BASIC LESSONS IN CARNATIC MUSIC AND ITS SIGNIFICANCE - PART 4

TARA STHAYI AND MANDARA STHAYI VARISAI

Raga Mayamalava gowla is a Tristhayi Ragam and hence the Sancahris will include Tara Sthayi Panchamam and Mandara Sthayi Madyamam.

Hence it is appropriate to practice Tara Sthayi and Mandara Sthayi exercises  in this Ragam and get perfection to reach both Extreme Swaras after setting an Adhara Shadjam as Sruthi.

More over, this varisai can help Guru make necessary adjustment in fixing Adhara Sruthi of the student if he/ she find it difficult to reach the higher and lower Swaras.

BASIC LESSONS OF CARNATIC MUSIC & ITS SIGINIFICANCE- PART_3

JANDAI VARISAI

This is an exercise where  pair of Swaras are practiced in Mayamalavagowla Ragam. The pair Swaras  are called Jandai Varisai.The pair here means two Swaras [ a pair]rendered for one unit of a Thalam. Therefore there  will be eight pair Swaras in an Octave.  Since there are 16 Swaras –by count- in an Avartham, this cannot be considered as second of speed. Here one pair is considered as one unit.

Also, there is another paadantharam taking one Swara for an unit of Thalam.

In Jandai Praogas, the first Swara is rendered plain and the second note in the pair rendered with a stress from its immediate lower note.  This is called Spuritham  

BASIC LESSONS IN CARNATIC MUSIC & ITS SIGNIFICANCE-PART 2

SWARAVALI VARISAI     

*It is the practice that Ragam Mayamalava Gowla has been chosen for the initial Swaravali Exercises by all in Carnatic Music.

*The Swaras taken by this Ragam are, Shadjam, Sudda Rishabam, Anthara Gandaram, Sudda Madyamam, Panchamam, Sudda Daivatham, Kakali Nishadam, Shadjam [ Tara Sthayai]

*The learning of the Swara Exercise in this Ragam will be easier by vidyarthis as there are four sets of Swaras of two each ,which sound in adjacent  Swarasthanas. In other words, Shadja and Sudda Rishaba are adjacent Swaras. Anthara Gandara and Sudda Madyama are adjacent Swaras, Panchama and Sudda Daivatha are adjacent Swaras, Kakali Nishada and Tarasthayi Shadja are adjacent Swaras.

* Mayamalavagowla Ragam is a Sampoorna Ragam or Mela Kartha ragam { No 15} . There are no  Swaras with dual names.  This Raga is found to be suitable for applying Jandai Prayogas, Duritha Kala Prayogas, Chowka Kala Prayogas, and Dhattu Prayogas. It is possible to learn the difference between the Achala Swaras and Kampitha Swaras at the initial stage of Music Training. Hence our Poorvacharyas have  recommended this Raga for  basic Carnatic Music training.

*Poorvanga and Utharanga of Arohana and Avarohana are symmetrical from the physical position of Swaras and also on Raga Bhava point of view and hence called ‘ perfectly symmetrical tetra chords’.

* There are only semi tonal difference exists between the two notes of each of four pairs.

* Mayamalava gowla Raga evokes Bhakthi Rasa and Karuna Rasam.

* There are about 16 to 18 exercises being taught  as  the initial practical exercises and their format being recognized by all. All these exercises contain Swara pattern that are found similar in popular Kritis in this Raga. In other words, these exercises are found to be sancharies  either in full or part of certain Avartha  found in these  Kritis.

 Some of the popular kritis are,

Meru samana  of Sri Thyaga Raja Swami

Thulasi Dala of Sri Thyagaraja Swami

Vidulaku  of Sri Thyaraja Swami

Sri Naadadhi  of Sri Muthuswami Dikshthar

Mayadeetha Swarupini of Ponnaiya

Deva Deva of Swath Thirunal Maharaja

Aadikondar of Muththuthandavar

BASIC LESSONS OF CARNATIC MUSIC & ITS SIGNIFICANCE PART1

BASIC LESSONS OF CARNATIC MUSIC AND ITS SIGNIFICANCE- PART 1

It is the practice in the world of Carnatic Music  learning to follow a format  during initial training, with specific chapters  as  listed below.

1 SWARAVALI VARISAI IN MAYAMALAVA GOWLA  RAGAM

2 JANDAI VARISAI

3 TARA STHAYI AND MANDARA STHAYI VARISAI

4 ALANKARAS

5 GEETHAM

6 SWARA JATHI

7 JATHISWARAM

8 NOTTU SWARA SAHITHYAS

Further analysis in subsequent postings……………