Sadhaka varisai 2

srsrsrgm rgrgrgmp gmgmgmpd

mpmpmpdn pdpdpdnS
SnSnSndp ndndndpm dpdpdpmg
pmpmpmgr mgmgmgrs.

Sadhaka varisai 3

srgsrgsr rgmrgmrg gmpgmpgm

mpdmpdmp pdnpdnpd
dnSdnSdn nSRnSRnSRnS; RSnRSnRS
SndSndSn ndpndpnd
dpmdpmdp pmgpmgpm mgrmgrmg
grsgrsgr rsnrsnrs.
Sadaka 4
srgmp,sr rgmpd,rg gmpdn,gm
mpdnS,mp pdnSR,pd dnSRG,dn
nSRGM,nS; MGRSn,MG GRSnd,GR
RSndp,RS Sndpm,Sn ndpmg,nd dpmgr,dp
pmgrs,pm mgrsn,mg grsnd,gr rsndp,rs.
Sadaka 5
srgmpdsr rgmpdnrg gmpdnSgm
mpdnSRmp pdnSRGpd dnSRGMdn
nSRGMPnS; PMGRSnPM MGRSndMG
GRSndpGR RSndpmRS SndpmgSn
ndpmgrnd dpmgrsdp pmgrsnpm
mgrsndmg grsndpgr rsndpmrs//
Sadaka 6
srgmpdn, rgmpdnS, gmpdnSR,
mpdnSRG, pdnSRGM, dnSRGMP,
PMGRSnd, MGRSndp, GRSndpm,
RSndpmg, Sndpmgr, ndpmgrs,//
Sadaka 7
srgmpmgr rgmpdpmg gmpdndpm
mpdnSndp pdnSRSnd dnSRGRSn
nSRGMGRS; MGRSnSRG GRSndnSR
RSndpdnS Sndpmpdn ndpmgmpd
dpmgrgmp pmgrsrgm mgrsnsrg
grsndnsr rsndpdns//

Sadaka 8
srgmpmdp rgmpdpnd gmpdndSn
mpdnSnRS; pdnSRSGR dnSRGRMG
nSRGMGPM PMGRSRns MGRSnSdn
GRSndnpd RSndpdmp Sndpmpgm
ndpmgmrg dpmgrgsr pmgrsrns//

Sadaka 9
rsgrmgpm grmgpmdp mgpmdpnd
pmdpndSn dpndSnRS ndSNRSGR
 SNRSGRMG RSGRMGPM MPGMRGSR
GMRGSRnS RGSRnSdn SRnSdnpd
nSdnpdmp dnpdmpgm pdmpgmrg
mpgmrgsr gmrgsrns//

Sadaka 10
grsmgrpm mgrpmgdp pmgdpmnd
dpmndpSn ndpSndRS; SNdRSnGR
RSnGRSMG GRSMGRPM GMPRGMSR
RGMSRGnS SRGnSRdn nSRdnSpd
dnSpdnmp pdnmpdgm mpdgmprg
gmprgmsr rgmsrgns//
Sadaka 11
mgrspmgr pmgrdpmg dpmgndpm
ndpmSndp SndpRSnd RSndGRSn
GRSnMGRS; SRGMnSRG nSRGdnSR
dnSRpdnS pdnSmpdn mpdngmpd
gmpdrgmp rgmpsrgm srgmnsrg nsrgdnsr
dnsrpdns//
 Dhatu varisai
Raga: Mayamalavagowla (15th Melakartha Ragam)
Arohana: S R1 G3 M1 P D1 N3 S
Avarohana: S N3 D1 P M1 G3 R1 S
Talam: Adi
Notation Courtesy: Rani, www.karnatic.com and Chitraveena Ravi Kiran's book

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

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

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

Varishais - Sequences:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

===============================================================
 Junta Varishai
It 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.

1. || ss rr gg mm | pp dd nn SS || 4. || ssr ssr sr | ss rr gg mm ||
|| SS nn dd pp | mm gg rr ss || || rrg rrg rg | rr gg mm pp ||
|| ggm ggm gm | gg mm pp dd ||
2. || ss rr gg mm | rr gg mm pp || || mmp mmp mp | mm pp dd nn ||
|| gg mm pp dd | mm pp dd nn || || ppd ppd pd | pp dd nn SS ||
|| pp dd nn SS | SS nn dd pp || || SSn SSn Sn | SS nn dd pp ||
|| nn dd pp mm | dd pp mm gg || || nnd nnd nd | nn dd pp mm ||
|| pp mm gg rr | mm gg rr ss || || ddp ddp dp | dd ppmm gg ||
|| ppm ppm pm | pp mm gg rr ||
3. || ss rr gg rr | ss rr gg mm || || mmg mmg mg | mm gg rr ss ||
|| rr gg mm gg | rr gg mm pp ||
|| gg mm pp mm | gg mm pp dd || 5. || ss rr g srg | ss rr gg mm ||
|| mm pp dd pp | mm pp dd nn || || rr gg m rgm | rr gg mm pp ||
|| pp dd nn dd | pp dd nn SS || || gg mm p gmp | gg mm pp dd ||
|| SS nn dd nn | SS nn dd pp || || mm pp d mpd | mm pp dd nn ||
|| nn dd pp dd | nn dd pp mm || || pp dd n pdn | pp dd nn SS ||
|| dd pp mm pp | dd ppmm gg || || SS nn d Snd | SS nn dd pp ||
|| pp mm gg mm | pp mm gg rr || || nn dd p ndp | nn dd pp mm ||
|| mm gg rr gg | mm gg rr ss || || dd pp m dpm | dd ppmm gg ||
|| pp mm g pmg | pp mm gg rr ||
|| mm gg r mgr | mm gg rr ss ||
6. || sss rrr gg | ss rr gg mm || || SSS nnn dd | SS nn dd pp ||
|| rrr ggg mm | rr gg mm pp || || nnn ddd pp | nn dd pp mm ||
|| ggg mmm pp | gg mm pp dd || || ddd ppp mm | dd pp mm gg ||
|| mmm ppp dd | mm pp dd nn || || ppp mmm gg | pp mm mm rr ||
|| ppp ddd nn | pp dd nn SS || || mmm ggg rr | mm gg rr ss ||

7. || s , s r , r gg | ss rr gg mm || || S,S n,n dd | SS nn dd pp ||
|| r , r g , g mm | rr gg mm pp || || n,n d,d pp | nn dd pp mm ||
|| g , g m , m pp | gg mm pp dd || || d,d p,p mm | dd pp mm gg ||
|| m , m p , p dd | mm pp dd nn || || p,p m,m gg | pp mm gg rr ||
|| p , p d , d nn | pp dd nn SS || || m,m g,g rr | mm gg rr ss ||

8. || ss, rr, gg | ss rr gg mm || || SS, nn, dd | SS nn dd pp ||

|| rr, gg, mm | rr gg mm pp || || nn, dd, pp | nn dd pp mm ||
|| gg, mm, pp | gg mm pp dd || || dd, pp, mm | dd pp mm gg ||
|| mm, pp, dd | mm pp dd nn || || pp, mm, gg | pp mm gg rr ||
|| pp, dd, nn | pp dd nn SS || || mm, gg, rr | mm gg rr ss ||

9. || sm gm rg sr | ss rr gg mm || || Sp dp nd Sn | SS nn dd pp ||
|| rp mp gm rg | rr gg mm pp || || nm pm dp nd | nn dd pp mm ||
|| gd pd mp gm | gg mm pp dd || || dg mg pm dp | dd pp mm gg ||
|| mn dn pd mp | mm pp dd nn || || pr gr mg pm | pp mm gg rr ||
|| ps ns dn pd | pp dd nn SS || || ms rs gr mg | mm gg rr ss ||
10. || sm gm rg sr | smgr srgm || || Sp dp nd Sn | Spdn Sndp ||
|| rp mp gm rg | rpmg rgmp || || nm pm dp nd | nmpd ndpm ||
|| gd pd mp gm | gdpm gmpd || || dg mg pm dp | dgmp dpmg ||
|| mn dn pd mp | mndp mpdn || || pr gr mg pm | prgm pmgr ||
|| ps ns dn pd | psnd pdns || || ms rs gr mg | msrg mgrs ||

11. || ssr s,r srg r,g rggm | ssrrg srsg srg srgm ||
|| rrg r,g rgm g,m gmmp | rrggm rgrm rgm rgmp ||
|| ggm g,m gmp m,p mppd | ggmmp gmgp gmp gmpd ||
|| mmp m,p mpd p,d pddn | mm pp d mp md mpd mpdn||
|| ppd p,d pdn d,n dnnS | pp dd n pd pn pdn pdnS ||
|| SSn S,n Snd n,d nddp | SS nn d Sn Sd Snd Sndp ||
|| nnd n,d ndp d,p dppm | nn dd p nd np ndp ndpm ||
|| ddp d,p dpm p,m pmmg | dd pp m dp dm dpm dpmg ||
|| ppm p,m pmg m,g mggr | pp mm g pm pg pmg pmgr ||
|| mmg m,g mgr g,r grrs | mm gg r mg mr mgr mgrs ||

************* *************
 Madhya Sthayi Varisai

1. || s r g m p , g m | p , , , | p , , , || g m p d n d p m | g m p g | m g r s ||

2. || S , n d n , d p | d , p m | p , p , || g m p d n d p m | g m p g | m g r s ||

3. || S S n d n n d p | d d p m | p , p , || g m p d n d p m | g m p g | m g r s ||

4. || s r g r g , g m | p m p , | d p d , || m p d p d n d p | m p d p | m g r s ||

5. || s r g m p , p , | d d p , | m m p , || d n S , S n d p | S n d p | m g r s ||

*******************************************
 Melsthayi Varishai

These are higher octave sequences, which increase the students’ vocal or instrumental range. The first is a simplest
exercise and every subsequent exercise adds a new phrase to the previous one. It progressively covers up to Pa.

1. || s r g m pd nS | S , , , | S , , , || 2. || s r g m pd nS | S , , , | S , , , ||
|| dn SR Sn dp | Sn dp | mg rs || || dn SR SS RS | SR Sn | dp mp ||
|| dn SR Sn dp | Sn dp | mg rs ||
3. || sr gm pd nS |S, , , |S, ,, ||
|| dn SR GR SR | SR Sn | dp mp || 4. || sr g m pd nS | S , , , | S , , , ||
|| dn SR SS RS | SR Sn | dp mp || || dn SR GM GR | SR Sn | dp mp ||
|| dn SR Sn dp | Sn dp | mg rs || || dn SR GR SR | SR Sn | dp mp ||
|| dn SR SS RS | SR Sn | dp mp ||
5. || sr g m pd nS |S, , , | S , , , || || dn SR Sn dp | Sn dp | mg rs ||
|| dn SR GM PM | GR Sn | dp mp ||
|| dn SR GM GR | SR Sn | dp mp ||
|| dn SR GR SR | SR Sn | dp mp ||
|| dn SR SS RS | SR Sn | dp mp ||
|| dn SR Sn dp | Sn dp | mg rs ||

* The capital letters represents higher octave notes.

 Alankarams
Raga: Mayamalavagowla (15th Melakartha Ragam)
Arohana: S R1 G3 M1 P D1 N3 S
Avarohana: S N3 D1 P M1 G3 R1 S
Notation Courtesy: Rani, www.karnatic.com and Chitraveena Ravi Kiran's book

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

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

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

Varishais - Sequences:

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

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

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

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

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

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

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

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

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

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

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

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

1. Chatushra Jaati DRUVA TALAM Alankaram:

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

2. Chatushra Jaati MATYA TALAM Alankaram:

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

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

3. Chatushra Jati RUPAKA TALAM Alankaram:

0 I4= 2 + 4 = 6 beats

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

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

5. Thrisra Jati TRIPUTA TALAM Alankaram:

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

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

6. Khanda Jati ATA TALAM Alankaram:

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

7. Chatushra Jati EKA TALAM Alankaram:

I4 = 4 beats

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

8. Sankeerna Jati EKA TALAM Alankaram:

I9 = 9 beats

Version 1:

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

Version 2:

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

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