four speeds:

First speed - one note per unit

1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
s s r r g g m m
Second speed - two notes per unit
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
ss rr gg mm pp dd nn SS

Third speed - four notes per unit

1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
ssrr ggmm ppdd nnSS SSnn ddpp mmgg rrss

Fourth speed - eight notes per unit listen

1 | 2 | 3 | 4 |
ssrrggmm ppddnnSS SSnnddpp mmggrrss

5 | 6 | 7 | 8 |
ssrrggmm ppddnnSS SSnnddpp mmggrrss

===============================================================
 KAMALAJADALA
Ragam: Kalyani (65th melakartha)
Talam: Misra Chapu (Triputa Talam)

Arohanam : S R2 G3 M2 P D2 N3 S
Avarohanam: S N3 D2 P M2 G3 R2 S

Sahityam:
Kamalajadala Vimala Su-nayana Kari Varada Karunaambudhe
Karuna Sharadhe Kamalaa Kaanthaa
Keshi Narakaasura Vibhedana Varadha Velapura Surottama

Meaning: (Adapted From: Perfecting Carnatic Music, Level 1 by Chitraveena Ravikiran)

Oh! Merciful one, with lotus-like ("kamalajadala") Eyes ("vimala su-nayana")! You are an ocean
("ambudhe") of mercy ("karuna") and showed ("sharadhe") kindness ("varada") to the elephant king
("kari"), Gajendra. You, the lord ("kaanthaa") of Lakshmi ("kamalaa") slew ("vibhedana") the
demons ("asura") Keshi and Narakaasura. Your exalted presence ("varadha") resides in the city
("pura") of Velapura. You are the greatest ("uttama") amongst Gods ("sura").

Geetham:

Oh! Merciful one, with lotus-like ("kamalajadala") Eyes ("vimala su-nayana")!

S S S | N D N S || N D P | D P M P ||
Ka mala jaa - da la Vi ma la Su- na ya na

You are an ocean ("ambudhe") of mercy ("karuna") and showed ("sharadhe") kindness ("varada") to
the elephant king ("kari"), Gajendra.

G M P | P D D N || D P M | P G R S ||
Ka ri Va ra da Ka ru naa- mbu dhe - - -

You, the lord ("kaanthaa") of Lakshmi ("kamalaa") ...

D D D | G G G , || M P , | M G R S ||
Ka ru na Sha ra dhe - Ka ma - laa - - -

R , , | S , , , || , , , | , , , , ||
Kaan- - - thaa - - - - - - -- - -

You slew ("vibhedana") the demons ("asura") Keshi and Narakaasura.

G M P | M P D P || N D P | D P M P ||
Ke - shi Na ra kaa - (a)su ra Vi bhe - da na

Your exalted presence ("varadha") resides in the city ("pura") of Velapura. You are the greatest
("uttama") amongst Gods ("sura").

G M P | P D D N || D P - M | P G R S ||
Va ra dha Ve - la a pu ra Su ro - tta ma
 KERAYA NEERANU
Ragam: Malahari
ARO: S R1 M1 PD1 S ||
AVA: S D1 PM1 G2 R1 S ||
Talam: Triputa (Chathurasra Jathi)
Composer: Purandaradasa
Meaning: Courtesy, Dr. Aruna Turaga, California

Pallavi:
Kereya Neeranu Kere ge Jalli Varava Padedava Rante Kaanero!
Hari ya Karunadolaada Bhagyava Hari Samarpane Maadi Badukiro

Charanam 1:
Shree Purandara Vittala Raayana Charana Kamalava Nodi Badukiro

Meaning: (by Dr. Aruna Turaga)

Pallavi:
In this geetham, Purandaradasa describes the attributes of the devotees of the god Hari.
Look (“kanero”)! Followers of Hari scoop water from the (“neeranu”) lake (“kere”) and again pour
(“jalli”) it back into the lake (“kere ge”) while worshipping with the intention of obtaining the boons
(“varava padeda rante”) from the god.
In a similar manner the life given as a considerate bequest (“karunadalaya bhagyavu”) by Hari (“hari
ya”) is surrendered back to him (“hari samarpana”).

Charanam 1:
These holy men spend their lives (“bradukeru”) by feasting their eyes (“nodi”) on the lotus feet (“charana
kamalava”) of the god who is the master of Purandara dasa (sri purandara vittala rayani).

Arohanam : S R1 M1 PD1 S Avarohanam: S D1 PM1 G2 R1 S

Pallavi:
Kereya Neeranu Kere ge Jalli Varava Padedava Rante Kaanero!
Hari ya Karunadolaada Bhagyava Hari Samarpane Maadi Badukiro

Followers of Hari scoop water from the (“neeranu”) lake (“kere”) and again pour (“jalli”) it back into
the lake (“kere ge”) ...

D S S | D P | M P || D D P | M M | P P ||
Ke re ya | Nee - | ra nu || Ke re ge | chal - | li - ||

... while worshipping with the intention of obtaining the boons (“varava padeda rante”) from the god.
Look (“kanero”)!

D D S | D P | M P || D D P | M G | R S ||
Va ra va | pa de | da va || ran - te | Kaa - | ni ro ||

In a similar manner the life given as a considerate bequest (“karunadolaada bhagyavu”) by Hari (“hari
ya”) ...

S R R | S R | S R || D D P | M G | R S ||
Ha ri ya | ka ru | na do || laa - da | bha - | gya va ||

... is ("maadi") surrendered back to him (“hari samarpana”).

D P D | S - | D P || D D P | M G | R S ||
Ha ri sa | ma - | rpa ne || ma - di | ba du | ki ro ||

S R R | S R | S R || D D P | M G | R S ||
Ha ri ya | ka ru | na da || la - ya | bha - | gya va ||

Charanam 1:
Shree Purandara Vittala Raayana Charana Kamalava Nodi Badukiro

These holy men spend their lives (“bradukeru”) by feasting their eyes (“nodi”) on the lotus feet
(“charana kamalava”) of the god who is the master of Purandara dasa (sri purandara vittala rayani).

D S S | D P | M P || D D P | M M | P P ||
Sree - pu | ran - | da ra || vi ta la | ra - | ya - ||

D D S | D P | M P || D D P | M G | R S ||
Cha ra na | ka ma | la va || no - di | ba du | ki ro ||

... the life given as a considerate bequest (“karunadolaada bhagyavu”) by Hari (“hari ya”) ...

S R R | S R | S R || D D P | M G | R S ||
Ha ri ya | ka ru | na do || la - da | bha - | gya va ||

... is ("maadi") surrendered back to him (“hari samarpana”).

D P D | S - | D P || D D P | M G | R S ||
Ha ri sa | ma - | rpa ne || ma - di | ba du | ki ro ||

S R R | S R | S R || D D P | M G | R S ||
Ha ri ya | ka ru | na do || la - da | bha - | gya va ||
 KUNDA GOURA
Ragam: Malahari
Talam: Rupakam
Chathurasra Jathi

Arohanam : S R1 M1 PD1 S Avarohanam: S D1 PM1 G2 R1 S

D P | M G R S || R M | P D M P ||
Kun da | Gou - - ra || Gou - | Ri - va ra ||

D R | R S D P || D P | M G R S ||
Man di | - ra - ya || ma - | na ma ku ta ||

S - | R - R - || D P | M G R S ||
Man - | da - ra - || ku su | ma - ka ra ||

S R | M - G R || S R | G R S - ||
Ma ka | ran - dam - || va - | si thu va - ||

D P | M G R S || R M | P D M P ||
He ma | ku - - ta || sim - | ha - sa na||

D R | R S D P || D P | M G R S ||
Vi ru | pa ra - ksha|| ka ru | na - ka ra ||
(Man)

D P | M G R S || R M | P D M P ||
Chan da | ma - - ma || man - | da - gi ni ||

D R | R S D P || D P | M G R S ||
Man - | di ra - ya || ma - | na ma ku ta ||

(Man)
 SREE GANANATHA (LAMBODARA)
Ragam: Malahari
ARO: S R1 M1 P D1 S ||
AVA: S D1 P M1 G3 R1 S ||
Talam: Rupakam (Chathurasra Jathi)
Composer: Purandaradasa
Meaning: Courtesy, Dr. Aruna Turaga, California

Pallavi:
Sri Gananatha Sindhoora Varna Karuna Saagara Kari Vadana
Lambodhara Lakumi-karaa Ambaa Sutha Amara Vinutha

Charanam 1:
Siddha Chaarana Gana Sevitha Siddhi Vinayaka The Namo Namo

Charanam 2:
Sakala Vidyaadi Poojitha Sarvothama The Namo Namo

Meaning: (by Dr. Aruna Turaga):

Pallavi:
O leader of the pramada ganas, (“sri gana natha”), you are the clor of vermillion (“sindhura varna”), and
the ocean of compassion (“karuna sagara”). You have the visage (“vadana”) of the mighty elephant
(“kari”) and a protruding belly (“lambodara”). You hold goddess lakshmi (“lakumi”) in your hand
(“kara”). O son of Parvathi (“amba sutha”) you are worshipped by (“vinutha”) the gods (“amara”).

Charanam 1:
You have all the holy men at your feet (“siddha charana”) and you are worshipped by the pramadha ganas
who are the followers of lord Siva (“gana sevitha”). You grant your devotees all their wishes (“siddhi
vinayaka”) and I bow to you (“the namo ”).

Charanam 2:
You are the first (“aadi”) one to receive obeisance (“poojitha”) when setting upon acquiring any kind of
knowledge (“sakala vidhya”). You are the greatest one of all (“sarvothama”) and I pray to you.

Arohanam : S R1 M1 PD1 S Avarohanam: S D1 PM1 G2 R1 S

Pallavi:
Sri Gananatha Sindhoora Varna Karuna Saagara Kari Vadana
Lambodhara Lakumi-karaa Ambaa Sutha Amara Vinutha

O leader of the pramada ganas, (“sri gana natha”), you are the clor of vermillion (“sindhura varna”),

M P | D S S R || R S | D P M P ||
Sree - | Ga na na tha || sin dhu | - ra var na ||

... and the ocean of compassion (“karuna sagara”). You have the visage (“vadana”) of the mighty
elephant (“kari”) ...

R M | P D M P || D P | M G R S ||
Ka ru | na Sa ga ra || ka ri | va dha - na ||

... and a protruding belly (“lambodara”). You hold goddess lakshmi (“lakumi”) in your hand (“kara”).

S - | R M G R || S R | G R S , ||
Lam - | bo - dha ra || la ku | mi ka ra - ||
O son of Parvathi (“amba sutha”) you are worshipped by (“vinutha”) the gods (“amara”).

R M | P D M P || D P | M G R S ||
Am - | ba - su tha || a ma | ra vi nu tha ||

S - | R M G R || S R | G R S , ||
Lam - | bo - dha ra || la ku | mi ka ra - ||

Charanam 1:
Siddha Chaarana Gana Sevitha Siddhi Vinayaka The Namo Namo

You have all the holy men at your feet (“siddha charana”) and you are worshipped by the pramadha
ganas who are the followers of lord Siva (“gana sevitha”).

M P | D S S R || R S | D P M P ||
Sid dha | cha - ra na || ga na | se - vi tha ||

You grant your devotees all their wishes (“siddhi vinayaka”) and I bow to you (“the namo ”).

R M | P D M P || D P | M G R S ||
Sid dhi | vi na ya ka || the - | na mo na mo ||
(Lam)

Charanam 2:
Sakala Vidyaadi Poojitha Sarvothama The Namo Namo

You are the first (“aadi”) one to receive obeisance (“poojitha”) when setting upon acquiring any kind of
knowledge (“sakala vidhya”).

M P | D S S R || R S | D P M P ||
Sa ka | la vi dya - || - dhi | pu - ji tha ||

You are the greatest one of all (“sarvothama”) and I pray to you.

R M | P D M P || D P | M G R S ||
Sa - | rvo - tha ma || the - | na mo na mo ||
(Lam)
 Melsthayi varisai

Raga: Mayamalavagowla (15th Melakartha Ragam)

Arohana: S R1 G3 M1 P D1 N3 S
Avarohana: S N3 D1 P M1 G3 R1 S
Talam: Adi
Notation Courtesy: Rani, www.karnatic.com and Chitraveena Ravi Kiran's book

Notes from Chitra Veena Ravi Kiran's book (with some additions):

Musical Phrases: It is important to first practice karvai (long notes: see the sarali varisai
class) before the varishais. Gradually simple combinations of notes can be tried. Teachers
can introduce small musical phrases like GM , - GMP, - DDP, - PMG, - MGR, -
GMGRS- and so on. Over a few sessions, the phrases can get perceptibly sophisticated.

Akaaram: After a few such sessions, the same phrases can be rendered using the vowel
"a" as in "America". This is called "akaaram" and it is a very integral part of Carnatic
music, with particular reference to vocal music. Thus, exposure to akarams is very
essential at this stage, albeit in a simple form.

Varishais - Sequences:

The great composer Purandara Dasa, hailed as the Father of Carnatic music, created a set
of fundamental exercises nearly 500 years ago, which are followed even today.
There are 4 main types of varishais.

Sarali Varishais: These fundamental sequences enable the student to get a feel of
melody with rhythm. The logic is quite obvious here. The 1st varishai is a plain ascent
and descent of the notes of the raga. The 2nd varishai focuses on the second note from S,
namely R (in the ascent) and N (in the descent). The 3rd varishai centers on the third note
(G and D) in the ascent and descent respectively. The fourth varishai concentrates on the
fourth note M and P. This goes on upto the 7th varishai. The last 3 are general exercises.
Some books have split the last sarali varishai into 5 parts, but singing it as a single
varishai is more instructive.

Janta Varishais: These are forceful sequences, which facilitate the students to add
weight and majesty to their voice. They make use of a form of ornamentation called
"spuritham" which is rendering a note twice: plain the first time, and with force from the
previous note (i.e. the note just below this note in frequency) in the raga the second time.
Teachers must take care that the concept of sphuritham is very clearly embedded in the
students' minds. The tendency to render it in a bland and insipid manner should be
avoided.

Melsthayi Varishais: These are higher octave sequences, which increase the students'
vocal or instrumental range. Again, the logic is easy to understand. The first is the
simplest asn every subsequent exercise adds a new phrase to the previous one. The
progressively cover notes upto Pa in the higher octave.

Dhatu Varishais: These are zigzag sequences that increase the students' overall
command of notes.

Alankarams: These are multi-tala sequences composed in the 35 talas. But usually 7 of
these are selected and taught to the students.

Students should be taught to render all these exercises in at least 3-4 speeds. Once they
perfect this technique, they could practice most of them in the 3rd speed. It is ideal to
render each varishai twice, once just with the swaras, and again, with akaaram.

Speeds in Carnatic music: In carnatic music, speed is relative. It is measured as the

number of notes per beat of the tala, rather than the number of notes per second or
minute.
The first speed is rendering one note per unit of the tala. The 2nd speed is exactly double
of this, i.e. two notes per unit. The 3rd speed is four notes per unit. The 4th is eight notes
per unit. The 5th is 16 notes per units and 6th speed is 32 notes per unit.
Speed of the tala is rarely varied; only the speed of the music is. But even this is not
accomplished in an arbitrary manner. There is a mathematical precision to it. For
instance, the 2nd speed is exactly twice as fast and the third is exactly twice as fast as the
second and so forth.

Advanced exercises:
Some selected varishais can be repeated with:
- Akaram, Ee-kaaram, U-kaaram
- With Gamakas, in different speeds
- In different sampurna ragas: Kalyani, Shankarabharanam, Kharaharapriya, Thodi
- In selected symmetrical janya ragas (without tala): Mohana, Hamsadhwani, Sri ranjani,
- In selected asymmetrical janya ragas: Bilahari, Mohana Kalyani
- In selected vivadi ragas: Ganamurthi, Chala Natai
- In bhashanga ragas: Bhairavi
- In different nadais: thrishram, khanda, mishra
- Starting off-beat (eg: after 1 or 3 aksharams after beat)
(this is particularly useful for instrumental practice)

Notation hints: (this notation follows Rani's notes in www.karnatik.com)

s = sa ; r = ri ; g = ga ; m = ma ; p = pa; d = dha ; n = ni ;
Capitalized letters are in the higher octave.
Letters with a period "." after them are in the lower octave.

===============================================================
1. Dheergam at melsthayi "S", and touch of "R" (d n S R)
s r g m | p d | n S ||
S , , , | S , | , , ||
d n S R | S n | d p ||
S n d p | m g | r s ||

2. Dheergam at melsthayi "S"

Focus at melsthayi "R" (d n S R - S S R S - S R S n)
Some janta ( S S) and zig zag usages (S R S n - d p m p)

s r g m | p d | n S ||
S , , , | S , | , , ||
d n S R | S S | R S ||
S R-S n | d p | m p ||
d n S R | S n | d p ||
S n d p | m g | r s ||

3. Dheergam at melsthayi "S"

Touch of melsthayi "G" (d n S R - G R S R )
Focus at melsthayi "R" (d n S R - S S R S - S R S n)
Some janta ( S S) and zig zag usages (S R S n - d p m p)

s r g m | p d | n S ||
S , , , | S , | , , ||
d n S R | G R | S R ||
S R-S n | d p | m p ||
d n S R | S S | R S ||
S R-S n | d p | m p ||
d n S R | S n | d p ||
S n d p | m g | r s ||

4. Dheergam at melsthayi "S"

Touch of melsthayi "M" (d n S R - G M G R )
Focus at melsthayi "G" (d n S R - G R S R and d n S R - G M G R)
Focus at melsthayi "R" (d n S R - S S R S - S R S n)
Some janta ( S S) and zig zag usages (S R S n - d p m p)

s r g m | p d | n S ||
S , , , | S , | , , ||
d n S R | G M | G R ||
S R-S n | d p | m p ||
d n S R | G R | S R ||
S R-S n | d p | m p ||
d n S R | S S | R S ||
S R-S n | d p | m p ||
d n S R | S n | d p ||
S n d p | m g | r s ||

5. Dheergam at melsthayi "S"

Touch of melsthayi "P" (d n S R - G M P M )
Touch of melsthayi "M" (d n S R - G M G R and d n S R - G M P M )
Focus at melsthayi "G" (d n S R - G R S R and d n S R - G M G R
and d n S R - G M P M)
Focus at melsthayi "R" (d n S R - S S R S - S R S n)
Some janta ( S S) and zig zag usages (S R S n - d p m p)

s r g m | p d | n S ||
S , , , | S , | , , ||
d n S R | G M | P M ||
G R - S n | d p | m p ||
d n S R | G M | G R ||
S R - S n | d p | m p ||
d n S R | G R | S R ||
S R - S n | d p | m p ||
d n S R | S S | R S ||
S R - S n | d p | m p ||
d n S R | S n | d p ||
S n d p | m g | r s ||

==============================================================
 PADUMANABHA
Ragam: Malahari (15th Melakartha Janyam)
ARO: S R1 M1 PD1 S ||
AVA: S D1 PM1 G2 R1 S ||
Talam: Triputa (Chathurasra Jathi)
Composer: Purandara Dasa
Meaning: Courtesy, Dr. Aruna Turaga

Pallavi:
Padumanaabha Parama Purushaa Param Jyoti Swaroopaa
Vidhura Vandya Vimala Charita Vihanga Adirohana

Anupallavi:
Udadhi Nivaasa Uraga Shayana Unnatonnata Mahima
Yadukulottama Yagnya Rakshaka Yagnya Shikshaka Raama Naama

Charanam:
Vibheeshana Paalaka Namo Namo Ibha Varadaayaka Namo Namo
Shubha Prada Sumanorada Surendra Manoranjanaa Abhinava Purandara Vithala Bhallare Raama Naama

Meaning: (by Dr. Aruna Turaga, CA)

In this geetham, Purandara dasa describes the various names by which the god Vishnu is called.
I pray to thee who possess a lotus in his navel (“paduma nabha”), the greatest of the men (“parama
purusha”), the personification of eternal flame (“paramjyothi swarupa”) of life, the destroyer
(“vandhya”) of adversity (“vidhura”), whose stories (“charitha”) are the illustrations of purity
(“vimala”), is perched (“adhirohana”) on the prodigious bird Garuda (“vihanga”), dwells (“nivasa”) in
the mighty ocean (“udhadhi”), reposes (“sayana”) on the powerful serpent Aadiseshu (“uraga”), is
capable of miracles (“mahima”) which are greater than the greatest (“unnathonnatha”), is the greatest
one of the yadava race (“yadukulothama”), Krishna, and as Rama, he had protected (“rakshaka”) the
yagnya of the great maharshi Vishwamitra, had also preached (“sikshaka”) the importance of obeying
the command (“Agnya”) of his parent, Dasaratha.
I worship thee who were the custodian of Vibhishana, the pious brother of the demon king Ravana. I
praise thee who bestow (“vara daayaka”) everything on his followers (“vibhow”).
He endows all the good fortunes (“subha prada”), and fulfils all the sanguine aspirations (“su
manorathaya”). He is our noble king (“surendra”) and he engages our spirit with cheerfulness (“mano
ranjana”) and he is Rama, the lord of Purandara dasa.

Arohanam : S R1 M1 PD1 S Avarohanam: S D1 PM1 G2 R1 S

Pallavi:
Padumanaabha Parama Purushaa Param Jyoti Swaroopaa
Vidhura Vandya Vimala Charita Vihanga Adirohana

I pray to thee who possess a lotus in his navel (“paduma nabha”), the greatest of the men (“parama
purusha")...

R S d | S - | S - || M G R | M M | P - ||
Pa du ma | na - | bha - || pa ra ma | pu ru | sha - ||

... the personification of eternal flame (“paramjyothi swarupa”) of life ..

S D D | D P | M P || D D P | M G | R S ||
Pa ram - | jo - | - thi || swa ru - | pa - | - - ||
... the destroyer (“vandhya”) of adversity (“vidhura”) ...
... whose stories (“charitha”) are the illustrations of purity (“vimala”)...

R S d | S - | S - || M G R | M M | P - ||
Vi du ra | van - | dhia - || vi ma la | cha ri | tha - ||

He is perched (“adhirohana”) on the prodigious bird Garuda (“vihanga”)..

S D D | D P | M P || D D P | M G | R S ||
Vi hang - | ga - | - di || ro - ha | na - | - - ||

Anupallavi:
Udadhi Nivaasa Uraga Shayana Unnatonnata Mahima
Yadukulottama Yagnya Rakshaka Yagnya Shikshaka Raama Naama

He dwells (“nivasa”) in the mighty ocean (“udhadhi”), reposes (“sayana”) on the powerful serpent
Aadiseshu (“uraga”), ...

P M P | D S | D S || R S D | D S | D P ||
U dha dhi | ni va | - sa || u ra ga | sa ya | - na ||

... He is capable of miracles (“mahima”) which are greater than the greatest (“unnathonnatha”), ...

D D P | P - | P M || R M M | P - | P - ||
U - nna | tho - | nna tha || ma hi - | ma - | - - ||

He is the greatest one of the yadava race (“yadukulothama”), Krishna, and as Rama, he had protected
(“rakshaka”) the yagnya of the great maharshi Vishwamitra,

D D P | P - | P M || R - M | M G | R S ||
Ya du ku | lo - | ttha ma || ye - gna | ra - | kshaka ||

He had also preached (“sikshaka”) the importance of obeying the command (“Agnya”) of his parent,
Dasaratha.

S - S | D D | D P || P - P | M G | R S ||
A - gna | si - | ksha ka || ra - ma | na - | - ma ||
(Paduma)

Charanam:
Vibheeshana Paalaka Namo Namo Ibha Varadaayaka Namo Namo
Shubha Prada Sumanorada Surendra Manoranjanaa Abhinava
Purandara Vithala Bhallare Raama Naama

I worship thee ("namo namo") who were the custodian ("paalaka") of Vibhishana, the pious brother of
the demon king Ravana.

D S - | D P | M P || D D P | M G | R S ||
Vi bhee - | sha na | pa - || la ka - | na mo | na mo ||
I praise thee ("namo namo") who bestow (“vara daayaka”) everything on his followers (“vibhow”).

D S - | D P | M P || D D P | M G | R S ||
I bha - | va ra | da - || ya ka - | na mo | na mo ||

He endows all the good fortunes (“subha prada”), and fulfils all the sanguine aspirations (“su
manorathaya”).

P M P | D S | D S || R S D | D S | D P ||
Su bha - | Pra da | Su ma || no - ra | da - | - Su ||

He is our noble king (“su-rendra”) and he engages our spirit ("abhinava") with cheerfulness (“mano
ranjana”)

D D P | P - | P M || R - M | P - | - - ||
Re - ndra | Ma - | no - || ran - ja | na - | - - ||

... and he is Rama, the lord ("bhallare") of Purandara dasa.

D D P | P - | P M || R - M | M G | R S ||
A bhi - | na - | va pu || ran - da | ra - | - vi ||

S - S | D D | D P || P - P | M G | R S ||
tal - la | bhal - | la re || ra - ma | na - | - ma ||
 Raaravenu (swarajati)

Ragam: Bilahari (29th mela janyam)

Arohana: S R2 G3 P D2 S
Avarohana: S N3 D2 P M1 G3 R2 S
Talam: Adi
Notes Courtesy: (Rani) www.karnatic.com and Ravi Kiran's book

Pallavi:
Raaraa Venugopa Baala Raajita Sadguna Jaya Sheela

Anupallavi:
Saarasaaksha Nera Memi Maarubaari Korvaleraa

Charanam 1:
Nandagopaalaa Ne Nendu Pojaalaa Nee
Vindu Raaraa Sadamalamadito Mudamala Raganaa Keduruga Gadiyara (Raaravenu)

Charanam 2:
Palumaa Runugaa Ravamuna Nin Pilachina Palukavu Nalugakuraa
Karivarada Marimarina Adharamugro Larakani Karamuga (Raaravenu)

Charanam 3:
Raa Nagadara Raa Murahara Raa Bhavahara Raaveraa
Ee Maguvanu Ee Lalalanu Ee Sogasini Chekoraa
Korikalim Pondaa Dendamu Neeyanda Cherenu Neechenta Maruvakuraa Karamulache
Marimari Ninu Sharanane dara (Raaravenu)

Meaning (From Ravi Kiran's book & www.karnatik.com):

Please come ("raara"), Lord Venugopala (Krishna), embodiment ("sheela") of
adorable ("raajitha") and victorious ("jaya") qualities ("sadguna").
O, the one with big ("saara") eyes ("aaksha"), what ("emi") offenses ("nera") have I
committed? I cannot bear ("korvalera") the onslaught of Cupid ("maarubaari"), the
god of Love.
O Nandagopalaa! I have nowhere else to go. You come here ("vindu raaraa") with a
free mind and spread cheer ("Keduruga Gadiyara").
You have always responded to the prayers ("nin pilachina) of your devotees. But why
don't you respond ("palukavu") to me ("nalugakuraa")? You have responded to the
elephant ("kari") Gajendra's call and granted him a boon ("varadaa"). Please listen to
my repeated calls ("mari mari naa adharamugro") protect me quickly ("larakani
karamuga")!
Don't be angry because I persist with you respectfully.
Come ("raa"), O the one who held the mountain Govardhana ("nagadara")!
Come ("raa"), O the one who destroyed ("hara") the demon Mura ("mura")!
Come ("raa"), O one who destroys ("hara") the sorrows of the world ("bhava")!
Dont leave ("chekoraa") this ("ee") devotee ("maguvanu"), your delicate ("sogasini")
child ("lalalanu") alone!
Listen to my prayers and wishes ("korika")!
I prostrate ("dendamu") to you ("neeyenda")!
I want to reach ("cheranu") your company ("neechenta")!
Please do not forget me ("maravakuraa")!
With my hands and limbs ("karamula che") I seek refuge ("sharanane") in you
("ninnu") again and again ("marimari").

Note (From Ravi Kiran's Book):

Swarajatis are more sophisticated musical forms than geethams, both in terms of size and
quality. They have been composed in the 3rd speed, and generally have a pallavi and a
few Charanams. The charanams are generally rendered once as swaras and the second
time as lyrics. Some swarajatis also have an anupallavi incorporated in them. Many
swarajatis like the sublimely devotional ratna-trayam of Shyama Shastri are concert
worthy.

Pallavi:
Raaraa Venugopa Baala Raajita Sadguna Jaya Sheela

Please come ("raara"), Lord Venugopala (Krishna), embodiment ("sheela") of

adorable ("raajitha") and victorious ("jaya") qualities ("sadguna").

1 2 3 4 5 6 7 8
S , r G P D S ND | P d p mg rs rs n d S; ||
Raa-raa Venu gopa Baala Raa jita Sad-guna Jaya Shee- la-

Anupallavi:
Saarasaaksha Nera Memi Maarubaari Korvaleraa

O, the one with big ("saara") eyes ("aaksha"), what ("emi") offenses ("nera") have I
committed? I cannot bear ("korvalera") the onslaught of Cupid ("maarubaari"), the
god of Love.

1 2 3 4 5 6 7 8
S , r G P M,g P D | R ,s N,d P,m G , r ||
Saa-ra saa ksha Ne-ra Me mi Maa-ru baa-ri Ko-rva le-raa

Charanam 1:
Nandagopaalaa Ne Nendu Pojaalaa Nee
Vindu Raaraa Sadamalamadito Mudamala Raganaa Keduruga Gadiyara (Raaravenu)

O Nandagopalaa! I have nowhere else to go. You come here ("vindu raaraa") with a
free mind and spread cheer ("Keduruga Gadiyara").
 1 2 3 4 5 6 7 8
S , r G G G ; ; rg | P, p P P P; ; dp ||
Nan-da go paa laa- - Ne Nen-du Pojaa laa- - Nee-

S ,s S S g r s n nd P | pdpm g g R g p m g r s r g ||
Vindu Raaraa Sadamala madi to Mudamala Raganaa Keduruga Gadiyara
(Raaravenu)

Charanam 2:
Palumaa Runugaa Ravamuna Nin Pilachina Palukavu Nalugakuraa
Karivarada Marimarina Adharamugro Larakani Karamuga (Raaravenu)

You have always responded to the prayers ("nin pilachina) of your devotees. But why
don't you respond ("palukavu") to me ("nalugakuraa")? You have responded to the
elephant ("kari") Gajendra's call and granted him a boon ("varadaa"). Please listen to
my repeated calls ("mari mari naa adharamugro") protect me quickly ("larakani
karamuga")!

1 2 3 4 5 6 7 8
p p P r r R g pmg G ; | gp m g mg rs rg r s S; ||
Palu maa Runugaa Ravamuna Nin- Pilachina Palukavu Nalugaku raa-

r s n d S; mg rg P; | d p d r S ; r s n d p m g r ||
Karivara da - Marimari naa- A dha ramu gro - La raka ni Ka ra muga
(Raaravenu)

Charanam 3:
Raa Nagadara Raa Murahara Raa Bhavahara Raaveraa
Ee Maguvanu Ee Lalalanu Ee Sogasini Chekoraa
Korikalim Pondaa Dendamu Neeyanda Cherenu Neechenta Maruvakuraa Karamulache
Marimari Ninu Sharanane dara (Raaravenu)

Don't be angry because I persist with you respectfully.

Come ("raa"), O the one who held the mountain Govardhana ("nagadara")!
Come ("raa"), O the one who destroyed ("hara") the demon Mura ("mura")!
Come ("raa"), O one who destroys ("hara") the sorrows of the world ("bhava")!

1 2 3 4 5 6 7 8
P ; mg rg D; mg rg | P ; mg rg P P P ; ||
Raa Nagadara Raa Mu rahara Raa - Bhavahara Raave raa -

Dont leave ("chekoraa") this ("ee") devotee ("maguvanu"), your delicate ("sogasini")
child ("lalalanu") alone!
 G ; r s n d R; rs nd | S ; rsnd S S S ; ||
Ee - Ma guvanu Ee Lala lanu Ee - Sogasini Cheko raa

Listen to my prayers and wishes ("korika")!

I prostrate ("dendamu") to you ("neeyenda")!
I want to reach ("cheranu") your company ("neechenta")!

G r s R R R; R -sn | D D D; P mg G G ||
Korika lim Pon daa- Den damu Neeyan da - Cherenu Neechen

Please do not forget me ("maravakuraa")!

With my hands and limbs ("karamula che") I seek refuge ("sharanane") in you
("ninnu") again and again ("marimari").

G; s r g d P; r s r g | S; g r s n d p - m g r s - r g ||
ta - Maruvaku raa- Ka ramula che Marimari Ninu Shara nane dara
(Raaravenu)
 RERE SRI RAMACHANDRA
Ragam: Arabhi (29th melakartha janyam)
Talam: Triputa Talam, Thisra Jathi

Arohanam : S R2M1 PD2 S

Avarohanam: S N2D2 PM1 G2 R2 S

Sahityam:
Rere Shree Raamachandra Raghuvamsha Tilakaa Raaghavendraa...
Sritajana Poshakure ! Seetha Manoranjana Rere Dheeraa!
Ravanaasura Antakure!
[Aa Iyaa Iyaa ! Aa Iyaa Iyaa ! Aa Iyaa Re!]
Dheena Jana Mandaara Maamava!

Meaning: (Adapted From: Perfecting Carnatic Music, Level 1 by Chitraveena Ravikiran)

O ("rere") Sri Ramachandra! You are the beacon ("tilakaa") of the solar ("raghu") dynasty
("vamsha")!
You watch over the devas ("raghavendra") !
You take care of ("poshakure") ordinary mortals ("srita-jana")!
You give pleasure ("manoranjana") to Seetha!
You are the brave one ("dheeraa")!
You have vanquished ("antakure") Ravana!
You fulfill the desires ("mandhaara") of your devotees ("dheena jana")!
Lord, please protect me ("maamava").

Geetham:

O ("rere") Sri Ramachandra!

P - P | M M | P - || M G R | S R | M G ||
Re - re | Shree - | ra - || - - ma | chan - | - - ||

R R S | S D | R S || R - - | R - | S R ||
- - - | - - | - - || ndra - - | - - | Ra ghu ||

You are the beacon ("tilakaa") of the solar ("raghu") dynasty ("vamsha")!
You watch over the devas ("raghavendra") !

M G R | R S | S - || P M M | P - | P - ||
Vam - sha | Ti la | ka - || Ra - gha | ven - | dra ||

P M P | M G | R R || M G R | S R | S S ||
A - - | - - | - - || a - - | - - | - - ||

You take care of ("poshakure") ordinary mortals ("srita-jana")!

S d R | S R | S S || d S - | d d | d p ||
A - - | - - | - - || a - - | Sri tha | ja na ||
You give pleasure ("manoranjana") to Seetha!

p m p | d S | S - || R S R | M G | R R ||
Po - sha | ku - | re - || See - - | tha - | - Ma ||

You give pleasure ("manoranjana") to Seetha!

You are the brave one ("dheeraa")!

M G R | M M | P M || P - P | P - | P - ||
no - - | ran - | ja nu || Re - re | Dhee - | ra - ||

You have vanquished ("antakure") Ravana!

P M P | D S | S R || M G R | S R | S S ||
Ra - va | na - | su ra || An - tha | ku - | re - ||

S D R | S R | S S || D S - | D D | D P ||
A - - | yi ya | yi ya || a - | yi ya | yi ya ||

You fulfill the desires ("mandhaara") of your devotees ("dheena jana")!

P M P | D S | S - || S - S | D D | D P ||
A - - | yi ya | re - || Dhee - na | Ja na | Man - ||

Lord, please protect me ("maamava").

P M P | M G | R R ||
daa - ru | Maa- | ma va ||
 Samba Shiva (swarajati)

Ragam: Khamas (28th mela janyam)

Arohana: S M1 G3 M1 P D2 N2 S ||
Avarohana: S N2 D2 P M1 G3 R2 S ||
Talam: Adi
Notes Courtesy: (Rani) www.karnatic.com
Composer: Chinnakrishna Dasar

Pallavi:
sAmba shivAyanavE rAjitagiri
sAmbavI manOharA parAtparA krpAkarA shrI

Charanam 1:
nIvE guru daivambaniyE vELanu sEvimpucu sadA midini shiva

Charanam 2:
parama dayAnidhi vanucu maruvaka nA hrdayamuna
mahAdEva mahAprabhO sundara nayana suravara dAyaka bhavabhaya harashiva

Charanam 3:
sthira madurApuramuna varamulosagu haruni niratamunu dalaci

Charanam 4:
shrI shubhakara shashi makuTadhara jaya vijaya tripurahara
shrtajana lOladbhuta guNa shIlA krtanutapAlA patituni lOlA-
mudambala ranga padAbjamulanu padambujErcu pashupatini
gnyaanamudhyaanamu snaanamupaanamu
daanamumaanamu abhimaanamanucu
kanikaramunacaraNambulukanu
konushrutulannutula sharaNanucu (saamba)

Charanam 4: (khaNDa gati - 5 units per beat)

sAresAregu nI nAma mantram kOrinAnu nI pAdAmbuja mantram
dAsuDau cinni krSNuniki dikku nIvEyani shokkanAthuni nammukoni

Meaning (From www.karnatik.com):

Pray to Lord Shiva, who resides in the silver mountains, the snow-clad Himalayas. Pray,
"You are my guru and God. I meditate on you at all times. I never forget that you are the
treasure of compassion. Oh! MahadEva. You are handsome and grant boons to the dEvas.
You have the moon on your crown. You love the devout. You are the embodiment of
virtues and you destroy sinners. I will not abandon my religious practices but will forever
seek refuge in you, oh Lord Chokkanaatha."

Note (From Ravi Kiran's Book):

Swarajatis are more sophisticated musical forms than geethams, both in terms of size and
quality. They have been composed in the 3rd speed, and generally have a pallavi and a
few Charanams. The charanams are generally rendered once as swaras and the second
time as lyrics. Some swarajatis also have an anupallavi incorporated in them. Many
swarajatis like the sublimely devotional ratna-trayam of Shyama Shastri are concert
worthy.

Pallavi:
sAmba shivAyanavE rAjitagiri
sAmbavI manOharA parAtparA krpAkarA shrI

1 2 3 4 5 6 7 8
S ; S N D P ,mG | M; ; G M P D N ||
sA - mba shi vA –yana vE- - rA ji ta gi ri

S, r N, s D, n P,d | M,p M , g M , p D,n ||

sA mba vI ma nO-ha rA pa rA- tpa rA – kr pA- ka rA-shrI

Charanam 1:
nIvE guru daivambaniyE vELanu sEvimpucu sadA midini shiva

1 2 3 4 5 6 7 8
SR sn - N S – n d D -N | dp- P D - mg s M -g mp dn ||
nIvE guru dai vam bani yE vE Lanu sE vim pucu sadA mi dini shiva
(sAmba shivAyanavE)

Charanam 2:
parama dayAnidhi vanucu maruvaka nA hrdayamuna
mahAdEva mahAprabhO sundara nayana suravara dAyaka bhavabhaya harashiva

1 2 3 4 5 6 7 8
s r s n S ; n s- n d N; | dn dp D; pd pm P ; ||
parama da yA- nidhi vanu cu - maruvaka nA - hrdayamu na

1 2 3 4 5 6 7 8
s s s s m m m m P p p D d d | n s n s N d p d p m g m p d n ||
mahAdEva mahAprabhO sundara nayaka suravara dAyaka bhavabhaya harashiva

Charanam 3:
sthira madurApuramuna varamulosagu haruni niratamunu dalaci

1 2 3 4 5 6 7 8
ds nd pmgm P; p d n d | p m- g g M; pndn d -p d n ||
sthira madu rApuramu na varamulo sagu haru ni niratamu nu dalaci
Charanam 4:
shrI shubhakara shashi makuTadhara jaya vijaya tripurahara
shrtajana lOladbhuta guNa shIlA krtanutapAlA patituni lOlA-
mudambala ranga padAbjamulanu padambujErcu pashupatini
gnyaanamudhyaanamu snaanamupaanamu
daanamumaanamu abhimaanamanucu
kanikaramunacaraNambulukanu
konushrutulannutula sharaNanucu (saamba)

1 2 3 4 5 6 7 8
S; ;sn nd–d p pmmg | M; ; pd nd m-g m p d n ||
shrI shubha kara shashi makuTadha ra jaya vijaya tri purahara

smgs S S s r s s N N | nsnd DD p d p m P P ||
shrtajana lOla dbhuta guNa shI lA krtanuta pAlA patituni lOlA-

s M m g P p mDd pNn |dRr nSs ns nd P; ||

mudamba la ranga padAbja mulandu padambu lujErcu pashupati ni

M p m P d p D n d N s n | S r s R sn s rS n d p m ||
Gnyaanamu dhyaanamu snaanamu paanamu daanamu maanamu abhimaa namanucu

gmpd n s n r S; srn s | dn pd M; dpm–g mpdn ||

kanikara munacara Nam bulukanu konushrutu lan - nutula sha raNanucu (saamba)

Charanam 4: (khaNDa gati - 5 units per beat)

sAresAregu nI nAma mantram kOrinAnu nI pAdAmbuja mantram
dAsuDau cinni krSNuniki dikku nIvEyani shokkanAthuni nammukoni

SrS NdN S n D P;, | P d N D p M P m G M ; , ||

sAresA regu nI nAma man tram kOrinA nu nI pA dAbja man tram

M g M PmP D pD Nd N |SrS NdN S n D M p D ||

dAsuDau cinni krS Nu niki dikkunI vEyani shokkanA thuni nam mukoni
 Sarali varisai

Raga: Mayamalavagowla (15th Melakartha Ragam)

Arohana: S R1 G3 M1 P D1 N3 S
Avarohana: S N3 D1 P M1 G3 R1 S
Talam: Adi
Notation Courtesy: Rani, www.karnatic.com and Chitraveena Ravi Kiran's book

Notes from Chitra Veena Ravi Kiran's book (with some additions):
Getting Started: Sustaining Notes - KARVAI

The first step is to have a tanpura or shruti box, which will provide the basic note "Sa"
and the fifth note from it, which is "Paa". You can seek your guru's help in determining
your ideal pitch, which enables you to traverse at least two octaves (from Paa in the lower
octave to Paa in the higher octave) comfortable over a period of time. It is equally vital to
learn to tune either of these instruments from one's master. Then listen to it carefully and
try to register the notes (sa - pa - sa) in your mind.

Then try to sing these two constant notes tunefully, making an effort to understand the
relationship between the frequencies that "Sa" and "Pa" are sung at. Subsequently, the
teacher will introduce the rest of the notes, and here again, you should try to make
yourself aware of where (in terms of frequency) they are, with respect to "Sa". Singing in
tune is the primary source of joy.

Now the teacher can introduce a raga, say Mayamalavagowla, for the basic exercises.
Mayamalavagowla is the 15th melakartha with the notes: S R1 G3 M1 P D1 N3 S.

Most teachers prefer to use this raga because it has different intervals. Once the student
achieves sufficient command over these exercises, the same can be attempted in other
melakartha ragas.

One should now try to hold every one of these notes tunefully as long as possible. This
sustenance of a note is called "kaarvai." Attention should be give to singing in tune,
holding one's breath and releasing it with a good tone. This exercise is a must, before the
sarali or other varishais are taught. This should be done without tala initially, until the
students learn to sing or play the notes perfectly. Karvais are used at all levels in Carnatic
music and they can create a very soulful, tranquil and evocative atmosphere. At the very
fundamental level, they build a scientific approach to the rest of the music that students
will subsequently be introduced to. An artiste must be able to hold any note steadily and
tunefully for at least 10-15 seconds and gradually increase this to a minute.

Additional notes: What are the sruti aspects we would like to learn from sarali swaras? I
will use the word "sruti" to refer to a note or a tone or a frequency (eg: expressed in swara
form as "sa", "ri", "ga", "ma", "pa", "dha", "ni") and its relation to a base frequency (eg:
"sa" as expressed by the background tambura or sruti box). When a learner listens to or
sings the syllable "sa", what should he/she look for?
First, since our music is expressed with respect to an arbitrarily chosen sruti note (eg: the
tambura or sruti box), the student should first LISTEN to the tambura or sruti box, close
ones eyes and try to "feel" the music of the note to get a rough visual idea of where the
note "sa" is (i.e. an understanding of where "sa" is absolutely located in the "space" of
musical frequencies). You can outwardly express this understanding by indicating a level
with your hands.

This understanding is important because, once you listen to some other note (expressed
simply as "aaaaa", i.e. as akaaram), you should be able to say whether that note is higher
than "sa" or lower than "sa" (i.e. a relative understanding of notes relative to "sa"). You
can outwardly express this relative understanding by raising or lowering your hand
relative to the original level for "sa."

The next step is to go deeper, and ask, "how much is the note higher or lower than sa"?
You can raise or lower your hand proportionately to reflect your understanding. Once you
do this, you can replace the original sa with another note as the reference and ask if
another note is higher or lower than it, and by how much? I have some examples of this
in the audio lesson.

Getting a true and deep appreciation of note location on the frequency scale is a non-
trivial task and must be revisited over the long-term. This knowledge is called "sruti
jnana" or knowledge of sruti! By the way, in this process you have also learnt the basics
of the hand-waving histrionics of several carnatic music vocal artistes!

The next step is to go beyond listening and into singing. When musicians start, they first
tune their voice to the sruti by singing saa-paa-saa. Lets start with "saa." What does is
mean to sing "saa" correctly when there is no one (but yourself!) to tell you whether you
are correct or wrong?

The important point is that when you sing anything, you have to keenly LISTEN TO
YOURSELF singing! This is easier said than done, because it is very hard to have your
mind do a balancing act of BOTH the output (i.e. singing) and the input (listening). I
have also observed that my ears tend to block a little when I am singing and makes this a
little more harder. But this "feedback" is very important because then you can compare
the feedback to the reference "saa" and as you practiced earlier, distinguish whether what
you are CALLING "saa" is indeed the frequency of "saa" or if it is higher or lower! You
can again do your act with the hand to judge whether the note you are singing is higher or
lower than the reference. Once you have established this, you can try to correct your
output online till you reach the correct level of "saa". I must say that I have found this
step (the student able to recognize and correct the note sung to match saa) to be the
biggest stumbling block among beginners.

This step above is also an example of putting a few basic ideas together -- listening to a
frequency, judging its relative position and singing it at the same time. If you cannot get
this right, I would suggest decomposing this and doing each piece separately (i.e. divide-
and-conquer: listen only, listen+judge, sing only, sing+listen, sing+listen+judge). You
can skip some of these combinations if it comes naturally to you: you just need to be
aware and able to do any one of these things on demand...

The next step is to sharpen these pieces of understanding and pick up some related
concepts:
 Relative Positions: Try deliberately singing the syllable "sa", but sung at a higher
or lower frequency than the tambura sruti. Can you do it?
 Can you listen to yourself and judge where the syllable you are singing is relative
to the reference? Can you start higher?
 Can you make it come back to the correct frequency location without taking a
new breath, and just sliding to the correct position? Do you know appreciate the
difference between saying the word "saa" in some frequency vs singing it at the
correct frequency?

RaviKiran Notes (contd):

Musical Phrases: Gradually simple combinations of notes can be tried. Teachers can
introduce small musical phrases like GM , - GMP, - DDP, - PMG, - MGR, - GMGRS-
and so on. Over a few sessions, the phrases can get perceptibly sophisticated.

Akaaram: After a few such sessions, the same phrases can be rendered using the vowel
"a" as in "America". This is called "akaaram" and it is a very integral part of Carnatic
music, with particular reference to vocal music. Thus, exposure to akarams is very
essential at this stage, albeit in a simple form.

Practical Exercises: Phase II:

Varishais - Sequences:

The great composer Purandara Dasa, hailed as the Father of Carnatic music, created a set
of fundamental exercises nearly 500 years ago, which are followed even today.
There are 4 main types of varishais.

Sarali Varishais: These fundamental sequences enable the student to get a feel of
melody with rhythm. The logic is quite obvious here. The 1st varishai is a plain ascent
and descent of the notes of the raga. The 2nd varishai focuses on the second note from S,
namely R (in the ascent) and N (in the descent). The 3rd varishai centers on the third note
(G and D) in the ascent and descent respectively. The fourth varishai concentrates on the
fourth note M and P. This goes on upto the 7th varishai. The last 3 are general exercises.
Some books have split the last sarali varishai into 5 parts, but singing it as a single
varishai is more instructive.

Janta Varishais: These are forceful sequences, which facilitate the students to add
weight and majesty to their voice. They make use of a form of ornamentation called
"spuritham" which is rendering a note twice: plain the first time, and with force from the
previous note (i.e. the note just below this note in frequency) in the raga the second time.
Teachers must take care that the concept of sphuritham is very clearly embedded in the
students' minds. The tendency to render it in a bland and insipid manner should be
avoided.

Melsthayi Varishais: These are higher octave sequences, which increase the students'
vocal or instrumental range. Again, the logic is easy to understand. The first is the
simplest asn every subsequent exercise adds a new phrase to the previous one. The
progressively cover notes upto Pa in the higher octave.

Dhatu Varishais: These are zigzag sequences that increase the students' overall
command of notes.

Alankarams: These are multi-tala sequences composed in the 35 talas. But usually 7 of
these are selected and taught to the students.

Students should be taught to render all these exercises in at least 3-4 speeds. Once they
perfect this technique, they could practice most of them in the 3rd speed. It is ideal to
render each varishai twice, once just with the swaras, and again, with akaaram.

Speeds in Carnatic music: In carnatic music, speed is relative. It is measured as the

number of notes per beat of the tala, rather than the number of notes per second or
minute.
The first speed is rendering one note per unit of the tala. The 2nd speed is exactly double
of this, i.e. two notes per unit. The 3rd speed is four notes per unit. The 4th is eight notes
per unit. The 5th is 16 notes per units and 6th speed is 32 notes per unit.
Speed of the tala is rarely varied; only the speed of the music is. But even this is not
accomplished in an arbitrary manner. There is a mathematical precision to it. For
instance, the 2nd speed is exactly twice as fast and the third is exactly twice as fast as the
second and so forth.

Advanced exercises:
Some selected varishais can be repeated with:
- Akaram, Ee-kaaram, U-kaaram
- With Gamakas, in different speeds
- In different sampurna ragas: Kalyani, Shankarabharanam, Kharaharapriya, Thodi
- In selected symmetrical janya ragas (without tala): Mohana, Hamsadhwani, Sri ranjani,
- In selected asymmetrical janya ragas: Bilahari, Mohana Kalyani
- In selected vivadi ragas: Ganamurthi, Chala Natai
- In bhashanga ragas: Bhairavi
- In different nadais: thrishram, khanda, mishra
(this is particularly useful for instrumental practice)

Notation hints: (this notation follows Rani's notes in www.karnatik.com)

s = sa ; r = ri ; g = ga ; m = ma ; p = pa; d = dha ; n = ni ;
Capitalized letters are in the higher octave
1. Simple ascent/descent
Laya pattern: 1234 5678
s r g m | p d | n S ||
S n d p | m g | r s ||

2. Focus on R and N
Laya pattern: 12-12-1234 and 1234 5678
s r - s r - | s r | g m ||
s r g m | p d | n S ||
S n - S n - | S n | d p ||
S n d p | m g | r s ||

3. Focus on G and D.
Laya pattern: 123-123-12 and 1234 5678
s r g - s | r g - | s r ||
s r g m | p d | n S ||
S n d - s | n d - | s n ||
S n d p | m g | r s ||

4. Focus on M and P
Laya pattern: 1234-1234 and 1234 5678
s r g m - | s r | g m - ||
s r g m | p d | n s ||
S n d p - | S n | d p - ||
S n d p | m g | r s ||

5. Focus on P and M (dheergam); and R, N

Laya pattern: 1234 56-12 and 1234 5678
s r g m | p , - | s r ||
s r g m | p d | n S ||
S n d p | m , - | S n ||
S n d p | m g | r s ||

6. Focus on G and D
Laya pattern: 1234 56-12 and 1234 5678
s r g m | p d - | s r ||
s r g m | p d | n S ||
S n d p | m g - | S n ||
S n d p | m g | r s ||

7. Focus on N and R (dheergam)

Laya pattern: 1234 56-7, and 1234 5678
s r g m | p d | n , ||
s r g m | p d | n S ||
S n d p | m g | r , ||
S n d p | m g | r s ||
8. Zig Zag with Focus on "pmgr" and "mpdn"
Laya pattern: 1234 -4321 and 1234 5678
s r g m | p m | g r ||
s r g m | p d | n S ||
S n d p | m p | d n ||
S n d p | m g | r s ||

9. Zig Zag with Focus on "pmdp" and "mpgm"

Laya pattern: 1234 -4321 and 1234 5678
s r g m | p m | d p ||
s r g m | p d | n S ||
S n d p | m p | g m ||
S n d p | m g | r s ||

10. Focus on P (dheergam) and the region between G and N;

and practicing resting on G (nyaasa swaram)
Laya pattern: 1234 56-12 and 1 , , , 1 , , , and
1234 - 4321 and 1234 5678
s r g m | p , | g m ||
p , , , | p , | , , ||
g m p d | n d | p m ||
g m p - g | m g | r s ||

11. Focus on dheergams at S, N, D, P.

Simple patterns: "Snd", "Ndp", "Dpm"
and the region between G and N (finishing phrases)
Janta at p, p,
S , n d | n , | d p ||
d , p m | p , | p , ||
g m p d | n d | p m ||
g m p - g | m g | r s ||

12. Preview of Janta (sphuritam) concept: "SS", "nn", "dd", "pp".

Simple patterns: "SSnd", "nndp", "ddpm"
Dheergam at "paa"
and the region between G and N (finishing phrases)
S S n d | n n | d p ||
d d p m | p , | p , ||
g m p d | n d | p m ||
g m p - g | m g | r s ||

13. ZigZag Patterns: "srgr G", "gmpmP",

Dheergam Focus: G, P, D
 and the region between M and N (with a lot of emphasis on zigzag and D-notes)
s r g r | g , - | g m ||
p m p , - | d p | d , ||
m p d p | d n | d p ||
m p d p | m g | r s ||

14. Dheergam at P and S.

Jantas at D and M
s r g m | p , | p , ||
d d p , | m m | p , ||
d n S , | S n | d p ||
S n d p | m g | r s ||

===============================================================

Sarali Varishai in four speeds:

First speed - one note per unit

1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
s r g m p d n S

Second speed - two notes per unit

1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
sr gm pd nS Sn dp mg rs

Third speed - four notes per unit

1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
srgm pdnS Sndp mgrs srgm pdnS Sndp mgrs

Fourth speed - eight notes per unit listen

1 | 2 | 3 | 4 |
srgmpdnS Sndpmgrs srgmpdnS Sndpmgrs

5 | 6 | 7 | 8 |
srgmpdnS Sndpmgrs srgmpdnS Sndpmgrs

===============================================================
 Sri Ramachandra
Ragam: Bhairavi
Talam: Chathurasra Jathi Dhruva Talam (I4 O I4 I4 )

Arohanam : S G2R2 G2M2 PD2 N2S Avarohanam: S N2D1 PM1 G2 R2 S

Sahityam:
Shree Raamachandra Asritha Paarijaatha Samastha
Kalyaana Gunabhi Raama Seetha Mukha Amboruha
Sanchareeka Nirantaram Mangala Maata Notu

Meaning: (Adapted From: Perfecting Carnatic Music, Level 1 by Chitraveena Ravikiran)

Shree Raamachandra is like the Paarijaatha (wish-fulfilling) tree to all ("samastha") his devotees
("asritha"). He pleases one and all with his divine ("kalyaana") qualities ("guna"). He is like the bee
("sanchareeka") that flies over the lotus ("amboruha") that compared to the face ("mukha") of Sita.
May He grant ("maata notu") benediction (i.e. bless us) ["mangala"] forever ("nirantaram").

Geetham:

Shree Raamachandra is like the Paarijaatha (wish-fulfilling) tree to all ("samastha") his devotees
("asritha").

G R G M | P , | M G R G | M P M , ||
Shree - Raa - | ma - | chan - draa - | Sri tha Paa - ||

P D2 N N | D1 P | M N D1 P | M G R S ||
- ri jaa - | - tha | Sa ma - - | - - - stha ||

He pleases one and all with his divine ("kalyaana") qualities ("guna").

S R S P | M P | G R G M | G G R S ||
Kal - - ya | - na | Gu na - bhi | raa - - ma ||

He is like the bee ("sanchareeka") that flies over the lotus ("amboruha") that compared to the face
("mukha") of Sita.

R R G G | M M | G G R G | M P M M ||
See - tha - | Mu kha | Am - - - | bo - ru ha ||

P D2 D2 N | N S | P D2 N S | R G R S ||
San - - - | - cha | ree - - - | - - - ka ||

May He grant ("maata notu") benediction (i.e. bless us) ["mangala"] forever ("nirantaram").

N R S G | R S | N N D1 M | P D2 N S ||
Ni ran - tha | ram - | Man - ga la | Ma - - ta ||

P D1 P S | N S | P D1 M P | G , R S ||
No - - tu | - - | - - - - | - - - - ||
 VARAVEENA
Ragam: Mohanam (28th melakartha janyam)
Talam: Rupakam
Chaturasra Jathi

Arohanam : S R2 G2 PD2 S Avarohanam: S D2 PG2 R2 S

Sahityam:
Varaveena Mrudu Paani Vanaruha Lochana Raani
Suruchira Bambhara Veni Suranuta Kalyaani
Nirupama Shubha Guna Lola Niratishaya Prada Sheela
Varadaapriya Ranganaayaki Vaanchita Phala Daayaki
Saraseejasana Janani Jaya Jaya Jaya

Meaning: (Adapted From: Perfecting Carnatic Music, Level 1 by Chitraveena Ravikiran)

[This is a beautiful song on goddess Lakshmi]
You hold the divine ("vara") veena in your soft ("mrudu") hands ("paani"). You are the queen
("raani") of the omniscient. Your eyes ("lochana") are like the lotus petals ("vanaruha"). Your curly
("suruchira") tresses ("veni") resemble the bees ("bambhara"). Devas ("Sura") worship ("nuta") your
auspicious form ("kalyaani"). You have ("lola") unequaled ("nir-upama") virtuous ("shuba")
qualities ("guna"). You ("sheela") give ("prada") endless ("narathi") victory ("jaya"). You are
Ranganaayaki, the consort ("priya")of the Ranganatha ("varadaa"). You grant ("daayaki") the boons
("phala") desired ("vaanchita") by your devotees. O Mother ("janani") of Brahma, who is seated on a
lotus ("saraseeja-asana")! Victory ("jaya") to you.

Geetham:

You hold the divine ("vara") veena in your soft ("mrudu") hands ("paani").

G G | P , P , | D P || S , S , ||
Va ra | vee - na - | Mru du || Pa - ni - ||

You are the queen ("raani") of the omniscient. Your eyes ("lochana") are like the lotus petals
("vanaruha").

R S | D D P , | D P || G G R , ||
Va na | ru ha Lo - | cha na || Raa - ni - ||

Your curly ("suruchira") tresses ("veni") resemble the bees ("bambhara").

G P | D S D , | D P || G G R , ||
Su ru | chi ra Bam - | bha ra || Ve - ni - ||

Devas ("Sura") worship ("nuta") your auspicious form ("kalyaani").

G G | D P G , | P G || G R S , ||
Su ra | nu tha Kal - | ya - || - - ni - ||

You have ("lola") unequaled ("nir-upama") virtuous ("shuba") qualities ("guna").

G G | G G R G | P G || P , P , ||
Ni ru | pa ma Shu bha | Gu na || Lo - la - ||
You ("sheela") give ("prada") endless ("narathi") victory ("jaya").

G G | D P D , | D P || S , S , ||
Ni ra | thi Ja ya - | Pra da || See - la - ||

You are Ranganaayaki, the consort ("priya")of the Ranganatha ("varadaa").

D G | R R S S | D S || D D D P ||
Va ra | da - Pri ya | Ran ga || naa - ya ki ||

You grant ("daayaki") the boons ("phala") desired ("vaanchita") by your devotees.

G P | D S D P | D P || G G R S ||
Vaa - | nchitha Pha la | Daa - || - - ya ki ||

O Mother ("janani") of Brahma, who is seated on a lotus ("saraseeja-asana")!

S R | G , G , | G R || P G R , ||
Sa ra | si - ja - | sa na || Ja na ni - ||

Victory ("jaya") to you.

S R | S G R S ||
Ja ya | ja ya ja ya ||