The Basic Swaras

There are seven basic notes in Carnatic music:


Shadjam (Sa)
Rishabam (Ri)
Gandharam (Ga)
Madhyamam (Ma)
Panchamam (Pa)
Dhaivatham (Da)
Nishadam (Ni)

Sa is the basic note and the rest of the notes are successively higher to the basic Sa. This gives an ascending scale of seven notes. Once the seventh note or the higher Sa is reached, the notes begin to descend in frequency from Sa to Ni to Da and so on by the same interval.

Converting the Seven Swaras to twelve Swaras (or sixteen swaras)

• Note that the swaras Sa and Pa do not admit variations and are called fixed notes or achala swaras.

• The notes with Suddha in their names -- Suddha Rishabha and Suddha Madhyama - refer to the lowest pitch of the corresponding note - the Rishabha or Ri and Madhyama or Ma, respectively.

• These twelve swaras become sixteen swaras with the addition of four more swaras called Vivadi (or tainted) swaras. These additional swaras occupy the same nominal swarasthana or frequency position as some of the swaras from the group of twelve swaras. In other words, the sixteen swaras are formed basically by calling the same swara by two different names.. Depending on the a raga scale used, a swaram may be called by a different name (e.g. Shatsruti Rishaba is the new name given to Sadharana Gandhara; Suddha Gandhara is the new name given to Chatussruti Dhaivata; Shatsruthi Dhaivata is the new name for Kaisiki Nishada; and Suddha Nishada is the new name for Chatussruti Dhaivata)

Overall View of the Swara Positions:-

Raga : Gambeera Nattai

Gambeera Nattai

                    Let me drop a few words of the raga which was taught today : Gambeera Nattai raga, a classic belonging to the 36 mela (Chala Nattai) janyam with:-
Arohana : S G3 M1 P N3 S and Avarohana : S N3 P M1 G3 S

The pentatonic raga gambIranAttai is not that often heard in Carnatic music concerts.gambIranAttai's vivAdi cousin, nAttai is far more popular in regular music concerts.

However, in temple music and bharatanatyam this is one of the most popular ragas.

And the keerthanam taught today is composed by the Guru of our master, and the sahithyam is:-

Pallavi:

Parama  Sadhaya  Pahimaam
G M G   N S N   Pa M Ga ; 
G M G  SN SG SN Pa M Ga ;

Varagajasya  Vimala Hrudaya
S N S Ga M  P N P M G Sa
S N S Ga M  SN NP PM GSa

Anu Pallavi:
Paradhara       Shruthajaya
S G S Ma ; ; P N P Sa ; ;
Suramuninutha  Suguna Nichaya
G M G S N S  S N P M G S

Charanam:
Shri Kara  Paratpara
Pa ; M Pa G Ma S Ga

Shoka Doora SukhaKara
N S Ga M P N M Pa

Loka Pavana Kara
S G S Ma P N P Sa

Eka Thandha Himakarathara
GMG SNS SN PM GS




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Obeisance to Our Master...

                                                    AUM SHRI GURUBHYO NAMAHA:

A long awaited practice...

After many recent unsuccessful attempts to join for a practice, at last today there is going to be one- 31 'Jan.

Had to get up at sharp 6.30 + 3 snoozes (being a sunday) to get ready for the practice session planned at Dattas residence.. After a quick fresh up and break fast got ready myself and made Vardha ready at his home. Gave a wake up call to Karthik and set to Vardha's house.Unfortunately, a change in the venue, as Datta couldn’t make himself available as planned, due to personal reasons.So headed to Karthik's house which is about 5 Kms drive from where we were. Picked a CD of L Subramaniam France Concert from Vardha’s house which had some scintilatting kirvani alapanas in it, in a thought of listening it sometime in the evening.

We were welcomed with a glass of energy booster and sparing sometime for no particular reason, sat and tuned the fiddle.

Practice started with all the Sarali Varisai’s Jantai Varisai’s and Dhatu Varisai’s in different speeds in Mayamalavagowla - Scale -E-

Due to time constraints, skipped the Geethams, and straight to Varnam.

Started with Mohanam Varnam exercise taught by Sir, of which the pattern is :-S R2 G2 P D2 S
R2 G2 P D2 S R2
G2 P D2 S R2 G2
P D2 S R2 G2 P
And in the reverse order.

This exercise will give a control of all the swarasthanas of the Raga, and also enhance the finger flexibility for switching between swaras.

Ragam: Mohanam (28th Mela Janyam)
Talam : Adi
Composer: Ramnad Sreenivasa Iyengar

Arohanam : S R2 G2 P D2 S Avarahonam : S D2 P G2 R2 S

Pallavi :        Ninnu kori yunna nura Nikila loka nayaka
Anupallavi : Nannu palimpa samayamura Nameetha krupa judara
Charanam :  Sannuthanga Sreenivasa

Download Link:-http://www.mediafire.com/?z2dznjdgmhd

~~~

Second Varnam is the famous one in Shankarabharanam.
The same exercise was done here also and the pattern is :-
S R2 G2 M1 P D2 N2 S
R2 G2 M1 P D2 N2 S R2
G2 M1 P D2 N2 S R2 G2
M1 P D2 N2 S R2 G2 M1
And in the reverse order.

Ragam: SANKARA BHARANAM (29TH Melakartha ragam)
Talam: ADI
Composer: Veenai Kuppaiyer

Arohanam: S R2 G2 M1 P D2 N2 S Avarohanam: S N2 D2 P M1 G2 R2 S

Pallavi       :  Sami nine kori chala marulu konnadira
Anupallavi : Thamasamu seyaka dyajudara kumara
Charanam  :  Neerajakshi neepai


Download Link:-http://www.mediafire.com/?ziiyt0lmmwr

Lyrics courtesy – ecse/shivkumar


It’s been quite some time that we have been taught these two varnams, and due to lack of practice, tala was missed often.But at the end we are confident that we can do justice to those ragas sooner.

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