MUSICAL FORMS FIGURING IN

ABHYASA GANAS

CERTIFICATE

DECLARATION

ACKNOWLEDGEMENT

PREFACE
India is musics 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

Title

Page

Origin, History, Development

Musical forms
Division - Bhayasa ganam, Sabha ganam
Purandara Dasas 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

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 ones 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 DASAS 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 Dasas 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 sithama

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 |

iyyaiyya. 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

pandava..

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

Gasubham.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 ---goula
d, dp

| p m m d | d p | pm mg

upanga-ga sa. Ramga.. Rattacha..

dpmp | mg | mgrs | srgm | pi |

ya..

dpmg

goula ma | n gara kai si kime.kbara nji

rgri | s n | ddpm | ddpn |

dp |

mgrs

mecha..bhoulide ka noda rama 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.liardhade.

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 ludacha..ga thuran

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

BHASHANGA KHANDAN

dddp

| mg |

mgrs |

rrgr |

gm |

pp mg

bha shan go ra ---- ga soura.shtrapurvi

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

s,,rg,g,g,;;rg
|
p;pp,p |p,;;dp
nanda go pala ne nenethu boja lanins;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