Swara Part II

SWARA PART II

Carnatic Music Ragas is based on an important formula called “ 72 Melakartha Scheme”. A Mela is the combination 7 Swaras taken in order , S R G M P D N both in Arohanam [Ascending order] and Avarohanam [Descending order], using one Swara out of two [already available the posting on Swaras. There can be 32 combination arrived at.

But there, still remains scope for more of such combinations, if both varieties of the Swaras , except S and P, are used.

The rule of 72 Melakartha recommends not to use both varieties of Swaras except S and P ,which are having no variations.

Finding solution for this :

the Swara Chatusruthi Rishabam is assigned another name, Sudda Gandaram,

Sadarana Gandaram is assigned another name, Shatsruthi Rishabam,

Chatusruthi Daivatham is assigned another name , Sudda Nishadam, and

Kaisika Nishadam is assigned another name Shatsruthi Daivatham.

In other words, the Swara Chatusruthi Rishabam and Sudda Gandaram will sound the same Swarasthana.

Sadarana Gandaram and Shatsruthi Rishabam will sound in the same Swarasthana.

Chatusruthi Daivatham and Sudda Nishadam will sound in the same Swarasthana.

Kaisika Nishadam and Shatsruthi Daivatham will sound in the same Swrasthana.

Now, there are a total of 16 Swaras sounding in the place of 12 Swarasthanas.

The Swaras , Sudda Gandaram, Shatsruthi Rishabam, Sudda Nishadam and Shatsruthi Daivatham are called Vivadi Swaras.

Normally these Swaras are played or sung without Gamakas.

It is to be noted that the Swaras Chatusruthi Rishabam and Sudda Gandaram will not find place in a Sampoorna Ragam,

Similarly, Shatsruthi Rishabam and Sadarana Gandaram will not find place in a Sampoorna Ragam,

Chatusruthi Rishabum and Sudda Nishadam will not find place in a Sampoorna Ragam, and

Shatsruthi Daivatham and Kaishiki Nishadam will not find place in a Sampoorna Ragam,

Sampoorna Ragam is one in which 7 Swaras are there, taken in order both in Arohanam and Avarohanam.

The Swaras can now be summarized as follows:

Shadjam 1 No

Rishabam 3 Nos

Gandaramm 3 Nos

Madyamam 2 Nos

Panchamam 1 No

Daivatham 3 Nos

Nishadam 3 Nos.

Now the Swara Chart assumes different style:

1. Shadjam

2. Suddha Rishabam

3. Chathusruthi Rishabam…&… 4 Sudda Gandaram.. at the same Swarasthanam

5 Sadarana Gandaran …&…6 Shatsruthi Rishabam.. at the same Swarasthanam

7. Anthara Gandaram

8. Suddha Madyamam

9 Prathi Madyamam

10 Panchamam

11 Suddha Daivatham

12 Chatusruthi Daivatham…& 13. Suddha Nishadam.. at the Swarasthanam

14. Kaisiki Nishadam……& 15. Shatsruthi Daivatham.. at the same Swarasthanam

16. Kakali Nishadam.

By using one Swara, viz, S R G M P D N, from the above list , 72 combinations can be arrived at ,still satisfying the requirement of “ 72 Mela kartha” scheme.

For the self- learners , this theory may appear a bit complicated.

Each of the combination so arrived is called a Mela Kartha and is the basis of the entire Raga System in Carnatic Music.

Notation & Carnatic Music

Note: Some of the points are already discussed in the posting “ Self Learing ”, in the interest of maintaining even flow of the topics.

The opinion in this posting is based on observation of certain individuals trying to play or sing Carnatic Music in Western style, of playing notes with modern musical instruments.

And of course , they are self-learners.

Carnatic music notation have been developed systematically, highlighting Tala, Akshara , Mathra Kalas. Of course, a complete notation will contain other details like Name of the Ragam, Talam [its Gathi or Nadai] Arohanam, Avarohanam, Anyaswara details if any, Vageyakkaras name [ Composers] , meaning of composition etc.

Ragalakshana is a separate chapter by itself, the learner is expected be familiar with , which deals with the style of singing or playing of various Swaras , Swara-passages, special Swara prayogas[Visesha Prayogas] Gamaka application, Sruthi stahana of Swaras and their position and application so as to bring the Swaroopa of Raga in its full glory.

Since the Swaras will normally not sound alone, they always have a tinge of adjacent Swaras embellished with Gamakas and Anuswaras. Then only the Raga will sound with full Bhava.

Carnatic music is to be played or sung with full of Bhakthi and Bhava.

It is a well known fact that there is no effective method of indicating mood , Bhava, Gamakas, Anuswaras in notation. The symbols suggested by some earlier authors is found to be complicated and not in use.

Therefore, a complete knowledge of the above not-possible-to-write factors is essential for playing or singing of Carnatic Music.

That is the reason for some of the learner’s failure to bring the full glory of song and Ragam in Carnatic Music .

The real beauty of Carnatic Music can be brought out only by learning through a Guru, rather than wholly depending on written Notations. .

Self Learning

There are many rasikas who make all out effort to self-learn Carnatic Music. Normally they select Keyboard for the purpose. The host of self learning facilities available with Keyboard attracts them to choose it.

After trying a song several times , they are normally dissatisfied with their result . We come across several people with their frustration. The main grievances they express is that, the tune they play does not sound similar to what they expect.

At this juncture, the rasikas are to understand the basic principles of Carnatic Music that , it is not that playing with 12 Swaras or pressing 12 Keys of the Keyboard of the Octave attempting to bring Music.

The melody or the tune or roughly the Ragam are to contain Gamakas[ Recommended method and style of oscillating Swaras ], Anuswaras [ an auxiliary Swara heard faintly and attached to the main Swara] and with proper Sruthistahana [ subdivision of a Swara].

There are 10 varieties of Gamakas, and 22 Sruthisthanas in an Octave. It should be understood the limitation of the instruments to play the above nuances.

There is no means to write down the these infinitesimal details either and also it is to be understood that the Music is language of emotions and feelings. It has to be experienced.

Hence, these finer points are to be learnt through a Guru... Therefore Carnatic Music is Guru Muki Vidhya.

Geetham

Geetham
Many rasikas often confuse Geetham to Keerthana. Though generally Geetham means ‘Song’, it denotes in music parlance a type of Musical composition with its specific characteristics . Geetham is a Musical piece taught to the students after completing the chapters on Swaravali and its related exercises including Alankaram. Therefore Geetham is an Abyasa Gana variety and not a concert piece. Hence, Geetham are not performed in Katcheries. Whereas , Keerthanas are an advance musical items and a concert piece as well.
On examining a Geetham, we can find that they contain Swara portion and Sahithya portion. By practicing Swara portion one can become familiar with melody and its pattern, of the Ragam which after practicing well, to be replaced with corresponding Sahithya part.

Swara part is called Datthu and Sahithya part is called Mathu. Sahithya portion contain vowel extension of Sahithyas too, enabling the learner to acquire good voice.

Geethams are small Musical pieces contains no subdivisions like Pallavi, Anupallavi etc. It is rendered in one go as Sahithyam without repeating any line. Normally, they are composed in medium tempo and in variety of Thalams.

Famous Geetham are ‘ Sri Gananatha Sindoora Varna…., Kereya Neeranu…. Padumanabha….., Kundha Gowra….. all in Malahari Ragam, composed by Sri Purandara Dasa. Apart from these there are other Geetham like Varaveena in Mohana Ragam, Aana Lekara in Sudda Saveri Ragam, Mandara Darare in Kamboji Ragam, Kamala Sulochana in Ananda Bhairavi Ragam, Kamalajaadala in Kalyani Ragam and many more.

Varnam

UNDERSTANDING VARNAM

Varnam is one variety of Musical pieces in Carnatic Music and is technically rich. It is considered as a Abyasa Gana variety as well as Sabha Gana variety. It is interesting to observe its structure, its place of rendering in katcheries, its rendering style by various artists, for the purpose of appreciation.
One can acquire good knowledge on Raga, Tala by learning many Varnams since it contains beautiful Sancharies, Visesha Sancharies the raga admits. And also it is good for voice culture. By practicing Varnams one can get good control on Tala as it is practiced in different degree of speed. The students are taught the Swaras for the entire Varnam first in different degrees of speed with proper handling of Swaras to reflet Ragabhava and after wards the Sahitha portion is taught at appropriate places.
The style of playing Sahithya in Musical Instruments has got its own respective methods.
The structure of Varanas is, Pallavi, Anupallavi, Mukthayi Swaras, Charanam, Many Chittai Swara passages.
Pallavi Anupallavi and Charanam will have Sahithyas with plenty of vowel extensions . Mukthayi Swaras and Chitta Swaras will have no Sahithyam These type of Varnas are called Thana Varna.

The Padha Varna , which is an other variety Varnas, will have Sahithya for the entire length of the piece. These Sahithyas will have less amount of vowel extension and these Varnas are rendered for Dance performance. These are sung in slow tempo and Jatis are introduced at appropriate places.

There are no Sangathis in the lines of Varnam.

Normally, Swarakalpana is not rendered for the Varnam. Of Course , there are exemptions.

RENDERING OF VARNAM OR GANAKRAMA.

There are several ways in which the Varnams are rendered.

Method1
The Pallavi, Anupallav and Mukthayi Swaras are rendered in Chowka Kalam or in slow tempo.
The Charanam and Mukthayiswaras are rendered in Madyama Kalam or medium tempo.

Method 2
Pallavi, Anupallavi, Mukthayi Swaram, Charanam, and Chitta Swaram are rendered in normal or quick tempo.

Method 3
Pallavi , Anupallavi and Mukthayi Swaras are rendered in I degreeof Speed followed by II Degree of Speed. And, Charanam and Mukthayiswaras are also rendered in I Degree of speed followed by II degree of Speed.

The artist may also choose some other form as well, for rendering the Varnam

In case on Musical Instruments rendering, the Sahitya portion of Varnam will be played as “ Sahithya Style” unique to the individual instruments.
Whereas, all the Music Students whether Vocal or Instruments , will learn both Swara and Sahithya portions of the Varnam.

The Varnam are composed in many languages and normally in Adi Thalam, Ata Thalam , Jumpai Thalam.