Basic of Carnatic Music

8.

The first few Geetas are in raga Malahari, derived derived from Mayamalavagaula. Mayamalavagaula. Geetas are continuation continuation of Abhyasa Abhyasa Gana after finishing part 1

9.

It is an auspicious auspicious raga. raga. Singing Singing this raga, raga, especially especially early early in the morning morning improves improves concentr concentration ation and and sharpens sharpens the mind. All the exercises are practised in at least three speeds:

1.

Prath athama ama Kala ala:

one swara per tala count, except for Janti and Datu Varase, where two swaras are rendered per tala count

2.

Dvitiya Ka Kala:

two swaras per tala count, except for Janti and Datu Varase, where four swaras are rendered per tala count

3.

Tritiya Ka Kala:

four swaras per tala count, except for Janti and Datu Varase, where eight swaras are rendered per tala count

The above description is valid for Hrasva swaras (short notes). Deergha swaras (elongated notes) would of course depend on the elongation. In Tritiya kala, if the exercise ends at half the tala cycle, then the exercise is to be repeated so that it ends at the completion of the cycle next time. n Note: The speed of rendition increases further in the order of 2 . However, the higher speeds are normally not part of the beginner's exercise.

More advanced exercises: 1.

After the pupil has progressed well in the practice of the Abhyasa Gana in the raga Mayamalavagaula, the execises may be rendered in other sampurna ragas such as Shankarabharana, Kalyani, Todi, Harikambodi, and Kharaharapriya. Kharaharapriya. With the first three, all the twelve swara positions are covered.

2.

For vocal training, the exercises - especially Janti and Datu Varase - are sung vocalising the sounds 'aa', 'ee', 'oo', and 'mm'.

3.

To gain a better control on the laya, the exercises can be rendered with a mix of kalas, such as the entire exercise completes within a whole number of tala cycles. Janti and Datu Varases as well as the Alankaras that comprise ten avartas in Prathama Kala, can be rendered as follows: 1st row in Prathama Kala => 1 Avarta 2nd and 3rd row in Dvitiya => 1 Avarta 4th, 5th, 6th, and 7th row in Tritiya => 1 Avarta 8th and 9th row in Dvitiya => 1 Avarta 10th row in Prathama => 1 Avarta Thus completing the exercise in 5 avartas instead of 10.

4.

Apart from above, there are several exercises by which one can gain a more precise control over the rendition of swaras. A few of these are given under the title "Swarabhyasa" at the end.

5.

The above advanced exercises are to be practised by the pupil at the appropriate stage as guided by the teacher.

1

s s>

r n

g d

m p

2

s s s> s>

r r n n

g g d d

m m p p

3

s s s> s>

r r n n

g g d d

4

s s s> s>

r r n n

s s s> s>

r r n n

5

1. sara©a varase (swar¡va©i) p m

d g

n r

s> s

s p s> m

r d n g

g n d r

m s> p s

m m p p

s p s> m

r d n g

s n s> r

r s> n s

g g d d

m m p p

pa p ma m

g g d d

m m p p

pa p ma m

d g

d g

pa n ma r s n s> r

s> s r s> n s

6

s s s> s>

r r n n

g g d d

m m p p

p p m m

m d p g

g n d r

r s> n s

7

s s s> s>

r r n n

g g d d

m m p p

p p m m

m d p g

d n g r

p s> m s

8

s s s> s>

r r n n

g g d d

m m p p

s p s> m

m d p g

g n d r

r s> n s

9

s s s> s>

r r n n

g g d d

m m p p

r p n m

g d d g

m n p r

p s> m s

10

s s s> s>

r r n n

g g d d

s m s> p

r p n m

g d d g

s n s> r

r s> n s

-

-

11

12

13

14

s s> d s>

s pa g g

r n n n

r

g r> s> d

m m

g ; p p

sa> da g g

m m

n p p p

s p m m

r m p p

g pa d d

m s> r> p

p s> s> m d§rghaswara sara©a varase pa pa n m

m

-

d g

-

d m d g

-

r p p

ni pa n m ga d d m

m n n g

d d d r

p p p s

m

d g

g ; p r

d g

d pa p r -

p n g

g da d r

m s p

-

m s m p s

15

16

s g s> m s d d s>

-

r m n p

g p d m

r d n n

g pa sa> d

-

r m n g

-

m p

g p d m pa m s> m

m d p g

m n g

-

g p d r pa pa d r

m d p s p s

1

2

3

4

5

2. heccusth¡yi varase - (1) sa> s> n

s d

r n

g s>

m r>

p s>

d n

n d

s> p

s d d

r n n

g s> s>

m r> r>

p s> s>

d s> n

n r> d

s> s> p

sa> s> s>

s d d d

r n n n

g s> s> s>

m r> r> r>

p g> s> s>

d r> s> n

n s> r> d

s> r> s> p

sa> s> s> s>

s d d d d

r n n n n

g s> s> s> s>

m r> r> r> r>

p g> g> s> s>

d m> r> s> n

n g> s> r> d

s> r> r> s> p

sa> s> s> s> s>

s d d d d d

r n n n n n

g s> s> s> s> s>

m r> r> r> r> r>

p g> g> g> s> s>

d m> m> r> s> n

n p> g> s> r> d

s> m> r> r> s> p

sa> g> s> s> s> s>

; d

r> n

; s> d

r> r> n

; s> s> d

r> r> r> n

; s> s> s> d

m> r> r> r> n

; g> s> s> s> d

p

sa> m

n p

sa> d m

n n p

sa> d d m

n n n p

sa> d d d m

r> n n n p

sa> s> d d d m

g

; r

s

p g

; m r

p s

p p g

; m m r

p p s

p p p g

; m m m r

p p p s

n p p p g

; d m m m r

p p p p s

1

2

s s> n p-

r r> dm

g g>p m

m r> d g-

p r> nm

d s>d p

n n d d

s> s> pn

s s> n pa

r r> d-

g ga> p m

m

p r> ni m

d s>-

n n d d

s> s> pn

d g-

p

heccusth¡yi varase - (2) sa> r>- s> m p s> n sa> ri> m s>

p n

; s> dd ; s> da d

np p

np

sa> d p m sa> d p m

n mg

; s>g r

n m s

n mg

; sa> g r

m s

1

2

3

4

s> g

n r

d s

p n<

m s

g r

r g

3. mandra sth¡yi varase s m

s> g g

n r r

d s s

p n< n<

m s s

g s r

r n< g

s s m

sa s s

s> g g g

n r r r

d s s s

p n< n< n<

m d< s s

g n< s r

r s n< g

s n< s m

sa s s s

s> g g g g s>

n r r r r n

d s s s s d

p n< n< n< n< p

m d< d< s s m

g p< n< s r g

r d< s n< g r

s n< n< s m s

sa s s s s sa

sa s

r

; g

n< r

; s g

n< n< r

; s s g

n< n< n< r

; s s s g ;

m

sa p

r m

sa g p

r r m

sa g g p

r r r m

sa g g g p sa

d

; n

s>

m d

; p n

m s>

m m d

; p p n

m m s>

m m m d

; p p p n ;

m m m s>

1

s s>

s s>

r n

r n

g d

g d

m p

4 ja³¿i varase (yugma swar¡va©i) m p p m

2

s g p n p

s g p n p

r m d d m

r m d d m

g p n p g

g p n p g

m d s> m r

m d s> m r

r m s> d m

r m s> d m

g p n p g

g p n p g

m d d m r

m d d m r

p n p g s

p n p g s

3

s r g m p s> n d p m


r g m p d n d p m g

r g m p d n d p m g

g m p d n d p m g r

g m p d n d p m g r

r g m p d n d p m g

r g m p d n d p m g



r g m p d n d p m g

r g m p d n d p m g

g m p d n d p m g r

g m p d n d p m g r

m p d n s> p m g r s


p m

d g

d g

n r

n r

s> s

s> s

4



r g m p d n d p m g

r g m p d n d p m g

gmpdndpmgr-


r g m p d n d p m g

g m p d n d p m g r

-



r g m p d n d p m g

r g m p d n d p m g

g m p d n d p m g r

g m p d n d p m g r



5



rgmpdndpmg-



r g m p d n d p m g


r g m p d n d p m g

-



r g m p d n d p m g

r g m p d n d p m g

g m p d n d p m g r

g m p d n d p m g r



1



g m p d n d p m g r

g m p d n d p m g r

r g m p d n d p m g

r g m p d n d p m g

g m p d n d p m g r

g m p d n d p m g r

5. d¡¿u varase - (1) s r g m p s> n d p m

2





g m p d n d p m g r

g m p d n d p m g r

r g m p d n d p m g

r g m p d n d p m g



r g m p d n d p m g

r g m p d n d p m g

g m p d n d p m g r

g m p d n d p m g r




r g m p d n d p m g

r g m p d n d p m g

g m p d n d p m g r

g m p d n d p m g r



d¡¿u varase - (2) 1



g m p d n d p m g r

g m p d n d p m g r

r g m p d n d p m g

r g m p d n d p m g

g m p d n d p m g r

g m p d n d p m g r



r g m p d n d p m g

r g m p d n d p m g

g m p d n d p m g r

g m p d n d p m g r



2



g m p d n d p m g r


r g m p d n d p m g

g m p d n d p m g r


r g m p d n d p m g



r g m p d n d p m g

r g m p d n d p m g

g m p d n d p m g r

g m p d n d p m g r



3



g m p d n d p m g r


r g m p d n d p m g

g m p d n d p m g r


r g m p d n d p m g


g m p d n d p m g r

r g m p d n d p m g

g m p d n d p m g r


r g m p d n d p m g

g m p d n d p m g r


6. sapta t¡©a ala±k¡ra 1

The seven talas included in Abhyasa Gana Part 1 are the most basic talas to be first introduced to the pupil

2

The 'signature' of each tala is expressed in terms of ' anga' and 'jati'.

3

The angas are parts of the tala. The tala is built by joining all the angas or parts together in a defined sequence.

4

The angas used in these basic seven talas comprise "Laghu", "Druta", and "Anudruta". (Other advanced angas are 'Guru', 'Pluta', and 'Kakapada') The palm gestures for counting the above angas are as follows:

Laghu:

A pat with the palm of the hand (one count), followed by continuation of the count with fingers, starting with the little finger.

Druta:

A pat and a wave of the palm, constituting two counts

Anudruta:

A pat of the palm constituting one count (half a Druta)

The written symbols for the angas are as follows:

5

Laghu:

A vertical line 'I' followed bya number indicating the count (3,4,5, or 7), for example I5

Druta:

A circle as shown: O

Anudruta:

A half circle as shown: U

The jati defines the number of counts in the laghu part. The following jatis are used in the basic seven talas:

Trishra jati:

Having three counts in the Laghu part (I 3)

Chaturashra jati:

Having four counts in the Laghu part (I 4)

Khanda jati:

Having five counts in the Laghu part (I 5)

Mishra jati:

Having seven counts in the Laghu part (I 7)

The fifth jati is called Sankirna jati, comprising nine counts in the Laghu part. But this is not used in the seven basic talas of Sapta Tala Alankara 6

While practising vocal music, the Sapta Tala Alankaras should be sung at an even pace, synchronised to the appropriate palm gestures for the tala. For instrumental practice, the tala count is maintained using suitable hands-free techniques as shown by the teacher

7

The alankaras should be practised in three speeds, as with the preceding exercises

8

The chaturashra jati triputa tala (commonly known as "adi" tala) is not included in the basic seven talas, since all preceding exercises are already set to this tala, and the pupil would be familiar with it by now.

1. catura¾ra j¡ti dhruva t¡©a a±ga : I4 O2 I4 I4 ak½arak¡la : 4 + 2 + 4 + 4 =14 I4


r g m p d n d p m g

g m p d n d p m g r

2. catura¾ra j¡ti ma¿hya t¡©a a±ga : I4 O2 I4 ak½arak¡la : 4 + 2 + 4 =10

O2


g m p d n d p m g r

r g m p d n d p m g

I4


r g m p d n d p m g

g m p d n d p m g r

I4

r g m p d n d p m g


r g m p d n d p m g

g m p d n d p m g r

I4



r g m p d n d p m g

g m p d n d p m g r

O2

r g m p d n d p m g


r g m p d n d p m g

I4


r g m p d n d p m g

g m p d n d p m g r


3. catura¾ra j¡ti rÀpaka t¡©a a±ga : O2 I4 ak½arak¡la : 2+4=6 O2


r g m p d n d p m g

4. mi¾ra j¡ti jha¯pe t¡©a a±ga : I7 U1 O2 ak½arak¡la : 7 + 1 + 2 = 10

I4


r g m p d n d p m g

g m p d n d p m g r

5. tri¾ra j¡ti tripu¿a t¡©a a±ga : I7 U1 O2 ak½arak¡la : 7 + 1 + 2 = 10

I7



r g m p d n d p m g

g m p d n d p m g r


r g m p d n d p m g


r g m p d n d p m g

U1

O2

g m p d n d p m g r

ma pa da ni sa> pa ma ga ri sa

I3


r g m p d n d p m g

O2

g m p d n d p m g r


r g m p d n d p m g

O2

g m p d n d p m g r


6. kha³¢a j¡ti a¿a t¡©a a±ga : I5 I5 O2 O2 ak½arak¡la : 5 + 5 + 2 + 2 = 14 I5


ri ga ma pa da ni da pa ma ga

I5

ga ma pa da ni da pa ma ga ri

sa ri ga ma pa sa> ni da pa ma

r g m p d n d p m g

ga ma pa da ni da pa ma ga ri

7. catura¾ra j¡ti £ka t¡©a a±ga : I4 ak½arak¡la : 4

O2

O2



I4


r g m p d n d p m g

g m p d n d p m g r


1 2 3 4 5 6

7. swar¡bhy¡sa Clear rendering, with each note at its precise place is most important. Speed may be gradually increased to the extent possible without losing precision There is no adherence to any Tala cycle. A steady and intuitive laya/rhythm has to be maintained. Short notes can be rendered more rapidly, and long notes elongated further as compared to the notation given below, but a steady laya is required To be practised initially in Mayamalavagaula. Can be practised later in Harikamboji, Kharaharapriya, Todi, and Kalyani For voice training, the exercises should be additionally practised in Akara, Ikara, Ukara, and Mkara (i.e., vocalising 'aa', 'ee', 'oo', and 'mm' ) These exercises are to be practised by the pupil at the appropriate stage as guided by the teacher.

1. swaraj²¡na abhy¡sa This exercise helps to build a congnition of the relationship of the various notes to Sa. [1] sri srga srgma srgmpa srgmpda s>ni s>nda s>ndpa s>ndpma s>ndpmga

srgmpdni s>ndpmgri

srgmpdnsa> s>ndpmgrsa

[2] sa sa>

srgmpdsa s>ndpmgsa>

srgmpdnsa s>ndpmgrsa>

srsa s>nsa>

srgsa s>ndsa>

srgmsa s>ndpsa>

srgmpsa s>ndpmsa>

srgmpdnsa> s>ndpmgrsa

2. ¾ruti swar¡bhy¡sa This exercise trains to jump precisely between the invariant srutis sa, pa. In instrumental practice, the exercise may be extended to two octaves or mor [1] sass papp sa>ss> > sa> ; sa>ss> > papp sass sa ; [2] sass

sspa

sspa

spsa>

sa>ss> >

s>sp> a

s>s>pa

sa>psa

3. swara sa¯skara³a abhy¡sa These exercises helps to render swaras in a crisp and well intonated manner. Improves precision of fingering when playing an instrument. Each pattern may be repeated many more times than indicated, for practice. E.g. sars sa sars sa sars sa .. [1] sa_r_s_ sa ri_g_r_ ri ga_mg_ _ ga ma_p_m_ ma pa_d_p_ pa da_n_d_ da ni_ _sn> _ ni sa> _ _r _s> > sa> sa> _ _r _>s> sa> ni_ _sn> _ ni da_n_d_ da pa_d_p_ pa ma_p_m_ ma ga_mg_ _ ga ri_g_r_ ri sa_rs_ _ sa [2] sa_r_ss_ a_ _rs_ _sa_ _rs_ _ sa pa_d_pp_ a_ _d_pp_ a_ _d_p_ pa sa> _ _r _>ss> _a> __r _s> >s _a> _r _s> > sa> ma_p_mm _ a_ _p_m_ma_ _p_m_ ma

ri_g_rr_ i_ _g_rr_ i_ _g_r_ ri da_n_d_da_ _n_d_da_ _n_d_ da ni_ _s>n_ni_ __s>n_ni_ __s>n_ ni ga_mg_ _ga_ _m_g_ga_ _mg_ _ ga

[3] sr pd s>r> mp

g_rr_ s_ _ s n_d_dp_ _ p _g> _ _ rr> _s> > s> d_p_pm _ _m

rg dn ns> gm

[4] srg pdn s>r>g> mpd

m_g_g_rr_ s_ _ s _s>n_n_d_d_p_ p m> _ _g _>g _>r _s> > s> n_d_dp_ _p_m_ m

[5] sr pd s>r> mp

g m_g_g_r_ r g_rr_ _s_ s n s>n_n_d_ d n_d_d_p_ p g> m> _ _g _g> > r> _g> _ _ rr> _>s> s> d n_d_d_p_ p d_p_p_m_ m

m_g_gr_ _ r _s>n_n_d_ d _r> _s _s> >n_ n p_m_mg_ _ g

gm ns> dn rg

rgm p_mm _ _g_gr_ _ r dns> _r> _s _s> >n_n_d_ d ns>r> _g> _ _ r>r _s> _>sn> _ n gmp d_p_p_mm _ g_ _ g rg dn ns> gm

ga_mg_ _ga_ _mg_ _ga_ _m_g_ ga ni_ _s>n_ni_ __s>nn_ i_ __sn> _ ni da_n_d_da_ _n_d_da_ _n_d_ da ri_gr_ _ri_ _g_rr_ i_ _g_r_ ri

p_mm _ g_ _ g _r> _s _s> >n_ n _s>n_n_d_ d m_g_g_r_ r

mp s>r> pd sr

d_p_p_m_ m _g> _ _ rr> _s> > s> n_d_d_p_ p g_rr_ s_ _ s

gmp d_p_p_mm _ g_ _ g ns>r> _g> _ _ rr> _>s _s> >n_ n dns> _r> _s _>sn> _n_d_ d rgm p_mm _ g_ _g_r_ r

m p_mm _ _g_ g m_g_g_r_ r s> _r> _s _s> >n_ n _s>n_n_d_ d r> _g> _ _ r>r _s> > s> _r> _s _s> >n_ n p d_p_p_m_ m p_m_mg_ _ g

ma_p_mm _ a_ _p_mm _ a_ _p_m_ ma sa> _ _r _s> >s _a> __r _s> >s _a> _r _>s> sa> pa_dp_ _pa_ _dp_ _pa_ _dp_ _ pa sa_rs_ _sa_ _rs_ _sa_ _r_s_ sa

mpd s>r>g> pdn srg gm ns> dn rg

n_d_dp_ _p_m_ m m> _ _g _>g _>r _s> > s> _s>n_n_d_d_p_ p m_g_g_rr_ s_ _ s

p d_p_p_m_ m p_mm _ g_ _ g r> _g> _ _ rr> _>s> s> _r> _s _>sn> _ n s> _r> _s _>s>n_ n _s>n_n_d_ d m p_mm _ g_ _ g m_gg_ _r_ r

mp s>r> pd sr

d n_d_d_p_ p d_p_p_m_ m g> m> _ _g _>g> r> _g> _ _ rr> _s> > s> n s>nn_ _d_ d n_dd_ _p_ p g m_g_g_r_ r g_rr_ s_ _ s

Basic of Carnatic Music

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