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A Lank Aram
A Lank Aram
Notes from Chitra Veena Ravi Kiran's book (with some additions):
Musical Phrases: It is important to first practice karvai (long notes: see the sarali varisai
class) before the varishais. Gradually simple combinations of notes can be tried. Teachers
can introduce small musical phrases like GM , - GMP, - DDP, - PMG, - MGR, - GMGRS-
and so on. Over a few sessions, the phrases can get perceptibly sophisticated.
Akaaram: After a few such sessions, the same phrases can be rendered using the vowel
"a" as in "America". This is called "akaaram" and it is a very integral part of Carnatic
music, with particular reference to vocal music. Thus, exposure to akarams is very
essential at this stage, albeit in a simple form.
Varishais - Sequences:
The great composer Purandara Dasa, hailed as the Father of Carnatic music, created a set
of fundamental exercises nearly 500 years ago, which are followed even today.
There are 4 main types of varishais.
Sarali Varishais: These fundamental sequences enable the student to get a feel of melody
with rhythm. The logic is quite obvious here. The 1st varishai is a plain ascent and
descent of the notes of the raga. The 2nd varishai focuses on the second note from S,
namely R (in the ascent) and N (in the descent). The 3rd varishai centers on the third note
(G and D) in the ascent and descent respectively. The fourth varishai concentrates on the
fourth note M and P. This goes on upto the 7th varishai. The last 3 are general exercises.
Some books have split the last sarali varishai into 5 parts, but singing it as a single
varishai is more instructive.
Janta Varishais: These are forceful sequences, which facilitate the students to add
weight and majesty to their voice. They make use of a form of ornamentation called
"spuritham" which is rendering a note twice: plain the first time, and with force from the
previous note (i.e. the note just below this note in frequency) in the raga the second time.
Teachers must take care that the concept of sphuritham is very clearly embedded in the
students' minds. The tendency to render it in a bland and insipid manner should be
avoided.
Melsthayi Varishais: These are higher octave sequences, which increase the students'
vocal or instrumental range. Again, the logic is easy to understand. The first is the
simplest asn every subsequent exercise adds a new phrase to the previous one. The
progressively cover notes upto Pa in the higher octave.
Dhatu Varishais: These are zigzag sequences that increase the students' overall
command of notes.
Alankarams: These are multi-tala sequences composed in the 35 talas. But usually 7 of
these are selected and taught to the students.
Students should be taught to render all these exercises in at least 3-4 speeds. Once they
perfect this technique, they could practice most of them in the 3rd speed. It is ideal to
render each varishai twice, once just with the swaras, and again, with akaaram.
Advanced exercises:
Some selected varishais can be repeated with:
- Akaram, Ee-kaaram, U-kaaram
- With Gamakas, in different speeds
- In different sampurna ragas: Kalyani, Shankarabharanam, Kharaharapriya, Thodi
- In selected symmetrical janya ragas (without tala): Mohana, Hamsadhwani, Sri ranjani,
- In selected asymmetrical janya ragas: Bilahari, Mohana Kalyani
- In selected vivadi ragas: Ganamurthi, Chala Natai
- In bhashanga ragas: Bhairavi
- In different nadais: thrishram, khanda, mishra
(this is particularly useful for instrumental practice)
===============================================================
I4 0 I4
s r g r | s r | s r g m ||
r g m g | r g | r g m p ||
g m p m | g m | g m p d ||
m p d p | m p | m p d n ||
p d n d | p d | p d n S ||
S n d n | S n | S n d p ||
n d p d | n d | n d p m ||
d p m p | d p | d p m g ||
p m g m | p m | p m g r ||
m g r g | m g | m g r s ||
0 I4
s r | s r g m ||
r g | r g m p ||
g m | g m p d ||
m p | m p d n ||
p d | p d n S ||
S n | S n d p ||
n d | n d p m ||
d p | d p m g ||
p m | p m g r ||
m g | m g r s ||
4. Mishra Jati JHAMPA TALAM Alankaram:
I7 U 0 = 7 + 1 + 2 = 10 beats
I7 U 0
s r g s r s r | g | m , ||
r g m r g r g | m | p , ||
g m p g m g m | p | d , ||
m p d m p m p | d | n , ||
p d n p d p d | n | S , ||
S n d S n S n | d | p , ||
n d p n d n d | p | m , ||
d p m d p d p | m | g , ||
p m g p m p m | g | r , ||
m g r m g m g | r | s , ||
I3 0 0
s r g | s r | g m ||
r g m | r g | m p ||
g m p | g m | p d ||
m p d | m p | d n ||
p d n | p d | n S ||
S n d | S n | d p ||
n d p | n d | p m ||
d p m | d p | m g ||
p m g | p m | g r ||
m g r | m g | r s ||
I5 I5 0 0 = 5 + 5 + 2 + 2 = 14 beats
I5 I5 0 0
s r , g , | s , r g , | m , | m , ||
r g , m , | r , g m , | p , | p , ||
g m , p , | g , m p , | d , | d , ||
m p , d , | m , p d , | n , | n , ||
p d , n , | p , d n , | S , | S , ||
S n , d , | S , n d , | p , | p , ||
n d , p , | n , d p , | m , | m , ||
d p , m , | d , p m , | g , | g , ||
p m , g , | p , m g , | r , | r , ||
m g , r , | m , g r , | s , | s , ||
I4
s r g m ||
r g m p ||
g m p d ||
m p d n ||
p d n S ||
S n d p ||
n d p m ||
d p m g ||
p m g r ||
m g r s ||
Version 1:
I9
s , r , g , m p d ||
r , g , m , p d n ||
g , m , p , d n S ||
S , n , d , p m g ||
n , d , p , m g r ||
d , p , m , g r s ||
Version 2:
I9
s r , g m , p d n ||
r g , m p , d n S ||
S n , d p , m g r ||
n d , p m , g r s ||
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