22musical Forms Figuring In_2

MUSICAL FORMS FIGURING IN ABHYASA GANAS

CERTIFICATE

DECLARATION

ACKNOWLEDGEMENT

PREFACE India is music’s land and her musical system shows the heights to which the genius of man has soared in his quite for new forms of music. Music is one of the most spiritual experience or aesthetic delight. Among the art forms like music, dance, painting, sculpture and literature, the most challenging of all the art is music. It is a part of the life of the nation of India. It has been defined as an art of combining sounds which are agreeable to the ear. Music appeals to people every where and has been at the heart of all human societies. It is the expression of the inner feelings of the musician with the fine rhythm and layer. The result of these expression depends upon each musicians merit. Music is considered to be the highest form of artistic expression. It is the pride of our culture and is also divine. Through centuries it has undergone considerable changes. The origin of this science can be traced to the ‘Sama Veda’...

CONTENTS

Chapter No

I

Title

Page

Origin, History, Development Musical forms Division - Bhayasa ganam, Sabha ganam Purandara Dasa’s contribution Primary lessons of Abyasa gana Svaravali to Alankara.

II

Forms figuring in Abhyara ganam Gitam, jatisvaram, Svarajathi, Varnam

III

Varnam – Both Abhyasa ganam & Sabhaganam

IV

Detailed study of viriboni Atathala Varnam

V

Comparative study between the musical forms figuring in Abhyasa ganam.Jathi svaram & Svaragathi.

VI

Conclusion Biblography Appendix I Appendix II

CHAPTER I

Origin, History, Development A historical study of Indian music is necessary to unravel the mystery of different grade of evolution of Indian music in different periods. It affords a man full scope for envisioning the genuine structure, type and temperament of songs and melodies, musical instrument and dance prevailing in different times. The history of Indian music is full of materials of music which can be classified under different heads. Firstly, the treatises on music, written by authors of different times, which can be taken as the principal materials of constructing an authentic history of Indian music. Secondly the rock cut temples and inscriptions, caused to be excavated and engraved by different rulers of different times, together wish the scultptures, paintings, copper plates and coins of different periods. Thirdly, the writings of foreign writers on music as well as the history of music of other nations. Fourthly the private diaries of the musicians and the musicologists, the local traditions transmitted orally, folklores and fables of music. All these should be consulted for comparative study as well as for corroboration of facts, dates and forms ovolution of merterials of music, musical instrument and dance. These land marks are distinctive stages in the development of the art of music, and they may be divided into major and minor ones. Evolution of music emerged from the concepts of tones and tunes, along with rhythm the emergency of tones and tunes were possible from the minute tones microtones and their arrangement. So the problems of tones and tunes, along with the evolution of registers and scales, perception of consonance and dissonance, emergence of the concept of the melodies (ragas) and their classifications, evolution of murchana, varna, alankara, tana, anga, alapa or alapti the manifestion of different musical phrases (sthayas) and compositions (prabandhas) the evolution of musical instruments like drum, flute and lute along with the question of origin of mela or melakartha, masculine and feminine characters of the raga and evolution of contemplative compositions (dhyanamalas) and pictures (raga murtis) are the distinctive features in the study of history of Indian Music.

MUSICAL FORMS The development of musical forms can be noted from vary early times as vedic period. Music began wish the singing of the Vedas. Gradually other compositions like chants and tunes were created and these developed into the prabantas of ancient and medevial time. Originally musical compositions were known as prabandas. Early writers like Matanga, Saranya deva and others, mention and describe a large number of prabandas, but these gradually fell out of use, because of the paucity of compositions to illustrate the given lakshnas. Moreover when newers and more more a attractive compositions came into being, the earlier ones slowly felt out of use. But we can recognize certain features of the prabandas in same of our modern compositions. During the 15th, 16th and 17the centuries many hundreds of pieces were composed by vaggeyakaras like Talapakam Annamacharya, Purandara Dasa, Narayana Thirtha, Bhradachala Ramadas and many others. These were mostly devotional in character and were in the form of kirtanas. These paved the way for the evolution of the modern compositions which present a maximum of raga bhava, rasabhava and rhythmic loveliness. Musical forms may also be placed under to broad divisions, applied music and pure music. According to the uses in different spheres of the art, music compositions may also be classed under the following heads. Art music, scared music, dance music, opera music, martial music, kalakshepam music and folk music. Art music forms are those which are of great help in acquiring a good grasp of the technicalities of music. They give a good knowledge of svara, svarasthana, raga tala and laya. Forms coming under art music are of two kinds: Technical forms or abhayasa ganas and melodic forms or sabhaganas. Abhyasa ganas are studied and practiced first inorder to get a grasp of the basic elements of music i.e. sruti, svara tala and laya. Composition belonging to this group are svaravalis, janta varisas, mandra sthayi varisas, and tarasthayi varisas, datuvarisas, alankaras, gitas, suladis, jatisvaras, svarajathis and varnas. (These are of immense help in developing good vocal instrumental technique. Constant and regular practice of this give the student, a perfect control over the voice and make it powerful and sweat).

MUSICAL FORMS Svaravalis, janta savaras, mandrasthayi varises, tarasthayi varisas, datuvarisas, alankaras, gitas, suladis, jatisvaras, svarajathis, varnas, krities, keerthanas, Ragamalika, Padam, Javali, Thillana etc.

MUSICAL FORMS ARE DIVIDED INTO TWO ABHYASA GANAM & SABHAGANAM.

Those that have been designed for practice purpose to improve one’s skill and virtuosity. Abhyasa ganam – Svaravalis, jantasvaras, mandrasthayi varisas, tarasathay varisas, datuvarisas, alankaras, gitas, suladis, jatisvaras, svarajathis, varnam. Varnam is both Abhyasaganam and sabhaganam. Those that have been designed for the purpose of performing in front of an audience sabhaganam – varnam, kritis, keerthanam, ragamalika, padam, javali, tillana.

ABHYASAGANAM

In the Abhyasaganam, it is the dhatu or the varapart which is importance. Many of these like the graded exercise or varisas that do not have sahitya at are as it is by singing these svaras they became ukaras, akaras and yikaras, that one attains svara sudha, sruthi sudha and laya sudha. Even in cases where there is sahitya, it takes only a subordinate place, its only purpose being to help the student to memorise the composition easily. Secondly, abhyasaraganams are meant to teach some impotant basic principle in music, like raga lakshna and the thirty five talas. The early excersices give a knowledge of the seven svaras, the three sthayis and the basic rhythum. The alankaras illustrate the thirty five talas and their angas.The gitas give an elementary knowledge of common ragas. The lakshana gita makes up the form of sahatya, the various lakshanas of the raga in which it is composed. The suladis where the different angas are in the sapta talas, help the students to acquire greater faculty in neckoning tala.

The jathisvaras, svarajatis and varnas are further extension of raga where its melodic beauty is brought out in greater detail. Generally technical forms are created by the composer, with full knowledge of what he is going to do. He is one who has a through knowledge of technicalities of music and hence illustrate these by artistic creations. Therefore these compositions appear more to the intellect than to the emotions. Here the svarapart is composed first and only after that a suitable sahitya is enjoyed to it. Sometimes a well known sloka is introduced as sahitya. Since these pieces are meant for practice or abhyara, they sometimes have sancharas in the three octavas. The various svara, exercise and alankaras are usually practiced in the three octaves inorder to develop a wide range of voice and ease in fingering in all the three sthayis.

FORMS FIGURING IN SABHAYANAM

Melodic forms are known as sabhaganam as these are performed in concerts. Under this heading are grouped the compositions like varnas, krities, kirtanas, Ragamalikas, padas, javalis, tillanas and so on. The varna is the only composition which comes under both groups as it is useful for practice and also for performance in publics. These forms are learnt only after the student has mastered the technical forms. Through melodic forms, the musician acquires a deep understanding of various ragas and this helps him to do justice to singing the many aspects of manodharma sangita. Hence it is essential that one should master a large number of compositions, by great composer. The composition of melodic group, are created as a result of intense emotion caused by some incident or event in the life of the composer and hence are a product of inspiration. The dhatu as well as the matu, are composed simultanesely as the song springs from the composer in it is complete form with raga, tala and many variations. A rendering of these compositions creates in the singer and listener the same feelings as these experienced by the vaggeyakara, at the time of composing. Hence these appeal to the emotions as well as the intellect. That is the rasa produced, the meaning of the words and the presentation of the raga, appeal to the emotions. The various sangitis, the decorative angas, the inticate tala structure and the play of words, are all

through provoking and hence appeal to the intellect. Another characteristic of these forms, is that they generally are not meant for Abhyasa. For instance, kirtanas belonging to scared music, padas, javalis and Tillana belonging strictly to dance.

PURANDARA DASA’S CONTRIBUTION TO MUSIC

Purandara Dasa is hailed as ‘Adi guru’ and ‘Karnataka Sangita Pitamaha’ as he was the one who standardized the preliminary practical lessons in Karnatic music. For the benefit of beginners in karnatic music lessons. Composed graded compositions like svaravalis, dhatuvarisas, alankaras, gitas, Even today this step-by-step method initated by him is the only path followed by all the teachers of music feverently. Purandara Dasa was the first to introduce Mayamalavagoula as the standard raga for all the basic lessons. It was from Purondara Dasa’s time, that the Sapta tala came into practice. Purandara Dasa was the one who laid the foundation for the future development of lakshana and lakshya of karnatic music system. The svaravali and Alankara in the Suladi talas were first composed by Purandara Dasa was the one who laid the foundation for the future development of lakshana and lakshya of karnatic music system. The svaravali and Alankara in the suladi talas were first composed by Purandara Dasa. Gitas existed even before purandara Dasa. But he is the auother of the ‘pillari’ gitas in malahari ’ raga and sanchari gitas in other ragas.

MAYAMALAVA GOULA IS BEST LESSON PRACTICITING THE PRIMARY SVARA EXERCISES

SUITED

FOR

The svara excercises are usually practiced in the mayalavagoula scale. This raga, composes of talas, the svaras shadja, suddharishabha, antara gandhara, suddhamadhyama, panchama, sudha dhaivaltha and kakali nishada. Mayamalava goula is the only sampurna raga that contains four pairs of notes separated by an intervel of a semitone. The notes of each pair belongs to continuous svarasthanas in the veena. The purvanga and uttaranga of this raga are symmetrical. This raga takes svaras which have no dual names. This raag admits of janta svaras and ***** svara prayogas. The notes constituting this raga can be grouped into samvadi or consonantal pairs, thus Shadja and Panchama, rishabha and dhaivatha gandhara and nishada and madhyama and shadja. Through Mayamala goula, the student becomes familiar with three types of intervals figuring in the 72 melakartha. Disruthi interval between gandhara and madhyama and between nishada and shadja. Chathu Sruthi interval between madhyama and panchama. Shatsruti interval between rishabha and gandhara, and between dhaivatha and nishada. Through Mayamalava goula raga, students also become familiar with achala svaras and kampita svaras. The lowest pitched variety of notes are as in rishabha and dhaivatha and higher pitched variety of notes are as in gandhara and nishada. With the asending glide ie r/g and d/n. This raga is also an auspicious raga.

PRIMARY LESSONS OF ADYASAGANAM

Svaravalivarisas, janatavarisas, Dattuvarisas, Sthayi varisas and Sapta tala Alankaras.

SRUTHI NOTES

In the study of music, the first phase is he singing of sruthi, the first svara of svarashtaka, Madhya sathyi shadja, and the fifth svara madhyasthayi panchamam, and the eight svara thara sthayi shadja are used as sruti svaras. VARISAS The word ‘varisa’ means turn. In music varisa means sound group that should be recited habitually in turn. Varisas are of six type they are, SARALI VARISAS Sarali – Shorted form of svaravali. Sarali varisas are sung in Mayamalavagoula raga and in aditala usually it is set in madhayasthayi. But these varisas are to be practitioners beauty of sound, order in tala, kalapramana. In sarali varisas first half and the second half are in equal balance. It gives the difference between sruthi intervals and the tranining of difference of sthayis and the svara training of the ear. In svaravalis 9 to 12 are called sanchari varisas, since they are brief and lustrous passeges in Mayamalavagoula raga. JANATA VARISAS Janata Varisas – Svaras are excercises in double notes janata varisa, the peculiarity, of this is that the sapta svaras are sung in duet. In the first kala – for each aksharakala to svara for the second kala fours, for the third kala eight in the way. Ss rr gg mm in adi tala and in 1,2,3 kala the akashara kala are respectively 16, 34 and 64. These varisas are not sung in fourth kala. Studying of janta varisas useful for singing the gamakas and Tanam in Ragam – Tanam – Pallavi.

DATU VARISAS Datu Varisas – Svara exercises containing datu svara phrases like Sg rm gp, np dm pg etc. Datu varisas are those which are sung in the order of tala and in vakra roopa and not without any order. Datu varisas are practiced, beginning with shadja svara avoiding certain sounds,and in an order different from svara. Datus varisas are practiced inorder to gain efficiency in studying vakra raga. These varisas are to be sung and practiced in adithala and in three kalai. STHAYI VARISAS These are respectively called mandra sthayi, madhyasthayi and tarsathayi varisas. Madra sthayi – Lower octave Madhya sthayi – Middle octave Tara sthayi -

Higher octave

This is to be sung and practiced in the three kalas and this helps to give efficiency in the raga and pallavi. The practice of these varisas prove that,it is like other varisas i.e. also set in mayamalava goula aditala. This svara training will give the efficiency to the student to sing the manodharma svaras without any strain and voice capacity to sing any octave. ALANKARAS These are svara excercises illustrating the sapta tala and their varieties, usually they are sung in the mayamalava goula and a practice of the same in other ragas is also useful to the students. Since the alankaras are set in famous suladi sapta talas, they are generally known as suladi sapta tala alankaras. Vankatamakhi deals with these alankaras in a commendable manner. The constituent angas of these thalas and the mode of reckoining them for purpose of dance, vocal and instrumental music had been explained by him for the first time.

STRUTURE OF ALANKARA Alankara intended as tala exercises should be confirm to the following lakshanakaras only Hrsva svara and Drigha savara should find in a place ie, Notes of three or more aksharakalas should not be used.  Janata svaras should not be used  The compass of the aksharas should be within the range of an ashtaka.  It should consist of two halves – The arohana part and the avarohana part, each consisting of an equal number of avartas.  The svaragati or the progression of the notes of the first line should proceed in a manner, parallel to the other lines of the alankara. In other words the svara graphs of the first half will be found to be parallel to each other like wise the svara graphs of the second half will be found to be parallel to each other.  The symmetrical structure of the entire alankara is such that when any one of the lines or avartas in given it becomes possible to complete the entire alankara.

CHAPTER II

MUSICAL FORMS IN ABYASAGANAS

The musical composition can basically be classified into two types. Abhyasagana – Those that have been designed for practice purpose to improve ones technical skills and virtuosity. Gita, Swarajathi, Jathisvaran and Varnam. GITA Gita is a simple of melody, which a student learns after a course of graded excercises and alankaras. The term Gita in common parlance refers to any song , but in classical music, it is the name given to a special type of composition, with certain characteristic features. A gita also, has been defined as the union of svara and sahitya, or music and words. This is the first composition with sahitya. Gitas are of two varieties – lakshaya or sanchari gitas and lakshana gitas. Sanchari gitas are very simple, while the lakshna gitas is longer and more elaborate. Gitas are set in the Sapta talas, and are usually sung in medium tempo. Then will be an equal number of savaras and sahitya aksharas with a few vowel extension here and there. The theme of the gita is usually praise of God. Sometimes well known Sanskrit slokas are introduced as sahitya. Sometimes quees, meaningless syllables like iya, ti-iya, vaiya called gitalangara. Aksharas are introduced in the midst of the sahitya syllables. These lend charm and beauty to the gita. Gitas are usually composed in Sanskrit. SADHARANA GITA The sadharana gita gives in a concise manner a simple exposition, of the raga in which it is composed. Through there are no sangatis yet the ragabhava is well brought out and the beginner gets a general idea of the raga. Unlike compositions like varnas, kritis and kirtanas, the gita does not have the divisions such as pallavi, anupallavi and charana. It is sang from the beginning to the end as a continuous composition. Some times the gita is given a fitting conclusion

by repeating a small portion from the beginning. A few gitas have two or three division, sung to the same dhatus. Eg: Rama gitam Ragam – Arabhi – Talam – Triputa Aro – Sr,mpd,s Ava – Snd, p, mgr,s. P,p | mm | p, | mgr | sr | mg | rrs | dd | rs | r,, | , | sr. rere

sri – ra

ma cha……….................dra…..rakhu.

mgr | sr | s,|pmm | p, | p, | p | pmp | mg | rr | mgr | sr | ss Vam sathila ka ra kha ve ndra………………………………………….. ddr| sr | ss | ds,| dd |

dp | pmp | ds | s, | rsr | mg | rr.

....…………….srtha jana

po.sha ku re si…tha…ma

mgr | mm | pm | p.p | p, | p,|pmp | ds | sr | mgr | sr | ss no….ra ddr | sr

janu rere dhi ra ra va na sura an tha ku re |

ss | ds | dd | dp | pmp | ds |

iyya…iyya…. Iyya iyya

s | . | s,s | ddl | dp……

a….iyya….re…...din a jana..ma

| pmp | mg | rm |. nda ru ma mava (re re)

LASHANA GITAS

The lakshana gita is a more advanced and bigger composition than the lakshya gita. The charactericstics given to the lakshya gita regarding the dhatu, tala, tampo are applicable to the lakshana gita also. But here, the sahitya instead of being praise of god gives the lakshana of the raga in which it is composed. Lakshana gitas are of great use to the students of music. They give verbally, as well as musically, the characteristic of the raga in which they are composed about 300 years ago. A time when printing was unknown and books

could not be multiplied in thousands as it is done in modern times. So this was an easy way of mastering the lakshna and the lakshya of ragas. Lakshana gitas may be said to give a consolidated theoretical as well as practical lesson. The Ranganga raga lakshana gitas are composed in the raganga or melakarta ragas. They usually consist of three parts of khandas, the sutra khanda the upanga khanda and the bhashanga khanda. In the first section, the intial syllable to each avarta gives the sutra or clue to the notes taken by the raga. For example the underlined syllabus of the following lines give the svara taken by the raga. Ravi Koti tega || Guna gana bhata bhava || Mahanubhava || paripalitha bhandava || Dhuvita surasatrava | Nuta mridu pada | pallava | Here the syllabus ra, gu, ma, pa, dha, nu are the notes of the mela. The upanga khanda gives the name of the mela, its nunmber in the scheme and the upanga ragas derived from 15, the terms like ‘agni go chakra’ and ‘chakram bana’ indicate the name of the chakra to which the melaktha belongs and its position in the chakra. The third part of bhashanga khanta provided a list of the bhashanga ragas derived from the said mela. The music or dhatu gives very clearly a picture of the raga and from this the student gets an idea has to how the notes of the raga should be handled. Lakshna gita Ragam – Mayamalava goula Talam – Madya talam Aro – Srgan pdns. Ava – sndp mgrs. Composer – Venktamakhi Soothra khandam ddp p

|

Ravi ko –

mg | mg rs | r r g r di

| gm | ppm g |

the ja Gunagana vara bha...va

dpmp | mg | Maha...nu srr

mgrs

| mgrg |

bha va

paripa

| gg |

rsn

d |

rs |

rs

litha

nd

pa…ndava..

sss

| rs

| sndp

dha vitha sura sa thra va nu thamridu | pada ndan, | dp | dpm,s | g , m,

| dd

pa llava

| pmgr

re-re sara sa kripa pam-ga that ha cha thiram s,,,|

gm | pdns’| grrg |

ri

Ga…subham….ga….aru….da khe

|

sndn ga thuram

s,,,|,,|,, ,,| ga........

UPANGA KHANDAM

g, m, |

p,

ra – gam ga – dpnn

|

dp |

| dpms | g, m | p

| dpmp

ma ya ma la va ---gou…la d, dp

| p m m d | d p | pm mg

upanga-ga sa…. Ram…ga.. Ra…tta…cha.. dpmp | mg | mgrs | srgm | pi |

ya..

dpmg

gou…la ma | n gara kai si kime….kbara nji rgri | s n | ddpm | ddpn |

dp |

mgrs

me…cha..bhou…lide ka no…da ra…ma kri..ya.. sd..pd

|

pm | pmgr | rrrs | ns | rrs,

pa di re- vegupti ka-nnada –bam..ga..la dddp | mp | dnsi | dnsr | sr |

|

gmpm

you – la lali ….the gu jjari gu….nda..kriya gm pd | pd | ns,,

| dpmp | mg | mgrs

malahari bou….li…a…rdha…de….

si

ngrs | nd | pdns | rsnd | pm |

pmgr

de va re nji a – gni go – cha – kram – na – garu s, ,,

|

g m | pfns | grrg | rr | sndn

re….subhan…..go a …lu…dacha..ga thuran s, ,, | ,, | , , ,, | ga………………………….

BHASHANGA KHANDAN

dddp

| mg |

mgrs |

rrgr |

gm |

pp mg

bha – shan – go ra ---- ga sou…ra….shtra…pu…rvi dpi mp | mg | mgrs | mgrg | rs | rsnd you pa – nike maruvo sa ve ri ma s, rr |

gg

|

pandama pu | ndr

rsnd ma-pa

|

dp |

|

sssn |

lava rs |

chamama dpmil |

sndp

rgade – sira

g, m, |

dd |

makali para ….ju gou …ri , vasa – nthara s, ,,

|

gm | pdns | grrg |

ga… subham ga a ru di wha ga s, ,, | ,, | ,, ,, | ga… …..

rr | sndn thu

ram…

pmgr

PURPOSE : This simple composition enables an aspirant to understand the perfect synchronization of melody, rhythm and prosody, while Gitas, in general, provide a link to higher musical forms, the lakshana gitas give an insight into the raga and its characteristics.

JATI SVARAM

A musical form which has both swaras and jatis woven together. This form belongs to the dance repertoire. The structure is very similar to the swarajathi. It has the usual two sections, the pallavi, and the charanams. Though the charanams were originally intended to be sung with jatis, the present day jathiswarams have no jatis or lyrics but only swaras. The emphasis here is on the rhuthmic patterns.

JATI SVARAM

South Indian Music has from time to time evolved a number of forms for the expression of its manifold beauties. These forms have their own charm, individuality and utility of purpose. The form jatisvaram donates a musical composition which is sung with svaras only. It is also used in dance discourses. It belongs to the abhyasa ganam. The form jatisvara is used in dance also Musical forms without words, using svara and jati called jatisvarams came into vogue during the 19th century. It originally existed as in item of dance with profusion of jatis. The jatis were in due course replaced by soifla syllables, which led to present day jatisvaram, which is sung with svara passages.

STRUCTURE

Jatisvaras have pallavi and a number of charanam the pallavi is sung followed by charanas and at the end of each charana, the pallavi is repeated. Generally there are four or five charanas. Most of the jatisvaras are set in Adi, rupakam, chapu and Triputa tala. But there are also jatisvaram is less common talas like Tisra Ata and Sankirna adi tala. The svara passages in jatisvaras are arranged in such a way as to give importance to the rhythmic construction. The presentation of raga bhava is also being taken care of Dirgha, amsa and graha svaras are well revealed through their proper presentation. Dhatu svara prayogas, sancharas with vadi, samvadi, relationship.

JATI SVARAM

Ragam

-

Sankarabharanam

Talam

-

Rupakam

Arohanam

-

Srgmpdns

Avarohanam

-

Sndpmgrs

Pallavi S, ; | S, r, S,n | d, p |; m, g, m.|p, ; |; s, d, p, m, g|r,gmp,dn| Charanas 1. 2. 3.

P,; |;dpm,pm|g,mg|r,grs,sn|s.,.,sns,grg,mg|m,pmpdn|(s,.,) M,.,|.,pmgsrg|m.,|.,pdppmg|m,.,.,psn,dpm,.,|.,grgsrgm,gs,|rsm,gspp| m,gd|ppmgmpdn(s,.,) S,.,|.,rsnsnd|ndpdpmpmgmpr|s,.,|.,snrsgrmgpm|dpndsnrn|s,.,.,.,ndns| n.,|.,.,dpmdp,.,|.,.,mgrg|s,.,.|.,rgmpdnss,p|p,ss,spps,n|dpmgmpdn|(s,.,)

PURPOSE

Jatisvara seve a good boys training excercises.They also serve the same purpose of the ettugada svaras of varanas wich are help to sing kalpana svaras. Jathisvaram is a dance item that helps in developing rhymin stability

SVRAJATHI Svarajathi has alo emerged as a dance musical form with svara passages and appropriate sahithya portions.Some svarajaties are constituted of jathies also.The words for sahithya of pallavi and anu pallavi are few and their is elongation od vowel sounds as in the case of varanas most svarajathies do not have anupallavi they have pallavi and different charanas eg; svrajathies of shyamasastri the struthure of the dhatu of the charanas is similer to jathisvaram ettukugada svaras of varanas and the structure of the sahithya resembles geetha ie,sahithya word for each svara letter All the charanas are sung in the svara sahithya pattern ie, the svaras are sung followed by the sahithya .Their is proper arragement between dhathu and matu ie,dirgha sahithya words have dheerga svaras and hrasva sahithya words have hrsva svara letters.In some svarajathies we find the anu pallavi section The svarajathies are most suited to be good abhyasa gana combositions.Their are svara gathies in telugu,tamil,and samskrit most of the svarajathies sringararasa is presented form svarajathies bhakthirasa aliso exists. The occurance of profusion of svakshra is another important feature of svarajathi eg; sarasadhala,todi,myooram vishwanatha shastri m., m. mdmgr gm ma man mada varuka

The piece in bilahari raga SrGpDSND is a spledit example of mukthai svaras consist of half avarathaka svaras half avarathaka jathies.the sahithya rara venu gopa bala is alater sahithya tacked on to the piece by some obscure composer bilahari svaragathi was a good eg for the ragabhava of bilahari is very much

exposed in the svarajathies, the aim of the composer to picturise the raga in all its brillanant coloures Ragam

- Bilahari

Thalam

- adi

Arohanam

- srgpds

Avarohanam - sndp mgrs

PALLAVI s,,rg,gp

, d,s,n,b,

ra ra ve nu go pa bala

|

p,dp mgrs |

rsnds,;

ra jitha sadgam jayasila

ANUPALLAVI S,,rg,p,m,g,p,d,p | r,sn,d,|P, mg,r, Sara saksho ne ra me ni ma ruba la ko ruvala ra

CHARANAS

1

2

3

s,,rg,g,g,;;rg | p;pp,p |p,;;dp nanda go pala ne nenethu boja la—nins;ss;s, grsndp,| pdpmggr | gpmgrsrg vindu rara sa tha mala mthiro muda mala ragana kedu ruga keniyara ppp, rrr, gpmgg,;| gpmgmgrs | rgrss,; paluma ruruga rava muni nin bila china palukavu alugakura rsnds,; mgrgp,; | dpdrs,; | rsnd pmgr kari varada mari mari na yadura mukro lara kanikara muga. g,; rsndr,; rsnd | s,;rsnd | s,s,; (raravenu) yee maguvanu la la lanu yee sogasini che ko ra g,r,sr,r,r,; r,sn | d,d,d,; | d,mg g,g, ko ri kalim vo ntha denthamu , ni yana je ranu ninje g,; srgdp,;rsrg | s,grsn | dp mgrsnd

tha va va va kurarakerumukla che mari mari ninu sarana nerada (raravenu)

The theme of the sahithaya may be either devotional , heroic amarous. It may be an invocation to some favouritr diety or may relate to the glorious and various deeds of some hero PURPOSE The singing od svarajathi help the bigineers to develop svaranjanam. Svarajathies are considers as good training excercises for students of music.The learning these compositios after geetha and before varanam stage will be defenitely more useful Swarajathi and jathisvarams give the student a further knowledge of raga and thala and prefers them for thir introductions to the next stage varnas