 सह नाववतु ।

सह नौ भुनक्तु ।
सह वीर्यं करवावहै ।
तेजस्ववनावधीतमवतु मा स्वस्िषावहै ।
 शाांस्त शाांस्त शाांस्तिः ॥
ōm saha nāv-avatu ।
saha nau bhunaktu ।
saha vīryam karavāvahai ।
tējaswināv-adhītam-astu mā vidvishāvahai ।
ōm shānti shānti shāntihi ॥
May Bhagawan protect us both.
May Bhagawan nourish us both.
May we work together with energy and vigor.
May our study be enlightening, and not giving rise to hostility.
May peace prevail from our actions, others’ actions and natures.
(Shānti mantra from Taittirīya, Kaṭhā and Shwētāshwatara upanishads)
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Swarṇa Carnāṭica
Compilation of Swarajatis and Varṇams by K.N. Shivakumar, Dallas, USA.
 Contents

Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii

SWARAJATIS

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Rachana Song Raga

1) Swarajati Rara Venu Gopa Bala Bilahari 4

Mangalam Shri Rangadhisha Bilahari 6
2) Swarajati Ramana Moralinchara Harikambhoji 10
3) Swarajati Sami Daya Mira Cheli Nelukora Mohana 12
4) Swarajati Sambashivayanave Kamaach (Kamaas) 14
5) Swarajati Raveme Maguva Anandabhairavi 16
6) Swarajati Shri Ramabhirama Hamsadhwani 18
7) Swarajati Rave Himagiri Kumari Todi 20
8) Swarajati Kamakshi Anudinamu Bhairavi 22
9) Swarajati Kamakshi Ni Padayugamu Yadukulakambhoji 28
10) Jatiswara Kalyani 34
11) Jatiswara Hamsadhwani 35
12) Jatiswara Janjhuti 36
13) Jatiswara Kambhodi 37
14) Jatiswara Hamsanandi 38
15) Jatiswara Kannada 39

Sangeet Bharati | Practice, Perform, Promote and Unite.

 VARNAMS

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Rachana Song Raga

Introduction to Raga Mohana 50

1) Tanavarnam Ninnu Kori Mohana 54
2) Tanavarnam Sami Ninne Kori Shankarabharanam 60
3) Tanavarnam Jalajakshi Ninnedabasi Hamsadhwani 64

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Sangeet Bharati | Practice, Perform, Promote and Unite.

 ACKNOWLEDGEMENTS

I was learning Carnatic music in Flute from my Guru

Vidwan Shri AV Prakash of Mysuru until his sad
demise in March 2016. He taught me two Swarajatis,
two Jatiswarams and four Varnams required for my
junior Carnatic exam. After it, he started preparing me
for the senior exam teaching me the Varnams in two
speeds and in Gamakams. I am indebted to him for his
teachings and dedicated my books “Kids Flute
Learning” and “Juniors Carnatic Learning”.
With the continued blessings of my Guru from the
heaven abode, I and my daughter Jahnavi are lucky
enough not to stop our learning or encountered any
breaks in our learning. For this, the credit should go to
my Guru’s son Flutist Shri Krishnaprasad who took the
responsibility of crossing us across the sangeet sāgar.
His teachings are the source for the rest of this book.
My Hindu Swayamsevak Sangh (HSS) colleague and
friend Shri. Krishna Bhaskaruni from Plano spent
more than two hours each Sunday reviewing the
sahityam for all the Swarajatis and Varnams in this
book. All those benefits from this book will remain
indebted to him.
The most encouraging and supporting persons in my
Carnatic journey can be none other than my wife
Sheela and children Jahnavi and Ishwar. If any
appreciation, it should go to them for supporting all
my initiatives.
The internet is an ocean of information. Much of the
theoretical content are referred from publicly available
online sources and used in this book. My thanks to all
selfless people contributing to the Carnatic world by
creating online content.
Sangeet Bharati books are evolving products with
corrections and additions. Any changes to its books
will be published on the Sangeet Bharati website at
sangeet-bharati.org on every Yugadi.
Please write to sangeetbharatimusic@gmail.com with
any comments, suggestions or feedback. Together we
make this a nice free eBook available for all.

Dhanyawād

K.N. Shivakumar, Dallas, USA.

Plavanāma samvatsara, on the day of Yugādi,
April 13, 2021.
 INTRODUCTION

Welcome to the Carnatic world of Swarajatis and

Varnams through Swarna Carnatica, an acronym
for “Swarajatis and Varṇams in Carnatic music”. Let’s
see a few points before diving into this book.

The Compositions in this book are compiled using

Baraha editor. It had few limitations though. When
Bharatiya (Indic) words like “Krishna” are typed in
Latin using ISO-15919 (a standard to transliterate
Indic letters to Latin), it becomes “krisḥṇa”. The dot
under ‘n’ helps in its right pronunciation.
Unfortunately, ‘h’ too comes with a dot that is
unintended. Music seekers are advised to be aware of
these limitations.

A part of Pallavi is given in a gray box to repeat after

Anupallavi, Chitteswara or Charanams as applicable.

You see music-related write-ups either at the bottom

of a page or taking a full-page between compositions.
These are the fillers and tidbits that make use of empty
spaces. The full-page fillers help in arranging the
compositions for no or minimal page flips.

If you are new to Carnatic music or Carnatic Flute and

wants to start from the beginning, you may want to use
the starter’s book Kids Flute Learning downloading
from the link sangeet-bharati.org

all the best . . .

Swarajati
and
Jatiswara
 SWARAJATI AND JATISWARA
Swarajati and Jatiswara are a rhythmic form of Carnatic compositions that are learned after Gitams
and before Varnams. These are more sophisticated musical forms than Gitams - both in size and quality.
Learning them is helpful to learn Varnams in the next chapter. Swarajati and Jatiswara are practiced
both as abhyasagana and sabhagana compositions.
Swarajati and Jatiswara compositions are of pleasing melody and rhythm, and suitable for singing in
early lessons, musical concerts and dance concerts. In terms of speed, rhythmic and melodic complexity,
these are more advanced musical forms than Gitams and brings out the brilliance of a raga more fully.
These rhythmic compositions introduce the beginner student to render more than one swara per tala
beat, say rendering the phrases of two or four swaras per tala beat. These compositions are designed to
improve raga and tala jnanam (knowledge).

Swarajati
Swarajatis are rhythmic compositions with both dhaatu (swara) and maatu (lyrics). These have the
profusion of words that train the vocalist in the articulation of the language of a Swarajati.
Swarajatis are fast-paced compositions. They are well known for simplicity and rawness in the emotion.
Hence, they are more suitable for exploration in dances. Due to its fast-paced lyrics and signature colors
of the raga, Swarajatis grab one’s attention and quickly sets the mood.
With Swarajati, a Carnatic pupil is introduced to the compositions of a more demanding nature.
Students will learn the intricacies of both swaras and tala (rhythm) control at the same time. The pupil
who is eager to move from the realm of “exercise” to “music” often finds the first musical inspiration
while learning Swarajatis. For example, the Swarajati in raga Bilahari is indeed a very enjoyable one,
bringing out the raga in a sparkling manner.
While Swarajatis are useful learning tools, not all Swarajatis are simple. For example, Swarajatis
composed by Shri Shyama Shastri in ragas Bhairavi, Yadukula Kambhoji and Todi are quite complex
and require extreme dexterity and knowledge to render. These pieces are not learned as part of the
beginner’s course, but by more advanced students and are rendered as fine concert pieces.
Unlike Gitams, the structure of a Swarajati has Kruti like sections with Pallavai, Anupallavi and at least
one Charanam, all with swara-sahitya. This resembles Tyagaraja’s Pancharatna Krutis or Oothukkadu
Venkata Kavi’s (OVK) Saptaratna Krutis and hence are a great precursor in learning the Carnatic
masterpieces like Varnams. It is not necessary to have all three sections in every Swarajati as some do
not have Anupallavi. The Pallavi is repeated after Anupallavi and each Charanam. The number of
avartanams in Charanams progress gradually. It is often a practice to first sing the swaras from
start to end and then sing the sahitya. In dance concerts, swara and sahitya are sung together.
The structure of Swarajatis composed by earlier composers was in dance format with Pallavi,
Anupallavi followed by Sollukattuswara, Ettugade Pallavi and Chitteswaras. This pattern had two
sections – Poorvanga and Uttaranga just like in Varnams. Melathur Shri Venkatarama Shastri, Shri
Veerabhadrayya and Shri Ponnayya Pillai composed these dance forms Swarajatis. Shri Shyama Shastri

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modified this format to the Swarajatis of today’s structure. Later composers like Shri Sadashiva Rao,
Valajapet Venkataramana Bhagawatar and Chinni Krishnadasa followed Shyama Shastri’s format. Note
that the dance form of Swarajatis can be presented in music concerts too.

The theme of a Swarajati is either bhakti (devotional), love (romantic) or courage.

Jatiswara
There is another structurally similar form of composition with only jatis (rhythmic syllables of
Mrudangam like taam, dheem) and swaras but no sahitya is called Jatiswara. In these scholarly
compositions, the swara (dhaatu) patterns are composed based on Mrudangam jatis with tarikitadi
shabdas (phrases) played on tala vadyas (rhythm instruments) and recited rhythmically in vocal.
Jatiswara has no sahitya (maatu) and swaras are sung like a song and composed with the combination
of swaras in different jatis. The swara phrases (dhaatu) present the raga bhava. As there is no sahitya,
Charanams are also called Chitteswaras. Because of jatis, the Jatiswara compositions are mostly for
dance music.
In Bharatanatyam dance, Jatiswara is another Nritta piece where adavus are performed to swara
patterns like Sa, Ni, Da, Pa. Like in Swarajati where swaras are alternated by sahitya, here every jati is
alternated by swaras. Charanams are sung in swaras and followed by Pallavi every time.
Unlike in other dance compositions where it requires abhinaya (expression) through facial expressions
and body movements to the music to narrate a story, in Jatiswarams a dancer dances while having no
abhinaya. This is to show the versatility and capability of a dancer.

According to the Abhinaya Darpanam, the Sangitaratnakara and other medieval treatises,
dance is divided into three sections - Natya, Nritya and Nritta. Natya means dramatic
representation or drama with speech, music and dancing. Nritya relates to the Sentiment (rasa)
and Psychological States (bhaava). Nritta corresponds to pure dance steps performed rhythmically.
Here the body movements are not to convey any mood or meaning but to create beauty by making
various patterns, lines in space and time.

The word “Adavu” means the basic step. Adavu forms the ABC’s of pure dancing (Nritta) in
Bharatanatyam. Adavus are combined to form a dance sequence.

Jatiswaras usually will have four to eight Charanams. Pallavi is of one avarta (avartana or avartanam).
Charanams will have a gradually progressing number of avartas. 1st and 2nd Charanam are of one avarta,
3rd is of two avartas, 4th is of four avartas. There can be even more Charanams ranging up to eight
avartas. The nyasa or ending swara will enable to take off the Pallavi. For example, if the ending swara
of a Charanam is Nishadham, Pallavi starts on Shadjam, the same principle applied in Swara Kalpane.
Jatiswaras are set to madhyama kala (medium tempo) and Adi, Roopaka or Chapu talas and usually
composed in rakti ragas. If composed in vilamba kala, it is rendered in two speeds. The format and
rendering order of Jatiswara is the same as Swarajati but without Anupallavi and sahitya.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 2

Jatiswaras are composed in different ragas and talas by Maharaja Shri Swati Tirunal, Shri
Ramacharyulu, Shri Veene Sheshanna, Shri Veene Padmanabhayya, Shri Veene Subbanna, Mysuru Shri
Vasudevacharya and others. The Tanjore quartets’ compositions are widely performed. Some of their
famous compositions are in Kalyani raga and Rupaka tala, in Ragamalika and Mishrachapu tala and
Vasanta raga and Rupaka tala.
Sometimes, later composers added sahitya to Jatiswara and in some other cases, they added sahitya in
different languages too. E.g., Swarajati in Bilahari rara venu gopa bala composed in Telugu is also
composed in Sanskrit.
Though the difference between Swarajati and Jatiswara are subtle, here are some differences for your
quick reference:
1. The obvious difference is the presence of sahitya in Swarajati and none in Jatiswara.
2. Structurally, Swarajati has Anupallavi while it is not required for Jatiswara.
3. Jatiswara has jatis (rhythmic syllables) included in its compositions whereas Swarajatis has no
jatis. So, if a composition has jatis, it is called Jatiswara, otherwise, it is Swarajati.
4. Swarajati contains swara (dhaatu or solfa syllables) and sahitya (maatu) while Jatiswara is
mainly of swaras (dhaatu) and based on jatis. In Jatiswara, the swaras themselves play a role of
sahitya and
5. Swarajatis are pure musical form, whereas Jatiswaras are primarily music applied to dance.
There is a small variation to this format where Jatiswara is called Shabda Pallavi when Pallavi contains
only jatis while Charanams contain swaras and jatis. Jatiswara is also called Swara Pallavi.
Practicing Jatsiwara helps in understanding a raga including its prayogas, sancharas and the various
laya patterns. These compositions help in learning kalpana swaras easily with different patterns of jatis
and swara sequences beautifully coiled together. This gives a very good foundation for manodharma.

Conclusion
At a later stage of musical training, one rarely learns further Gitams unless it is needed from a teacher’s
perspective or out of academic interest. But one keeps coming back to learn more Swarajatis and
Varnams drawn by their musical value and handling of a raga.
The primary intention of this chapter is to learn a beautiful musical form called Swarajati whether
sahitya exists or not. At the junior level, a Carnatic student will learn at least four of these compositions
before Varna. You should learn four Swarajatis which has sahitya for senior grade Carnatic examination.
Though a senior student can use Swarajatis from the junior syllabus, it is always good to learn new ones.
The book Swarna Carnatica has more collection of Swarajatis and Jatiswaras (word “Swarna” is
derived from Swarajatis and Varnams).

Starting with Swarajatis, the Carnatic compositions become more advanced with sections like Pallavi,
Anupallavi and Charanams which correspond to Chorus or Refrain, Bridge and Verses in Western music.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 3

rachan¡: svarajati 1 - r¡ra v£³u gµpa b¡la v¡gg£yak¡ra: unknown
r¡ga: bilahari (29th m£©akarta dh§ra s¦ankar¡bhara³am janya) t¡©a: ¡di bh¡s¦¡: telugu
¡rµha³am: s r2 g 3 p d 2 s× avarµha³am: s× n 3 d 2 p m 1 g 3 r2 s

s¡hitya

|| pallavi ||
|| r¡ra v£³u gµpa b¡la r¡jita sadgu³a jayas¦§la ||

|| anupallavi ||
|| s¡ras¡ks¦a n£ram£mi m¡rub¡ri kµrval£ra || ||p||

|| chara³am ||
1. || nanavilutuni garvama¢anchi sad¡ nanu n§ edapai dayatµ podugura || ||p||

2. || nandagµp¡l¡ n£nendu pµj¡l¡ n§ ||

|| vindu r¡ra sadamala maditµ mudamalaraga n¡keduruga gadiyara || ||p||

3. || palum¡runug¡ ravamuna nin pilachina palukavu alugaku r¡ ||

|| karivarad¡ marimari n¡ adharamu grµlara kanikaramuga || ||p||

4. || r¡ nagadhara r¡ murahara r¡ bhavahara r¡v£r¡ ||

|| § maguvanu § lalananu § sogasini ch£kµr¡ ||
|| kµrika limponda ¢endamu n§yanda ch£renu n§chen || -
|| t¡ maruvakur¡ karamulache mari mari ninu s¦ara³anedara || ||p||

5. || n¡ talapula samakÀrchan saraguna velayangan karamula ||

|| nanugoni chittamu meppinchan mari v¡d£l¡nuchu n§ vas¦amuna ||
|| n¡ sakalamuj£rpen m¡runi anilµlan s¡reku jayamon || -
|| da n§ viduvalagonur¡ n¡kide valayunur¡ saragunani¿u || ||p||

A Gopika in this shrungaara geetam pleads "Please come, Venugopala, an embodiment of adorable and victorious
qualities. What offenses have I committed? I can't bear the onslaught of Cupid, the Devata of Love. I have nowhere else
to go. You come here with a free mind and spread cheer. Don't be angry because I persist with you respectfully. You
have held the mountain Govardhana and destroyed the demon, Mura. Please do not forget me. I seek refuge in you".

This popular Swarajati "Rara Venu Gopa Bala" which has earned wide appreciation from music lovers is composed
in two languages - Telugu and Sanskrit. It seems this composition was initially a Jatiswara with swaras alone. As this
was a beautiful piece, later the sahityam might have been added which became a Swarajati. This is not uncommon
for Jatiswarams. Interestingly, this got sahityam added twice - once in Telugu and once in Sanskrit. Though the
composer of the Telugu version is unknown, its Sanskrit version is composed by Shri Narasimha Iyengar. This
Telugu version is on Krishna while its Sanskrit version "Mangalam Shri Rangadeesha" is composed on Ranganatha.

This composition has a Pallavi, Anupallavi and five Charanams. But mostly its shorter version with three Charanams
is rendered (omitting first and the fifth Charanam).

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 4

 svara - s¡hitya

|| pallavi ||
|| s;r g,p, d,s×, n,d, | p,dp mgrs | rsnÖdÖ s,; ||
|| r¡ra v£³u gµp¡ b¡l¡ | r¡jita sadgu³a | jayas¦§ l¡ ||

|| anupallavi ||
|| s;r g,p, m,g, p,d, | r×;s× n;d | p;m g;r ||
|| s¡ra s¡ks¦a n£ra m£mi | m¡ru b¡ri | kµrva l£ra || ||p||

|| chara³am ||
1. || gpdr× s×s×s×, g×g×g×, r×r×r×, | ppp, mgg, | rss, rsnÖdÖ ||
|| nanavilu tuniga rvama¢an chisad¡ | nanun§ edapai | dayatµ podugura || ||p||

2. || s;r g,g, g,; g,rg | p;p p,p, | p,; p,dp ||

|| nanda gµp¡ l¡ n£ | nendu pµj¡ | l¡ n§ ||
|| s×;s× s×,s×, g×r×s×n ndp, | pdpm ggr, | gpmg rsrg ||
|| vindu r¡r¡ sadamala maditµ | mudamala ragan¡ | keduruga gadiyara || ||p||

3. || ppp, rrr, gpmg g,; | gpmg mgrs | rsrg s,; ||

|| palum¡ runug¡ ravamuna nin | pilachina palukavu | alugaku r¡ ||
|| rsnÖdÖ s,; mgrg p,; | gpdr× s×,; | r×s×nd pmgr ||
|| karivara d¡ marimari n¡ | adharamu grµ | larakani karamuga || ||p||

4. || p,; mgrg d,; mgrg | p,; mgrg | p,p, p,; ||

|| r¡ nagadhara r¡ murahara | r¡ bhavahara | r¡v£ r¡ ||
|| g×,; r×s×nd r×,; r×s×nd | s×,; r×s×nd | s×,s×, s×,; ||
|| § maguvanu § lalananu | § sogasini | ch£kµ r¡ ||
|| g×,r×s× r×,r×, r×,; r×,s×n | d,d, d,; | p,mg g,g, ||
|| kµrika limpon d¡ ¢endamu | n§yan d¡ | ch£renu n§chen ||
|| g,; srgd p,; r×s×r×g× | s×,; g×r×s×n | dpmg rsrg ||
|| t¡ maruvaku r¡ karamula | ch£ marimari | ninus¦ara ³anedara || ||p||

5. || d,; pdpm grg, g,; | pdpm grg, | g,; pdpm ||

|| n¡ talapula samakÀ rchan | saraguna velayan | gan karamula ||
|| gmrg s,ss s,s, s,; | srg, rgp, | dpd, mgrg ||
|| nanugoni chittamu meppin chan | mariv¡ d£l¡ | nuchun§ vas¦amuna ||
|| d,pm grs, s,; r×,s×n | dpd, d,; | g×,r×s× ndr×, ||
|| n¡saka lamuj£ rpen m¡runi | anilµ lan | s¡reku jayamon ||
|| r×,; s×,r×g× s×r×s×n d,; | p,dn pdpm | g,gd pmgr ||
|| da n§vidu valagonu r¡ | n¡kide valayunu | r¡sara gunani¿u || ||p||

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 5

rachan¡: svarajati 1 - manga©am s¦r§ rang¡dh§s¦a v¡gg£yak¡ra: namakkal s¦r§ narasimha iyeng¡r (1836
- 1924) r¡ga: bilahari (29th m£©akarta dh§ra s¦ankar¡bhara³am janya) t¡©a: ¡di bh¡s¦¡: sanskrit
¡rµha³am: s r2 g 3 p d 2 s× avarµha³am: s× n 3 d 2 p m 1 g 3 r2 s

s¡hitya
|| pallavi ||
|| manga©am s¦r§ rang¡dh§s¦a manga©agu³abhava t£ sad¡ ||

|| anupallavi ||
|| manga©am s¦r§ rang¡dh§s¦a rangan¡yak§ sam£ta || ||p||

|| chara³am ||
1. || nirupama karu³¡ varu³¡laya s¦r§ dhara³§kara s¡rasa s£vitapada || ||p||

2. || bhÀri l¡va³y¡ bhuvanaika samm¡ny¡dhruta ||

|| sindhu kany¡ sarasija vadan¡ sarasija nayan¡ sarasija chara³¡ || ||p||

3. || vara s¦ankarath¡gayugadhara sarasija bhavanuta padayuga©a ||

|| ravikula sambhava raghubhÀdhava sukar¡rchita s¦ubhavigraha || ||p||

4. || p¡pahara t¡pahara p¡padaitya samh¡ra ||

|| p¡vanajala pÀr³µbhaya k¡v£r§ vih¡ra ||
|| sapta pr¡k¡r¡bhyantara samsth¡n£ satpra³av¡k¡ || -
|| r£ sarasija kudmala sadrus¦£ vilasita parav¡sud£va || ||p||

5. || h£ garu¢a khagaturanga parip¡litaranga parama mu || -

|| nihrudaya s¡rasa s¡ranga varad¡-bhayad¡-marada navanuta || (varada + abhayada + amarada)
|| vairimadavibhanga n§lajaladhi d£ha ks¦§rajaladhi g£ || -
|| ha dµs¦a virahita har£ s¦£s¦as¦ayana s¦aur£ sadaya hrudaya || ||p||

6. || s¦r§dhara karu³¡kara sugu³¡kara s¦r§rangapat£ ||

|| surachira sadviprµdg§t¡-khan¢a nigama sams¦rava³¡nanda || (sadviprµdg§ta + akhan¢a)
|| s£vakajana santµs¦¡mrutada sakala jagatk¡ra³a h£ || (santµs¦a + amruta)
|| sarasija bhavanuta s¦akr¡dhyadyaks¦a satpraks¦a || (s¦akra = indra)
|| s¡m¡gama nuta s¦r§kara paricharita pad¡mbujayuga || (s¡ma + ¡gama) (nuta = praised)
|| h£ s¡rasapatr¡ks¦a s¡maja raks¦¡kara h£ kamal¡ || - (s¡maja = elephant)
|| sams¦ruta sadvaks¦a s¡dhujan¡nand¡bh§s¦¿ada h£ s¦rutasura || -
|| gu³a raks¦a mama duritam parihara h£ param¡tman ||
|| tvayi bhaktimdis¦a m£ sarvad¡ d£hi satsangatim m£ ||
|| udvara vaibhavam d£hi har£ s¦aur£ tvatp¡d¡bj£ s£v£ ||
|| dh§ra var¡sakta d¡sa nrusimh¡pta namast£ || ||p|| ("nrusimha" is the mudra/ankita of the composer)

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 6

The Composer

You probably came across the composer Namakkal Shri Narasimha Iyengar when you learned the Geetam "Shri Lola
Shrita Pala" in raga Malayamaruta.

Shri Iyengar was born in Tamil Nadu in 1836. He was a well-known vocalist trained by Manambuchavadi Shri
Venkatasubba Iyer, a direct disciple of Shri Tyagaraja. He lived most of his life in Shrirangam. Noted for his skill in
embellishments, he was hailed for Pallavi singing. His favorite ragas included Kedaragaulam. His usual accompanists
were Tirukkodikaval Krishna Iyer and Chinna Devadu, both for violin, and Narayanaswamy Appa and Tukaram for
Mrudangam. His prominent disciples included Ariyakudi Shri Ramanuja Iyengar.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 7

 svara - s¡hitya

|| pallavi ||
|| s;r g,p, d,s×, n,d, | p,dp mgrs | rsnÖdÖ s,; ||
|| manga ©ams¦r§ rang¡ dh§s¦¡ | manga©a gu³abhava| t£sa d¡ ||

|| anupallavi ||
|| s;r g,p, m,g, p,d, | r×;s× n;d | p;m g;r ||
|| manga ©ams¦r§ rang¡ dh§s¦¡ | ranga n¡ya | k§sa m£ta || ||p||

|| chara³am ||
1. || gpdr× s×s×s×, g×g×g×, r×r×r×, | ppp, mgg, | rss, rsnÖdÖ ||
|| nirupama karu³¡ varu³¡ layas¦r§ | dhara³§ karas¡ | rasas£ vitapada || ||p||

2. || s;r g,g, g,; g,rg | p;p p,p, | p,; p,dp ||

|| bhÀri l¡va ³y¡ bhuva | naika samm¡ | ny¡ dhruta ||
|| s×;s× s×,s×, g×r×s×n ndp, | pdpm ggr, | gpmg rsrg ||
|| sindhu kany¡ sarasija vadan¡ | sarasija nayan¡ | sarasija chara³¡ || ||p||

3. || ppp, rrr, gpmg g,; | gpmg mgrs | rsrg s,; ||

|| varas¦an karath¡ gayugadha r¡ | sarasija bhavanuta| padayuga ©¡ ||
|| rsnÖdÖ s,; mgrg p,; | gpdr× s×,; | r×s×nd pmgr ||
|| ravikula sam bhavaraghu bhÀ | dhavasuka r¡ | rchitas¦ubha vigraha || ||p||

4. || p,; mgrg d,; mgrg | p,; mgrg | p,p, p,; ||

|| p¡ pahara t¡ pahara | p¡ padaitya | samh¡ r¡ ||
|| g×,; r×s×nd r×,; r×s×nd | s×,; r×s×nd | s×,s×, s×,; ||
|| p¡ vanajala pÀ r³µbhaya | k¡ v£r§ | vih¡ r¡ ||
|| g×,r×s× r×,r×, r×,; r×,s×n | d,d, d,; | p,mg g,g, ||
|| sapta prak¡ r¡ bhyantara | samsth¡ n£ | satpra³a v¡k¡ ||
|| g,; srgd p,; r×s×r×g× | s×,; g×r×s×n | dpmg rsrg ||
|| r£ sarasija ku dmalasadru| s¦£ vilasita | parav¡su d£va || ||p||

“Ragas like Bhairavi, Kalyani, Vasanta, Kosala, Hanumatodi, Hamsadhwani, Kiravani are the unspoiled sounds of
eternal nature, the soul of man and paramatman. All ragas are energetic indeed, whether melakarta or janya.
Potential exists in all ragas to cure conditions or afflictions. The musical healer will have subtle psychological
conceptions of ragas at an intuitive level. It is not a mechanical performance of ritual with the intention for material
reward. Music, therefore, is an experience of Truth despite an intellectual interpretation.”

- Shri Ganapati Sacchidananda Swamiji

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 8

5. || d,; pdpm grg, g,; | pdpm grg, | g,; pdpm ||
|| h£ garu¢akha gaturan g¡ | parip¡ litaran | g¡ paramamu ||
|| gmrg s,ss s,s, s,; | srg, rgp, | dpd, mgrg ||
|| nihrudaya s¡rasa s¡ran g¡ | varad¡ bhayad¡ | marad¡ navanuta ||
|| d,pm grs, s,; r×,s×n | dpd, d,; | g×,r×s× ndr×, ||
|| vairima davibhan g¡ n§laja | ladhid£ h¡ | ks¦§raja ladhig£ ||
|| r×,; s×,r×g× s×r×s×n d,; | p,dn pdpm | g,gd pmgr ||
|| h¡ dµs¦avi rahitaha r£ | s¦£s¦as¦a yanas¦au| r£sada yahrudaya || ||p||

6. || s×,; r×s×nd p,; dpmg | r,; pmgr | s,ss s,; ||

|| s¦r§ dharakaru ³¡ karasugu| ³¡ karas¦r§ | rangapa t£ ||
|| rsnÖdÖ s,; r,g, p,d, | s×,r×g× r×g×r×, | s×r×s×n s×nd, ||
|| surachira sa dviprµ dg§t¡ | khan¢ani gamasam | s¦rava³¡ nand¡ ||
|| pdpm pmg, gpmg mgr, | srgr g,; | gpmg p,; ||
|| s£vaka janasan tµs¦¡ mrutad¡ | sakalaja ga | tk¡ra³a h£ ||
|| mgdp s×ndp s×,; s×,; | p,p, s×,; | s×,g×, g×,; ||
|| sarasija bhavanuta s¦a kr¡ | dhyadya ks¦a | satpra ks¦¡ ||
|| g×,m×g×r×, r×,g×r×s×, r×s×nd r×,; | g×r×s×n r×s×nd | p,; mgpd ||
|| s¡ m¡ gama nuta s¦r§ | karapari charitapa | d¡m bujayuga ||
|| s×,; p,pp p,p, p,; | p,dp mgr, | rgp, mgrg ||
|| h£ s¡rasa patr¡ ks¦¡ | s¡maja raks¦¡ | karah£ kamal¡ ||
|| s,ss s,s, s,; srg, | rgp, dpd, | mgrg pmgr ||
|| sams¦ruta sadva ks¦¡ s¡dhuja | n¡nan d¡bh§ | s¦¿adah£ s¦rutasura ||
|| ssss s,; pppp p,; | r×r×r×r× r×,; | g×g×g×g× g×,; ||
|| gu³ara ks¦¡ mamaduri tam | parihara h£ | param¡ tman ||
|| m×g×r×s× r×s×nd s×,; s×,; | s×r×g×, g×r×s×, | nr×s×n d,; ||
|| tvayi bhaktimdi s¦a m£ | sarvad¡ d£hisa | tsangatim m£ ||
|| p,dpp, s×,ns×d, p,dpm, g,; | p,p, s×,s×, | r×,r×, g×,g×, ||
|| udvara vaibhavam d£hiha r£ | s¦aur£ tvatp¡ | d¡bj£ s£v£ ||
|| p,dp s×,s×, s×,; p,mg | g,g, g,; | s×,p, mgrg ||
|| dh§rava r¡sa kt¡ d¡sanru | simh¡ pt¡ | nama st£ || ||p||

The rhythmic stimulation of music promotes the release of Endorphins, Dopamine and Serotonin, affecting brain
chemistry and resulting in stress reduction and mood elevation. This increased Serotonin level in the brain thereby
makes an individual feel lighter, happier and calmer, eradicating all negativity. Hence, specifically composed
meditation music aligns you instantly with the “happiness frequency”.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 9

rachan¡: svarajati 2 - r¡ma n¡ mor¡linchar¡
v¡gg£yak¡ra: valaj¡pe¿ s¦r§ venka¿arama³a bh¡gavatar (february 18, 1781 - december 15, 1874)
r¡ga: harik¡mbhµji (28th m£©akarta) t¡©a: rÀpaka bh¡s¦¡: telugu
¡rµha³am: s r2 g 3 m 1 p d 2 n 2 s× avarµha³am: s× n 2 d 2 p m 1 g 3 r2 s

s¡hitya

|| pallavi ||
|| r¡ma n¡ mor¡linchar¡ raghuvar¡ samayamid£ ||

|| anupallavi ||
|| r¡ra ninu nammitigadar¡ sarasij¡ks¦a sanaka sa || -
|| nandana muni vandita pada par¡tpar¡ par¡k£la || ||p||

|| chara³am ||
1. || p¡mara jan¡vana sa || -
|| n¡tana sarvµttama s¡ragun§ pada ||
|| pankajamula vi¢an vi¢an¡¢annika karu³¡ karu || -
|| ³¡kara sad¡ s¦ubhakar¡ nanu maravaka || ||p||

2. || manavini vinara sad¡ marachite veratugad¡ ||

|| manasul£da moravina¢¡s¦rita phalad¡yaka birud¡ ||
|| nenarunchina n§ padabhakti nosangumikanu vinun£ ||
|| nirantara apar¡dhinaudura madini sara©amagu || ||p||

3. || n§ n¡ma mahimalerugan n¡ taramaguna¿a || -

|| r¡ na¿ar¡ja hrudambuja vara madhukara ||
|| nikhil¡tmaka n£ satatamu r¡mapura guruvar¡yanu || -
|| chun padilamug¡ poga¢udug¡na k¡var¡da raghu || ||p||

Meaning: Bhagawan Rama, this is the right time to listen to my request. Come, I trust you. Is it not? Sarasijaksha (the
lotus-eyed), worshipped by the sages Sanaka and Sanandana, the Supreme, why delay in coming? Protector of the
common man, Sarvottama (the best), I am unable to leave your lotus feet. Please show mercy on me. O Karunakara
(the merciful)! Always doing good, do not forget me. O Bhagawan Rama! Listen to my request. Is it right on your part to
forget me? Are you not having the mind to listen? Will you not listen to my requests? You have the title that you always
protect the seekers. So bless me with your sacred feet and protect without forgetting me. Though I am a sinner willful of
thoughts, forgive me. Is it possible to know the limits of your great name? Always shining, feeding nectar from the bottom
of your heart as Nataraja (as Mohini), please protect me. Omniscient, shower your blessings on those singing your
greatness with due praises as the preceptor of Ramapura. Why not protect me Raghuvara? Listen to my request.

svara - s¡hitya
|| pallavi ||
|| s×,;;d, n,; || d,p,; d,;n, ||
|| r¡ma n¡ || mor¡ lincha ||

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 10

 || s×,;; n,r×, n,||s×, d,n, p,d,n, ||
|| r¡ raghu va||r¡ sama yamid£ ||

|| anupallavi ||
|| s×;r× nr×n, dpmg || m,pd ns×,n dpdn ||
|| r¡ra ninuna mmitigada || r¡sara sij¡ks¦a sanakasa ||
|| s×,ns× r×g×m×, g×r×s×n || r×s×, r×n, dp, d,n ||
|| nandana munivan ditapada || par¡ tpar¡ par¡ k£la ||

|| s×,;;d, n,; || d,p,; d,;n, ||

|| r¡ma n¡ || mor¡ lincha ||
|| s×,; ;; ;; ||
|| r¡ .... .... ||

|| chara³am ||
1. || d,;; (dndndn) d,p,d, || n,;; (dndndn) d,p,s×, ||
|| p¡ maraja || n¡ vanasa ||
|| n,;; (dndndn) d,n,s×, || r×,g×r× s×,r×s× n,s×n ||
|| n¡ tanasa || rvµttama s¡ragu n§pada ||
|| d,nd pmgm p,gm || p,dn dpdn s×,dn ||
|| pankaja mulavi¢an vi¢a || n¡¢a nnikakaru ³¡karu ||
|| s×; ndp p; mgr || s,;; s×ndpdn ||
|| ³¡ karasa d¡ s¦ubhaka || r¡ nanumaravaka || ||p||

2. || s×r×ns× dns×r× s×,; || ns×dn pdns× n,; (n,dn) ||

|| manavini vinarasa d¡ || marachite veratuga d¡ ||
|| dps×n, dpm gmp, || mpdpd, pdndn, ||
|| manasul£ damora vina¢¡ || s¦ritaphalad¡ yakabirud¡ ||
|| pdp, dnd, ns×n, || s×r×s×, s×r×g×m× g×r×s×n ||
|| nenarun chinan§ padabha || ktinosan gumikanu vinun£ ||
|| g×r×, ns×, r×n, dp, || s×n, dpm gm, pdn ||
|| niran tar¡ par¡ dhinau || dura madini sara©a magu || ||p||

3. || s×,; s×,r×s× ndns× || n,; d,nd pmgm ||

|| n§ n¡mama himaleru || ga nn¡tara maguna¿a ||
|| p,; mpd,; pd||n,; rgmp dns×r× ||
|| r¡ na¿ar¡ jahru||dam bujavara madhukara ||
|| g×r×s×, r×s×n, dpmg || m,nd npdn s×,dn ||
|| nikhil¡ tmakan£ satatamu || r¡mapu raguruva r¡yanu ||
|| s×,ns× r×g×m×, pdns×||r×, ns×, dn; pdn ||
|| chunpadi lamug¡ poga¢udu||g¡ nak¡ var¡ daraghu || ||p||

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 11

rachan¡: svarajati 3 - s¡mi daya m§r¡ cheli n£lukµr¡ v¡gg£yak¡ra: unknown
r¡ga: mµhana (28th m£©akarta harik¡mbhµdi janya) t¡©a: ¡di bh¡s¦¡: telugu
¡rµha³am: s r2 g 3 p d 2 s× avarµha³am: s× d 2 p g 3 r2 s

s¡hitya

|| pallavi ||
|| s¡mi daya m§r¡ cheli n£lukµr¡ ||
|| § mµ¢i tagun£mir¡ chalam¡ mumm¡¿ikini ||

|| anupallavi ||
|| bhÀmi (lµ) velasina s¦r§ karivarada ||
|| n£mamuna neranammina j¡³anu mudamodavaka sarasaku piluvara ika || ||p||

|| chara³am ||
1. || r¡r¡ vagal£l¡ ipu¢£lara m¡ b¡lanu n§ d¡niga n£lukµ ||
|| j¡lijendi dayatµ palum¡ranu g¡ravamuna palukara virasamoladu || ||p||

2. || inti janula m£lbanti na¢ala chaudanti chanula pantula biguven¿ani ||

|| pantaginchi mantukekku kantuni ch£tibantir¡ par¡ku valadura || ||p||

3. || marulu m§ra maruni dÀri s¡reku virahamondi maruk£©ini gÀ¢ara ||

|| niratamu kanikaramuna karamaruduga mari mari ninu s¦ara³anera maruvakika || ||p||

Meaning: In this, another shrungaara geetam , a friend (or a close associate, a close relative of her age) pleads the
Bhagawan (Krishna) to take care of her (a girl who immersed herself in the bhakti-prema). This shows an understanding
of the plight and feelings a friend had on her.

Swami! (O revered one!), show your mercy on your beloved. Why are you delaying? Have you not made up your mind?

You are the one who incarnated on earth and protected Gajendra (from a crocodile)! She couldn't help but is fixated on
you. Now you shouldn't feel too happy about yourself for having done this to her. Why don't you take her close to you?

Why are you acting as if you are not interested now? This is our girl, and take her to be yours. Be kind, be nice and talk
to her more. Don't cause any misunderstanding!

Among women, she is (our girl is) well-known as someone who carries herself well ("naDaka" is gait, "naDavaDika" is
the behavior of walking gracefully. Poets use the elephant to describe an attractive walking.). But she's very rigid, she's
not able to express herself because she respects elders. People are going to know about your delay. It's marriage time
and she's already holding the flower ball in her hand ("banti" is Marigold and is considered one of the most beautiful
flowers. One of the customs in a wedding is to hand a flower ball to the bride and make her throw it at the groom to
cheer up everyone and get into a playful mood). Don't neglect now!

You have to get attracted to her. Get close to her and make love to her. Always be kind and well behaved to her (take
utmost care of her). I'm pleading to you and don't forget.

Composer of the previous Swarajati "Rama na moralinchara" Shri Walajapet Venkataramana Bhagawatar was a
direct disciple of Shri Tyagaraja. He learned music from Tyagaraja serving him for 30 years.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 12

 svara - s¡hitya

|| pallavi ||
|| g,;;p, g,r, s,r, | s,;; rs|dÖ,pÖ, dÖ,s, ||
|| s¡ mi daya m§ | r¡ cheli|n£lu kµr¡ ||
|| s,;; r,;g, p,p, | g;d p,gp | g,r g,rsr ||
|| § mµ¢i tagu | n£mi r¡chala | m¡mu mm¡¿ikini ||

|| g,;;p, g,r, s,r, | s,;; rs|dÖ,pÖ, dÖ,s, ||

|| s¡ mi daya m§ | r¡ cheli|n£lu kµr¡ ||

|| anupallavi ||
|| p,; p,d, p,g, r,; | g,;; g,|d,p, g,r, ||
|| bhÀ mive lasi n¡ | s¦r§ ka|riva rada ||
|| g;p dpds× d,pd p,gr | gpds× dps×d | pgdp grsr ||
|| n£ma munanera nammina j¡³anu | mudamoda vakasara | sakupilu vara-ika || ||p||

|| chara³am ||
1. || p,p, dpg, g,pg r,gr | r,r, grs, | s,rs r,sdÖ ||
|| r¡r¡ vagal£ l¡ ipu ¢£lara | m¡b¡ lanun§ | d¡niga n£lukµ ||
|| s,sr, rsr g,rg p,dp | g,pd r×s×ds× | pdgp grsr ||
|| j¡lijen didaya tµpalu m¡ranu | g¡rava munapalu | karavira samoladu || ||p||

2. || d,pd pgp, p,gp grg, | g,dp dpg, | pgpg r,gr ||

|| intija nulam£ lbantina ¢alachau | danticha nulapan | tulabigu ven¿ani ||
|| r,g r,s r,s dÖ,pÖ dÖ,s r|g, pd, s×p, | dg,p grsr ||
|| panta ginchi mantu kekku kantu ni|ch£ tiban tir¡ | par¡ku valadura || ||p||

3. || ggp g,r rrg r,s r,sdÖ | sss r,rsr | g,rg p,dp ||

|| marulu m§ra maruni dÀri s¡reku | viraha mondimaru| k£©ini gÀ¢ara ||
|| ggpp dds×s× r×r×g×r× r×s×dp | dr×r×s× dpds× | s×dp pgrsr ||
|| niratamu kanikara munakara maruduga| marimari ninus¦ara | ³anera maruvakika||

|| all sangatis of pallavi ||

Tala and Chandas

Like Taal or Tala (rhythmic meters) for Indian music, literary works like Kavyas (epics) and Maha-Kavyas (great
epics) are written using meters across the Indian subcontinent in different languages. In literature, these meters are
called chandas, and syllables (matras) correspond to rhythmic beats (aksharas). Vedic chandas is the oldest known
followed by those in Kaavyam and Gadyam, and later on the taalamela of Sangeetam and Nrutyam.

Remember Bhagawad Gita shlokas? They are composed in rhythmic meters (chandas) called Anushtup and
Trishtup with two lines of 16 syllables and four lines of 11 syllables each.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 13

rachan¡: svarajati 4 - s¡mbas¦iv¡yanav£ v¡gg£yak¡ra: s¦r§ chinnikrus¦³ad¡sa (a.k. chinnikrus¦³a n¡i¢u)
r¡ga: kam¡ch (28th m£©akarta harik¡mbhµdi janya) t¡©a: ¡di bh¡s¦¡: telugu
¡rµha³am: s m 1 g 3 m 1 p d 2 n 2 s× avarµha³am: s× n 2 d 2 p m 1 g 3 r2 s

s¡hitya

|| pallavi ||
|| s¡mbas¦iv¡yanav£ rajatagiri || (s¡mba = sa + amba; s¡mbas¦iv¡ + anav£)

|| anupallavi ||
|| s¦¡mbhav§ manµhar¡ par¡tpar¡ krup¡kar¡ s¦r§ || ||p||

|| chara³am ||
1. || n§v£ guru daivambani y£v£©anu s£vimpuchu sad¡ madini s¦iva || ||p||

2. || sthira madhurapuramun¡ varamulosagu haruni niratamunu dalachi || ||p||

3. || parama day¡nidhivanuchu maruvaka n¡ hrudayamun¡ || (day¡nidhivanuchu = day¡nidhivi + anuchu)

|| mah¡d£va mah¡prabhµ sundara n¡yaka suravara d¡yaka bhavabhayahara s¦iva || ||p|| (sundar£s¦vara)

4. || s¦r§ s¦ubhakara s¦as¦i maku¿adhar¡ jaya vijaya tripurahara ||

|| s¦ritajanalµl¡ adbhuta gu³a s¦§l¡ krutanutap¡l¡ patituni v£©¡ ||
|| mudambalaranga pad¡bjamulandu padambuluj£rchu pas¦upatini ||
|| j²¡namu dhy¡namu sn¡namu p¡namu d¡namu m¡namu abhim¡namanuchu ||
|| kanikaramuna chara³ambulu kanugonu s¦rutulan nutula s¦ara³anuchu || ||p||

5. || s¡res¡reku n§ n¡ma mantram kµrin¡nu n§ p¡d¡bja mantram ||

|| d¡su¢au chinni krus¦³uniki dikku n§v£yani chokkan¡thuni nammukoni || ||p|| (chokka = beautiful)

Meaning: Pray to Bhagawan 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. O Mahadeva
(mahAdEva)! You are handsome and grant boons to the Devas (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, O Chokkanatha!".

This Swarajati composed in Telugu and in raga Kamaas is in praise of Bhagawan Shiva. This is another famous
Swarajati like "Rara Venu". In terms of rendering difficulties, it is considered par or more difficult than beginner Varnams.
This is probably the reason this is taught after Varnams though in general Swarajatis are taught before Varnams. This
Swarajati also introduce students to gati-bhEda (tempo/gait) in the fifth Charanam. While the first four Charanams are
composed in third speed i.e. four notes per beat (chatushra gati), the fifth Charanam is composed of five notes per beat
(khanda gati). To understand this, students by now should have practiced the initial varases in third speed very well.

Remember: Vaggeyakaras had dedicated their lives to create these divine things for the betterment of others.
Practicing their work by changing the words of the saahityam as per religion is plagiarism and purloining. This
beautiful composition is dedicated to one and only Saambashiva. Musicians should always remember this.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 14

 svara - s¡hitya

|| pallavi ||
|| s×,; n,d, p,; m,g, | m,;; g,|m,p, d,n, ||
|| s¡m bas¦i v¡ yana | v£ ra|ja ta giri ||

|| anupallavi ||
|| s×;r× n;s× d;n p;d | m;p m;g | m;p d;n ||
|| s¦¡mbha v§ma nµha r¡pa | r¡tpa r¡kru | p¡ka r¡s¦r§ || ||p||

|| chara³am ||
1. || s×,r×, s×n n,s×, nd d,n, | dp p,d, pm | sm, gmpdn ||
|| n§v£ guru daivam bani y£v£ | ©anu s£vim puchu | sad¡ madinis¦iva || ||p||

2. || ds×nd pmgm p,; pdnd | pmgm m,; | mndn dpdn ||

|| sthiramadhu rapuramu n¡ varamulo | saguharu ni | niratamu nudalachi || ||p||

3. || s×r×s×n s×,; ns×nd n,; | dndp d,; | pdpm p,; ||

|| paramada y¡ nidhivanu chu | maruvaka n¡ | hrudayamu n¡ ||
|| ssss mmmm pppp dddd | ns×ns× n,dp | dpmg mpdn ||
|| mah¡d£va mah¡prabhµ sundara n¡yaka | suravara d¡yaka | bhavabhaya haras¦iva|| ||p||

4. || s×,;; s×n nddp pmmg | m,;; pd | ndmg mpdn ||

|| s¦r§ s¦ubha karas¦as¦i maku¿adha| r¡ jaya | vijayatri purahara ||
|| s×m×g×s× s×,s×, s×r×s×n n,n, | ns×nd d,d, | pdpm p,p, ||
|| s¦ritajana lµl¡ dbhutagu³a s¦§l¡ | krutanuta p¡l¡ | patituni v£©¡ ||
|| sm,m gp,p md,d pn,n | dr×,r× ns×,s× | ns×nd p,; ||
|| mudamba laranga pad¡bja mulandu | padambu luj£rchu | pas¦upati n§ ||
|| m,pm p,dp d,nd n,s×n | s×,r×s× r×,s×n | s×r×s×, ndpm ||
|| j²¡namu dhy¡namu sn¡namu p¡namu | d¡namu m¡namu | abhim¡ namanuchu||
|| gmpd ns×nr× s×,; s×r×ns× | dnpd m,; | dpmg mpdn ||
|| kanikara munachara ³am bulukanu | gonus¦rutu la | nnutulas¦a ra³anuchu|| ||p||

(khan¢a na¢e, ta-ka-ta-ki-¿a)

5. || s×,r×s×, n,dn, s×,nd, p;; | p,dn, d,pm, | p,mg, m;; ||
|| s¡res¡ rekun§ n¡maman tram | kµrin¡ nun§p¡ | d¡bjaman tram ||
|| m,gm, p,mp, d,pd, n,dn, | s×,r×s×, n,dn, | s×,nd, m,pdn ||
|| d¡su¢au chinnikru s¦³uniki dikkun§ | v£yani chokkan¡ | thunina mmukoni || ||p||

Music is a discipline, and a mistress of order and good manners. She makes the people milder and gentler, more
moral and more reasonable. – Martin Luther, 15th-century German theologian.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 15

rachan¡: svarajati 5 - r¡v£ m£ maguv¡ v¡gg£yak¡ra: m£©attÀr s¦r§ v§rabhadrayya (1739 - 1786)
r¡ga: ¡nandabhairavi (20th m£©akarta na¿abhairavi janya) t¡©a: ¡di bh¡s¦¡: telugu
¡rµha³am: s g 2 r2 g 2 m 1 p d 2 p s× avarµha³am: s× n 2 d 2 p m 1 g 2 r2 s

s¡hitya
|| pallavi ||
|| r¡v£ m£ maguv¡! vinavu taga || -
|| v¡ v£¢ukanu? karu³an£¢uvaga kuluka tµ¢ukoni ||

|| anupallavi ||
|| v£ v£gamunajani n¡ vibhuni kanugoni || (v£gamunajani = v£gamuna + chani)
|| § v¡du valadani n¡ m¡¿a vinumani || ||p||

|| chara³am ||
1. || ¡ m¡nini vagal£ m¡ cheluvunak£mµ ghanamuga tµchi nanu marache || -
|| na¿an-£manukoniyedanika manambunandun-£mi tµchakanun¿i kada || ||p||

2. || s¦r§karu¢agu s¦µbhan¡dri vibhu¢u n£¢¡ chelingalisena¿a ||

|| nanun kaluvala r¡ju ka©ana t£lchuna¿a up¡yamuna telpi tµ¢ukoni || ||p||

Meaning: This Anandabhairavi swarajati is part romantic and part devotional. Here a lady says to her friend - "Please
come, my dear girl. You won’t listen! Is this a fight between us? Please go and ask him to forget our quarrel and come
back to me. He has fallen for the superficial charms and viles of my rival and forgotten me, leaving me perplexed. Fetch
the Lord of Shobhanadri (Vishnu) here by any means".

Pallavi: Why are you not (mE) coming (rAvE) Maiden (maguvA)? Why are you not listening (vinavu) to me? Are you
picking up a quarrel (tagavA) for fun (vEDukanu)? I am crying (EDuvaga) for sympathy (karuNa) and longing (kuluka) for
him. Why can't you bring him along (tODukoni)?

Anupallavi: Go (chani; "jani" when combined) very fast (vE vEgamuna) and find (kanugoni) my (nA) Lord (vibhu). Tell
him this (I) quarrel (vAdu) is not necessary (valadani) and ask him to listen (vinumani) to my (nA) words (mAta).

Charanam 1: The other woman's (aa mAnini) actions (vagalE) appeared (tOchi) to be great (ghanamuga) to my (mA)
beloved (cheluvunakEmO) and he forgot (marachenaTa) me (nanu). What should I think (Emanukoniyedan) now (ika)?
In my heart (manambunandu), I am not able to think what I should be doing (Emi tOchakanunTi kada).

Charanam 2: Giver of wealth (shrI karuDagu), the Lord (vibhuDu) of Shobhanadri (shObhanAdri, one of the seven hills
of Tirumala mountain range) met with (kalisenaTa) the damsel (chelin) today (nEDu). Make a plan (upAyamu telpi) and
bring him with you (tODukoni). He is going to bring me immense joy like full moon (kaluvala rAju) to water lilies.

The Composer: Melattur Shri Veerabhadrayya was the composer par excellence and was both versatile and prolific. He
was a disciple of "Bharatam" Melattur Kashinathayya, who composed the songs not for Kings but Gods. Veerabhadrayya
composed in Telugu, Sanskrit, Tamil and Marathi. Historians of South Indian music give credit to Veerabhadrayya first
Swarajati, the initial Ragamalika, the earliest Varnam and the Tillana. His Swarajati in Husseini is a very long one that
takes five to six hours for a dancer to do justice. Many of his works are yet to surface from the depths of time.

Veerabhadrayya was a contemporary of the Bhosala king Pratapa Simha (1739 - 1764), who patronized him and
showed great respect to his principles. Veerabhadrayya's disciples include Shri Ramaswamy Dikshitar, father of Shri
Muttuswamy Dikshitar of the Tiruvarur Trinity. Subbarama Dikshitar declared in his "Sangeeta Sampradaya Pradarshini"
that it was because Veerabhadrayya cleared and paved the way that Carnatic music could later shine gloriously.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 16

 svara - s¡hitya

|| pallavi ||
|| p,; pmgm p,m, pmgr | s,;; m,|g,r, s,nÖ, ||
|| r¡ v£ m£ magu | v¡! vi |navu taga ||
|| s,;; s,; nÖ,g, r, | sgrg, mgm | pdpp, mgm ||
|| v¡ v£ ¢uka nu? | karu³an£ ¢uvaga | kulukatµ ¢ukoni ||

|| anupallavi ||
|| p; p;p, s×nn, s×,s×, | s×;m× g×,r×, | s×,n, s×,s×, ||
|| v£ v£ga muna jani | n¡vi bhuni | kanu goni ||
|| p; s×;s×, n,d, p,m, | gm,p; mp | mgr, g,m, ||
|| § v¡du vala dani | n¡m¡ ¿a | vinu mani || ||p||

|| chara³am ||
1. || p,p, dpmg m,m, pmgr | g,g, mgrs | nÖ,sg rsmg ||
|| ¡m¡ ninivaga l£m¡ cheluvuna| k£mµ ghanamuga| tµchina numarache ||
|| rsnÖ, sgrs pmgr nÖs,g | r,mg, pm, | pdpp, mgm ||
|| na¿an£ manukoni yedanika manambu| nandun£ mitµ | chakanun ¿igada || ||p||

2. || p,dp mgm, m,; m,pm | grg, g,; | mp,m grsnÖ ||

|| s¦r§karu ¢agus¦µ bha n¡drivi | bhu¢un£ ¢¡ | chelinga lisena¿a ||
|| sm,g rs sp,m gr ss×,n | dp mp,m gr | nÖ,sg, rgm ||
|| nanunga luva lar¡ju ka©a nat£lchu | na¿a up¡ya muna | telpitµ ¢ukoni ||

|| pallavi ||
|| p,; pmgm p,m, pmgr | s,;; m,|g,r, s,nÖ, ||
|| r¡ v£ m£ magu | v¡! vi |navu taga ||
|| s,;; s,; nÖ,g, r, | sgrg, mgm | pdpp, mgm ||
|| v¡ v£ ¢uka nu? | karu³an£ ¢uvaga | kulukatµ ¢ukoni ||
|| p,; pmgm p,m, pmgr | s,;; m,|g,r, s,nÖ, ||
|| r¡ v£ m£ magu | v¡! vi |navu taga ||

s......
v¡ . . . . .

Raga Anandabhairavi: Anandabhairavi is an evocative (rakti) and an important raga in Carnatic music. After the initial
introduction to the Anandabhairavi Geetam "Kamala Sulochani", this Swarajati will help perfect Anandabhairavi further.
These basic lessons can have a lasting impact on students even when blossomed into seasoned practitioners of music.

Notice the swara phrases of Anandabhairavi like P,P, DPMG M,M, PMGR in the first Charanam which are often
repeated in concerts. The last avartanam of the second Charanam is a great voice culture exercise because it
skips-jumps (dATu) of several swaras.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 17

rachan¡: svarajati 6 - s¦r§ r¡m¡bhir¡m¡ n¡du v¡gg£yak¡ra: mysÀru s¦r§ sad¡s¦iva r¡o (1800 - 1870)
r¡ga: hamsadhvani (29th m£©akarta dh§ra s¦ankar¡bhara³am janya) t¡©a: ¡di bh¡s¦¡: telugu
¡rµha³am: s r2 g 3 p n 3 s× avarµha³am: s× n 3 p g 3 r2 s

s¡hitya

|| pallavi ||
|| s¦r§ r¡m¡bhir¡m¡ n¡du ||
|| chittambu n§ p¡da pankajambupai sad¡yunchiti || (sad¡yunchiti = sad¡ + unchiti)

|| anupallavi || (in telugu language, 'ka' becomes 'ga' in sandhi.)

|| n£ramulan enchaku karu³agaligi || (karu³agaligi = karu³a + kaligi)
|| nanu karamulach£ balimig¡ day¡nvita pa¿¿i ¡darinchumu ika || ||p||

|| chara³am ||
1. || ninu vin¡ nanu krut¡rthuniga ch£yu¿akun § jagatilµn evarura nrupavara || ||p||

2. || muninuta danuja vid¡ra³a surahita s¦ubhav§ks¦a³a abhayahasta || ||p||

3. || s¦r§ s§t¡vih¡ra chatura sad¡s¦iv¡rtibhanjana sarµjanayana ||

|| madanajanaka pa¿utara suvachana das¦arathasuta sadaya hrudaya vidhi haranuta || ||p||

Meaning

Pallavi: O Shri Rama! I always placed my heart at your lotus feet.

Anupallavi: Please do not count my misdeeds and have mercy on me. O graceful! Please protect me with your strong
hands.

Charanam 1: O best among the Kings! There is no one in this world other than you to help me achieve.

Charanam 2: You are praised by all the saints. You killed the demons and helped the Gods. You looking at us is very
auspicious. You protect who surrender to you.

Charanam 3: O Lotus Eyed! O the father of Cupid! O the speaker of good words! O the son of Dasharatha! O graceful
and heartful! You are praised by Brahma and Shiva. You, along with mother Sita remove all miseries of Sadashiva.

The Composer: Shri Sadashiva Rao was a composer of Carnatic music in the traditions of Shri Tyagaraja. He was a
prominent vocalist in the court of the Mysuru King. He is credited with developing the "Mysuru style" of Carnatic music.

Sadashiva Rao was born in a Smartha Brahmin family in North Arcot. He had his musical training from Walajapet
Venkataramana Bhagavatar, a direct disciple of Tyagaraja. He was brought to the Mysuru royal court by his patrons and
introduced to the Mysuru Maharaja Krishnaraja Wodeyar III. Impressed by his singing, King made him a court musician.

Sadashiva Rao composed Swarajatis, Varnams, Krutis and Tillanas mostly in Telugu but also in Sanskrit. His
compositions are scholarly with raga bhava and lyrical beauty. He went on a pilgrimage of south India and composed
Krutis at all the temples he visited. His Krutis "Paramadbhuta" in Kamaas, "Devadideva Nanu" in Mayamalavagaula and
"Gangadhara Tripuraharana" in Purvikalyani along with Swarajati "Shri Ramabhirama Nadu" are his fine creations. He
used the mudra "Sadashiva".

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 18

 svara - s¡hitya

|| pallavi ||
|| g,;; p,; g,;r, | s,;; nÖ,|; s,; r, ||
|| s¦r§ r¡ m¡bhi | r¡ m¡| n¡ du ||
|| s, r,;g, r, g,;p, | g,np, s×np | gp; grsr ||
|| chi ttambu n§ p¡da | pankajam bupai | sad¡ yunchiti ||

|| anupallavi ||
|| p,;; n, p,g, p,; | s×,n, p,n, | p,g, p,g, ||
|| n£ ra mula nen | chaku karu | ³aga li gi ||
|| rgpn s×r×s×, s×np g,np, | grr, s×s×,n | p,; grsr ||
|| nanukara mulach£ balimi g¡day¡ | nvitapa ¿¿iy¡da | rin chumuyika || ||p||

|| chara³am ||
1. || pns×r×, gpns×, rgpn, s|rgp, pgrs | npgr snÖsr ||
|| ninuvin¡ nanukrut¡ rthunigach£ yu|¿akun§ jagatilµ | nevarura nrupavara || ||p||

2. || gprg srsnÖ pÖ,; nÖsrg | pns×r× s×,; | r×s×,n s×n,p ||

|| muninuta danujavi d¡ ra³asura | hitas¦ubha v§ | ks¦a³¡bha yahasta || ||p||

3. || p,n, s×,r× s×,n pns×ps×, | pn,g p,rg | s,r, s×npg ||

|| s¦r§s§ t¡vi h¡ra chaturasad¡| s¦iv¡rti bhanjana | sarµ janayana ||
|| s×r×p×g× r×s×r×s× npg×r× s×np×g× | r×s×r×g× s×r×ns× | pngp rgsr ||
|| madanaja nakapa¿u tarasuva chanadas¦a | rathasuta sadayahru| dayavidhi haranuta ||

|| pallavi ||
|| g,;; p,; g,;r, | s,;; nÖ,|; s,; r, ||
|| s¦r§ r¡ m¡bhi | r¡ m¡| n¡ du ||
|| s, r,;g, r, g,;p, | g,np, s×np | gp; grsr ||
|| chi ttambu n§ p¡da | pankajam bupai | sad¡ yunchiti ||
|| g,;; p,; g,;r, | s,;; nÖ,|; s,; r, ||
|| s¦r§ r¡ m¡bhi | r¡ m¡| n¡ du ||
s.....
¡.....

The life of a musician is the music itself. Like a synchronization of shruti , tala and song which brings out an
ever-appealing melody, rendering a song which a musician believes and living the life on the principles the song
portrays brings integrity in a musician.

The disharmony between what we sing and what we believe leads to cultural appropriation and would alter the
receptiveness to our beliefs in due course. Carnatic music is a life by itself. Its worshipper's (practitioner) motive
should be as clear as the heart of a devotee. None should consider this great art form just a means to earn a living.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 19

rachan¡: svarajati 7 - r¡v£ himagiri kum¡ri v¡gg£yak¡ra: s¦r§ s¦y¡ma s¦¡stri (apr 26, 1762 - feb 6, 1827)
r¡ga: tµ¢i (8 th m£©akarta) t¡©a: ¡di (in vi©amba k¡la) bh¡s¦¡: telugu
¡rµha³am: s r1 g 2 m 1 p d 1 n 2 s× avarµha³am: s× n 2 d 1 p m 1 g 2 r1 s

s¡hitya

|| pallavi ||
|| r¡v£ himagiri kum¡ri kanchi k¡m¡ks¦i varad¡ ||
|| manavi vinavamma s¦ubhamimma m¡yamma ||

|| chara³am ||
1. || natajana parip¡linivanuchu nammitini sad¡ brµva || ||p|| (parip¡linivanuchu = parip¡linivi + anuchu)

2. || madamatta mahis¦ad¡nava mardini vetad§rchave duramuganu || ||p||

3. || k¡map¡lini n§v£ gatiyani kµriti koniy¡¢iti v£¢iti || ||p||

4. || k¡mit¡rtha phalad¡yakiyan£ti birud§mahilµ n§k£ tagu || ||p|| (birud§mahilµ = birudu + §mahilµ)

5. || kamalamukhi daraga©a ghanan§la kachabhar¡ mruga vilµchana ma³iradan¡ ||

|| gajagaman¡ madilµ ninnu sad¡ dalachukoni n§ dhy¡name talli || ||p||

6. || s¦y¡makrus¦³anuta vinu n¡chintanu v£v£ga d§rchi abhayamiyyav£ ||

|| kaly¡³i kanchi k¡m¡ks¦i n§ p¡dam£ dikku || ||p||

Pallavi: Please come (rAvE), O the daughter (kumAri) of the snow-clad (hima) mountains (giri), Kamakshi (kAmAkshi) of
Kanchi! The bestower (dA) of boons (vara), O mother! listen (vinavamma) to my prayers (manavi) and grant (imma) me
auspiciousness (shubham). O my (mA) mother (amma)!

Charanam 1: I am saying (anuchu), you are the savior (paripAlinivi) of those who surrender (natajana) to you. I place
my implicit faith in you (nammiti) to protect me (brOva) always (sadA).

Charanam 2: You who subdued (mardini) the arrogant (madamatta) demon (dAnava) Mahisha, please dispel my agony
(vetadIrchave) at once (duramuganu).

Charanam 3: The protector (pAlini) of Cupid (kAma), you (nIvE) are my sole refuge (gatiyani), I beseech you (kOriti),
praise you ardently (koniyADiti), entreat you (vEDiti) to protect me.

Charanam 4: The title of one who confers (dAyaki) the fruits (phala) of the desired boons (kAmitArtha) befits to one and
only you (nIkE tagu) on this earth (mahilO)!

Charanam 5: You, the lotus (kamala) faced (mukhi) one with a beautiful conch (dara) like neck (gaLa), who has dark
(ghana) black (nIla) tresses (kachabhara), are having eyes (vilOchana) like that of a doe (mruga). Your teeth (radana)
are like pearls (maNi) and your gait (gamana) is majestic like that of an elephant (gaja). Mother (talli), I always (sadA)
reflect (dalachukoni) on you (ninnu) and meditate upon you (nI dhyAname) in my mind (madilO).

Charanam 6: O the one, worshipped (nuta) by Shyamakrishna! Listen (vinu), quickly (vEvEga) dispel (dIrchi) my fears
(chintanu) and confer (IyyavE) fearlessness (abhaya). O the auspicious one (kalyANi)! The Kamakshi of Kanchi, I have
no place to go, but to surrender (dikku) at your feet (nI pAdamE).

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 20

 svara - s¡hitya

|| pallavi ||
|| dÖ,;; nÖ;; rsnÖdÖpÖ | mÖ; dÖ;nÖ, | snÖ,dÖ, snÖr ||
|| r¡ v£ himagiriku | m¡ rikan | chik¡m¡ ks¦§ ||
|| dÖ,;; nÖ;; nÖgrnÖdÖ | mÖ; dÖ;nÖ, | snÖ,dÖ, snÖr ||
|| r¡ v£ himagiriku | m¡ rikan | chik¡m¡ ks¦ivara ||
|| s,; ;; ;; nÖdÖnÖs | rg,s rnÖs, | snÖg; r,nÖ ||
|| d¡ .... .... manavivi | navamma s¦ubhami | mmam¡ yamma ||

|| dÖ,;; nÖ;; rsnÖdÖpÖ | mÖ; dÖ;nÖ, | snÖ,dÖ, snÖr ||

|| r¡ v£ himagiriku | m¡ rikan | chik¡m¡ ks¦§ ||

|| chara³am ||
1. || dÖnÖsr gr g;; mgrsnÖ | r,;; dÖnÖ | srg; r,nÖ ||
|| natajana pari p¡ linivanuchu | na mmiti | nisad¡ brµva || ||p||

2. || mgr, srsnÖ dÖ;; nÖsr | snÖsr s,;|, dÖnÖs rgrnÖ ||

|| madama ttamahis¦a d¡ navama | rdiniveta d§ | rchavedu ramuganu|| ||p||

3. || g,mp; gm d;n dmgm | g,rs; rg | s,sr nÖ,nÖs ||

|| k¡map¡ lini n§ve gatiyani | kµriti koni | y¡¢iti v£¢iti || ||p||

4. || g,mp,m gm d; ndmg,|, mgr s; r|gs r; rnÖs ||

|| k¡mit¡rtha phala d¡ yakiyan£| tibiru d§ ma|hilµ n§ k£tagu || ||p||

5. || gmnd mgmd mgdm, grnÖ | dÖg,s rnÖs, | grnÖdÖ grg, ||

|| kamalamu khidaraga ©aghanan§ lakacha | bhar¡mru gavilµ | chanama³i radan¡ ||
|| mgrnÖ dÖ;g mpgm gd,n | dg×r×n d;p|, mg; r,s ||
|| gajagama n¡ma dilµninnu sad¡da | lachukoni n§dhy¡| name talli || ||p||

6. || d,d n,ndn s×nr×; r×,s× | ns×, s×,nd,|, ns×nd pm, ||

|| s¦y¡ma krus¦³anuta vinun¡ chinta | nuv£ v£gad§| rchibhayami yyav£ ||
|| ; p; d; n; s×,r× n,|, s×,n d;p|, mg; r,s ||
||. . ka ly¡ ³i kanchi k¡| m¡ks¦i n§p¡| dam£ dikku ||

|| pallavi all lines || s . . . . .

for flutists: s=s r=sr g=r2g=r2,mr2 m=m p=p d=pd n=d=d2,s×d 2 s×=s× [snÖ=ssdÖ ; rnÖ=rrdÖ]
s×=s× n=s×d2=s×,d 2s× d=pd p=p m=m g=mg,m r=sr s=s [r,nÖ=srsrsdÖ dÖnÖ=pÖdÖsdÖ 2=dÖdÖ2,sdÖ2]

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 21

rachan¡: svarajati 8 - k¡m¡ks¦i anudinamu (amb¡ k¡m¡ks¦i)
v¡gg£yak¡ra: s¦r§ s¦y¡ma s¦¡stri (april 26, 1762 - february 6, 1827)
r¡ga: bhairavi (20th m£©akarta na¿abhairavi janya and bh¡s¦¡nga r¡ga)
t¡©a: mis¦rach¡pu (3 + 2 + 2, taki¿a + taka + dhimi) bh¡s¦¡: telugu
¡rµha³am: s r2 g 2 m 1 p d 2 n 2 s× avarµha³am: s× n 2 d 1 p m 1 g 2 r2 s

s¡hitya

|| pallavi ||
|| k¡m¡ks¦i amb¡ anudinamu maravakan£ n§ || O Mother Kamakshi of Kanchipura (Kanchi)! Daily, without
|| p¡damul£ dikkanuchu nammitini s¦r§ kanchi || forgetting, I trusted Your holy feet alone to be my refuge.

|| chara³am ||
1. || kunda radan¡ kuvalaya nayan¡ || O Jasmine teethed! O Lotus eyed! O Mother!
|| talli raks¦inchu || ||p|| Please protect me.

2. || kambu ga©a n§rada chikur¡ vidhu || O Conch necked! O Dark haired like rain-cloud!
|| vadan¡ m¡yamm¡ || ||p|| O Moon faced! O Our Mother!

3. || kumbha kucha mada matta gaja gama || O Round breasted like pitcher! O Majestic gaited
|| padma bhava hari s¦ambhu nuta pad¡ || like elephant in rut! O Mother whose feet are extolled
|| s¦ankar§ n§vu n¡ chintala v£v£ga || by Brahma – abiding in lotus, Vishnu and Shiva! O Shankari!
|| d§rchamm¡ ipu¢u || ||p|| O Mother! You please relieve my worries now very quickly.

4. || bhakta jana kalpa latik¡ || O Creeper of kalpa vruksha for devotees! O Abode of
|| karu³¡lay¡ saday¡ giri tanay¡ || Compassion! O Merciful! O Daughter of Himalaya – mountain!
|| k¡vav£ s¦ara³¡gatu¢u gad¡ || Please protect me. Haven’t I sought Your refuge?
|| t¡masamu s£yaka varamosagu || ||p|| Please bestow boons without delaying.

5. || p¡takamulanu d§rchi n§ pada || - Please relieve my worst sins and grant me devotion to Your
|| bhakti santatam§yav£ || holy feet for ever. Aren’t You Sanctifier? Won’t You heed to my
|| p¡vani gad¡ mora vinav¡ || plea? O Mother! Why this indifference?
|| par¡k£lanamm¡ vinamm¡ || ||p|| O Mother! Please listen.

6. || durita h¡ri³i sad¡ nata phala || - O Destroyer of sins! As Vedas proclaim that,
|| d¡yakiyani birudu bhuvilµ || on the Earth, You are the Goddess who has the appellation as
|| galigina dorayanuchu || ‘bestower of fruits to those who always supplicate’.
|| v£damulu morali¢aganu || ||p||

7. || n§pa vana nilay¡ sura samuday¡ || O Resident of Kadamba grove!

|| kara vidhruta kuvalay¡ mada || O Mother having the assembly of celestials!

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 22

 || danuja v¡ra³a mrug£ndr¡s¦rita || O Mother holding lotus in Your hand!
|| kalus¦a damana ghan¡ || O Lion – Lord of animals - for arrogant asura elephants!
|| aparimita vaibhavamu kala n§ smara³a || O Great One who removes impurities of dependents!
|| madilµ dalachina jan¡dulaku || You grant much prosperity to those people who, in their minds,
|| bahu sampadalanicch£vipu¢u || contemplate on You who has limitless grandeur.
|| m¡kabhayamiyyav£ || ||p|| Now, please grant me refuge (freedom from fear).

8. || s¦y¡ma krus¦³a sahµdar§ s¦iva || - O Sister of Vishnu – Shyama Krushna! O Shiva Shankari!
|| s¦ankar§ param£s¦var§ || O Supreme Goddess (Consort of Shiva, Parameshwara)!
|| hari har¡dulaku n§ mahimalu || Is it within the capacity of even Vishnu, Shiva and others to
|| ga³impa taram¡ sutu¢amm¡ || measure Your greatness? O Mother! I am Your son.
|| abhim¡namu l£d¡ n¡pai d£v§ || Don’t You have affection towards me? O Devi! Why this
|| par¡k£lan£ brµvav£ ipu¢u s¦r§ bhairav§ || ||p|| indifference? Please protect me now, Shri Bhairavi
(Consort of Shiva – Bhairava)!

Shri Shyama Shastri (1762 - 1827) is one of the most renowned and prolific composers of Carnatic music. He is the
senior-most among the Trinities. Shri Tyagaraja (B. 1767) and Shri Muttuswami Dikshitar (B. 1775) being the other two.
Predominantly, Shyama Shastri worshipped Kamakshi (Shakti), Shri Tyagaraja worshipped Rama and Shri Diskhitar
worshipped Shiva. Shri Shastri was quite admired and respected by Tyagaraja and it appears that the two often held
scholarly and lengthy discussions on their latest compositions.

Shastri was an ardent devotee of Kamakshi. In this song, he expresses his deep devotion, utter helplessness and
ardent plea for generous compassion to the goddess. One can see a perfect blend of utmost bhakti, manodharma
bhavam with adequate sahityam and an absolute talam in this composition. These made his compositions academic and
scholarly masterpieces. His favorite ragas seem to be Saveri and Anandabhairavi, by looking at the number of Krutis he
composed in these ragas. His rare originality was in swara sahitya compositions and the use of swarakshara. In other
words, swara and sahitya having identical sounding syllables such as ‘padasarara’ corresponding to the swaras ‘pa da
sa’ in the Kruti ‘devi ni’ in Kambodi. Eloquent Shastri chose raga Bhairavi to compose this song on Goddess Bhairavi.

This swarajati, "Kamakshi Anudinamu" in the raga Bhairavi is considered one of the most comprehensive compositions.
The interesting aspects of this particular song are that the structure goes with the improvisatory explorations of the
melodic scope of the raga Bhairavi. The Pallavi starts in the lower octave which reflects the humility of the composer and
his complete surrender to the Goddess (when he says the feet of Goddess Kamakshi is his only refuge). The song has
eight Charanams each starts with a note in successive order - the first Charanam begins in the note shadjam with each
charanam thereafter begins in the next swara in sequence. The eighth and final Charanam begins in tara-shadjam
completing an octave. All rendered in swaram-sahityam format. The tempo (kala-pramanam) is sedate.

Shri Shastri is considered an architect of the Swarajati music form as he was probably the first to compose in a new
form of the swarajati musical genre. Before this, the swarajati was primarily a dance form and was close in structure to
the dance Varnam (padavarNam). This maestro of Carnatic music had composed a set of three famous swarajatis
referred to as Ratnatrayam or three jewels along with his three hundred Krutis. These are in Todi (Adi), Bhairavi (Mishra
chapu) and Yadukulakambodi (Mishra chapu). They stand unmatched both for the definition of the raga bhava and the
richness of musical ideas. These are intended to be sung in concert rather than danced.

Carnatic music heritage is indeed a treasure trove and the Bhairavi swarajati, with its moving lyrics with mellifluous and
meditative music is undoubtedly a truly invaluable gem. Mishra chapu tala adds further complexity to this swarajati. It is
a primer on Bhairavi. Mastering it makes one render Bhairavi excellently.

Shyama Shastri’s son, the illustrious Subbaraya Shastri (1803 - 1862), had the unique privilege of learning under each
of the trinity. Like his great contemporaries, Shyama Shastri too correctly predicted the time of his death. He passed
away on February 6, 1827, six days after his devoted wife passes away.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 23

 svara - s¡hitya

|| pallavi ||
1. || nÖ,;; ;; rssnÖ || nÖdÖdÖ,; ;; dÖ,mÖ, || (nÖ=dÖ=dÖs =dÖ,sdÖ)
|| k¡ .... m¡ || ...... .... ks¦§ || (gr = mg,mr)
|| pÖ,;; ;; dÖ,nÖ, || s,;; ;; ;; || (rg = rr,mr)
|| ...... .... am || b¡ .... .... || (mg = mmg,m)

2. || nÖ,;; ;; rssnÖ || nÖdÖdÖ,; ;; dÖ,mÖ, || (gm = r,mrm)

|| k¡ .... m¡ || ...... .... ks¦§ || (d1 = pd1)
|| pÖ,;; ;; dÖ,nÖ, || s,;; ;; g,r, ||
|| ...... .... am || b¡ .... kanchi ||

3. || nÖ,;; ;; rssnÖ || ndÖdÖ,; ;; dÖ,mÖ, ||

|| k¡ .... m¡ || ...... .... ks¦§ ||
|| pÖ,;; ;; dÖ,nÖ, || s,;; ;; dÖ,nÖ, ||
|| ...... .... am || b¡ .... anu ||
|| s,r,g, m,p, m,g, || r,;; ;; s,mrrnÖ ||
|| dinamu mara vaka || n£ .... n§ ||
|| s,mg,mr, g,m, p,; || d,n,s×, s×,r×m× r×s×n, d,p, ||
|| p¡ da mul£ di || kkanuchu na mmiti ||
|| p,; m,; g,r,s, ||
|| ni s¦r§ kanchi ||

|| nÖ,;; ;; rssnÖ || nÖdÖdÖ,; ;; dÖ,mÖ, ||

|| k¡ .... m¡ || ...... .... ks¦§ ||
|| pÖ,;; ;; dÖ,nÖ, || s,;; ;; ;; ||
|| ...... .... am || b¡ .... .... ||

|| chara³am ||
1. || s,;r, nÖ,s, r,; || ; nÖ,r, s,nÖ, dÖ,pÖ, ||
|| kunda rada n¡ || . . kuva laya naya ||
|| mÖ,;; ;; pÖ,; || dÖ,; nÖ,; s,;r, ||
|| n¡ .... ta || lli ra ks¦inchu || ||p||

2. || r,;g, r,g, s,; || ; nÖ, g,r,s, r,; ||

|| kambu ga©a n§ || . . ra dachiku r¡ ||
|| ; nÖ,r, s,nÖ, dÖ2,; || ; nÖ,;; s,;r, ||
|| . . vidhu vada n¡ || .. m¡ yamm¡ || ||p||

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 24

3. || g,;m, g,r, s,r, || nÖ,;s, nÖ,s, r,g, ||
|| kumbha kucha mada || matta gaja gama ||
|| m,;p, g,r, g,m, || p,;d, m,g, r,s, ||
|| padma bhava hari || s¦ambhu nuta pad¡ ||
|| nÖ,;s, nÖ,; g,; || r,g,; m,; p,d2, ||
|| s¦anka r§ n§ || vun¡ chin tala ||
|| n,; n,; d,p,; || p,; m,; g,r,s, ||
|| v£ v£ gad§ || rcha mm¡ ipu¢u || ||p||

p
4. || m,;p, n,d, m,; || p,d,p, m,; g,r, ||
|| bhakta jana ka || lpalati k¡ karu ||
|| g,;m, p,; g,m, || p,;g, p,m, g,r, ||
|| ³¡la y¡ sada || y¡gi ri ta nay¡ ||
|| nÖ,;s, r,; nÖ,s, || r,;nÖ, s,r, g,m, || (r,nÖ, = r,rdÖ)
|| k¡va v£ s¦ara || ³¡ga tu¢u gad¡ ||
|| p,;d2, n,s×, p,; || s×,n,d, p,m, g,r, ||
|| t¡ma samu s£ || yakava ramo sagu || ||p||

5. || p,;d, p,m, g,r, || g,;m, p,; m,g, ||

|| p¡ta kamu lanu || d§rchi n§ pada ||
|| r,;g, m,; g,r, || nÖ,;s, r,; ;; ||
|| bhakti san tata || m§ya v£ .... ||
|| g,;m, g,r, s,; || ; p,m, g,r, s,; || (p,m, = p,pm)
|| p¡va niga d¡ || . . mora vina v¡ ||
|| ; r×, s×,; n,;d, || p,; m,;g, r,s, ||
|| . . pa r¡ k£la || na mm¡vi namm¡ || ||p||

6. || d,p,n, d,; p,m, || g,r,; g,m, p,d, ||

|| durita h¡ ri ³i || sad¡ nata phala ||
|| p,;; ;; m,g, || m,p,m, g,r, g,m, ||
|| d¡ .... yaki || yanibi rudu bhuvi ||
|| g,;; ;; r,g, || m,g,r, g,s, r,nÖ, || (g,s, = rgs,)
|| lµ .... gali || ginado raya nuchu || (r,nÖ, = r,rdÖ)
|| s,;; ;; g×,r×, || s×,n,d, p,m, g,r, || (s×,n, = s×,ds×)
|| v£ .... damu || lumora li ¢a ganu || ||p||

Missing Jatis in Swarajati and Jatiswara

Don’t be surprised if you don’t see any jatis in Swarajatis and Jatiswara you learn from this book. Swarajatis and
Jatiswaras taught as music lessons usually will not have jatis but are taught with jatis in dance lessons.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 25

7. || n,;r×, s×,r×, n,r×, || n,;d, p,d, m,p, ||
|| n§pa vana nila || y¡su rasa muda ||
|| g,;r, s,r, nÖ,s, || r,g,m, p,; m,p, ||
|| y¡ka ravi dhruta || kuvala y¡ mada ||
|| s×,n,d, p,; m,g, || r,s,; nÖ,; dÖ2,nÖ, ||
|| danuja v¡ ra³a || mrug£n dr¡ s¦rita ||
|| s,r,g, m,p, m,g, || r,;; ;; nÖ,s, ||
|| kalus¦a dama nagha || n¡ .... apa ||
|| r,g,m, p,; s,r, || g,m,p, d,; m,p, ||
|| rimita vai bhava || mugala n§ smara ||
|| g,r,g, m,; p,m, || p,d2,n, s×,; p,d2, || (m, = pm)
|| ³amadi lµ dala || chinaja n¡ dula ||
|| n,s×,r×, g×,; m×,g×, || r×,s×,; n,; d,p, ||
|| kubahu sam pada || lani cch£ vipu ||
p
|| g×,r×,; ;; s×,n, || d,p,; ;; g,r, ||
|| ¢um¡ .... kabha || yami .... yyav£ || ||p||

8. || s×,;g×, r×,; s×,r×, || s×,;r×, n,; d,m, ||

|| s¦y¡ma kru s¦³asa || hµda r§ s¦iva ||
|| p,;d2, n,; d2,n, || s×,;; ;; g×,r×, ||
|| s¦anka r§ para || m£ .... s¦var§ ||
|| s×,r×,s×, n,; d,p, || m,g,; m,g, r,s, ||
|| hariha r¡ dula || kun§ mahi malu ||
|| nÖ,s,; ;; r,g, || m,p,; g,m, g,; ||
|| ga³im .... pata || ram¡ sutu ¢a ||
|| r,;; ;; s,nÖ, || s,;; ;; p,m, || (m, = pm)
|| mm¡ .... abhi || m¡ .... namu ||
|| p,;; ;; d2,; || ; n,; ;; s×,; ||
|| l£ .... d¡ || . . n¡ .... pai ||
|| ; r×,; ;; g×,; || m×,g×,; r×,; g×,r×, ||
|| . . d£ .... v§ || par¡ k£ lan£ ||
|| s×,;r×, n,; d,p, || m,g,; r,; g,r, ||
|| brµva v£ ipu || ¢us¦r§ bhai rav§ ||

Indic knowledge systems of Music (Sangeetam), Dance (Natyam), Medicine (Ayurveda), Yoga, and a lot more - are
all developed for the upliftment of humankind, and in that sense (although rooted and nurtured in Hinduism) they are
part of our larger world heritage. It is, therefore, the responsibility of every human being to protect, promote, and
strengthen these age-old civilizational treasures, while paying due acknowledgment to the Indic masters who made
such divine insights possible.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 26

 || pallavi ||
|| nÖ,;; ;; rssnÖ || ndÖdÖ,; ;; dÖ,mÖ, ||
|| k¡ .... m¡ || ...... .... ks¦§ ||
|| pÖ,;; ;; dÖ,nÖ, || s,;; ;; dÖ,nÖ, ||
|| . . . . . . .... am || b¡ .... anu ||
|| s,r,g, m,p, m,g, || r,;; ;; s,mrrnÖ ||
|| dinamu mara vaka || n£ .... n§ ||
|| s,mg,mr, g,m, p,; || d,n,s×, s×,r×m× r×s×n, d,p, ||
|| p¡ da mul£ di || kkanuchu na mmiti ||
|| p,; m,; g,r,s, ||
|| ni s¦r§ kanchi ||

|| nÖ,;; ;; rssnÖ || nÖdÖdÖ,; ;; dÖ,mÖ, ||

|| k¡ .... m¡ || ...... .... ks¦§ ||
|| pÖ,;; ;; dÖ,nÖ, || s,;; ;; ;; ||
|| ...... .... am || b¡ .... .... ||

Swarajatis resemble Krutis with Pallavi, Anupallavi and Charanam sections. But, unlike in Krutis, Swarajati sahityam
generally doesn’t have sangatis. Like in Krutis, improvisation is still possible as with Shri Shyama Shastri's
Swarajatis.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 27

rachan¡: svarajati 9 - k¡m¡ks¦i n§ pada v¡gg£yak¡ra: s¦r§ s¦y¡ma s¦¡stri (april 26, 1762 - feb 6, 1827)
r¡ga: yadukulak¡mbhµji (28th m£©akarta harik¡mbhµji janya) t¡©a: mis¦rach¡pu (3 + 2 + 2)
bh¡s¦¡: telugu ¡rµha³am: s r2 m 1 p d 2 s× avarµha³am: s× n 2 d 2 p m 1 g 3 r2 s

s¡hitya

|| pallavi ||
|| k¡m¡ks¦i n§ padayugamu sthiramani || O Kamakshi! I remain steadfastly trusting Your feet.
|| n£ nammiyunn¡nu n¡ chintalellanu t§rchamm¡ || O Mother! Please relieve all my worries.

|| chara³am ||
1. || amba nanu brµva samayamu || O Mother! This is an opportune moment to protect me.
|| vinum¡ patita p¡vanig¡ || ||p|| Please listen. Aren’t You redeemer of fallen?

2. || anudinamu s¦ara³amani ninu || O Mother! I am Your son who prays to You daily
|| v£¢ukoniyunna sutu¢amm¡ sadaya || ||p|| that I surrender to You. O Graceful!

3. || sarasij¡sana har§s¦a vinuta p¡d¡ || O Mother whose feet are extolled by Brahma - seated in
|| n¡tµ v¡d¡? || ||p|| lotus, Vishnu and Shiva! Should You dispute with me?

4. || kamala da©a sama nayana || O Lotus petal like eyed! O Mother whose dark
|| kacha jita ghan¡ s¦as¦adhara nibha vadana || ||p|| tresses excel rain-cloud! O Moon like faced!

5. || m¡navat§ ninu sad¡ talachina || O Respected One! Having heard that

|| m¡navulakella phalamosag£ || You are the Goddess having the appellation
|| birudu kala d£vatayani n£ || of bestowing fruits to all people who always
|| vinaba¢i n§v£ gatiyanuchu || ||p|| remember You.

6. || p¡van§ pura haruni rama³§ || O Sanctifier! O Consort of Shiva! destroyer of

|| p¡rvat§ sakala janan§ || three cities. O Parvati! O Mother of everyone!
|| p¡takamulanu va¢ig¡ t§rchi || Please remove my heinous crimes and grant
|| varamosagumu || ||p|| boon to me quickly.

7. || kanakagiri sadana ninu kolichina || O Resident of Meru – Golden Mountain! As Vedas

|| janamulaku dinadinamu s¦ubhamosag£vani || proclaim that You always bestow welfare to people who
|| s¦rutulu morali¢ag¡ moralu vini vini vini || ||p|| serve You, having heard these statements again and again.

8. || b¡la kisalaya chara³¡ nimis¦amu || O Mother with feet like a tender shoot! I shall not be able to
|| t¡©anika vinu madagaja gamana || tolerate even a minute further. Please listen, O Majestic gaited
|| t¡masamu s£yakan£ nannipu¢u || like an elephant in rut! O Mother who is beyond the Ultimate!
|| brµvumu par¡tpar§ || ||p|| Please protect me now without delaying.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 28

9. || kunda muku©a rad¡ sura || - O Jasmine bud teethed! O Mother whose feet
|| brunda vinuta pad¡ bhuvilµ || are extolled by celestials! Aren’t You the Bestower
|| varad¡yaki kad¡ n¡ moralu || of boons on the Earth? Don’t my appeals reach
|| chevulaku vinad¡ girisut¡ || ||p|| Your ears, O Daughter of Snow Mountain?

10. || n§ valen£ kalad¡ nera d¡tavu § jagatilµ || In this Universe is there any great donor like You? O
|| n§du pada s¡rasamula § bhava || - Kamakshi! I remain steadfastly much trusting Your feet
|| jaladhiki tariyanuchu migula || ||p|| lotus to be the ford for this Ocean of worldly existence.

11. || kamala sambhava sura mun§ndrula || - O Mother! Is it possible for even Brahma – born of
|| ch£tanu ninu poga¢u¿aku taram¡mm¡ || lotus, celestials and great of ascetics to extol You?
|| s¦ubhamimm¡ ninu nammitini s¦y¡ma || - Please grant welfare. I trusted You. O Sister of Vishnu –
|| krus¦³a sµdar§ duramuganu || Shyamakrushna! Further, please show grace speedily.
|| karu³a salupumikanu || ||p||

This composition in raga Yadukulakambhoji forms one among the three of Shyama Shastry's famous ratnatrayam (the
three jewels) Swarajatis. The ratnatrayam are held in the highest esteem by musicologists for how they bring out the
essence of the Raga (raag-ras).

The swarams and the sahityams correspond and match to each other (each swara has a corresponding sahitya syllable)
in the charanams of the Swarajatis composed by Shri Shyamashastri. And hence, the charanams of his Swarajatis are
also called Swara-Sahitya.

As saying goes "Tyagaraja's compositions are like grapes, which you can easily pop them into your mouth. Muttuswamy
Dikshitar's are like Bananas, which you have to remove the skin to eat them. And, Shyama Shastri's compositions are
like Pomegranate, which you have to put effort to get into juicy part".

Dress code for a music concert

The dress is the symbol of human civilization and it represents our evolution. People wear different dresses for
different occasions and purposes. People in the winter region wear warm cloths of wool while those in the warmer
region prefer cotton cloths. The purpose of the school uniform and its design is different from the purpose and design
of a sporting cloth. And so, people wear dresses accordingly.

Along the same lines, musicians on stage and the music lovers attending the program should also wear appropriate
attire. This attire should represent our culture and bring respect to our art.

The same has to be followed while visiting mandirs (temples), friends and relatives place on the invitation for any
poojas.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 29

 svara - s¡hitya

|| pallavi ||
s
1. || r,s,; ;; pÖ,; || ;;; ;; dÖ,; || (pÖ,= pÖ,)
p
|| k¡ .... m¡ || ...... .... ks¦§ || (dÖ,=sdÖ= sdÖ)
|| dÖrs,dÖ, s,; r,p, || m,g,r, r,m, g,r, || (r,m,=r,rm)
|| . . . . . . n§ pada || yugamu sthira mani || (r,;;=grgrgr)
|| r,;; ;; r,pÖ, || dÖ;s; mrmr m;p || - (dÖ;s;=pÖsdÖs;)
s
|| n£ .... na || mmiyu nn¡ nun¡ || - (r,;= mrmr)
|| ; d,;s×, d,n,d, || p,pm pmg, grrmg, || (d,;s×,=s×ds×ds×,)
d
|| . . chinta le lla || nud§ .... rchamma || (n,= n,)
(mg=gmg,)
g
2. || s,;; ;; s,gr snÖ 3pÖ, || ;;; ;; dÖ,; ||
|| k¡ .... m¡ || ...... .... ks¦§ ||
|| dÖrs,dÖ, s,; r,p, || m,g,r, r,m, g,r, || (r,m,=rmrm)
|| ...... n§ pada || yugamu sthira mani ||
|| r,;; ;; r,pÖ, || dÖ;s; mrmr m;p || -
|| n£ .... na || mmiyu nn¡ nun¡ || -
|| ; d,;s×, d,n,d, || p,pm pmg, grrmg, ||
|| . . chinta le lla || nud§ .... rchamma ||

g
|| s,;; ;; s,gr snÖ 3pÖ, || ;;; ;; dÖ,; ||
|| k¡ .... m¡ || ...... .... ks¦§ ||
dÖ
|| dÖrs,dÖ, s,; ;; || (s,;= s,;
|| ...... n§ .... || =sdÖsdÖ)

|| chara³am ||
1. || s,;r, s,r, m,;||g, s,r, m,g, g,r, ||
|| amba nanu brµ||va sama yamu vinu ||
|| r,;; ;; pÖ,pÖ, || dÖ,dÖ, ;; s,r,g, || (s,r,g,=s,sgr,g,)
|| m¡ .... pati || tap¡ .... vanig¡ || ||p||

2. || s,r, p,m,g, s,r, || m,g, r,s, s,r,; || (s,r,;=s,sgr,gr)

r
|| anu dinamu s¦ara || ³ama nini nuv£ || (m,g,= m,g,)
|| r,pÖ, pÖ,dÖ,;dÖ, d,||p, m,; g,r, m,g, || (m,;=pmpm)
|| ¢uko niyunna su||tu ¢a mmasa daya || ||p||

The works of a Vaggeyakara remain immortal as long as a musician exists.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 30

3. || r,s,r, p,; m,g, || s,r,; s,nÖ, dÖ,pÖ, || (s,r,;=s,sgr,;)
|| sarasi j¡ sana || har§ s¦avi nuta || (s,nÖ,=s,snÖ)
|| pÖ,dÖ,; ;; d,; || p,; m,; g,;r, || (p,;=pgpg)
|| p¡ .... d¡ || n¡ tµ v¡d¡? || ||p||

4. || r,s,r, p,m, m,g, || g,r, r,s, nÖ,dÖ,pÖ, || (p,m,=p,gm)

|| kamala da©a sama || naya naka chajita ||
|| dÖ;dÖ; ;; d,d, || p,p, m,m, g,g,r, ||
|| ghana .... s¦as¦a || dhara nibha vadana || ||p||

5. || m,;p, n,d, m,p, || d;p; m,g, r,g, || (m,;=pmpm)

p
|| m¡na vat§ ninu || sad¡ dala china || (n,d,= n,d,)
p
|| s,;r, s,r, m,; || g,r, m,g, r,r,; || (m,p,= m,p,)
g
|| m¡na vula ke || llapha lamo sag£ || (r,g,= r,g,)
g
|| s,s,r, s,s, r,;||; pÖ,pÖ, dÖ,dÖ, s,; || - (s,;= s,;)
d
|| birudu gala d£||. . vata yani n£ || - (s×,;= s×,;)
|| ; p,p, d,d, s×,;||; n,d,p, m,g,r, ||
|| . . vina ba¢i n§ ||. . v£gati yanuchu || ||p||

6. || p,;; ;; m,p, || n,d,p, m,g, r,g, ||

|| p¡ .... van§ || puraha ru ni rama ||
|| r,;; ;; s,; || r,p, m,g, s,r,g, ||
|| ³§ .... p¡ || rvati saka lajana ||
|| s,;; ;; pÖ,;||dÖ, s,r, m,p, d,d, ||
|| n§ .... p¡||ta kamu lanu va¢i ||
|| s×,;; ;; p,; || s×,d,p, m,g, r,g, ||
|| g¡ .... d§ || rchivara mosa gumu ||

(Render the below Pallavi for Charanams from 6 th to 10th.)

|| gs,;; ;; mpds× || dp,mgr rsnÖ3pÖ dÖ,; || (mp=mpmp)
g
|| k¡ .... m¡ || ...... .... ks¦§ || (mgr= mgr)
|| dÖrs,dÖ, s,; ;; ||
|| . . . . . . n§ .... ||

7. || p,m,p, n,d, m,p, || n,d,p, m,g, r,g, ||

|| kanaka giri sada || naninu goli china ||
|| s,s,r, s,r, p,m, || m,g,s, d,p, m,g, ||
|| janamu laku dina || dinamu s¦ubha mosa ||
|| r,;; ;; pÖ,pÖ, || dÖ,dÖ,s, s,r, m,p, ||
|| g£ .... vani || s¦rutulu mora li ¢a ||

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 31

 || d,;; ;; p,d, || r×,s×, n,d,p, m,g, ||
|| g¡ .... mora || luvi nivini vi ni || ||p||

8. || p,;d, d,s×, p,d, || s×,n, n,d, d,p,m, ||

|| b¡la kisa laya || chara ³¡ni mis¦amu ||
|| p,; n,n,d, m,p, || n,d,p, m,g, r,g, ||
|| t¡ ©anika vi nu || madaga jaga mana ||
|| s,;r, s,r, m,; || p,m,p, d,; p,d, ||
|| t¡ma samu s£ || yakan£ na nnipu ||
|| r×,s×,; ;; m,p, || d;p; ;; m,g, ||
|| ¢ubrµ .... vumu || par¡ .... tpar§ || ||p||

9. || d,;p, m,g, r,m, || g,;; ;; s,r, ||

|| kunda muku ©ara || d¡ .... sura ||
|| m,;g, r,s, nÖ,dÖ, || pÖ,;; ;; dÖ,dÖ, || -
|| brunda vinu tapa || d¡ .... bhuvi || -
|| s, pÖ,dÖ, s,; ;; || ; r,m, p,d, s×,; ||
|| lo vara d¡ .... || . . yaki gad¡ n¡ ||
|| g×,r×,s×, n,d, p,m, || g,r,s, nÖ,dÖ, pÖ,dÖ, ||
|| moralu chevu laku || vinad¡ giri sut¡ || ||p||

10. || d,;p, m,g, r,m, || g,;; ;; r,g, ||

|| n§va len£ gala || d¡ .... nera ||
|| r,;; ;; s,r, || s,; s,nÖ,dÖ, pÖ,; ||
|| d¡ .... tavu || § jagati lµ ||
|| dÖ,;s, pÖ,dÖ, s,;||; r,m, p,d, s×,; ||
|| n§du pada s¡||. . rasa mula § ||
|| g×,r×,s×, n,d,p, r×,||s×,n, d,p, m,g,r, ||
|| bhavaja ladhiki ta||riya nuchu migula || ||p||

11. || s×,r×,g×, s×,; g×,r×, || s×,n,d, p,; d,d, ||

|| kamala sam bhava || suramu n§n drula ||
|| s×,;; ;; p,r×, || s×,n,d, p,m, g,r, ||
|| ch£ .... tanu || ninupo ga¢u ¿aku ||
|| s,r, m,;m, g,m, || p,;p, m,p, d,; ||
|| tara m¡mm¡ s¦ubha || mimm¡ ninu na ||
|| d,p,d, s×,;; s×, || r×,;g×, s×,; m×,g×, ||
|| mmitini s¦y¡ ma || krus¦³a sµ dar§ ||
|| r×,s×, n,d, p,m, g,||r, s,nÖ,dÖ, pÖ,g,r, ||
|| dura muga nuka ru||³a salupu mikanu ||

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 32

 || pallavi ||
|| gs,;; ;; mpds× || dp,mgr rsnÖ3pÖ dÖ,; ||
|| k¡ .... m¡ || ...... .... ks¦§ ||
|| dÖrs,dÖ, s,; r,p, || m,g,r, r,m, g,r, ||
|| . . . . . . n§ pada || yugamu sthira mani ||
|| r,;; ;; r,pÖ, || dÖ;s; mrmr m;p || - (r,;=mrmr)
s
|| n£ .... na || mmiyu nn¡ nun¡ || - (r,;= mrmr)
|| ; d,;s×, d,n,d, || p,pm pmg, grrmg, || (d,;s×,=s×ds×ds×,)
|| . . chinta le lla || nud§ .... rchamma ||

g
|| s,;; ;; s,gr snÖ 3pÖ, || ;;; ;; dÖ,; ||
|| k¡ .... m¡ || ...... .... ks¦§ ||
|| dÖrs,dÖ, s,; ;; ||
|| ...... n§ .... ||

Sandhi and Samaasa

Sandhi and Samaasa are the grammar components of Indic languages. Using this process, simple words are
combined to make a compound word. The phonetic may change when two simple words are combined at the place
of joining. Based on whether we used simple or compound words, the sahitya (lyrics) you see in the Sahitya section
may differ from the sahitya in the Swara-Sahitya part. But, they both the same in meaning.

In Samaasa, when two simple words are combined doesn't change in syllable. E.g., kamala daLa = kamaladaLa. In
Sandhi, the syllable changes at the point of joining of two simple words. E.g., sadA + talachina = sadAdalachina or
hari + Isha = harIsha. The joining syllable is not the same always and is according to the type of a sandhi. And
hence, there exist different types of Sandhis.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 33

rachan¡: jatisvara 1 v¡gg£yak¡ra: unknown
r¡ga: m£ccha kaly¡³i (65th m£©akarta) t¡©a: ¡di
¡rµha³am: s r2 g 3 m 2 p d 2 n 3 s× avarµha³am: s× n 3 d 2 p m 2 g 3 r2 s

|| pallavi ||
|| s×,;n, d,; pmpgm, | p,;; s×n|dpm gmpdn ||

|| chara³am ||
1. || s×s×s× s×ndpd nnn ndpmp | ddd dpmgm | ppp gmpdn || ||p||

2. || s×;r× s×;r× s×s×nn ddpd | n;s× d;n | ddpp mmgm ||

|| p;d p;d ppmm ggrr | s;r s;g | r;g mpdn || ||p||

3. || s×;r× g×r×s×n dns×n dpmp | d;n s×ndp | mpdp pmgm ||

|| p;d pmgr gmpm grsr | g;m grsnÖ | dÖpÖdÖnÖ srgr ||
|| rs, gr, pmdp, gmpdn | s×r×g× ns×r× dn|s× pdn mpdn ||
|| r×s×, s×nd dp, pmg mpdn | s×s×, pp, s×n|dpm gmpdn || ||p||

s× . . . . .

Melakarta scheme of raga classification

Ragas must contain the following characteristics to be considered Melakarta.

1. They are sampoorna ragas - They contain all seven swaras (notes) of the octave in both ascending and
descending scale.
2. They are krama sampoorna ragas – that is the sequence is strictly ascending and descending in the scales,
without any jumps or zig-zag notes.
3. The upper shadjam is included in the raga scale (ragas like Punnagavarali and Chenchurutti are not melakarta
as they end with nishadam) and
4. The ascending and descending scales must have the same notes.

The Melakarta scheme of 72 ragas has two versions. The reputed author of the scheme, Venkatamakhi shaped the
Asampoorna Mela version while Govindacharya brought out the Sampoorna Mela version. The two versions have
been followed by Muttuswami Dikshitar and Tyagaraja-Shyama Shastri respectively.

The mela system of ragas was first propounded by Ramamatya in his work Swaramelakalanidhi (c. 1550). He is
considered the father of mela system of ragas. Later, Venkatamakhi, a gifted musicologist in the 17th century,
expounded a new mela system known today as melakarta in his work Chaturdandi Prakaashika. He made some
bold and controversial claims and defined somewhat arbitrarily 6 swaras from the known 12 semitones to arrive at
72 melakarta ragas. The controversial parts relate to double counting of R2 (and similar swaras) and his exclusive
selection of madhyamas for which there is no specific reasoning (also known as asampoorna melas as opposed to
sampoorna ragas). However, today the 72 melakarta ragas use a standardized pattern, unlike Venkatamakhi's
pattern, and have gained a significant following. Govindhacharya is credited with the standardization of rules and
known for giving different names for standard ragas that have a different structure but the same swaras as those
proposed by Venkatamakhi.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 34

rachan¡: jatisvara 2 v¡gg£yak¡ra: madurai s¦r§ n. krus¦³an (october 31, 1928 - october 9, 2005)
r¡ga: hamsadhvani (29th m£©akarta dh§ra s¦ankar¡bhara³am janya) t¡©a: rÀpaka
¡rµha³am: s r2 g 3 p n 3 s× avarµha³am: s× n 3 p g 3 r2 s

|| pallavi ||
|| s×,; s×,n, p,g, || r,s,; nÖ,pÖ,nÖ, ||
|| s,; s,; r,s, || g,; r,g; pn, ||

|| chara³am ||
1. || s×,r× n,s× p,n s×,r× || s×,n p,g r,g p,n || ||p||

2. || pns×r× gpns× rgpn || g×r×s×n pgrs rgpn || ||p||

3. || gprg srsnÖ pÖ,; || nÖsrg pns×r× s×,; ||

|| g×r×s×n s×r×s×n p,; || r×s×np s×npg rgpn || ||p||

4. || s×,; s×,; s×r×s×n || p,; p,; s×npg ||

|| r,; r,; grsnÖ || s,; s,; rgpn ||
|| s×,r×g× r×s×np ns×r×, || n,s×r× s×npg pns×, ||
|| r×s×, npg np, grs || nÖs, rgp gp, ns×r× || ||p||
s× . . . . .

Determining a Melakarta: A hundred years after Venkatamakhi's time the Katapayadi Sankhya (kaTapayAdi sootra
or rule) came to be applied to the nomenclature of the melakarta ragas. The Sankhya associates Sanskrit
consonants with digits. The digits corresponding to the first two syllables of the name of a raga, when reversed, give
the index of the raga. Thus the scale of a melakarta raga can be easily derived from its name.

For example, Harikambhoji raga starts with syllables Ha and Ri, which have numbers 8 and 2 associated with them
under Katapayadi sutra. Reversing them we get 28. Hence Harikambhoji is the 28th Melakarta raga. For similar
naming purpose raga Kalyani is named "Meccha Kalyani", Shankarabharanam is named "Dhira Shankarabharanam"
and Shubhapantuvarali is called "Kamavardhini". Mayamalavagaula and Kamavardhini differ in Madhyamam and
hence they are just reversed in numbers - 15 and 51. Interesting right? Read Katapayadi Sankhya for more fun.

Melakarta Scale: 72 Sampoorna ragas having all seven swaras both in ascending (arOhaNam) and descending
(avarOhaNam) emerge as Mela ragas. Each Mela has all the seven swaras but varying in swarasthana formulations.
This scheme envisages the lower Sa (Mandra Shadjam), upper Sa (Tara Shadjam) and Pa (Panchamam) as fixed
swaras, with the Ma (Madhyamam) having two variants and the remaining swaras Ri (Rishabham), Ga (Gandharam),
Da (Daivatam) and Ni (Nishadam) as having three variants each. This leads to 72 seven-note combinations (scales)
referred to as the Melakarta ragas - 36 ragas on each side of Madhyama. In its simplest term, it can be depicted as:

[1S x 6(R1, R2/G1, R3/G2, G3) x 1M 1 x 1P x 6(D1, D2/N1, D3/N2, N3)] + [1S x 6(R1, R2/G1, R3/G2, G3) x 1M 2 x
1P x 6(D1, D2/N1, D3/N2, N3)] = 72 ragas.

There are 3Rs, 3Gs, 3Ds and 3Ns. However, 3Rs and 3Gs don't make 9 combinations. They only make six
combinations as R2G1, R3G1, R3G2 are the same notes and are not allowed together. Similarly with D and N.

R and G are basically 4 keys playing 2 at a time. This makes 4C2=6 unique combinations. Same with D and N.
Together they make 6x6=36 combinations. There are 2M, so 36 for each Madhyamam becomes 72 in total.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 35

rachan¡: jatisvara 3 v¡gg£yak¡ra: unknown
r¡ga: janjhÀ¿i (28th m£©akarta harik¡mbhµdi janya) t¡©a: ¡di
¡rµha³am: dÖ2 s r2 g 3 m 1 p d 2 n 2 avarµha³am: n 2 d 2 p m 1 g 3 r2 s nÖ2 dÖ2 pÖ dÖ2 . . . s . . . . .

|| pallavi ||
|| m,;;g, r,s, nÖ,dÖ, | pÖ,;; dÖ,|s, r,;g, ||
|| m,;;g, r,s, nÖ,dÖ, | pÖ,;; dÖs|r, srg,rg ||
|| m,;;g, r,s, nÖ,dÖ, | pÖ,;; dÖs|rg, srgmp ||

|| m,;;g, r,s, nÖ,dÖ, | pÖ,;; dÖ,|s, r,;g, ||

|| chara³am ||
1. || m,;;p, d,m,;p, | g,; m,r, | g,s; r,g || ||p||

2. || m;g m,rg m,gg rsrr | g,;; sr | ssdÖpÖ dÖsrg || ||p||

3. || s,rg m,m, pmgr g,g, | rsrg s,s, | dÖsrm g,g, ||

|| mndn p,dm, pgpm grg | mp,m gm,g | rg,r sr,g || ||p||

4. || mpd, d,d, pdn, n,n, | dndm pdpg | m;g rsrg ||

|| mpd, dpmn dnp, mdpd | m,pm g,mg | r,gr s,rg || ||p||

5. || g;r s,; dÖ;pÖ dÖ,; | s;r g,; | m;d p;m ||

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

m.....

Raga Janjhuti

Janjhuti (janjhooTi) is a janya (child) raga of 28th mela (parent) raga Harikambhodi or Harikambhoji. This raga is mostly
sung in madhyama shruti, meaning, the reference Shadjam is moved by 3 swara places. This makes the Madhyamam
(Ma) become new Shadjam (Sa), and all other swaras are shifted by three places. This is done so because this raga has
its swaras within mandra sthayi and madhya sthayi. It doesn’t usually have sanchara in tara sthayi.

Feature Swaras: Chatushruti Daivatam, Chatushruti Rishabham, Antara Gandhara, Shuddha Madhyamam and Kaishiki
Nishadam.

A famous rendition of this raga is Abdul Karim Khan's tumri piya bin nahi aavat chain which Pandit Bhimsen Joshi
listened to as a child and got inspired to become a musician.

Melakarta ragas and the composers

1. The Trinities have not composed songs in all the Melakarta ragas.
2. Shri Maha Vaidyanatha Sivan has made ragamalika with each of the 72 Melakarta ragas and
3. Shri Koteeshwara Iyer has composed songs in all the 72 Melakarta ragas, in Tamil.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 36

rachan¡: jatisvara 4 v¡gg£yak¡ra: s¦r§ v§³e kuppayy¡r (1798 - 1860)
r¡ga: k¡mbhµdi (28th m£©akarta harik¡mbhµdi janya and bh¡s¦¡nga r¡ga) t¡©a: ¡di
¡rµha³am: s r2 g 3 m 1 p d 2 s× avarµha³am: s× n 2 d 2 p m 1 g 3 r2 s nÖ3 pÖ dÖ2 . . . s . . . . .

|| pallavi ||
|| s×,; n,d, p,m, g,r, | s,; nÖ3,pÖ, | dÖ,dÖ, s,; ||
|| pÖdÖsrg, srgmp, mgpd | s×r×g×r× s×ndp | mgsr gmpd ||

|| s×,; n,d, p,m, g,r, | s,; nÖ3,pÖ, | dÖ,dÖ, s,; ||

|| chara³am ||
1. || s×,;;r×, g×,m×, r×,g×, | s×,;;r×, | n,d, p,d, ||
|| s×r×g×m× g×r×m×g× s×,; pds×n | dpnd p,; | mgsr gmpd || ||p||

2. || d,;;p, d,s×, n,d, | p,m, g,m, | p,; ;; ||

|| m,g, g,r, r,s, s,nÖ3, | nÖ3,pÖ, dÖ,dÖ, | s,; ;; ||
|| s;r g,m, g,; ;; | m;d p,m, | p,; ;; ||
|| r×, s×,;n, d, p,;m, | g, s,;r, | g,m, p,d, || ||p||

3. || p, d,;s×, r×,g×, m×,g×, | r×, g×,;m×, | g×,r×, r×,s×, ||

|| r×, s×,;n3, p, d,;d, | s×,; ;; | r×,s×, n,d, ||
|| p, s×,;n, d,p, m,g, | r, g,;m, | g,r, r,s, ||
|| pÖ, dÖ,;s, r,g, m,p, | r, g,;m, | p,d, p,d, || ||p||

4. || s×,; s×,r×, g×,m×, g×,r×, | m×,g×, s×,; | s×,n 3, p,d, ||

|| s×,;;r×, n,d, p,m, | g,r, m,g, | s,; ;; ||
|| s;g r,m, g;p m,d, | p;s× n,d, | p,; ;; ||
|| g×;m× g×,r×, s×,; ;; | n;d p,m, | g;m p,d, || ||p||

Teacher and Student - Responsibility in Need

Gurus of shaastriya and other forms of Bharatiya Sangeet should not only take pride in their parampara but also
inculcate the values and virtues therefrom in each student without fail. Students must be trained in such a manner to
demonstrate a deep respect for this vidyaa. Specifically, the propitiation of anti dharmic systems under the mistaken
notion of sameness should be ingrained as unacceptable in students’ minds from the very beginning. And,
reinforced continuously as they evolve into vidwans of the future who won’t compromise Hinduism for any reason.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 37

rachan¡: jatisvara 5 v¡gg£yak¡ra: s¦r§ k. na¿£s¦a dan¢¡yudhap¡³i pi©©ai (july 14, 1921 - october 12, 1974)
r¡ga: hams¡nandi (53rd m£©akarta gaman¡s¦rama janya) t¡©a: ¡di
¡rµha³am: s r1 g 3 m 2 d 2 n 3 s× avarµha³am: s× n 3 d 2 m 2 g 3 r1 s

|| pallavi ||
|| s×,; n,dn s×n,d mg,r | s,; nÖ,dÖnÖ | sr,g md,n ||

|| chara³am ||
1. || s×r×,n r×s×nd ns×,d s×ndm | dn,m ndmg | rs,r gmdn || ||p||

2. || r×,r×, s×ns×, s×,nd n,n, | s×,s×, ndn, | n,dm d,d, ||

|| n,n, dmd, d,mg m,m, | gmdn s×, gm|dn s×, gmdn || ||p||

3. || s×,;; ns× r×nr×s× ndmd | n,;; dn | s×ds×n dmgm ||

|| d,;; md nmnd mgrg | m,; gm d,|; md n,; ||
|| s×r×,g× m×g×r×s× ns×,r× g×r×s×n | dn,s× r×s×nd | nmd; ng×r× ||
|| s×;g× r×s×ns× r×,s×, n;r× | s×ndn s×,n, | d;n dmdn || ||p||

s× . . . . .

The Composer: Karaikal Shri Natesha Dhandayudhapani Pillai was a Bharatanatyam guru, who had many dimensions
as vaggeyakara, choreographer, laya expert, natya exponent and so on. He was considered by many as one of the
leading exponents of the classical dance form of Bharatanatyam. The veteran naatyaachaarya and a Padma awardee
(fourth highest civilian award) used to say “I am not interested in accumulating wealth from my artistic commitments. My
mission is to leave behind a treasure trove of knowledge that can never perish”, in line with the words of
saint-philosopher Shri Appayya Dikshitar who used to say "dhanena na ramaamahe" (I will not entertain wealth). Shri
Pillai joined Kalakshetra of Smt Rukmini Devi Arundale as a teacher where he taught for many years. He spent all his
life enriching the Bharatanatyam repertoire with his innumerable compositions and choreographies.

Swara Jnanam

A Carnatic music student slowly gains swara jnanam (knowledge of swaras) mostly indirectly during various stages
of learning. The basic Swaravali exercises like Sarale, Janti and Alankaras focus directly on swarasthanas. In later
lessons, with increased complexity, a student learns other aspects of music through Varnams, Krutis and Swara
Kalpane. So, over a period of time, he gains bits of knowledge on swarasthanas as an indirect outcome rather than
as a fundamental skill required to learn music.

To learn swarasthanas early in the music journey, one should practice Swaravali exercises in various ragas. Even
then, these don't drill swarasthanas sufficiently due to its inherent limitations like:

The patterns are predictable. Our brain can trick us by going into a mimicking mode rather than thoroughly
understanding and singing each swara carefully.

Only one variety of a swara is worked out each time. If you are singing Alankara in Mayamalavagowla, you are
only concerned about Shuddha Rishabham and not Chatushruti/Shatshruti Rishabham. So, one doesn’t touch upon
different swarasthanas of same swara.

Try this: Sing one line of your favorite sarale in Mayamalavagowla and immediately sing the same line in Kalyani.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 38

rachan¡: jatisvara 6 v¡gg£yak¡ra: s¦r§ v§³e padman¡bhayya (1842 - 1900)
r¡ga: kanna¢a (29th m£©akarta dh§ra s¦ankar¡bhara³am janya) t¡©a: ¡di
¡rµha³am: s g 3 m 1 d 2 n 3 s× avarµha³am: s× d 2 p m 1 g 3 m 1 r2 s

|| pallavi ||
|| s×,;; n,s× d,pm g,m | d,;; dn | dpm g,mdn ||

|| chara³am ||
1. || s×,r× n,s× d; d,n d,pm | g,g, mr,nÖ | s;g, mdn || ||p||

2. || d,;; dp dp,m gmdp | d,;; dn | s×d,p mggm ||

|| d,dn s×d,n s×dns× r×s×d, | dndp d,dp | mg; gmdn || ||p||

3. || s×,s×r× n,ns× d,dn dpm, | g,gm r,rg | s,sr snÖs, ||

|| sg,m dns×n s×g×,m× r×s×nr× | s×s×,d pm gg|,m rs gmdn || ||p||

4. || s×,;; s×r× n,ns× d,pm | d,;; dn | d,pd pmgm ||

|| r,r, rgm, m,gm d,d, | dns×s×, r×ns× | dp,m gmdn || ||p||

s× . . . . .

The Composer: Shri Veene Padmanabhaiah (1842 - 1900) from Chikkanayakanahalli near Tumkur has composed
several Swarajatis, Krutis, Javalis and a Sapta Talesharam in Todi. His Kruti “Shri Herambamide” in Naatakuranji and
“Bhavayami Tavapada” in Nagaswaravali with captivating Chitteswaras are well known. Most of his compositions are
either in Sanskrit or Telugu except one Javali, which is in Kannada.

Raga Kannada Vs Raga Kanada: Carefully observe the spelling of raga KANNADA (kannaDa). This name confuses
with another popular raga with a similar and deceptive spelling – KANADA (kAnaDa), which is a janya of
Kharaharapriya.

Kannada is a rarely performed raga. Some popular Krutis in this raga are Shri Dikshitar’s “Shri Matrubhootam” in praise
of the presiding deity Tayumanavar (Matrubhooteshwarar) at Trichy fort, Shri Tyagaraja’s “Bhajare Bhaja Manasa”, “Ide
Bhagyamu”, “Ninnada Nela” and Shri Muttayya Bhagavatar’s “Aparajite”.

Technology made music learning easy

The means for Shruti is transformed from Shruti Petti and Tambura to electronic Shruti box which in turn evolved
into many software technologies. Applications like iTablaPro, Swarasthana are boundless with features like
producing shruti sound, capturing and displaying your own shruti and playing percussion for you as if you are
accompanied by a real percussion artist. Also, there are technologies that help to focus on swarasthana training.
Technology made all these music accessories reachable to all and come handy to today’s music students to practice
and learn music easily.

Don't forget the technology which removed the distance barrier and got a teacher to disciple anywhere in the world.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 39

Page 40
Varṇa

Page 41
Page 42
 VARNA
Varna or Varnam (pronounced: varṇa or varṇam) is a unique composition in Carnatic music where
musical notes (swaras) are combined in different jatis consisting of short metric pieces that encapsulate
the main features and requirements of a raga. Varnas are useful for learning the swaras of various ragas,
singing in multiple speeds rapidly and learning the appropriate Gamakas. They introduce the proper
combinations of swaras for each raga and require great discipline for singing.
Varnas play a significant role in Carnatic music. They belong to both music and dance. Tanavarna is
traditionally performed as an opening item in Carnatic concerts as a warm-up for musicians or to grab
audience attention, or as the main piece in Bharatanatyam dance concerts.
The features and rules of a raga (raga ranjaka prayogas and raga sancharas), extraordinary swara
phrases like how each note of a raga should be stressed, how to approach a swara, the scale of a raga and
so on are brought out in Varnas. Hence Varna stands out distinctly for its ability to show the contour of a
raga, its typical Gamaka or Gamakams, the pauses, its gait and gamut. The texture of each note and the
various shapes it assumes in combination with other notes can be seen in a Varna. So, Varna is a
dictionary of a Raga and the pillars of Carnatic music.
Varna in Sanskrit means color and it very aptly defines the form as it brings out the swaroopa of a raga
in all its colors and dimensions. Being the most sophisticated musical form, all Varnas consist of sahitya
(lyric) as well as swara passages. The sahitya part is very minimal and its importance is only as a vehicle
for raga delineation. The themes are mostly on bhakti (devotional) or shrungara (amorous) rasa.
As a foundation to Carnatic music, Varnas are practiced as vocal exercises by performers to help develop
voice culture and maintain proper pitch and control of rhythm. The melodic patterns in a Varna are
considered to be characteristic patterns of a particular raga and assist a performer in ensuring the
swaras of the raga are sung or played effectively. Teachers of Carnatic music maintain that Varnas must
be practiced in three speeds to develop the skills of manodharma (improvisation like alapana,
neraval and kalpanaswaras) as performers. Having phrases at appropriate places, analyzing and
understanding these aspects is the first step in manodharma sangeeta.
Known for its complex structure, this fundamental form occupies a very high place in the realm of
Carnatic music. This form helps in understanding the subtle embellishments of a raga, structure of a
tala, provides insights into bhava, helps in voice culture and promotes a student to render Krutis and
other compositions with standard later. It has a prime place both as a practice piece lasts in the early
training period of music (abhyasagana) and as a warm-up piece in a regular concert. Basic Varnams like
Ninnu Kori in raga Mohanam is practiced either as a abhyasagana or as a linking between abhyasagana
and sabhagana (concert pieces). Carnatic students are introduced to concert level compositions starting
with Varnas.
Varnas are composed in Adi and Atta tala. There are also Varnas in Jhampe, Khanda Jati Triputa,
Roopaka, Chapu talas. Varnas are composed in Telugu, Tamil, Kannada and Sanskrit languages.
Students should practice a good number of Varnas to attain a higher standard in music. Mastering about
30 to 40 Varnas is considered a good enough musical foundation even for advanced musicians.

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Structure
Varna is of two parts – Poorvanga or the first part and Uttaranga or the second part. Both parts are
approximate of equal length complementing and balancing each other.

Poorvanga consists of
• Pallavi
• Anupallavi and
• Chitteswara (Muktayi Swaras)

Uttaranga consists of
• Charana and
• Set of Ettugade Swaras (Charana Swaras or Chitte Swaras).

Pallavi: This is the first section of a Varna performed with sahitya. This Pallavi is not repeated unlike in
Krutis. If only the first part of a Varna (Poorvanga) is rendered, Varna is concluded with the first
avartana (a tala cycle) of Pallavi.
Anupallavi: A sort of recapitulation, sung with sahitya.
Chitteswara: In the Telugu language, Chitta means “small”, Chitteswara are sung completely with
syllables (swaras) like s r g m p d n ṡ. In Padavarnas it is known as Muktayi Swara with sahitya.
Charana: Rendered with sahitya, Charana is visited after each Ettugade Swara like a Pallavi in Krutis.
The Charana is usually of one avartana long and complements and completes the sahitya of the Pallavi
and Anupallavi.
While rendering in second speed, if the Ettugade Swara has an even number of avartanams and Charana
has one avartanam, Charana is repeated twice to complete the tala cycle.
Ettugade Swaras: This is sung completely with solfa syllables. In Padavarna, Ettugade Swaras have
sahitya. The swaras occur in several groups or stanzas, say four to five passages.
The Ettugade Swaras are progressively elaborate, with the first one being only one avartana long and
using a profusion of elongated notes (dheerga swaras). Usually, the second Ettugade Swara is of one or
two avartanas and composed of sarvalaghu swaras (hrasva swaras as opposed to deergha swaras), i.e.,
all swaras having the same duration (usually four swaras per tala beat). The third one will have one or
two avartanas. The last Ettugade Swara will have two or more avartanas and builds a crescendo and is
also the longest swara passage which gives a crowning conclusion to a Varna. Each Ettugade Swara
returns to Charana.
Though there are different types of Varnas, in essence, they all have Pallavi, Anupallavi, Chitteswara,
Charana and a set of Ettugade Swaras. Uttaranga resembles Swarajati without sahitya for Ettugade
Swara. Understanding and practicing Ettugade Swaras is the first step in learning kalpana swaras.

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Types of Varnas
Varnas are classified as Tanavarna (taana+varṇa), Padavarna (pada+varṇa), Padajativarna
(pada+jati+varṇa) and Daruvarna (daaru+varṇa).
Tanavarna: Named for its Tanam like rhythmic qualities, Tanavarna has sahitya
for Pallavi, Anupallavi and Charana whereas Chitteswara and Ettugade Swaras are sung in solfa
syllables. This form has minimum sahitya and maximum vowel extensions. Raga ranjaka prayogas and
vishesha sancharas (extraordinary swara phrases) are included in this type. Swaras are combined in
different jatis. Its speed is such that it suits durita kala (fast tempo) and trishra gati.
Tanavarnas are simply called Varnas. They are composed mainly of Adi tala and Atta tala. Students of
Carnatic music learn at least fifteen of them.
Padavarna: This is an emotion-oriented composition type with literature about Nayaka and Nayaki
(hero and heroine) bhava in shrungara rasa. The lyrics consist of a conversation between them, both in
unison and separation (sambhoga and vipralamba shrungara). Though structurally similar to
Tanavarnas, here more importance is given to sahitya. So, each passage has sahitya.
The swaras in this type of Varna are suitable for intricate footwork. With rhythmic elements like
a padam, these are suitable mostly for choreography in Bharatanatyam. While Tanavarnas are rendered
in two or three speeds, Padavarnas are rendered in a single appropriate speed. Tala is of anagata graha
(where composition begins after the start of tala cycle) and are in vilamba kala (slow tempo) to give
scope for the depiction of bhava. These Varnas are mostly composed in rakti ragas.
Tanavarna is a purely musical form, whereas the Padavarna is applied to dance. The sahitya in
Tanavarna is sparse, requiring extensive vowel elongations during vocal rendition while the sahitya of a
Padavarna on the other hand is more expressive and fuller.
Padajativarna: A twist to Padavarnas is Padajativarnas. These are simply a Padavarna that also
contains jatis, making it again more suitable for South Indian classical dances like Bharatanatyam.
Daruvarna: Daruvarnas are a special type of Varnas in whose chitteswaras are followed by
the jatis which are then followed by sahitya. An example is mate malayadhwaja in raga Kamas.

Other Types: Depending on the swaroopa lakshana (identity) of a Varna, one finds varieties like
Raagamaalika Varnas, Dina Raagamaalika Varnas, Vara Raagamaalika Varnas, Nava Raagamaalika
Varnas, Taalamaalika Varnas, Grahabheda Varnas, Nakshatramaalika Varnas, Swara-Sahitya Varnas
etc.
For the junior Carnatic examination, a student must learn any four Tanavarnas set to Adi tala at one
speed. Later as they progress towards senior learning, they will learn -
1. Many more Tanavarnas.
2. Adi tala Varnas with Gamakas to render in different speeds.
3. Performing Varnas in all three speeds.
4. Atta tala Varnas.
5. Raagamaalika Varnas.
6. Navaraagamaalika Varnas etc.

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Rendition
There are multiple ways of rendering (gaana krama) a Varna, especially at higher speeds. Here is one
commonly followed order on how to render a Varna, say Tanavarna which is the type students first learn.
Poorvanga is rendered first and concluded by repeating one avartana of Pallavi if performing only
Poorvanga. Then the Uttaranga is rendered starting with the Charana and then each Ettugade Swara by
turn. At the end of each Ettugade Swara passage, the Charana is repeated. Here are the steps:

1. Pallavi.
2. Anupallavi.
3. Chitteswara.
4. One avartana of Pallavi (if Varna is stopped here).
5. Charanam and
6. Each Ettugade Swara is followed by Charanam.
The two parts of Varna are independent but performed together. Three speeds are applied and
successively. Both vocal and instrumental renditions follow the same order.
Varnas are rendered at two to three speeds. While rendering only in one speed, medium speed (second
speed) is applied. Speed or Kala refers to the tempo in which the song is rendered. The first speed is
normal. The second speed has two swaras per tala beat and the third speed is four swaras per beat. In
effect, the second speed is twice faster than the first speed and the third speed is four times faster than
the first speed or two times faster than the second speed. It requires a lot of practice to render Varnas
correctly at higher speeds while still sticking to tala (rhythm) and shruti (tune). Once you have mastered
it, it gives your voice flexibility to effortlessly glide over the swaras even at breakneck or blistering
speeds.
Varnas are generally sung in two talas or metric systems - Adi tala (8 beats cycle) and Atta tala (14 beats
cycle), where Atta tala Varnas are more complicated and advanced. Carnatic students will learn Atta tala
Varnas in their senior grade.
Early lessons and voice development techniques are very essential for the grasp of classical nuances in
terms of swarasthana, shruti alignment and concept of rhythm. Singing Varnas in three speeds help in
culturing the voice and training it to be able to perform complex aspects of music. Practicing akaara
singing (of Janti and Datu Varases) at least in four speeds with clarity with smooth-rolling of each note
with good kalapramana (uniform length) in many ragas regularly helps to perform Varnas effectively.
One should remember that the practice of any classical art requires a lifetime of dedication (sadhana)
and has no shortcuts.

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Salient Features
1. Varna is an excellent illustration of a raga in which it is composed.
2. The composition of a Varna is of a very high standard and they exhibit all of raga bhava, raga
ranjaka prayogas, raga sanchara, janti and datu prayogas.
3. Varna highlights everything important about a raga, known as the sancharas of a raga which
includes which note to stress, how to approach a certain note, classical and characteristic
phrases of a raga, the scale of a raga and so on.
4. It is an elaborate composition that fully explores the raga in which it is composed, and serves to
illustrate the standard phrases occurring in that raga as well as the exceptions and special
phrases. Hence while learning a raga, it is important to learn Varnas in that raga.
5. The theme of a Varna could be devotional, shrungara or patronization of a King or his minister.
The only requirement is in a musical setting where swara and sahitya should perfectly blend.
6. If you closely observe a Varna, it has all musical forms consisting of all the elements of a Gitam,
Swarajati and Jatiswara. It prepares the students with adequate skills to be able to learn Krutis
later. The first half of a Varna which has profuse vowel extensions resembles a Kruti while the
second half beginning with Charana resembles Swarajati.
7. The composition weaves intricate rhythmic patterns and illustrates the use of swara groups of 3,
4, 5, etc.
8. Despite the advanced nature of Varna compositions, swaras of fractional duration are avoided.
The absence of trills and excessive melodic ornamentation gives the Varna a weighty and
majestic feel.
9. The solfa passages in Tanavarna are excellent illustrations of how to develop kalpana swaras
(extempore rendering of the raga in solfa).
10. Varna helps to learn swaras of various ragas, singing at multiple speeds rapidly, as well as
learning the appropriate Gamakas. They introduce the proper combination of swaras for each
raga and require a great discipline of rendering.
11. All students learning vocal and instrumental music should practice Varnas at all three speeds.
This helps them establish their control over an instrument or on voice. In Varna compositions,
all sort of exercises is present. So, a student will gain the ability to render all kinds of prayogas.
12. The sahitya (song text) of a Tanavarna is typically sparse, requiring long vowel extensions
during vocal rendition.
13. The extension of vowels typical of a text of a Varna gives good training to vocalists to sing
smoothly with an open throat and improves lung power and breathing techniques. Similarly, it
helps instrumentalists to refine the blowing, bowing, or plucking techniques depending on the
instrument.
14. Improves dexterity of voice, and fingering in case of instrument play.
15. Improves grasping of rhythm (laya jnana). An exercise for this is to render a Varna at different
speeds like two, three, and four aksharakalas per tala beat.
16. By studying the solfa passages or syllables, very useful hints are gathered about rendering swara
improvisations in a raga.
17. By singing the entire Varna in akara (vocalizing the sound ‘a’), one improves the ability to
develop alapana in a raga.

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 18. There is a special technique of rendering a Varna using tana syllables like “a”, “nam”, “ta”
instead of sahitya. This will improve the ability to render tanam in Ragam-Tanam-Pallavi (RTP)
in concerts.
19. Tanavarnas have a minimum of lyrics and a lot of elongated syllables (Akaara, Ikaara, Ukaara,
etc found in the sahitya portion). The style of these Varnas follows the tana pattern and is full of
tana jatis. Hence the name Tanavarna.
20. Varnas are scholarly compositions and are of a high order. Only a few accomplished
vaggeyakaras could adept at composing Varnas.
21. There is no scope for improvisation and expression of the artist’s creativity. Also, the composer’s
thoughts can’t find free flow in this form. For this reason, even the great composers have
delighted in composing Krutis (the main concert form) rather than Varnas. As a result, only a
few hundred Varnas exist, whereas there are thousands of Krutis.
22. Varnas are usually composed in Telugu perhaps owing to the beauty of the language which lends
itself to the lyrical requirement of such a composition. Even though all compositions of
Dikshitar are in Sanskrit and Manipravalam, when it comes to Varna he composed in Telugu.
23. If we compare the lyrics of the Varnas, Pallavi of many of them starts with a similar sahitya like
“Ninnu kori yunnanu”, “Vanajakshi”, “Sami nine”, “Neepai”, “Sarasuda/Sarasija”, “Chalamela”,
“Viriboni” and so on. In some Varnas even the charanams are repetitive. What is it that makes
for a common Pallavi? even if the theme be the same?
24. All the Atta tala Varnas start at the same Graha (a point within an avartana of a tala cycle when a
composition or a stanza starts). Why the lyrics aren’t managed in such a way that each of these
Atta tala Varnas starts at different places? Is there any specific reason for composing Atta tala
Varnas that style?
25. Even though the Varnas have varied themes, the majority of them are composed of shrungara
as a theme. In a Padavarna composed mainly for dance, there is scope for abhinaya, and
bringing out the particular rasa is possible (which also conforms to Bharata’s observation). But
in a Tanavarna where the purpose is entirely different when there is no such requirement, nor is
it apt to express the bhavas intended, at the beginning of a Carnatic music concert, why have
our great composers even thought of shrungara for a crisp Varna? When an artist opens a
concert with a Varna at a high speed where does he have the opportunity to bring forth the
intended rasa/bhava, or make the audience understand what the lyrics mean? There are ample
examples of Tanavarnas which are regularly sung at concerts, having shrungara themes - to
quote a few, sarasuda in raga Saveri, inta chalamu in raga Begade, karunimpa in raga Sahana,
eranaapai in Todi, viriboni in Bhairavi (Atta tala) and vanajakshi in Kalyani (Atta tala), etc.

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Varnams and Gamakams
Gamaka is an oscillation between the previous note and the next note. Gamaka is defined as graceful
singing. Gamakas are first introduced through Varnas. Singing Varnas in three speeds help to
develop Bhrugas, which are closely packed Gamakas. Bhrugas have more notes. There must be a
judicious mix of Gamakas, Bhrugas and flat notes while rendering an alapana or a Kruti.
Gamakas are required to render a Varna in first speed (slowest speed). By practicing Varnas in slow
tempo one can develop a raga alapana in each phrase. Great composers have composed Varnas giving a
full-fledged raga bhava, swara phrases, range of the raga, etc. Pallavi and Anupallavi in Varnas help to
develop Gamakas or oscillations.
In learning Carnatic music, Varnas are the foundation for learning ragas and Gamakas. Students should
learn Varnas very carefully and thoroughly because they learn about Gamakas starting here. If a student
fails to understand and master Gamakas properly, which are the essence of a raga, it’ll set a wrong
foundation that’ll affect the student’s entire progress in music. Of course, Gamakas are not expected at
the junior level.

Atta tala Varna Viriboni by Shri Pacchimiriyam Adiyappayya in raga Bhairavi is said to be a masterpiece
of Varnas as it brings out different Gamakas of raga Bhairavi. It is said that the composer took many
years polishing it for perfection. Even today this Atta tala Varna is considered incomparable and its
rendition in a Carnatic concert lends intellectual weight to the concert.
Adiyappayya, who lived in the 18th century was a Guru of Shri Shyama Shastry, one of the trinities of
Carnatic music. He was well known for the creation of Tanavarnas. Hence, he was known as Tanavarna
Margadarshi. He was also a great Vainika (Player of Veena). Though Adiyappayya has composed many
Krutis and Varnas, his Viriboni Varna set to khanda jati Atta tala, the first of its kind, remains
unsurpassed.
On a similar note, it is said that swara-sahitya Varna in raga Todi set to Adi tala composed by Shri
Ramaswamy Dikshitar (father of Shri Muttuswamy Dikshitar) is the one and only Varna of its kind in the
entire Carnatic music.

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 Raga Mohana
Mōhana or Mōhanam is a rāga in Carnatic music (musical scale of South Indian classical music). It is
considered a janya of Harikambhoji (Harikambodi), a 28th Mēlakarta or a sampoorna raga, though it can
be derived from other melakarta ragas like Kalyani, Shankarabharanam or Vachaspati by dropping both
Madhyamam and Nishādham. It is an audava-audava raga (audava meaning ‘of 5’, a symmetric
pentatonic scale) in Carnatic music classification.
The equivalent of Mohana in Hindustani music is Bhoop (Bhoopali) associated with Kalyan thaat. The
Hindustani term “thaat” is equivalent to Carnatic Melakarta and Kalyan thaat is equivalent to Carnatic’s
melakarta raga Kalyani. In Western music, the swaras (notes) of this fully harmonic raga is equivalent to
C, D, E, G and A of Western notations.
Mohana is an ancient and very common raga that exists in different parts of the world music and is one
of the oldest scales known to mankind. It dates to 3BCE as one of the first ragas employed by the ancient
Tamils with the name “rEgupti” or “raghupati”. Around the 14th - 15th century, it is named Mohana in
Karnataka Sangeeta and Bhoop in Hindustani Sangeet. It is a primordial scale in Chinese music.
Mohana was popularized by Haridasas with their numerous Keertanams. It is used in gamaka-vachana,
puraana-pathana, Shlokas, recitation of poems, Vrutas and Kandas. Extremely appealing, Mohana is used
across a wide variety of compositional forms such as Geetam, Jatiswaram, Swarajati, Varṇam, Kīrtanam,
Kruti, Jāvaḷi, Padam, Ragamalika and Tillana. The Geetam “Varavina Mrudupani” is one of the first short
songs taught to beginners in Carnatic music and “Ninnukori” is a popular Varnam which usually taught
as a first sabhaagaana piece (Varnams are also considered as intermediary compositions between
abhyaasagaana and sabhaagaana).
An auspicious raga, Mohana is popular and invariably featured in Carnatic concerts. It lends itself for
extensive elaboration and exploration. It can lift a sagging concert by capturing the mind of every listener.
Heavy classical compositions as well as light ones sound beautiful in this raga. It fits into any segment of
the concert, in any category, whether it is a Varnam, a weighty Kruti, a detailed Pallavi exposition, a
Raagamaalika, a Viruttam, Shlokam, Javali or a Tillaana. There are even auspicious songs called
mangalam are in this raga; like the one composed by Shri Tyagaraja as the conclusion of his opera –
Prahlada Bhakti Vijayam.
Mohana is another name for Bhagawan Krishna, meaning the one who mesmerizes everyone. The raga
Mohana, which is appropriately named is very pleasing and enchanting. It shows love and beauty
together. It is a veera rasa pradhana raga (primarily depicting the valor) though a wide range of rasa
(emotions) like Shrungara, Karunya can also be very well portrayed in this raga. Listening to it filters out
the ill-effects of Kama, Krodha and Moha and bestowing the immense benefits on the listener. The
moment Mohana is rendered in a raagamaalika, the mind becomes blissful. A well-tread Mohana reveals
its folkish melodies too. The National Anthem of Thailand is set in this raga. Though it is always sung
(sarva-kaalika), it is more attractive in the late evening.
A joke on Mohana is, it is a very rich raga although it does not have money (ma, ni) with it.

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Technical aspects of Mohana
Mohana is a janya raga of 28th Mela Harikambhoji. It is a upanga, audava-audava, varjya (‘m’ and ‘n’),
tristhayi (can be rendered elaborately in three octaves) and sarva-swara gamaka varika rakti raga. It is
completely distanced to vivaadi dhosha, the dissonance doesn’t exist in any combination of swaras. The
compositions in this raga start on ‘s’ or ‘g’.

Raga Lakshana
The beautiful colors and shades of Mohana raga are just brought out in five swaras. Its ārohaṇam-
avarohaṇam structure (ascending and descending scale) is:
Arohaṇam: S R₂ G₃ P D₂ Ṡ
Avarohaṇam: Ṡ D₂ P G₃ R₂ S
The raga-lakshana or the swarasthana that feature in this raga are Shadjam, Chatushruti Rishabham,
Antara Gandharam, Panchamam and Chatushruti Dhaivatam. This pentatonic scale has the Panchama
as it’s significant anchoring note and Gandhara and the Dhaivatam as the harmonious notes.
All the swaras are Amsha, Nyasa and Jeeva (raaga-chaya) swaras. ‘g’, ‘p’ and ‘d’ are Graha swaras.

Graha Bhedam
Shifting the Shadjam to the next note in the raga while keeping the relative note frequencies the same is
called graha bhedam or “tonic shift”. Mohana is a sarva-swara moorchanakaaraka janya
raga. Meaning, Mohana’s all the four swaras (r, g, p and d moorchana of Mohana) can be shifted using
graha bhedam. In doing so, Mohana will result in four other major pentatonic ragas. When ‘r’ becomes
new ‘s’, it is called rishabha-moorchana and results in Madhyamawati. Gandhara-moorchana results in
Hindola, panchama-moorchana results in Shuddha Saveri and dhaivata-moorchana results in Shuddha
Dhanyasi (also called Udayaravichandrike).

Prayoga
The classical beauty of this scale as a raga unfolds when the characteristic gamakams are applied.
Prayogas of the type Janti (dual swaras like gg-pp-dd) and Daatu (skipping of a swara in between like d-
g-r-g-s-r) prayogas, Ahata and Pratyahara phrases lend great enchantment to this raga and make it very
captivating. The notes R, G, D can be oscillated. Gamakam or oscillation makes these notes beautiful, and
prayogas in the raga aalapana containing these notes with gamakam is really bewitching.
All the swaras are independent and Kampita gamakam is often used. ‘r’ and ‘d’ can have Tiripa gamakam
- ‘r’ is rendered as “sgr” and ‘d’ is rendered as “pṡd”. But this Gamakam is applied according to the phrases
required to produce certain emotions.
The greatest challenge in composing and rendering a song in pure Mohana is to avoid the use of the
Madhyama and the Nishada. While rendering Bhoop in Hindustani, Kakali Nishada and Prati-Madhyama
are audible in meend. The same is noticeable in Mohana also. This tinge of Nishada and Madhyama
should be strictly avoided. While oscillating on Gandhara, Madhyama should not be heard. If these notes
do creep in, they only lend added grace and filmi appeal rather pure Mohana.
As Mohana Kalyani raga is popular in Karnataka Sangeeta with Kakali Nishada and Prati-Madhyamam
in Avarohanam, if any tinge of these in Mohanam will certainly make it Mohana Kalyani. Hence, phrases
like “ṙṡṡd” and “dppg” should be avoided in Mohana.

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If Andolita gamakam is applied to Gandhara, it results in Shuddha Madhyamam. Hence, this gamakam
should be avoided to maintain the purity of Mohana.

Sanchara (raga characteristic phrases)

gp..gr..s s . . r g r s ḍ . . ḍ . . p̣ ḍsrg... grrss..r...
srg..r..gp... gpdṡd... pgp..dṡ... ṙṡd..p
dṡṙ... ṡṙġṙṡd..p dṡṙġ..ṙ ṙ..ġṗġṙ..ṡ
ṡ..ṙġṙṡd... dpṡdṙṡġṙ..ṡdp ggppddṡ... dṡdpgpgrs...
srg..r rgp..g gpd..p pdṡ..ṙġṙṡdp
p..dṡdpgr s . . r g r s ḍ p̣ gr..pg..dp..ṡd... ṙṡd..pgr
gdpgpgr..s r . . g r s ḍ p̣ ḍ . . s . . .

Similar Ragas
1. Mohanakalyani has the ascending scale of Mohana and descending scale of Kalyani (S R 2 G3 P
D2 Ṡ and Ṡ N3 D2 P M2 G3 R2 S).
2. Bilahari has the ascent of Mohana and descent of Shankarabharanam (S R2 G3 P D2 Ṡ and Ṡ N3
D2 P M1 G3 R2 S).
3. Garudadhwani has the ascent of Shankarabharanam and descent of Mohana (S R2 G3 M1 P D2
N3 Ṡ and Ṡ D2 P G3 R2 S).
4. Shivaranjani differs from Mohana only by the Gāndhāram. It uses Sādhārana Gāndhāram
instead of Antara Gāndhāram (S R2 G2 P D2 Ṡ and Ṡ D2 P G2 R2 S).
5. Hamsadhwani uses Nishadam in place of Dhaivatam (S R2 G3 P N3 Ṡ and Ṡ N3 P G3 R2 S).
6. Vaasanti differs from Mohana only by the Dhaivatam. It uses Shuddha Dhaivatam instead of
Chatushruti Dhaivatam (S R2 G3 P D1 Ṡ and Ṡ D1 P G3 R2 S).
7. Niroshta uses Nishādam in place of Panchamam (S R2 G3 D2 N3 Ṡ and Ṡ N3 D2 G3 R2 S).

Popular compositions in Mohana

Compositions of all types, heavy and light are set to this beautiful raga. It has many compositions in both
classical music and film music.
Most composers have contributed generously to Mohana. Among the trinity, Shri Muttuswami Dikshitar
has six Krutis, and all of them bear the raga-mudra for Mohana (an easy and captivating phrase). Shri
Tyagaraja has reveled in this raga and created eleven Krutis including the masterpieces “Evarura
Ninnuvina”, “Nannu Palimpa”, “Mohanarama”. Strangely, we do not have any composition in Mohana
by Shri Shyama Shastri. Here are some other popular compositions.
1. “Ra Ra Rajeevalochana Rama” by Mysuru Shri Vasudevachar.
2. “En Palli Kondeerayya”, a famous composition by Arunachala Kavi that begins in Mohana.
3. “Kapali Karunai Nilavu” on Bhagawan Kapaleeshwara and “Narayana Divya Namam” that depicts
the grandeur of Mohana by Shri Papanasam Sivan.
4. “Swagatam Krishna”, an immortal classic by Oothukadu Venkata Subbayyar.
5. “Sadapalaya Sarasakshi” by Shri G.N. Balasubrahmanyam (GNB) and not to forget
6. “Ninnukori” Varnam by Poochi Shri Shreenivasa Iyengar.

Movie songs
There are countless movie songs in raga Mohana. Sometimes a Guru may ask to decode a popular movie
song into swaras while encouraging his students for swara jnana exercise through this simple raga.

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 This page is left intentionally blank. So that you can view the next composition with no or minimal page flips.

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rachan¡: t¡navar³a 1 - ninnu kµri
v¡gg£yak¡ra: s¦r§ pÀchi s¦r§niv¡sa iyeng¡r (august 16, 1860 - july 20, 1919)
r¡ga: mµhana (28th m£©akarta harik¡mbhµji janya) t¡©a: ¡di bh¡s¦¡: telugu
¡rµha³am: s r 2 g 3 p d 2 s× avarµha³am: s× d 2 p g 3 r 2 s

s¡hitya

|| pallavi ||
|| ninnu kµriyunn¡nur¡ || (kµriyunn¡nur¡ = kµri + unn¡nur¡)
|| nikhila lµka n¡yaka ||

|| anupallavi ||
|| nannu p¡limpa samayamur¡ ||
|| n¡m§da krupajÀ¢ar¡ || (krupajÀ¢ar¡ = krupa + chÀ¢ar¡)

|| chara³am ||
|| sannut¡nga s¦r§niv¡sa ||

Pallavi: O Leader (nAyaka) of the entire (nikhila) universe (lOka)! I am subsisting (unnAnurA) because of the yearning I
have for you (ninnu kOri) ['rA' is an informal way to address ones beloved, close friend or a lover].

Anupallavi: This is the occasion (samayamurA) to take care of me (nannu pAlimpa). Kindly show mercy (krupa jUDarA)
upon me (nA mIda).

Charanam: O Shreenivasa! I pray (stuti) to your existence (sannuti) in the discernible form (anga).

The Composer: Shri Poochi Shreenivasa Iyengar, also known as Ramanathapuram Shreenivasa Iyengar was a singer
and composer of Carnatic music. He was born in Ramanathapuram in Tamil Nadu on August 16, 1860. He studied
music under Patnam Subrahmanya Iyer (1845 - 1902), a singer of Carnatic music and came in the shishya parampara of
Shri Tyagaraja. He had a large number of disciples, of whom the most popular was Ariyakudi Ramanuja Iyengar. Using
the mudra "Raamanaathapura Shreenivasa" in his compositions, he composed over a hundred songs, including a
Tillana in the rare Lakshmisha Tala. He was a Samsthana (province) Vidwan at the Ramanathapuram royal court.

Varnam Structure And Playing Order

A Varnam is of two parts - Purvanga and Uttaranga (first and second part). Purvanga consists of Pallavi, Anupallavi
and Chittaswara (Muktayiswara). Uttaranga consists of a Charanam and a set of Ettugadeswaras.

If Purvanga alone is rendered, render Pallavi, Anupallavi and Chittaswara in the order and conclude with one
avartanam of Pallavi. Rendering full Varnam should go in the following order:

1. Pallavi (each sangati is rendered twice).

2. Anupallavi (each sangati is rendered twice).
3. Chitteswara (irrespective of number of lines, this is rendered once as one unit).
4. Charanam and
5. Ettugadeswara one at a time each followed by Charanam.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 54

 svara - s¡hitya

|| pallavi ||
|| g,g, r,; ssrr ggrr | srgr srsdÖ | srgp grsr ||
|| ninnu kµ ri .... | yu nn¡ | nu r¡ ||
|| gp ggrs rg rrsdÖ srgr | gpg pdp ds× | d,pg dpgr ||
|| ni . . . . khi .... la | lµ ka n¡ | ya ka ||

|| anupallavi ||
|| g,g, p,; ggpp ddp, | ds×d dpg dp|d gdp grsr ||
|| nannu p¡ lim pa | sa ... ma| ya mur¡ ||
|| ggppdp ds×d s×r×s× g×r×, s×|ds× r×s×, dpd | s×d,p grsr ||
|| n¡ m§ da kru pa| . . jÀ ... | ¢a r¡ ||

|| chi¿¿esvara ||
|| g,rg rsr, srsg rgsr | sdÖsr gr gp|gpd, p,; ||
|| gpdp ds×r×g× r×,g× s×,r× d,|s× p,d s×r×g× s×|, dp, grsr ||

|| chara³am ||
|| g,g, pggr rgpg p,; | ggdd p,pg | dpg pgrsr ||
|| sannu t¡n ga s¦r§ | ni v¡ | ... sa ||

|| ettuga¢esvara ||
1. || g,;; r,s, r,; dÖ,|; r,dÖ, s,|; r,; gr || ||c||
2. || g,gr grsr g,gpÖ dÖdÖsr | g,gg dpgr | g,gs× dpgr || ||c||
3. || p,dd p,gr s,rg r,sdÖ | s,rg p,d, | s×s×,d p,gr || ||c||
4. || s×,r×g× r×s×r×s× ds×dp grsr | s,;; ss | rr gg pp dd ||
|| s×r× g×r×g×r× ds× r×s×r×s× pd s×d|s×d gp dpdp | r×s×dp grsr || ||c||

g . . . . . grrs r..... rsdÖ . . . . . s.....

Chitteswara and Varnam: Chitta (chiTTa in Telugu) meaning mind or think (kalpitam) in Sanskrit, Chitteswara is a
set of swara passages (solfa syllables) with manodharma intent (as opposed to Kalpanaswara which are purely
imaginary swaras). In a Varnam, a Chitteswara that follows Anupallavi is called Muktayiswara, while the
Chitteswaras that follows the Charanam are called Ettugadeswara (ettugaDa meaning "lift" in Telugu).

Chitteswara (Chittaswara) are pre-defined (pre-composed) swaras to enrich, enhance a raga. These inspire the
musicians to do Kalpanaswaras. After every varnam musicians try to sing Kalpanaswaras after Chitteswaras, a true
inspiration. Bharatiya sangeet is "mano" dharma sangeet. Chitta means mind or higher intelligence, the purpose of
Chitteswara is to explore the aspects of a raga. Chittaswaras are also introduced by composers in some Krutis.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 55

 s, gr g, p, s×d s×, s×, ddds×(~)
(~) dp g, gr s,
rachan¡: t¡navar³a 1 (in gamakam) - ninnu kµri r¡ga: mµhana t¡©a: ¡di ¡rµha³am: s r2 g 3 p d 2 s× avarµha³am: s× d 2 p g 3 r2 s

Gamakams to play in the first speed are given in BOLD letters. All subsequent lines should be played in double speed.

|| pallavi ||
|| g, g, r, ; ss rr gg rr | sr gr sr sdÖ | sr gp gr sr ||
|| ni nnu kµ .. ri .. .. .. | yu .. nn¡ .. | nu .. r¡ .. ||
|| g,; ;; g;r r,gr s,s, r,r, g,g, grgr | s,sgr g,r, s,sgr s,sdÖ | s,sgr pgp, g,gr s,sgr ||
|| g,; g,; g;r g;r s,s, r,r, g,g, r,r, | srsr g,r, srsr s,dÖ, | srsr g,p, g,r, s,gr ||

|| gp gg rs rg rr sdÖ sr gr | gpg pdp ds× | d, pg dp gr ||

|| ni .. .. khi .. .. la .. | lµ ka n¡ | ya .. ka .. ||
s
|| pgp, pgpg grs, grg, grgr s,sdÖ s,sgr g,gr | pgp,pg p,ds×
p,ds×ds×dp
dp s×ds×, | s×ds×d p,pg g
s×dp, g,gr ||
s
|| gpgp pgpg r,s, grg, grgr s,dÖ, s,sgr g,r, | gpgpg, p,d,p, ds×ds× | s×ds×d p,g, gdp, g,r, ||

|| anupallavi ||
|| g, g, p, ; gg pp dd p, | ds×d dpg dp|d gdp gr sr ||
|| na nnu p¡ .. lim .. .. pa | sa ... ma| . ya mu r¡ ||
d p d g
|| g,; ;; p,; ;; pgpg p,p, ddds× p,; | s×ds×,s×d s×dp,pg s×dp,| p s×d g,s×dp, g,gr s,sgr ||
|| g,; rg; p,; ;; g,g, p,p, d,d, p,; | ds×ds×d, pdp,g, gdp,|d, gdgdp, g,r, s,sgr ||

|| gg pp dp ds×d s×r×s× g×r×, s×|ds× r×s×, dpd | s×d,p gr sr ||

|| n¡ .. .. m§ da kru pa| . . jÀ ... | ¢a r¡ .. ||
p
|| g,; p,; s×dp, s×ds×,s×d s×,s× g×r×s×, s× s×
g×, g×r×g×r× s×,|s×
|s×,ds× ds×
ds× s×
g×r×s×,; s×dp,s×d | s×,s×ds×dp, g,gr s,sgr ||
s
|| g,g, p,p, d,p, ds×ds×d, s×r×s×r×s×, g×,g×r×,; s×,|ds×ds× dr×s×,; s×dp,s×d | s×,ds×d,p, g,r, s,sgr ||

Note:
1. Practicing Krama Varases before learning this Varnam will help learning it in Gamakams. The Krama Varases in Mohana raga is given in the free book
Sadhakams from Sangeet Bharati.
2. Once you are comfortable playing this Varnam in Gamakams, avoid looking at the gamakams, instead focus at the plain notes and play it in Gamakams.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 56

 || chi¿¿esvara ||
|| g, rg rs r, sr sg rg sr | sdÖ sr gr gp | gp d, p, ; ||
s
|| g,; grg, grs, grgr s,sgr s,g, grg, s,sgr | s,sdÖ s,sgr g,gr pgp, | pgp, ddds× d
p,; ;; ||
s d
|| g,; rgrg r,s, g,r, srsr s,g, rgrg srsr | s,dÖ, srsr g,r, gpgp | gpgp ds×ds× p,; ;; ||

|| gp dp ds× r×g× r×,g× s×,r× d,|s× p,d s×r×g× s×|, dp, gr sr ||

s× s×
|| pgp, s×dp, s×ds×, g×r×g×, g×r×g×r×g×, r×s×s×, s× g×r× s×ds×d|s×, d p,;p s×d s×,g×r×g×, r×s×|s×, ddds×dp;
dp; g,gr s,sgr ||
s×
|| gpgp d,p, ds×ds× g×r×g×, g×r×g×r×g×, r×s×s×,r×, s×ds×d|s×, dp,;ps×d s×,g×r×g×, r×s×|s×, ds×dp; g,gr s,sgr ||
s×
|| gpgp d,p, ds×ds× g×r×g×, g×r×r×,g×, r×s×s×,r×, s×dd,|s×, dpp,d, s×,g×r×g×, r×s×|s×, ds×dp; g,gr s,sgr ||

|| chara³am ||
|| g, g, pg gr rg pg p, ; | gg dd p, pg | dpg pgr sr ||
|| sa nnu t¡ .. nga .. s¦r§ .. | ni .. .. v¡ | ... sa .. ||
g
|| g,; g,; p,gp g,r, rgrg p,pg p,; ;; | pgpg gdpd p,; p,pg | gdp,g, gpg,r, s,sgr ||
g
|| g,; g,; p,gp g,r, rgrg p,pg p,; ;; | pgpg gdpd p,; p,pg | gdp,g, gpg,r, s,sgr ||
g
|| g,; g,; gpds× dpgr rgrg p,pg p,; ;; | pgpg gdpd p,; p,pg | gdp,g, gpg,r, s,sgr ||
g
|| g,; g,; dpdp dpgr rgrg p,pg p,; ;; | pgpg gdpd p,; p,pg | gdp,g, gpg,r, s,sgr ||

|| ettuga¢esvara ||
1. || g, ; ; r, s, r, ; dÖ, | ; r, dÖ, s, | ; r, ; gr ||
r g dÖ r s r
|| g,; ;; ;; r,; s,; g;r g;r s;dÖ | s;dÖ r,; dÖ,; s,dÖs | ;; g;r g;r g,r, ||
r g dÖ r dÖ s
|| g,; ;; ;; r,; s,; s,gr g,r, dÖ,; | ;; r,; dÖ,; s,; | ;; g;r g;r g,r, || ||c||

2. || g, gr gr sr g,g pÖdÖdÖ sr | g,g gdp gr | g,g s×dp gr ||

r
|| g,; g,r, rgr, s,sgr g,;g, pÖ,sdÖsdÖ s,sgr | r
g,;g, g,gdp, g,gr | g,;g, g
s×,d,p, g,r, ||
r
|| g,; rgr, rgr, s,r, g,;g, pÖ,sdÖsdÖ s,r, | g,;g, g,gdp, g,r, | g,;g, s×,d,p, g,r, || ||c||

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 57

3. || p, dd p, gr s, rg r, sdÖ | s, rg p, d, | s×s×,d p, gr ||
s dÖ p
|| p,; s×ds×d p,; g,gr s,; grg, grgr s,sdÖ | s,; grg, p,; s×ds×d | s×,d s×,;s×d p,; g,gr ||
s dÖ s
|| p,; d,d, p,; g,r, s,; grg, sgr, s,dÖ, | s,; grg, p,; ps×d, | s×,ds×,;d, p,; g,r, || ||c||

4. || s×, r×g× r×s× r×s× ds× dp gr sr | s, ; ; ss | rr gg pp dd ||

s× s×
|| s×,; g×r×g×, g×r×s×, g×r×s×, s×,ds×ds×; s×dp, g,gr s,sgr | s,; ;; ;; s,s, | r,r, g,g, p,p, s×ds×d ||
s×
|| s×,; g×r×g×, r×,s×, r×,s×, ds×ds× d,p, g,r, s,sgr | s,; ;; ;; ;; | pÖdÖsr dÖsrg srgp rgpd ||
s×
|| s×,; g×r×g×, r×,s×, r×,s×, ds×ds× d,p, g,r, s,sgr | s,; ;; ;; s,s, | r,r, g,g, p,p, d,d, ||

|| s×r× g×r× g×r× ds× r×s× r×s× pd s×d | s×d gp dp dp | r×s× dp gr sr ||

|| s×,s× g×r× g×,r×, r×g×,r× s×,ds× s×
g×r×s×, s×
g×r×s×, p,s×d s×,d, | s×,d, pgp, p
s×dp, p
s×dp, | s×
g×r×s×, s×dp, g,gr s,sgr ||
d
|| s×,r×, r×g×r×, r×g×r×, ds×ds× r×,s×, r×,s×, p,d, ds×d, | ds×d, gpgp d,p, d,p, | r×,s×, d,p, g,r, s,sgr || ||c||

r dÖ
g..... grrs r..... rsdÖ . . . . . s.....

Varnams playing order in two speeds

The warm-up piece of the Carnatic concert is the Varnams. The traditional style of rendering them is in two speeds in the following order.

1. Pallavi, Anupallavi and Chitteswara in 1st speed (optionally each line of Pallavi and Anupallavi are rendered twice).
2. Pallavi, Anupallavi and Chitteswara in 2nd speed (optionally each line of Pallavi and Anupallavi are rendered twice).
3. Charanam and 1st Ettugade Swara in 1st speed.
4. Charanam and 1st Ettugade Swara in 2nd speed.
and continue this pattern for all Ettugade Swaras.
(You may have to repeat Ettugade Swara to complete tala avartanam as needed.)
End with Charanam in 1st speed.

Performers also may choose to perform half or complete Pallavi after Chitteswara, which constitutes poorvaanga of a Varnam.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 58

 Walajāpeṭ Shrīmad Venkaṭaramaṇa Bhāgavatar
Remember the Swarajati rāma nā morālincharā in raga
Harikambhoji? It was one of the compositions of Shrimad
Venkataramana Bhagavatar. Bhagavatar was a devoted chief disciple
among thirty direct disciples of Shri Tyagaraja. These disciples were
instrumental in propagating Tyagaraja compositions. Bhagavatar was
instrumental in recording numerous compositions of Tyagaraja on palm
leaves for posterity. For nearly twenty-six years he served his Guru and
earned his appreciation and blessings which is evident by the Krutis of
Tyagaraja. One such Kruti is Nannu Palimpa in raga Mohanam which
was sung in ecstasy at the time when Bhagavatar presented the portrait of Lord Kodandarama on
the eve of the marriage of Tyagaraja’s daughter (“Kodanda” meaning Bow and Rama depicted holding
Kodanda is called “Kodandarama”).
This Boswell of Tyagaraja was born on Feb 18, 1781, in answer to his grandparents’ prayer to
have a son of great music knowledge. Bhagavatar learned Sanskrit and Telugu and became a
scholar. He also learned Sourashtram, his mother tongue. His longing for music drove him to
the house of Tyagaraja in Tiruvayyaru. Initially, he used to listen to the music standing outside
the house of Tyagaraja. Later this was noticed by Tyagaraja at the instance of his wife and asked
Venkataramana whether he would like to learn music from him. Venkataramana was very happy
to join the band of Tyagaraja’s disciples and started taking keen care of his Guru by rendering all
the services needed for day-to-day life for several years until he settled in Walajapet for his
livelihood.
Initially, Venkataramana was a bit slow in grasping the lessons taught by his Guru. Noticing this
Tyagaraja prayed Shri Rama and composed Gnanamosagaradha in raga Shadvidhamargini
to bestow the knowledge of music to Venkataramana. From the next day onwards
Venkataramana became an expert in music and was able to record all krutis on palm leaves. He
also recorded a brief biography of Tyagaraja. In later years he also composed songs in Telugu
emulating his guru with his own mudra Ramachandrapura Vara Venkataramana. His
handwriting was very beautiful like printing which is evident by the bound paper volume
Pothana Telugu Bhagavatam which is still preserved by “Madurai Sourashtra Sabha” along
with all palm leaves and paper manuscripts written by him and his son Shri Krishnaswamy
Bhagavatar.
Venkataramana Bhagavatar was so awed by Tyagaraja’s greatness and wrote the compositions
in Sanskrit and Telugu in praise of his guru. They are Shri Guru Ashtakam (Dhyana Shlokams in
Sanskrit), Shri Guru Mangalashtakam (Telugu), Adi Guru Ashtottara Panchangam (Telugu),
Shri Kakarlanvaya Ratnashara (a text in Manipravalam in Sanskrit, Telugu and Sourashtram)
and Gurucharanam Bhajare (a Kruti in raga Shankarabharanam, Adi tala).
Venkataramana attained mukti on Dec 15, 1874. His descendants handed over the relics of
Tyagaraja Paduka, Tambura etc to Madurai Sourashtra Sabha where they are preserved. His
Jayanti day celebrations are held at Ayyampettai every year where a number of his disciples and
Carnatic music lovers pay their homage.
If not for the efforts of Walajapet Venkataramana Bhagavatar and his son, many krutis of
Tyagaraja would not have been available to us.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 59

rachan¡: t¡navar³a 2 - s¡mi ninn£ kµri v¡gg£yak¡ra: s¦r§ v§³a kuppayya (1798 - 1860)
r¡ga: dh§ra s¦ankar¡bhara³am (29th m£©akarta) t¡©a: ¡di bh¡s¦¡: telugu
¡rµha³am: s r 2 g 3 m1 p d 2 n 3 s× avarµha³am: s× n 3 d 2 p m1 g 3 r 2 s

s¡hitya

|| pallavi ||
|| s¡mi ninn£ kµri ||
|| ch¡la marulu konnadir¡ ||

|| anupallavi ||
|| t¡masamu s£yaka ||
|| dayajÀ¢ar¡ r¡jagµp¡la ||

|| chara³am ||
|| n§raj¡ks¦i n§ pai ||
Pallavi: O Lord (sAmi)! Because of her desire for you (ninnE kOri), she is extremely (chAla) agitated (marulu konnadi).

Anupallavi: O King of cowherds (rAjagOpAla)! Without (sEyaka) antagonizing anymore (tAmasam), please show mercy
(dayajUDarA) on her.
Charanam: She, who has eyes like a beautiful lotus that are born in the water (nIrajAkshi) is longing for you (nI pai).

Shri Veena Kuppayya

The Composer of this Varnam Shri Veena (or Veene) Kuppayyar was an exponent of Veena and a composer of
Carnatic music. He was a student of the famous composer Shri Tyagaraja. Kuppayar composed his songs in Telugu and
has left behind the number of popular Krutis.

Veena Kuppayyar was born in a Telugu Brahmin family in Tiruvottiyur, near Chennai. His father Sambamoorti Shastri
was a famous vocalist as well as a Veena player. Kuppayyar had his initial training from him. Later he continued his
musical training under Tyagaraja and learned the art of music composition from him. Kuppayyar later moved to Chennai
and sought the patronage of a local ruler Kovur Shri Sundara Mudaliar. Kuppayyar trained a lot of disciples, who carried
forward the legacy of Tyagaraja, helping to spread his Krutis.

Veena Kuppayar was a talented Veena player. He also learned Violin, a new instrument to Carnatic music at that time.
He composed many Varnams and Krutis. The most famous Varnam is "Sami Ninne" in the raga Shankarabharanam.
When he was at his height of composing, he received the title of Asthana Vidwan. His mudra was "Gopaladasa", in
honor of his personal deity. Tiruvottriyur Shri Tyagayyar was his son, another accomplished Carnatic composer.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 60

 svara - s¡hitya

|| pallavi ||
|| s×,; ns×dn p, mpmgm, | p,dnp, dn|s×r× s×ndpdn ||
|| s¡ .... mi ni nn£ | ...... kµ|. . ri ||
|| s×, s×dpm p, pmgr srgs | nÖpÖdÖnÖs, pm|g rgm p,dn ||
|| ch¡ la ma ru lu | ko nna| di r¡ ||

|| anupallavi ||
|| s, ddpm dp,m gmp gmr | gmp d,pmp | dns×n s×,r×g× ||
|| t¡ . . . . ma sa ... | mu s£ | ya ka ||
|| m×g×r×n s×r×s×n dpdn s×r×s×, | s×dp p,mgr | smgm p,dn ||
|| da ya jÀ ¢a r¡ | r¡ja gµ | p¡ la ||

|| chi¿¿esvara ||
|| s×r×ns× dns×p dns×d pmpd | mpgm prgm | srgm pdns× ||
|| r×g×m×g× r×g×r×s× npdn s×,p, | s×nd p,mgr | sr,g mpdn ||

|| chara³am ||
|| p,dn s×s×nd pmgr g,m, | p,m d,p s×n|dp mgm rgm ||
|| n§ ra j¡ ks¦i | n§ ... pai|. . . . . ... ||

|| ettuga¢esvara ||
1. || p; m; p; g,m, r,g | s; r; nÖ,|, s,r, g,m || ||c||
2. || pd, pmg mp, mgm rg, r|snÖ dÖnÖ, pÖdÖnÖ | sr, nÖsrgm || ||c||
3. || m,dp mgm, pgmr gs,nÖ | smgr snÖdÖnÖ | srgm p,gm ||
|| pdnp dns×r× s×g×r×, s×ndn | s×,r×nd p,d | mgr s,rgm || ||c||
4. || p,mp gmrg s,mg rsnÖpÖ | dÖ,nÖs rsnÖ, | srgm p,dp ||
|| s×,n r×,s× m×g×r×g× s×, npdn | s×,s×, ndp, | mgr s,rgm || ||c||

p.....

"t¡navar³am" is simply called "var³am" or a "var³a".

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 61

 d
s, sg,r g, gmgm p, ps×,d s×n s×, s×, s×n s×d p, gm g, gr s,
rachan¡: s¡mi ninn£ kµri (in gamakam) r¡ga: s¦ankar¡bhara³am ¡rµha³am: s r2 g 3 m1 p d 2 n 3 s× avarµha³am: s× n 3 d 2 p m1 g 3 r2 s

|| pallavi ||
|| s×, ; ns× dn p, mp mg m, | p, dn p, dn | s×r× s×n dp dn ||
|| s¡ .. .. .. mi ni .. nn£ | .. .. .. kµ | .. ri .. .. ||
p
|| s×,; ;; ns×ns× dndn p,; mpmp gmg, gmgm | p,; dndn p,; dndn | s×,sg×,r× s×,s×n d,p, d,s×n ||

|| s×, s×d pm p, pm gr sr gs | nÖpÖ dÖnÖ s, pm|g rgm p, dn ||

|| ch¡ la .. ma ru .. lu .. | ko .. .. nna| di r¡ .. ||
|| p s×,; d,s×d p,g, p,; p,gm g,r, srsr g,s, | snÖpÖ, pÖs,dÖ dÖs,nÖ s,; p,gm|g, rgrgm, p,; p
s×ds×n ||

|| anupallavi ||
|| s, dd pm dp,m gmp gmr | gmp d, pmp | dn s×n s×, r×g× ||
|| t¡ .. .. ma sa ... | mu s£ ... | ya .. ka .. ||
g g p
|| s,; d,d, p,g, d,p,;g, gmgmp, gmgmr, | g,pgp, s×ds×d p,gpgp | dndn s×,n, s×,; sg×,r×g×
g×, ||

|| m×g× r×n s×r× s×n dp dn s×r× s×, | s×dp p, mgr | sm gm p, dn ||

|| da ya jÀ .. .. ¢a .. r¡ | r¡ja gµ ... | p¡ .. la .. ||
|| s× m×,g×, r×,n, s×r×s×r× s×,n, d,p, d,s×n s×r×s×r× s×,; | ds×d,p, p,; gmg,r, | sgsm g,m, p,; p
s×ds×n ||

|| chi¿¿esvara ||
|| s×r× ns× dn s×p dn s×d pm pd | mp gm pr gm | sr gm pd ns× ||
|| s×r×s×r× s×ns×, s×ds×n s×,p, dndn s×,d, p,gp gpd, | gpgp gmgm p,r, gmgm | srsr g,m, p,s×d s×ns×, ||

|| r×g× m×g× r×g× r×s× np dn s×, p, | s×nd p, mgr | sr,g mp dn ||

p p p p
|| s×g×,r×g×
g×, m×,g×, r×g×r×g× r×,s×, s×np, s×ds×n s×,; p,; | s×,n,d, p,; gmg,r, | s,grgrg, gpgp d,s×n ||

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 62

 || chara³am ||
|| p, dn s×s× nd pm gr g, m, | p,m d,p s×n | dp mgm rgm ||
|| n§ .. ra .. j¡ .. ks¦i .. | n§ ... pai | .. ... ... ||
p p p
|| p,; s×ds×n s×,s×, s×nd, p,gm g,r, g,; gmgm | p,;gp g,d,p, s×,s×n | d,p, gmgmgm sg,rg,m,
sg,rg,m, ||

|| ettuga¢esvara ||
1. || p; m; p; g, m, r,g | s; r; nÖ,|, s, r, g,m ||
s s
|| p,;; gmgmgm p,;; g,; gmgm grgrg, | s,;; grgrgr snÖsnÖ|snÖ s,; grgr g,;gpg,
g,;gpg, || ||c||

2. || pd, pmg mp, mgm rg, r|snÖ dÖnÖ, pÖdÖnÖ | sr, nÖs rgm ||
|| p,ps×d, p,gmg, gpgp; gmgmgm rgrg; r,|s,snÖ dÖnÖdÖnÖ; pÖ,pÖs,dÖ snÖ
snÖ | s,sg,r snÖs, sg,rg,
sg,rg,gpg,
g,gpg, || ||c||

3. || m, dp mg m, pg mr gs,nÖ | sm gr snÖ dÖnÖ | sr gm p, gm ||

|| gmgm d,p, gmg, gmgm p,g, gmr, rgs,;snÖ | smsm g,r, s,snÖ sdÖsnÖ | s,sg,r
s,sg,r g,m, p,; gmgm ||

|| pd np dn s×r× s×g× r×, s×n dn | s×,r× nd p,d | mgr s,r gm ||

|| p,ps×
p,ps×,d s×np, d,s×n s×,s×g×,r× s×g×s×g× s×g×r×, s×,s×n s×ds×n | s×,;s×
;s×g×,r× n,d, p,;ps×
p,;ps×,d | gmg,gr s,;sg,r
s,;sg,r g,gpg,
g,gpg, || ||c||

4. || p, mp gm rg s, mg rs nÖpÖ | dÖ, nÖs rs nÖ, | sr gm p, dp ||

pÖ p
|| p,; gpgp gmg, rgrg s,; smg, r,s, snÖpÖ, | sdÖsdÖ snÖs, sg,rs,
sg,rs, snÖsnÖ | s,sg,r
s,sg,r g,m, p,; s×dp, ||

|| s×,n r×,s× m×g× r×g× s×, np dn | s×, s×, nd p, | mgr s,rgm ||

|| p s×,;s×n s×
g×r×g×r×s×, s×m×g×, g×r×g×, s×,; s×np, s×ds×n | p
s×,; s×,; s×nds× d
p,; | gmg,gr s,;sg,r
s,;sg,rg,
sg,rg,g,pg
g,g,pg || ||c||

m
p.....

The term "Gamakam" itself means "Ornamented note" in Sanskrit. Gamakams involves the variation of the pitch of a note, using connections or oscillations
between adjacent and distant notes. Each raga has specific rules on the type of gamakam that might be applied to specific notes, and the types that may not.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 63

rachan¡: t¡navar³a 3 - jalaj¡ks¦i ninne¢ab¡si
v¡gg£yak¡ra: m¡nambuch¡va¢i s¦r§ venka¿asubbayy¡r (1803 - 1862)
r¡ga: hamsadhvani (29th m£©akarta dh§ra s¦ankar¡bhara³am janya) t¡©a: ¡di bh¡s¦¡: telugu
¡rµha³am: s r 2 g 3 p n 3 s× avarµha³am: s× n 3 p g 3 r 2 s

s¡hitya

|| pallavi ||
|| jalaj¡ks¦i ninne¢ab¡si ||
|| ch¡la marulu konnadir¡ ||

|| anupallavi ||
|| cheliyan£la r¡vad£mir¡ || (cheliyan£la = cheliyanu + £la)
|| cheluvu¢aina s¦r§ venka¿£s¦a ||

|| chara³am ||
|| n§ s¡¿i doran£g¡na ||

Pallavi: She, who has eyes like the water lilies (jalajAkshi), is exceedingly (chAla) distressed (marulu konnadi) because
of her separation from you (ninnu eDabAsi).

Anupallavi: O Venkatesha! You are her soul mate (cheluvuDaina). Why are you not coming (rAvadEmirA) to claim your
beloved (cheliyanEla)?

Charanam: I have not seen (nEgAna = nE + kAna) any other Lord (dora) who can be compared to you (nI sATi).

The Composer: Akumadugula Manambuchavadi Shri Venkatasubbayyar was a Carnatic music composer. He was a
cousin and a direct student of the famous composer Shri Tyagaraja. He was an accomplished singer and a renowned
teacher. He was a scholar in Telugu and Sanskrit. He composed in the Telugu language.

Venkatasubbayyar was born in the village Manambuchavadi in the Tanjavur district of Tamil Nadu. He spent most of his
life in the company of great Tyagarja and helped to preserve many of his compositions.

Five of Venkatasubbayyar's students (pancharatna disciples) include Mahavaidyanatha Iyer, Patnam Subramania Iyer,
Sharabha Shastri, Tyagaraja (the grandson of the great composer Tyagaraja) and Fiddle Venkoba Rao who later went
on to become a famous composer/musician of merit. Venkatasubbayyar's compositions had the mudra "Venkatesha".

His disciple Sharabha Shastri (1872 - 1904), blind at a young age, brought the flute into mainstream Carnatic concerts.
Until then, the flute was mostly a folklore instrument. To Shastri goes the credit of promoting the flute to the status of a
primary concert instrument from being a mere "second fiddle" to dance.

Varnams and Voice Culture

Shri Tyagaraja has pointed out that the main resonating cavities are naabhi (belly), hrut (chest), kantha (neck),
rasana (tongue, i.e. mouth) and naasagre (top of the nose, i.e. head). These are classified in Western classical
music as the chest register, middle register and head register. Practicing Varnams help us to develop the voice in
three octaves and gain tremendous breath control.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 64

 svara - s¡hitya

|| pallavi ||
|| g,r, s,; nÖsrg rrsnÖ | sr ssnÖpÖ nÖs|r pÖ,nÖ, s,r ||
|| jala j¡ ks¦i ni | nne .... ¢a| b¡ si ||
|| grs nÖsr pÖnÖsr gp gnp, | s×ns× r×, s×np| pg,r, s,r ||
|| ch¡ la ma ru lu | ko .. nna| di r¡ ||

|| anupallavi ||
|| pgrs nÖsr, g,r, ssnÖpÖ | nÖsr g, sgr|g p,n s×,; ||
|| che li ya n£ la | r¡ va d£ | mi r¡ ||
|| r×s×np ns×r×g× s×r×g×p× g×r×s×n | r×r×, s×np pg|, rsnÖ pÖnÖsr ||
|| che lu vu ¢ai na | s¦r§ ven ka¿£| ... s¦a ||

|| chi¿¿esvara ||
|| g,rg rsr, nÖsrg rrsnÖ | r,nÖg rnÖsr | pÖnÖsr g;p ||
|| grsr, gpn rgpn srgp | pÖnÖsr, gpn | rgpn s×,; ||
|| r×r× s×np, ng× r×s×np ns×r×g× | p,n s×,r×g×r× | pns×r× g×r×nr× ||
|| g×p×g×r× s×ns×r× s×npg rgpn | g×r×, s×np r×s×|, npg, rsr ||

|| chara³am ||
|| n,;; s×,r×, s×np pgr | g; grs r, | rsnÖ sr g,p ||
|| n§ s¡ ¿i do | ra ... n£ | ... k¡ na ||

|| ettuga¢esvara ||
1. || n; p; g; r; s,nÖ, | pÖ; r; nÖ,|, s,r, g,p || ||c||
2. || n,pg rsr, grsnÖ pÖ,r nÖ|, grnÖ pÖnÖsr|, rg nÖsrgp || ||c||
3. || npgr nÖgrnÖ pÖnÖpÖs nÖrsg | rpgn ps×nr× | ng×r×n r×npg ||
|| pn s×r×g× gp ns×r× rg pns×n | g×r× s×np r×s× n|pgr nÖsrgp || ||c||
4. || s×,;; nr× s×npg rsrg | p,;; s×n | pgrs rgpn ||
|| s×r×, nr×np gpr, gpgr s|rnÖ, gr pgn | rgpn s×,; ||
|| npgp, rgpn, gpns×r×, | pns× r×,g× ns× | ng×r×r× n,pn ||
|| g×r×, ns×r× p×g×, r×s×n pns×r× | s×; p; np | grs nÖs rgp || ||c||

n..... s× . . . . .

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 65

 p
s, sg,r g, p, s×n s×, s×, s×n p, pg gr s,
rachan¡: t¡navar³a 3 (in gamakam) - jalaj¡ks¦i r¡ga: hamsadhvani t¡©a: ¡di ¡rµha³am: s r2 g 3 p n 3 s× avarµha³am: s× n 3 p g 3 r2 s

|| pallavi ||
|| g, r, s, ; nÖs rg rr snÖ | sr ss nÖpÖ nÖs|r pÖ, nÖ, s,r ||
|| ja la j¡ .. ks¦i .. ni .. | nne .. .. ¢a| b¡ .. si ||
s pÖ s
|| g,; grgr s,; ;; snÖs, sg,rg,
sg,rg, grgr s,snÖ | s,sgr s,s, pÖ
snÖpÖ, pÖs,nÖ s,|r,
s,|r, pÖ,; pÖ
snÖsnÖ s,;r, ||

|| grs nÖsr pÖnÖ sr gp gn p, | s×ns× r×, s×np | pg, r, s,r ||

|| ch¡ la ma .. ru .. lu | ko .. nna | di .. r¡ ||
p s×
|| g,grs, snÖs,r, pÖ,pÖs,nÖ s,r, pgp, pgs×n p,; | s×,s×ns×, g×r×g×r× s×,s×np, | p,pgpg grgr s,;sg,r
s,;sg,r ||

|| anupallavi ||
|| pg rs nÖs r, g, r, ss nÖpÖ | nÖsr g, sg r|g p,n s×, ; ||
|| che .. li ya n£ .. la .. | r¡ va d£ | mi r¡ .. ||
s pÖ pÖ
|| p,pg grs, snÖs, grgr g,; grgr s,s, snÖpÖ, | snÖs,sg,r
,sg,r g,; s,g, gr|g, p,;p s×n s×,; ;; ||

|| r×s× np ns× r×g× s×r× g×p× g×r× s×n | r×r×, s×np pg|, rsnÖ pÖnÖ sr ||
|| che .. lu vu ¢ai .. na .. | s¦r§ ven ka¿£| . . . s¦a .. ||
p s× p
|| pr×s×, s×np, s×ns×, g×r×g×, s×,s×g×,r× g×,p×, g×,g×r× s×,s×n | r×,r×,; s×,s×np, p,pg|pg grs,snÖ pÖ,snÖ s,sr ||

|| chi¿¿esvara ||
|| g, rg rs r, nÖs rg rr snÖ | r, nÖg rnÖ sr | pÖnÖ sr g, ,p ||
s s
|| g,; grg, grs, grgr snÖs, grg, grgr s,snÖ | r,; nÖgnÖg r,rnÖ s,r, | pÖ,pÖs,nÖ s,sr g,; ;p, ||

|| grs r, gpn rg pn sr gp | pÖnÖs r, gpn | rg pn s×, ; ||

s
|| g,grs, grgr pgp,s×n grg, p,s×n s,sgr pgp, | pÖ,snÖs, s
grgr g,p,s×n | grg, p,s×n p
s×,; ;; ||

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 66

 || r×r× s×n p, ng× r×s× np ns× r×g× | p,n s×,r× g×r× | pn s×r× g×r× nr× ||
|| r×,r×, s×,s×n p,; ng×ng× r×,s×, s×np, s×ns×, sg×,r× g×
g×, | p,;s×n s×,;s×r× g×,r×, | p,s×n s×,s×r× g×,g×r× n,r×, ||

|| g×p× g×r× s×n s×r× s×n pg rg pn | g×r×, s×np r×s×|, np g, rsr ||

p
|| g×,p×, g×,r×, s×,s×n s×,r×, s×,s×n p,g, grg, p,s×n | g×,g×r×g×r× s×,s×np, r×,s×,|; s×np, pgpg grs,r, ||

|| chara³am ||
|| n, ; ; s×, r×, s×np pgr | g; grs r, | rsnÖ sr g,p ||
|| n§ .. .. s¡ .. ¿i do | ra ... n£ | ... k¡ na ||
p
|| s×ns×n s×ns×n s×ns×n s×,; s×g×r×, s×,s×np, p,g,gr | rg,;; g,grs, s
grgr | grs,snÖ s,sg,r
s,sg,r g,;p, ||

|| ettuga¢esvara ||
1. || n; p; g; r; s, nÖ, | pÖ; r; nÖ,|, s, r, g,p ||
p s× p s pÖ r s
|| s×ns×ns×n p,;; g,;; grgrgr s,; snÖsnÖ | pÖ,;; r,;; nÖ,;|; s,; grgr g,;p, || ||c||

2. || n, pg rs r, gr snÖ pÖ,r nÖ|, grnÖ pÖnÖs r|, rg nÖs rgp ||

|| p s×ns×n p,g, grs, s
grgr g,gr s,snÖ pÖ,;r, nÖ,|; g,grnÖ, pÖ,pÖsnÖs, s
gr|gr grg, snÖs, s
grg,p, || ||c||

3. || np gr nÖg rnÖ pÖnÖ pÖs nÖr sg | rp gn ps× nr× | ng× r×n r×n pg ||
|| p s× np, g,r, nÖgnÖg r,nÖ, pÖ,snÖ pÖ,s, nÖrnÖr s,g, | grp, g,s×n p,s×, s×nr×, | ng×ng× r×,n, nr×n, p,pg ||

|| pn s×r×g× gp ns×r× rg pn s×n | g×r× s×np r×s× n|p gr nÖs rgp ||

|| p,s×n s×,s× g×r×g×, pgp, p
s×ns×,r×, grg, p,s×n s×,s×n | ng×r×, s×,s×np, p
r×,s×, s×n|p, g,r, snÖs, sg,rg,p,
sg,rg,p, || ||c||

Ran Sangeet (raN sangeet) - the name itself brings goosebumps. We sure experience this when we watch Swaraanjali programs of Rashtreeya
Swayamsevak Sangh (RSS). If Bharatiya Sangeet is mostly bhakti based, Ran Sangeet is motivational, inspirational, energetic and patriotic.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 67

4. || s×, ; ; nr× s×n pg rs rg | p, ; ; s×n | pg rs rg pn ||
|| p s×,; ;; ;; nr×nr× s×,n, p,g, r,s, s
grg, | p,; ;; ;; p
s×,n, | p,g, grs, s
grg, p,s×n ||

|| s×r×, nr× np gp r, gp gr s|r nÖ, gr pgn | rg pn s×, ; ||

|| s×,r×,; nr×nr× n,p, gpgp r,; gpgp g,r, s,|r, nÖ,; nÖgr, p,gpgn | rgrg p,s×n s×,; ;; ||

|| np gp, rg pn, gp ns× r×, | pns× r×,g× ns× | ng× r×r× n, pn ||

|| n,p, gpgp; rgrg p,p s×ns×n pgp, p
s×ns×, s×g×r×, | p,s×ns×, g×r×g×r×g×, ns×ns× | ng×r×g× r×,r×, n,; p,s×n ||

|| g×r×, ns×r× p×g×, r×s×n pn s×r× | s×; p; np | grs nÖs rgp ||

|| g×, s× g×r×g×r× s×ns×,r×, p×,g×,; g×r×s×,s×n p,p s×n s×,s×r× | p
s×,;; s×
p,;; p
s×np, | g,grs, snÖs, s
grg,p, || ||c||

p
n..... s× . . . . .

Melakarta Scheme of Raga Classification

The twelve semitones of the octave are S, R1, R2=G1, R3=G2, G3, M1, M2, P, D1, D2=N1, D3=N2, N3. A melakarta (mela) raga must necessarily have S
and P, one of the M's, one each of the R's and G's, and one each of the D's and N's. Also, R must necessarily precede G and D must precede N (krama
sampoorna raga). This gives 2 (6 × 6) = 72 mela ragas. Of 72 Melas, the first 36 have M1 and the second 36 have M2.

Finding melakarta ragas is a mathematical process. For a given mela number (from 1 to 72), by following a simple set of rules we can find the
corresponding raga and the scale associated with it. A raga that has a subset of swaras from a Melakarta raga is said to be a janya (meaning born or derived
from) of that Melakarta raga. Each Mela raga applied to permutations and combinations of swarasthanas gives scope to 484 janya ragas. 72 Mela ragas
have thus a potential of giving the colossal 34776 janya ragas. Of course, this is only an arithmetical projection and not melodic feasibility.

Janya ragas whose notes are found in more than one melakarta raga are assigned (or associated) parent Melakarta based on subjective notions of
similarity. This is obvious for ragas that have less than seven notes. For such ragas it can be associated with a Melakarta which has any of the different
swaras in that position. For example, Hindolam has Rishabha and Panchama missing. Hence, it could be considered a janya of Todi (also known as
Hanumatodi) which has shuddha rishabha or Natabhairavi which has a chathushruti rishabha, but it is popularly associated with Natabhairavi.

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 Walajāpeṭ Shrīmad Venkaṭaramaṇa Bhāgavatar Illam
The options around Vellore in Tamil Nadu to visit are several like SV Aranmanai (Palace), Vellore Fort,
Temples in and around Vellore, Vaniyambadi temples, Walajapet etc. Most importantly for music
seekers is Walajapet Venkatramana Bhagavatar Illam (house).
Not many people know this place. So en route to Vellore
and getting down at Walajapet and asking nearby shops
for a Bhagavatar home may not help. So, ask for
Venkatramana Bhagavatar Street. Find a house that still
has its ancient structure well maintained.
Presently this is the home of the 5th generation of
Venkataramana Bhagavatar, Shrinivasa Bhagavatar
and his daughter (6th generation) Sandhya. It was this
very house where Tyagaraja stayed for twelve days
during his visit to Tirupati. The house is ancient, being
in use since the 1850s. The door is a beautifully carved
wooden door and the house have wooden pillars that formed the “thinnai” or the patio. The ceiling was a typical
old ceiling very similar to the Kalangal village houses. The flooring was of the Karaikudi red clay tiles. It
is a heritage at its epitome.
As soon as one enters the house, to the right is the huge hall and at its end, behind a screen are the
images and idols of the Gods and Goddesses. On either side of the hall were ancient paintings of great
Marathi composers and singers, painted in the Tanjore style. The two idols there were Lord Shri Rama
and Lord Shri Krishna. These idols were gifted to Bhagavatar by Tyagaraja himself. The idol of Lord
Rama has four arms. The front arms have a bow & arrow and the back arms have conch & wheel (Shank
& Chakra). He is with Goddess Sita and Hanuman. The other idol is Lord Krishna with Rukmini and
Satyabhama.
Some paintings are age-old painted when Bhagavatar was alive. Two were of himself with Tyagaraja.
Another was of himself surrounded by his two sons Krishnaswamy and Ramaswamy and four disciples.
These were painted by Pallavi Ellayya, one of his disciples. Some old black and white photographs of his
sons are also here.

Please visit and write on the places of musical importance in Bharat and talk about the
interesting points. Read about those places and composers, musicians before visiting.

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 Carnatic Music Discussion
1. Does Carnatic music, unfortunately, a constraint music and musicians?
2. Can they sing/perform only in particular formats and does that deny them a chance to be
innovative?
3. After yesteryear greats like Dr. Balamurali Krishnan, is there nothing new in or can there
be anything new in Carnatic music innovation?
4. Is it becoming staler because of its own self-imposed restrictions?
5. Do Carnatic musicians have very low levels of experimental capacity fearing their
practitioners lose the faculty to accept anything out of the ordinary?
6. Does Carnatic music delve only into one mood - Bhakti?
7. Does Carnatic music do the very basic function expected out of an art form, which is to
reach the people?
These were the questions on the Facebook group “Carnatic Music Discussion” once posted by
someone identified as a Ph.D. student in music. I myself being a Carnatic music seeker for the last
three years, I found the answer given by the group’s moderator Shri Srinath Viswanathan is worth
sharing.
Srinath Viswanathan: The difference between a classical music form and a popular music form is
that a classical music form has certain rules and forms. Classical forms also require some study and
effort to understand and appreciate them. My question to you would be whether you are making these
statements as someone who has followed Carnatic music and understands Carnatic music or just as a
lay listener? Just as one cannot comment on a technical paper in a Journal unless one has subject
matter authority, it is improper to criticize Carnatic music unless one has some basic understanding
of the form.
Some of the questions I would ask myself before I felt that I was qualified to make these statements
would be:
1. Have I been a serious follower of Carnatic music for at least five years?
2. Can I recognize the most common ragas like Mohanam, Hamsadwani, Kalyani,
Kambhoji, Shankarabharanam, Abhogi, Abheri, Todi, Bhairavi, Sindhu Bharavi, Kanada,
Kapi etc etc.
3. Do I have some understanding of basic music theory - Melakarta, Janya raga,
Sampoorna raga, Vakra raga, Shruti, 16 Shrutis etc etc.
4. Do I understand the basic talas? Am I able to keep tala during a concert or when listening?
5. Do I know the difference between a Kruti, Tillana, Bhajan etc?
6. Do I know who Venkatamakhi and Purandara Dasa are?
7. Do I know who the Trinity are? Tanjore Quartet? Other prominent composers? Modern
composers? etc etc.
8. Have I listened to some old masters as well as younger musicians? e.g., Ariyakudi,
Chemmangudi, GNB, MS, DKP, Vasantakumari, MDR, KVN, DKJ, Shankarnarayanan,
Sudha R, Sanjay Sub, Abhishek R, Gurucharan, Ranjani Gayatri, Lalgudi, MSG,
Balachander, Mali, Ramani, Mysore Brothers etc etc. (I didn’t include Balamurali as you
have already mentioned him).
9. Have I attended at least twenty Carnatic music concerts?
I’ve probably left some stuff off, but I would urge you to answer these questions before you seek
answers to your questions. Good luck.

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 References

Online sources (. . . but not limited to)

1. http://www.karnatik.com
2. http://carnatica.net
3. http://www.carnaticindia.com
4. http://www.shivkumar.org/music
5. https://www.wikipedia.org
6. http://sahityam.net/wiki
7. http://www.ragasurabhi.com
8. http://www.swarasindhu.in/swarasindhu/
9. http://www.flutesai.com
10. https://sujamusic.wordpress.com
11. http://www.indianflutemusic.com
12. http://indian-heritage.org/music
13. https://www.quora.com
14. http://nadasurabhi.org

Books (. . . but not limited to)

1. Karnaataka Sangeetha Dharpana Book (1 & 2), Srinivasa Prakashana, Bengaluru.
2. Karnaataka Sangeetha Dharpana, Srinivasa Prakashana, Bengaluru.
3. Perfecting Carnatic Music Level I and Level II by Chitravina N Ravikiran.
4. Aesthetics in Performance, edited by Angela Hobart and Bruce Kapferer.
5. PÀ£ÁðlPÀ ¸ÀAVÃvÀ - ¥ÁæxÀ«ÄPÀ ºÀAvÀ, PÀ£ÁðlPÀ ¸ÀPÁðgÀ ¸ÁªÀðd¤PÀ ²PÀët E¯ÁSÉ.
6. PÀ£ÁðlPÀ ¸ÀAVÃvÀ - «zÀévï ¥ÀƪÀð ºÀAvÀ, PÀ£ÁðlPÀ ¸ÀPÁðgÀ ¸ÁªÀðd¤PÀ ²PÀët E¯ÁSÉ.
7. PÀ£ÁðlPÀ ¸ÀAVÃvÀ±Á¸ÀÛç ªÁ»¤, ¨sÁgÀwà ¥ÀæPÁ±À£À, ªÉÄʸÀÆgÀÄ.
8. PÀ£ÁðlPÀ ±Á¹ÛçÃAiÀÄ ¸ÀAVÃvÀ - ¨sÁUÀ 1 ªÀÄvÀÄÛ 2, vÀ£ÀÄ ªÀÄ£ÀÄ ¥ÀæPÁ±À£À, ªÉÄʸÀÆgÀÄ.

Sangeet Bharati | Practice, Perform, Promote and Unite. Page 73

  सर्वे भर्वत
ं ु सुखिनः
सर्वे सतं ु खनरामयाः ।
सर्वे भद्राखि पश्यंतु
मा कखिद्ुःिभाग्भर्वेत् ।
 शांखत शांखत शांखतः ॥
ōm sarvē bhavantu sukhinaha
sarvē santu nir-āmayāha ।
sarvē bhadrāṇi pashyantu
mā kashchid-duhkha-bhāg-bhavēt ।
ōm shānti shānti shāntihi ॥
May all become happy.
May all be free from illness.
May all see what is auspicious.
May no one suffer.
May peace prevail from our actions, others actions and natures.
(Shānti mantra from Bruhadāraṇyaka upanishad)