Part-1: Basic lessons in Carnatic music
Sarali varisai are the fundamental sequences of swaras/notes. They help to get the feel for the melody and the rhythm. The sequences follow a logical order – ascending and descending. The last 3 exercises help to move smoothly up and down the scale. Later, one must learn to sing the lesson at four speeds.
Varisais:
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 ||
JanTai varisai are the second lessons, which involve double and triples of a single swara. These should be sung with force and emphasis from the first note to the second: sa sa ri ri ga ga etc…. The use of one plain note followed by a forceful one is a type of gamaka called spuritam. Practice emphasizing the second note and avoid singing both notes in a plain manner. When you have two notes, emphasize the second. When there are triples of notes (s s s) emphasize the second note as well. When you have mastered this, learn to sing the lesson in four speeds, with taaLam.
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 ||
DaaTu varisai are sequences in which the notes “jump” up and down. These exercises help you hit notes no matter what their sequence. These zigzag sequences are more difficult but can be learned with practice. When you have command over them, learn to sing the notes in four speeds (with taaLam)
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 ||
MElstaayi varisai are exercises for singing in the higher octaves. Each exercise adds a new higher note and will help you sing higher and higher notes accurately. Don’t shout to sing the higher notes or strain. Try practicing the highest one you can, or set your shruti lower, and sing slowly. With time you will achieve all of the exercises. Then, learn to sing the lesson in four speeds with taaLam.
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 ||
Madrastaayi varisai are the complement to the mEl staayi varisai. They allow you to increase your command of successive lower notes. Again, do not strain or shout or whisper to reach the low notes – practice one at a time, and with time you will reach them. Sing slowly and hold the note or slide down to it from the next higher note, and eventually you will reach very low notes. Then, learn to sing the lesson in four speeds with taaLam.
1.
S n d p | m g | r s || s , , , | s , | , , || g r s n. | s r | g m || s r g m | p d | n S ||2.
S n d p | m g | r s || s , , , | s , | , , || g r s n. | s s | n. s || s n. s r | g m | p m || g r s n. | s r | g m || s r g m | p d | n S ||3.
S n d p | m g | r s || s , , , | s , | , , || g r s n. | d. n. | s n. || s n. s r | g m | p m || g r s n. | s s | n. s || s n. s r | g m | p m || g r s n. | s r | g m || s r g m | p d | n S ||4.
S n d p | m g | r s || s , , , | s , | , , || g r s n. | d. p. | d n. || s n. s r | g m | p m || g r s n. | d. n. | s n. || s n. s r | g m | p m || g r s n. | s s | n. s || s n. s r | g m | p m || g r s n. | s r | g m || s r g m | p d | n S ||5.
S n d p | m g | r s || s , , , | s , | , , || g r s n. | d. p. | m. p. || d n. s r | g m | p m || g r s n. | d. p. | d n. || s n. s r | g m | p m || g r s n. | d. n. | s n. || s n. s r | g m | p m || g r s n. | s s | n. s || s n. s r | g m | p m || g r s n. | s r | g m || s r g m | p d | n S ||
Alankaarams are multi-taaLam sequences which were originally composed in 35 taaLas, but usually only seven of these are taught.
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 ||