Carnatic Vocal Grade 9

Vocal Carnatic
Grade 9
Textbook
Based on the National Curriculum Framework

(2016)
MAHATMA GANDHI INSTITUTE

under the aegis of the
Ministry of Education, Tertiary Education,
Science and Technology,
Republic of Mauritius
2020
© Mahatma Gandhi Institute (2019) Performing Arts
(Indian Music and Dance) Panel
Mr.K.Mantadin - Project Co-ordinator
(organisation and development),
All rights reserved.No part of this publication may be reproduced, stored in a Senior Lecturer (Tabla),
retrieval system, or transmitted in any form or by any means, electronic, mechanical,
photocopying, recording or otherwise, without the prior permission of the Copyright Head, Department of Curriculum Development,
owner. Mahatma Gandhi Institute.
Dr A.S. Peruman(OSK) - Panel Co-ordinator

Printed by Senior Lecturer (Vocal Carnatic),
Head, Department of Creativity and Performance,
Dragon Printing & Co. Ltd MGI.
75, Route des Pamplemousses,
Ste Croix. Writing Team (Vocal Carnatic)
Tel : 2404630
Mrs. K. Mootoosamy - Team Leader
Educator (Vocal Carnatic), M.O.E, T.E, Sc.& Tech.
Dr. A.S. Peruman(OSK) - Senior Lecturer (Vocal Carnatic),

Head, Department of Creativity and Performance,
MGI.
Proof Reading
While every effort has been made to trace the copyright holders for reproductions, we
might have not succeeded in some cases. We offer our sincere apologies and hope
that they will take our liberty in good faith. We would appreciate any information that • Mrs D.Balaghee - Deputy Rector - MGISS
would enable us to acknowledge the copyright holders in our future editions.All materials
should be used strictly for educational purposes.
Graphic Designers (cover, illustration, layout and photography)
• Mr.Vishal Napaul
• Ms.Vaneeta Jatooa
• Ms.Presika Juckhory
ISBN: 978-99949-54-28-5
Word Processing Operator
• Mrs. N. Mugon
i ii
Acknowledgements Foreword
Mrs S. N Gayan, GOSK, Director General, Mahatma Gandhi Institute and Rabindranath ‘Where the mind is allowed to stumble upon cascades of emotion and where the
Tagore Institute for her continued advocacy for music education especially Indian surprise of creative exchange comes out of tireless striving towards perfection’
Music and Dance. Rabindranath Tagore
Should music, dance, arts, drama be taught in schools? Do such subjects matter ?
Dr (Mrs) V Koonjal, Director, Mahatma Gandhi Institute for her unwavering support
to this project. As in the case of all debate, there are those who are for and those who are against.
The decision, in the context of the reforms leading to the Nine Year Continuous
The Performing Arts (Indian Music and Dance) panel is also grateful to Basic Education, to include teaching of the performing arts in the secondary school
the following persons: curriculum shows that ‘the ayes have it.’ At least for the time being.
Dr.Mrs. S.D.Ramful - Director Schooling - MGI Traditionally, music teaching takes place in a one-to-one mode. The piano teacher
Mrs.U. Kowlesser - Registrar - MGI teaches one student at a time, so does the sitar guru. Dance is more of a group
Dr.D.Ramkalawon - Senior Lecturer (Sitar), experience. But for each of these disciplines, the context of institutional level teaching
- Head, School of Performing Arts, MGI introduces opportunities of reaching a broader cross-section of population, thereby
Dr. D. Pentiah Appadoo - Music Organiser (Oriental), M.O.E, T.E, Sc.& Tech. giving rise to fresh challenges. Students come from a variety of social and cultural
environments which expose them to different types, genres and registers in the arts.
Quality Vetting Team Students also come with different levels of aptitude. These are but two of challenges
encountered.
Dr. S.K.Pudaruth - Assoc. Professor, Ag.Head, Centre for Quality
Assurance - MGI From another perspective, it has been repeatedly pointed out that the ‘digital
Mrs K. Appassamy - Temporary Lecturer (Vocal Carnatic), MGI natives’, while definitely coming to learning with resources hitherto not available,
Mrs N. Govinthan - Educator (Vocal Carnatic)- M.O.E, T.E, Sc.& Tech. may, in the process, be losing their ability to grasp, decipher and understand
emotional language. In short they may be losing empathy.
Mrs L. Ramduth - Lecturer, Department of Design & Communication
MGI The ultimate aim of arts education in the curriculum is to provide a pedagogical
Mrs.D. R. Maloo - Educator (English) - MGSS space where the young will be able to explore their own affective responses to
forms of artistic expression, to develop sensibility, while acquiring a whole set
Administrative Staff of skills, including not only spatial awareness, pattern recognition or movement
coordination, but also the benefits of group and team work, of joint effort, higher
Mrs.H. Chudoory Administrative Officer - MGI level creative thinking and expression, as well as an overall sense of shared pleasure
Mrs. S. Appadoo Clerical / Higher Clerical Officer - MGI and of achievement. This is what emotional intelligence is all about.
Mrs. G. Checkooree Clerical / Higher Clerical Officer - MGI
The specialists who prepared the syllabus and the present textbooks for Indian music
Mrs. P. Purmessur Word Processing Operator - MGI and dance had all the above in mind while undertaking the task. The teacher
training for these disciplines needs to be a continuous process of exchange between
Cover Photo curriculum developers, teaching practitioners, textbook-writers and learners.
Ms. S.Appadu The MGI is particularly happy to be part of this major development, at a time when
the country is looking at new avenues for continued economic development, and
more importantly at new avenues to enhance equity, social justice and inclusion. It
Photo Courtesy
is our small contribution to the ‘grande aventure’ of holistic education.
Ms.E. Rambhojoo - France Boyer de la Giroday SSS
Mrs Sooryakanti Nirsimloo-Gayan, GOSK
• The parents and their wards for giving us the permission to Director-General (MGI & RTI)
reproduce their photographs and images in the textbook.
iii iv
Preface
This textbook is the first instructional material in the field of Performing Arts at classroom level. Teachers may give more activities, depending upon the
(Indian Music and Dance) written by a team of experienced Mauritian teachers availability of resources and time.
and experts in Vocal Music, Instrumental Music and Dance. Assessments in the form of activities, projects and questions are also included
at the end of each chapter. These are check points to assess the learners. It
It has been designed on the Aims, Objectives and the Teaching and Learning will help teachers gather evidences about the expected level of learning taking
Syllabus of the Performing Arts from the National Curriculum Framework place in the learners.
(2016), under the Nine Year Continuous Basic Education Programme.
I would also request all the Educators to go through the National Curriculum
The Performing Arts Curriculum is articulated around four strands: Performing, Framework (2016), the Teaching and Learning Syllabus of the Performing
Creating, Responding and Performing Arts and Society. Thus, the textbook Arts (Indian Music and Dance) documents and especially the “Important Note
takes into account the development of key skills and understandings under the to Educators” which has been provided in the textbook to have a thorough
four strands. understanding of the Philosophy and Perspective behind those documents and
their implications in the implementation of the Reform process in the education
This set of textbooks for grade 7, 8 and grade 9 lays the foundation in each system.
discipline and provides learners with the essential knowledge, skills and attitudes
needed to progress towards higher grades. It also takes into consideration the I hope that this new journey of learning Indian Music and Dance will be an
multicultural nature of our society and its traditions. enriching one.
This textbook is a support material that gives direction to the educators in the
teaching and learning process by linking the curricular components, curricular Mr. K. Mantadin,
expectations, pedagogical principles and assessments.
Project Co-ordinator - Performing Arts (Indian Music and Dance),
A textbook is not an end in itself like any other instructional material.It is a Senior Lecturer (Tabla),
means to facilitate learning to take place in a continuous and continual manner. Head, Department of Curriculum Development,
Mahatma Gandhi Institute.
Learning objectives in each chapter of the textbook reflect the curricular
outcomes. It will help the teacher to design his/her lesson plans which will further
ease the teaching and learning transaction towards achievement. Teachers will
have to plan their work so that learning takes place in an effective and efficient
way. They will have to provide appropriate and enriched experiences and
modify the teaching and learning strategies according to the needs of learners.
The practical aspects of the discipline have been integrated under “practical”
with step-by-step technique laying emphasis on the mastery of skills from one
level to another.
We are aware that children construct knowledge in their own way and have
different learning styles.The textbook has been designed to cater for such
needs.
Special features and a generous number of illustrations, pictures, concept
maps and activities have been included to promote collaborative learning and
other additional skills like team spirit, cooperation and understanding diverse
nature of learners.These would help teachers to organise their interactions
v vi
NOTE TO EDUCATORS
This teaching and learning syllabus of Indian Music and Dance has been designed 8. Enrich the musical experience of the students by gaining an understanding
on the spiral curriculum model in which core components and essential topics are of the cultural and historical context of music and dance exploring personal
revisited within the three years. It caters for both the theoretical and practical connections with them.
aspects of each discipline.
9. Carry out active listening and viewing sessions through the use of Information
It also comprises different blocks of knowledge and skills and each block is supported Learning Technologies(ILT’s). This will facilitate developing their investigative
by specific learning outcomes which cover all the three domains of learning; and methodological abilities.
cognitive, psychomotor and affective.
10. Model and demonstrate accurate and artistic musical and dance techniques.
The Listening and Viewing component has been integrated in the syllabus as it is a
key factor in the development of music and dance abilities. Teachers should provide 11. Differentiate Music and Dance instruction to meet a wide range of students
a wide variety of listening and viewing experiences for learners to stimulate active needs.
listening and viewing through questioning, prompting and suggestion.
12. Educators should also ensure that learners’
In order to achieve the objectives of the syllabus and to keep a good balance
between theory and practical sessions, the teacher will have to plan his / her • Show proper care and maintenance of classroom instruments.
work and teaching and learning activities according to the topics to be taught as • Demonstrate respectful behavior as performers and listeners.
specified in the scheme of studies. However, educators may modify the sequence • Participate in classroom protocole and traditions for music making
of the topics in which they wish to teach for the smooth running of the course. and dance.
Educators should:
13. Reinforce effort and provide recognition.
1. Ensure that learners use the knowledge, skills and understanding developed from
grades 1 -6 and build upon that prior knowledge to construct new knowledge. 14. Discuss student performances by using peer assessment as a tool.
2. Provide learning experiences that include opportunities for hands-on and 15. Give opportunities to students to assume various roles in music performances,
interactive learning, self-expression and reflection. presentations and collaborations.
3. Find a variety of ways to align their instruction with the Aims, Learning Outcomes 16. Motivate students to maintain a musical collection and portfolio of their own
and Specific Learning Outcomes by focusing on active learning and critical work over a period of time. It can be an individual or group initiative that the
thinking. learner will undertake under the supervision of the educator.
4. Provide learning activities that are appropriate in complexity and pacing.
5. Provide opportunities for individual and multiple groupings.
6. Actively engage and motivate students in the process of Learning Music and
Dance.
7. Develop the ability in the learners to use and understand the language of Music
and Dance through listening and viewing as well as responding to live and
recorded
repertoires.
vii viii
Table of Contents
Chapter 1 Abhyasaganam 1
Chapter 2 Ragam 31
Chapter 3 Talam 41
Chapter 4 Musical Forms 53
Chapter 5 Classification of Musical Instruments 75
Chapter 6 Eminent Composer 91
Chapter 7 Music in Mauritius and other Cultures 99
Glossary 108
Chapter 1
A b h y a s a ga n a m
Learning Objectives
At the end of this chapter, students should be able to:
Write in notation form:
1. Gitam,
2. Swaras and Sahityas of the Varnam in Mohana Ragam,
3. Swarajati.
Sing the following musical forms:
1. Sarali Varisas numbers 1 to 14,
2. Janta Varisas numbers 4 to 6,
3. Datu Varisai number 2,
4. Mandra Sthayi Varisas numbers 4 and 5,
5. Tara Sthayi Varisas numbers 4 and 5 in the 1st and 2nd speed.
Musical forms are classified into two basic categories:
Abhyasaganam
Recall
Sabhaganam
Abhyasaganam
Swara Gitam Swarajati Jatiswaram Varnam
Musical Forms Exercises
Abhyasaganam Sabhaganam 1.1 Vocal Exercises Broaden your

knowledge
The great composer, Purandara Dasa, known
as the Father of Carnatic music, devised sets
of fundamental exercises. The 1st varisai is a plain
There are 4 main types of swara exercises ascent and descent of
2 known as varisas. These are : the notes of the raga. 3
learning and practising Music Performance - Sarali Varisas The 2nd varisai focuses
of music (concert) - Janta Varisas on the second note
- Datu Varisas from S, namely R (in
- Sthayi Varisas the ascent) and N (in
the descent). The 3rd
1.1.1 Sarali Varisas: varisai centers on the
third note (G and D) in
Abhyasaganam is the learning and practising of basic lessons. The first set of
Sarali Varisas are fundamental swara the ascent and descent
basic lessons are swara exercises. They are used to develop music ability and
exercises. These exercises enable learners respectively. The fourth
to enhance voice quality.
to get acquainted to melody and rhythm. varisai concentrates on
The practical aspect of abhyasaganam may be categorised into several stages
the fourth note M and P.
as follows:
This goes on up to the
1) The fundamental exercises consisting of swaras uniquely, are learnt at 7th varisai. The last 3 are
the beginning stage. general exercises.
2) Gitams, Swarajatis and Jatiswarams are learnt at the 2nd stage as these
include sahityams (lyrics).
PRACTICAL ACTIVITY 3. S R G S | R G | S R
Ṡ
||
S R G M | P D | N ||
Ṡ N D Ṡ | N D | Ṡ N ||
(Guided group singing) Ṡ N D P | M G | R S ||
Instrument: Tampura
Prior knowledge: Students should have already been exposed to 4. S R G M | S R | G M ||
Mayamalavagowla ragam. S R G M | P D | N Ṡ ||
Ṡ N D P | Ṡ N | D P ||
Note to teacher: Ṡ N D P | M G | R S ||
• Get students seated.
• Ensure that all students can hear the tampura properly.
• All steps must be guided by the teacher. 5. S R G M | P , | S R ||
S R G M | P D | N Ṡ ||
Step 1: Sing the arohanam and avarohanam of the Mayamalavagowla Ṡ N D P | M , | Ṡ N ||
ragam. Teacher scaffolds and guides where necessary. Ṡ N D P | M G | R S ||
Step 2: Sing swaras by sight singing. 6. S R G M | P D | S R ||

Step 2 is repeated as many times as necessary for students to be
S R G M | P D | N Ṡ ||
4 familiar with the swarasthanas. 5
Ṡ N D P | M G | Ṡ N ||
Ṡ N D P | M G | R S ||
SARALI VARISAS 7. S R G M | P D | N , ||
S R G M | P D | N Ṡ ||
Ṡ N D P | M G | R , ||
RAGAM : Mayamalavagowla TALAM : Adi Ṡ N D P | M G | R S ||
Arohanam : S R1 G2 M1 P D1 N2 S
Avarohanam : Ṡ N2 D1 P M1 G2 R1 S 8. S R G M | P M | G R ||
S R G M | P D | N Ṡ ||
|4 0 0 Ṡ N D P | M P | D N ||
1 S R G M | P D | N Ṡ || Ṡ N D P | M G | R S ||
Ṡ N D P | M G | R S ||
9. S R G M | P M | D P ||
2. S R S R | S R | G M || S R G M | P D | N Ṡ ||
S R G M | P D | N Ṡ || Ṡ N D P | M P | G M ||
Ṡ N Ṡ N | Ṡ N | D P || Ṡ N D P | M G | R S ||
Ṡ N D P | M G | R S ||
1.1.2 Janta Varisas: Broaden your
10. S R G M | P , | G M || knowledge
P , , , | P , | , , || Janta Varisas are swara exercises,
G M P D | N D | P M || involving the singing of a swaram twice
G M P G | M G | R S || or thrice. This facilitates learners to add
weight and majesty to their voice. Janta Varisas make use
11. Ṡ , N D | N , | D P || of a form of ornamentation
D , P M | P , | P , || called “spuritham”, which
G M P D | N D | P M || is rendering a note twice.
G M P G | M G | R S || The 1st note is rendered
plain and is followed by
12. Ṡ Ṡ N D | N N | D P || rendering the 2nd with force
D D P M | P , | P , || from the previous note.
G M P D | N D | P M ||
G M P G | M G | R S ||
13. S R G R | G , | G M ||
P M P , | D P | D , ||
6 7
M P D P | D N | D P || PRACTICAL ACTIVITY
M P D P | M G | R S || (Guided group singing)
14. S R G M | P , | P , || Instrument: Tampura

D D P , | M M | P , ||
D N Ṡ , | Ṡ N | D P || Prior knowledge: Students should have already been exposed
Ṡ N D P | M G | R S || to Mayamalavagowla ragam and dealt with the 1st and 2nd Janta
Varisas in Grade 7.
Note to teacher:
• All steps must be demonstrated and guided by the teacher.
Step 1: Sing the arohanam and avarohanam of the

Mayamalavagowla ragam. Teacher scaffolds and guides where
necessary.
Step 2: Sing each set of the Janta Varisas (1-6).

Janta Varisas 4. SS RR G-S RG | SS RR | GG MM ||
RR GG M-R GM | RR GG | MM PP ||
GG MM P-G MP | GG MM | PP DD ||
MM PP D-M PD | MM PP | DD NN ||
RAGAM : Mayamalavagowla TALAM : Adi PP DD N-P DN | PP DD | NN ṠṠ ||
Arohanam : S R1 G2 M1 P D1 N2 Ṡ ṠṠ NN D-Ṡ ND | ṠṠ NN | DD PP ||
Avarohanam : Ṡ N2 D1 P M1 G2 R1 S NN DD P-N DP | NN DD | PP MM ||
DD PP M-D PM | DD PP | MM GG ||
| 0 0 PP MM G-P MG | PP MM | GG RR ||
4
MM GG R-M GR | MM GG | RR SS ||
1. SS RR GG MM | PP DD | NN ṠṠ ||
ṠṠ NN DD PP | MM GG | RR SS || 5. SS RR GG RR | SS RR | GG MM ||
RR GG MM GG | RR GG | MM PP ||
2. SS RR GG MM | RR GG | MM PP || GG MM PP MM | GG MM | PP DD ||
GG MM PP DD | MM PP | DD NN || MM PP DD PP | MM PP | DD NN ||
ṠṠ ṠṠ PP DD NN DD | PP DD | NN ṠṠ ||
8 PP DD NN | NN | DD PP || 9
ṠṠ NN DD NN | ṠṠ NN | DD PP ||
NN DD PP MM | DD PP | MM GG ||
PP MM GG RR | MM GG | RR SS || NN DD PP DD | NN DD | PP MM ||
DD PP MM PP | DD PP | MM GG ||
3. SS R-S SR SR | SS RR | GG MM || PP MM GG MM | PP MM | GG RR ||
RR G-R RG RG | RR GG | MM PP || MM GG RR GG | MM GG | RR SS ||
GG M-G GM GM | GG MM | PP DD ||
6. SS ,-R R,- GG | SS RR | GG MM ||
MM P-M MP MP | MM PP | DD NN ||
RR ,-G G,- MM | RR GG | MM PP ||
PP D-P PD PD | PP DD | NN ṠṠ ||
GG ,-M M,- PP | GG MM | PP DD ||
ṠṠ N-Ṡ ṠN ṠN | ṠṠ NN | DD PP ||
MM ,-P P,- DD | MM PP | DD NN ||
NN D-N ND ND | NN DD | PP MM || ṠṠ
PP ,-D D,- NN | PP DD | NN ||
DD P-D DP DP | DD PP | MM GG || ṠṠ ṠṠ PP
,-N N,- DD | NN | DD ||
PP M-P PM PM | PP MM | GG RR || NN NN MM
,-D D,- PP | DD | PP ||
MM G-M MG MG | MM GG | RR SS || DD DD GG
,-P P,- MM | PP | MM ||
PP ,-M M,- GG | PP MM | GG RR ||
MM ,-G G,- RR | MM GG | RR SS ||
1.1.3 Datu Varisas Broaden your Datu Varisas
knowledge
Datu varisas are swara exercises involving
the singing of swaras irrespective of their
RAGAM : Mayamalavagowla TALAM : Adi
order, thus increasing learners’ overall Datu Varisas are
Arohanam : S R1 G2 M1 P D1 N2 Ṡ
command on notes. alternate-swara
Avarohanam : Ṡ N2 D1 P M1 G2 R1 S
exercises.These |4 0 0
patterns help in training 1. S M G R | S R | G M ||
the voice, irrespective R P M G | R G | M P ||
of the sequence, G D P M | G M | P D ||
thus building a firm M N D P | M P | D N ||
P Ṡ N D | P D | N Ṡ ||
foundation for learning
Ṡ P D N | Ṡ N | D P ||
advanced compositions.
N M P D | N D | P M ||
D G M P | D P | M G ||
P R G M | P M | G R ||
M S R G | M G | R S ||
10 2. S M G M | R G | S R || 11
PRACTICAL ACTIVITY S S R R | G G | M M ||
(Guided group singing) R P M P | G M | R G ||
R R G G | M M | P P ||
Instrument: Tampura G D P D | M P | G M ||
G G M M | P P | D D ||
Prior knowledge: Students should have already been exposed M N D N | P D | M P ||
to Mayamalavagowla ragam and dealt with the first set of Datu varisai M M P P | D D | N N ||
in Grade 7. P Ṡ N Ṡ | D N | P D ||
P P D D | N N | S Ṡ ||
Note to teacher: Ṡ P D P | N D | Ṡ N ||
• Get students seated. Ṡ S N N | D D | P P ||
• Ensure that all students can hear the tampura properly. N M P M | D P | N D ||
• All steps must be demonstrated and guided by the teacher. N N D D | P P | M M ||
Step 1: Sing the arohanam and avarohanam of the D G M G | P M | D P ||
Mayamalavagowla ragam. Teacher scaffolds and guides where D D P P | M M | G G ||
necessary. P R G R | M G | P M ||
P P M M | G G | R R ||
Step 2: Sing each set of the Datu Varisas 1 and 2. M S R S | G R | M G ||
M M G G | R R | S S ||
1.1.4 Tara and Mandra Sthayi Varisas Broaden your Tara Sthayis
knowledge
Tara sthayi Varisas are swara exercises
having higher octave sequences whereas
Mandra sthayi varisas are swara exercises RAGAM : Mayamalavagowla
The first Tara sthayi
having lower octave sequences. These TALAM : Adi
varisai is the simplest
exercises help in increasing the students’
vocal or instrumental range. and every subsequent
exercise adds a new

phrase to the previous
|4 0 0
one. The Tara sthayi
1 S R G M | P D | N Ṡ ||
varisas progressively
Ṡ , , , | Ṡ , | , , ||
cover notes up to Pa in
D N Ṡ Ṙ | Ṡ N | D P ||
the higher octave. The
Ṡ N D P | M G | R S ||
Mandra sthayi varisas
gradually cover notes
2 S R G M | P D | N Ṡ ||
down to lower Pa.
Ṡ , , , | Ṡ , | , , ||
12 13
D N S R | Ṡ Ṡ | Ṙ Ṡ ||
PRACTICAL ACTIVITY Ṡ Ṙ Ṡ N | D P | M P ||
D N S R | Ṡ N | D P ||
(Guided group singing) Ṡ N D P | M G | R S ||
Instrument: Tampura
Ṡ
Prior knowledge: Students should have already been exposed 3 S R G M | P D | N ||
to Mayamalavagowla ragam and dealt with the first two sets of Ṡ , , , | Ṡ , | , , ||
sthayis varisai in Grade 7. D N Ṡ Ṙ | Ġ Ṙ | Ṡ Ṙ ||
Note to teacher: Ṡ Ṙ Ṡ N | D P | M P ||
• Get students seated. D N Ṡ Ṙ | Ṡ Ṡ | Ṙ Ṡ ||
• Ensure that all students can hear the tampura properly. Ṡ Ṙ Ṡ N | D P | M P ||
• All steps must be demonstrated and guided by the teacher. D N Ṡ Ṙ | Ṡ N | D P ||
Step 1: Sing the arohanam and avarohanam of the Ṡ N D P | M G | R S ||
Mayamalavagowla ragam. Teacher scaffolds and guides where
necessary.
Step 2: Sing each set of the Mandra and Tara sthayis.
Mandra Sthayis
4. S R G M | P D | N Ṡ ||
Ṡ , , , | S , | , , ||
D N Ṡ Ṙ | Ġ Ṁ | Ġ Ṙ ||
Ṡ Ṙ Ṡ N | D P | M P ||
RAGAM : Mayamalavagowla
D N Ṡ Ṙ | Ġ Ṙ | Ṡ Ṙ ||
TALAM : Adi
Ṡ Ṙ Ṡ N | D P | M P ||
D N Ṡ Ṙ | Ṡ Ṡ | Ṙ Ṡ ||
Ṡ Ṙ Ṡ N | D P | M P ||
D N Ṡ Ṙ | Ṡ N | D P ||
| 0 0
Ṡ N D P | M G | R S || 4
1 Ṡ N D P | M G | R S ||
5. S R G M | P D | N Ṡ ||
S , , , | S , | , , ||
Ṡ , , , | S , | , , ||
G R S Ṇ | S R | G M ||
D N Ṡ Ṙ | Ġ Ṁ | P M ||
S R G M | P D | N Ṡ ||
G Ṙ Ṡ N | D P | M P ||
14 D N Ṡ Ṙ | Ġ M | G Ṙ || 15
2 Ṡ N D P | M G | R S ||
Ṡ Ṙ Ṡ N | D P | M P ||
S , , , | S , | , , ||
D N Ṡ Ṙ | Ġ Ṙ | Ṡ Ṙ ||
G R S Ṇ | S S | Ṇ S ||
Ṡ Ṙ Ṡ N | D P | M P ||
S Ṇ S R | G M | P M ||
D N Ṡ Ṙ | Ṡ Ṡ | Ṙ Ṡ ||
G R S Ṇ | S R | G M ||
Ṡ Ṙ Ṡ N | D P | M P ||
S R G M | P D | N Ṡ ||
D N Ṡ Ṙ | Ṡ N | D P ||
Ṡ N D P | M G | R S ||
3 Ṡ N D P | M G | R S ||
S , , , | S , | , , ||
G R S Ṇ | Ḍ Ṇ | S Ṇ ||
S Ṇ S R | G M | P M ||
G R S N | S S | Ṇ S ||
S Ṇ S R | G M | P M ||
G R S Ṇ | S R | G M ||
S R G M | P D | N Ṡ ||
1.2 Kalam in Carnatic Music
4. Ṡ N D P | M G | R S ||
In Carnatic music, Kalam is the speed
S , , , | S , | , , || Broaden your
measured as the number of notes per beat of
G R S Ṇ | Ḍ P | D Ṇ || knowledge
Ṇ the tala.
S S R | G M | P M ||
Ṇ Ḍ Ṇ Ṇ Pratama kalam: the 1st speed is rendered:
G R S | | S ||
Ṇ one note per unit of the tala. There is a mathematical
S S R | G M | P M ||
Ṇ Dwitiya kalam: the 2nd speed is exactly precision to it. For
G R S N | S S | S ||
Ṇ doubled ; two notes per unit. instance, the 2nd speed
S S R | G M | P M ||
Ṇ Tritiya kalam: the 3rd speed is four notes per is exactly 2 times faster
G R S | S R | G M ||
Ṡ unit. and the 3rd is exactly
S R G M | P D | N ||
Note: Dwitiya and Tritiya kalam should 4 times faster with
Ṡ always be established based on the respect to the pratama
5. N D P | M G | R S ||
pratama kalam. kalam.
S , , , | S , | , , ||
G R S Ṇ | Ḍ P | M P || First speed - one note per unit
D Ṇ S R | G M | P M ||
16 G R S Ṇ | Ḍ P | D Ṇ || 17
1 2 3 4 5 6 7 8
S Ṇ S R | G M | P M ||
G R S N | D N | S N || S R G M P D N S
S Ṇ S R | G M | P M ||
G R S Ṇ | S S | N S || Second speed - Two notes per unit
S Ṇ S R | G M | P M ||
G R S N | S R | G M || 1 2 3 4 5 6 7 8
S R G M | P D | N S || SR GM PD NS SN DP MG RS
Activity
Using the above example, students can be asked to write any

chosen basic exercise in the second speed.
1.3 Gitam Ragam : Malahari Talam : Chaturasra Jati Rupaka
Arohanam : S R1 M1 P D1 Ṡ Avarohanam : Ṡ D1 P M1 G3 R1 S
Gitams are the simplest musical forms in Carnatic music. Gitams combine Composer : Purandara Dasa
ragam, talam and sahityam. They have been composed in the first or second
speed and usually with common talas. Gitams are rendered by singing the 0 |4 0 |4
swaras first and then singing the corresponding lyrics(sahityam).
Pallavi
S R | M , G R || S R | G R S , ||
PRACTICAL ACTIVITY Lam - | bo - da ra || La Ku | Mi ka ra - ||
R M | P D M P || D P | M G R S ||
(Guided group singing) Am - | baa - su tha || A ma | ra vi nu ta ||
Instrument: Tampura S R | M , G R || S R | G R S , ||
Lam - | bo - da ra || La Ku | Mi ka ra - ||
Prior knowledge: Students should have already been exposed to
Mayamalavagowla ragam and dealt with the basic exercises in Grade Charanam 1
7&8.
M P | D S S R || R S | D P M P ||
Note to teacher:
18 • Get students seated.
Sri - | Ga Na Naa Tha || Sin Doo | - Ra Var Na || 19
• Ensure that all students can hear the tampura properly. R M | P D M P || D P | M G R S ||
• All steps must be demonstrated and guided by the teacher. Ka Ru | Na Saa Ga Ra || Ka Ri | Va Da Na - ||
Step 1: Sing the arohanam and avarohanam of the Malahari ragam. Charanam 2
Teacher scaffolds and guides where necessary.
Step 2: Sing the swaras pattern of the composition. M P | D S S R || R S | D P M P ||
Sid dha | Cha - ra na || Ga na | Se - vi ta ||
The above steps are repeated until the students are able to sing the
R M | P D M P || D P | M G R S ||
swaram properly.
Siddhi | Vi Naa ya ka || Te - | Na mo na mo ||
Step 3: Sing the sahityam part of the composition.
(Lambodara)
Step 3 can be done by splitting the composition; by singing each avartanam
of swaras and immediately singing the corresponding sahityam. Charanam 3
Step 4: Sing the whole composition while executing the Talam. M P | D S S R || R S | D P M P ||
All steps can be repeated to help students grasp the melody of the Sa ka | La vid yaa - || - Di | Poo - ji Ta ||
composition. R M | P D M P || D P | M G R S ||
Sa R | Vo - Tta ma || Te - | Na mo na mo ||
(Lambodara)
1.4 Swarajati Ragam : Khamas
Talam : Adi
Swarajatis are the next level of musical composition to be learnt after Gitams. Arohanam : S M1 G2 M1 P D2 N2 Ṡ
They are longer, usually composed in the third speed, and have a Pallavi and Avarohanam : Ṡ N2 D2 P M1 G2 R2 S
more than one Charanam. Some swarajatis may also contain a Pallavi, an
Anupallavi and Charanams, which are sub sections of a composition. PALLAVI
S , , , S , N , | D , P , , M G , ||
Sa - - - - - mba - | si - va - - ya na - ||
PRACTICAL ACTIVITY M , , , , , G , | M , P , D , N , ||
Ve - - - - - ra - | ji - tha - gi - ri - ||
S , , R N , S , | D , , N P , , D ||
(Guided group singing) Sa - - mba vi - - ma | no - - ha ra - - pa ||
Instrument: Tampura M , , P M , , G | M , P , D , , N ||
Prior knowledge: Students should have already been learning ra - - thpa ra - - kru | pa - - ka ra - - shree ||
Gitams in grade 8.
Note to teacher: Charanam 1
20 • Get students seated. 21
• Ensure that all students can hear the tampura properly. S , R , S N- N , | S , N D D , N , ||
• All steps must be demonstrated and guided by the teacher. Nee - ve - gu ru dai - | vam - ba ni ye - ve - ||
Step 1: Sing the arohanam and avarohanam of the khamas ragam. D P - P D , M G | S M , -G M P D N ||
Teacher scaffolds and guides where necessary. la nu se - vim - pu su | sa da - ma di ni si va ||
Step 2: Sing the swaras pattern of the composition. (Sam)
Charanam 2
The above steps are repeated until the students are able to sing the
swaram properly. S R S N S , , , | N S N D N , , , ||
Step 3: Sing the sahityam part of the composition. Pa ra ma da ya - - - | ni dhi va nu su - - - ||
D N D P D , , , | P D P M P , , , ||
Note: Step 3 can be done by splitting the composition; by singing Ma ru va ka na , , , ||
| hru da ya mu na - - -
each avartanam of swaras and immediately singing the corresponding
sahityam. S S S S M M M M | P P P P D D D D ||
Ma ha de va ma ha pra bho | sun - da ra na - ya ka ||
Step 4: Sing the whole composition while executing the talam. N S N S N , D P | D P M G M P D N ||
Note: All steps can be repeated to help students grasp the melody of the su ra va ra da - ya ka | bha va bha ya ha ra si va ||
composition. (Sam)
Charanam 3 Charanam 5 Kanda Gathi
D S N D P M G M | P , , , P D N D ||
S , R S , N , D N - | S , N D , P , , , , ||
Sthi ra ma du ra ou ra mu | na - - - va ra mu lo ||
Sa - ra sa - re - ku ni - | na - maman-thram- - - - ||
P M G G M , , , | P N D N D P D N ||
P , D N , D , P M , | P , M G , M , , , , ||
Sa gu ha ru ni - - - | ni ra tha mu nu da la chi ||
Ko - ri na - nu - ni pa - | da - bjaman -thram- - - ||
(Sam)
Charanam 4 M , G M , P , M P , | D , P D , N , D N , ||
Da - sudowchi - nnikris - - | shnu - ni ki - dhik - ku ni - ||
S , , , , , -S N | N D D P P M G G ||
S , R S , N , D N - | S , N D , M , P D , ||
Shree - - - - - su bha | ka ra sa si ma ku ta dha ||
Ve - ya ni - sok - ka na - | du - ni nam - mu - ko ni - ||
M , , , , , -P D | N D M -G M P D N ||
(Sam)
ra - - - - - ja ya | vi ja ya thri pu ra ha ra ||
S M G S S - S - | S R S S N - N - ||
Sri tha ja na lo - la - | thbhutha gu na see - la - ||
N S N D D , D , | P D P M P , P , ||
Kru tha nu tha ba - la - | pa thi thu ni lo - la - ||
22 23
S M , M G P , P | M D , D P N , N ||
Mu dam - ba la ran - ra | pa da - bja mu lan - du ||
D R , R N S , S | N S N D P , , , ||
Pa dam - bu lu jer - chu | pa su pa thi ni - - - ||
M , P M P , D P | D , N D N , S N ||
Gna - na mu dhia - na mu | sna - na mu pa - na mu ||
S , R S R , S N | S R S , N D P M ||
da - na mu ma - na mu | a bhi ma - na ma nu su ||
G M P D N S N R | S , , , S R N S ||
Ka ni ka ra mu na cha ra | nam - - - bu lu ka nu ||
D N P D M , , , | D PM - G M P D N ||
Ko nu sru thu lan - - - | nu thu la cha ra na nu su ||
(Sam)
1.5 Varnam Ragam : Mohanam (28th Mela Janyam)
Varnams are sophisticated musical forms that include swaram, talam and Talam : Adi
sahityam. The structure of the varnam includes pallavi, anupallavi, muktaayi Composer : Ramnad Sreenivasa Iyengar
swaram, charanam and multiple chitta swaras. Varnams are also sung at the Arohanam : S R2 G2 P D2 Ṡ
start of concerts. The learning and practising of Varnams helps in: Avarohanam : Ṡ D2 P G2 R2 S
- learning the swaras of various ragas Pallavi Ninnu kori yunna nura Nikila loka nayaka
:
- singing in multiple speeds
- learning the appropriate gamakas
Anupallavi Nannu palimpa samayamura Nameetha
:
- introducing the proper combinations of swaras for each raga. krupa judara
Charanam : Sannuthanga Sreenivasa
PRACTICAL ACTIVITY Pallavi : Ninnu kori yunna nura Nikila loka nayaka
… I am insisting (“yunnanu ra”) because of the yearning I have
(Guided group singing)
for you (“ninnu kori”).
Instrument: Tampura
Prior knowledge: Students should have already been learning G , G , R , , , S S R R G G R R |
Gitams in grade 8. Nin - nu - ko - - - ri - - - - - - -
24 Note to teacher: S R G R S R S D S R G P G R S R ||
25
• Get students seated. Yu - - - nna - - - nu - - - ra - - -
• All steps must be demonstrated and guided by the teacher. G P G G R S- R G R R S D S R G R |
Step 1: Sing the arohanam and avarohanam of the Mohanam ragam. Ni - - - - - ki - - - - - la - - -
Teacher scaffolds and guides where necessary. G P G- P D P- D S D D P- G D P G R ||
Step 2: Sing the swaras pattern of the composition. Lo - - ka - - na - - - - va - - ka -
Note: The above steps are repeated until the students are able to sing
the swaram properly. Anupallavi:
Nannu palimpa samayamura Nameetha krupa judara
This is the occasion (“samayamura”) to take charge of me (“nannu paa-
Note: Step 3 can be done by splitting the composition; by singing each limpa”).
avartanam of swaras and immediately singing the corresponding sahityam.
Step 4: Sing the whole composition while executing the talam. G , G , P , , , G G P P D D P , |
Note: All steps can be repeated to help students grasp the melody of the Nan- nu - pa - - - li - - - - im pa -
composition. D S D D P G- D P D- G D P G R S R ||
Sa - - - - - ma - - ya - - mu - ra -
Kindly show mercy (“krupa judara”) upon me (“naa meeda”). (3)
G G P P D P- D S D S R S G R - S | P , D D P , G R S , R G R , S D |
Na - - - - - mee - - tha - - kru - - pa S , R G P , D , S S , -D P , G R ||
D S R S , D P D S D , P G R S R || (San)
- - ju - - - - - da - - - ra - - - (4)
Mukthayi Swaram: S , R G R S R S D S D P G R S R |
S , , , , , -S S R R G G P P D D ||
G , R G R S R , S R S G R G S R |
S R G- R G R- D S R- S R S P D S D |
S D S R G R G P G P D , P , , , ||
S D- G P D- P D P R S D P G R S R ||
G P D P D S R G R , G- S , R- D , |
(San)
S- P , D S R G S , D P , G R S R ||
Charanam:
Sannuthanga Sreenivasa
O Srinivasa! I pray to your existence (“sannuthi”) in the visible form
(“anga”).
26 G , G , G P G R R G P G P , , , | 27
San- nu - tha - - - nga - - -Sree - - -
G G D D P , G G D P- G P G R S R ||
ni - - - - - va - - - sa - - - - -
Chittai Swaras :
(1)
G , , , R , S , R , , , D , , , |
R , D , S , , , R , , , G , R , ||
(San)
(2)
G , G- R G R S R G , G- P D D S R |
G , G- G D P G R G , G- S D P G R ||
(San)
d s Learn, practice, fundamental exercises Assessment
Keywor vocal forms
Exercise 1
Name the two main categories of musical forms.
Musical Forms
Points
Abhyasaganam is the learning and
To
practising of basic lessons.
Remember Sarali Varisas are swara exercises
which are in fundamental swaram sequences.
Exercise 2
Janta Varisas are swara exercises consisting of swaras Differentiate between the two main categories of Musical forms.
which are repeated twice or thrice.
28 Exercise 3 29
Datu Varisas are swara exercises consisting of zigzag-
Match the sentences to define each musical form:
swaram sequences.
Tara Sthayi Varisas are higher octave sequences. 1. Sarali varisas are swara exercises involving lower octave
Mandra Sthayi Varisas are lower octave sequences. swara sequences.
The 1st kalam, pratama Kalam, is rendered one note per 2. Janta varisas are the simplest of Carnatic music forms
unit of the talam. which combines melody, talam and
The 2nd kalam, Dwitiya kalam, is exactly double of this, i.e. lyrics.
two notes per unit of talam. 3. Datu varisas are sophisticated musical forms that
The 3rd Kalam, Tritiya kalam is four notes per unit of talam. include swaras and lyrics.
Gitams are the simplest of Carnatic music forms, which 4. Tara sthayi varisas are fundamental swara exercises.
combine melody, rhythm and lyrics. 5. Mandra sthayi varisas have double or triple swara sequences.
Swarajatis are musical compositions, which are longer than 6. Gitam are musical compositions longer than
gitams usually composed in the third speed. gitams and usually composed in the third
Varnams are sophisticated musical forms that include speed.
swaras and lyrics. 7. Varnam are higher octave exercises.
8. Swarajati are zigzag-swaram sequences exercises.
Exercise 4
Write down the following exercises in 2nd speed:
a) S M G R | S R | G M ||
R P M G | R G | M P ||
G D P M | G M | P D ||
M N D P | M P | D N ||
P Ṡ N D | P D | N Ṡ ||
Ṡ P D N | Ṡ N | D P ||
N M P D | N D | P M ||
D G M P | D P | M G ||
P R G M | P M | G R ||
M S R G | M G | R S ||
b) Ṡ N D P | M G | R S ||
S , , , | S , | , , ||
G R S Ṇ | S R | G M ||
30
S R G M | P D | N Ṡ ||
Exercise 5
Write the swaram and sahityam of Varnam – ninnu kori. (Pallavi,
anupallavi and charanam only)
Kanakangi subhapantuvarali
Chapter 2
Rasikapriya Kanakangi
charukesi nitimati
Kosalam Ratnangi
Rasikapriya Nasikabhushani
Dhatuvardhini
Ganamurti
Vanaspati
natakapriya rishi
Jyotisvarupini Manavati
Senavati Sucharitra
71 72 1 2 3
Tanarupi ramapriya tanarupi
Chitrambari
68 69 70 4 5 Senavati
6 Hanumatodi
nitimati
Mechakalyani
Vachaspati 66
67 7
8
9
Dhenuka
Natakapriya
nasikabhushani visvambhari
65 Ru Ra
Lahangi 64 10 Kokilapriya
Rishabhapriya
Kantamani 62
63 Gu Ga
Ra
11
12
Rupavati dhavalambari suryavakam
Ri 12 1
vanaspati Nitimati
61
AIDIYA INDU 2
Gi 13 Gayakapriya
Dharmavati
Hemavati
60
59
Gu
11
RUDRA
NETRA
14
15
Vakulabharanam
Mayamalavagaula
mayamalvagaula dhenuka
Simhendra 58 16 Chakravakam
Ra
rishi Madhyama
Shanmukhapriya
57
56
Ri
Gi
10 Prati
Madh-
Suddha
Madh-
3
AGNI
Gu 17 Suryavakam pavani jhankaradhvani
Syamalangi 55 DISI 18 Hatakambari
shanmukhapriya chitrabari
Yama Yama 19 Jhankaradhvani
54 9
netra Visvambhari
Gamanasrama 53 Ra
BRAHM Melas Melas
4
VEDA Ri
20
21
Nathabharavi
Kiravani
Ramapriya 52 22 Kharaharapriya
Gu 8 5 Gi
Kamavardhani
Namanarayani
51
50
VASU
6
BANA 23 Gaurimanohari hemavati namanarayani
mararanjani Dhavalambari 49 Ra
7
RISHI RUTU Ri 25
24 Varunapriya
Mararanjani
rupavati
Divyamani
Suvarnangi
48
47
46
Gi Gu
27
26 Charukesi chalanata gangeyabhushani
Shadvidha margini 45 Ra Ru 28
Harikambhoji
Subhapantuvarali
Bhavapriya
44
43
42 41
Ga Gu
31
30
29
kosalam simhendra
3332 Naganandini
lahangi
Ragam
Gavambhodhi 40 39
38 37 36 35 34
Raghupriya Yagapriya
rishabhapriya
harikambhoji Pavani
Navaneetham
Raga vardhani
Gangeyabhushani
Jhalavarati Vagadhisvari
shadvidha margini Jalanavam
Salagam Chalanata
Sulini
gaurimanohari ganamurti hanumatodi
Learning Objectives
Differentiate between Janaka and Janya Ragas

Classify Janya Ragas
Define the terms Varja, Vakra, Upanga and Bhashanga Ragas
Identify Janaka and Janya Ragas
Write down the Raga Lakshanas of the prescribed Ragas
Sing the Arohanam, Avarohanam of the prescribed Janaka and Janya
Ragas
Improvise simple patterns of Swaras in Janaka and Janya Ragas.
2.0 RAGAM 2.1.1 Janaka Ragam
Ragam is a particular combination of swaras which brings out a precise structure Janaka ragas are parent ragas. They are also known as the Melakartha or
pleasant to the ears. Sampurna ragas which have all the seven notes Sa Ri Ga Ma Pa Dha Ni
Each ragam has a particular identity of its own. (saptha swara) in their arohanam and avarohanam. There are 72 such Janaka
ragas arranged in a definite serial order called Chakra and Melam, each with
its own set of Janya ragas.
Ragas can vary only in Ri (Ri1, Ri2, Ri3), Ga (Ga1, Ga2, Ga3), Ma (Ma1, Ma2),
RAGAM Dha (Dha1, Dha2, Dha3) and Ni (Ni1, Ni2, Ni3).
Janaka ragas can be classified into:

- Sudha Madhyama ragas - the first 36 of 72 melams use Sudha
Madhyamam (Ma1).
- Prati Madhyama ragas - the other 36 ragas use Prati Madhyama (Ma2)
32 . 33
2.1.2 Janya Ragam
Janaka Janya A Janya ragam is derived from a Janaka ragam. The same swaras are used as
in its melakartha ragam, but the number of swaras may differ. Janya ragas are
further grouped into:
2.1.2.1 Upanga ragas - are Janya ragas which make use of swaras present
in its parent ragam uniquely.
2.1 Classification of Ragas 2.1.2.2 Bashanga ragas - are Janya ragas having one, two or three foreign
swaras known as annya swara, in either the arohanam or avarohanam or in
Ragas are classified mainly into Janaka ragas and Janya ragas. Janaka ragas
both.
are also known as Melakartha Ragas or Sampurna ragas. A Janya ragam is
2.1.2.3 Vakra ragas - are janya ragas in which swaras are in zig-zag
derived from a Janaka ragam.
pattern.
2.1.2.4 Varja ragas - are Janya ragas which exclude one or more swaras
from its parent ragam.
Broaden your Broaden your
knowledge knowledge
Eight kinds of Varja Ragas with examples

Vakra ragas are classifed into:
Ragam Melam No Aarohanam Avarohanam Varja Type
Kamboji Hari Kamboji 28 SRGMPDS SNDPMGRS Shadava(6)-Sampurna(7)
1. Sampurna vakra: if arohana and avarohana have all seven notes
Bilahari Dheera 29 SRGPDS SNDPMGRS Audav(5)- Sampurna(7)
present.
Shankarabharanam
Bhairavam Suryakantham 17 SRGMPDNS SDPMGRS Sampurna(7)- Shadava(6)
2. Vakra varja: if they have fewer than seven notes. Saramathi Natabhiravi 20 SRGMPDNS SNDMGS Sampurna(7)- Audava(5)
Sriranjani Karaharapriya 22 SRGMDNS SNDMGRS Shadava(6)- Shadava(6)
Natakurunji Hari Kamboji 28 SRGMDNS SNDMGS Shadava(6)- Audava(5)
Vakra ragas are also classified into: Malahari Mayamalavagaula 15 SRMPDS SDPMGRS Audava(5)- Shadava(6)
Ekaswara vakra, Dviswara vakra, Triswara vakra and Chatusswara Mohanam Hari Kamboji 29 SRGPDS SDPGRS Audava(5)- Audava(5)
vakra, based on the number of vakra swaras in the raga (one, two, three
and four respectively).
Examples of Bhasanga and Vakra Janya ragas
34 Four is the maximum number of vakra swara that a raga accommodates. Ragam Melam No Aarohanam Avarohanam Varja Type 35
Kathana Deera 29 SRMDNGPS SNDPMGRS Sampurna Vakra
Kuthuhalam Sankarabharanam
Karnataka Hari Kamboji 28 SRMDNGPS SNDPMGRS Sampurna Vakra
Behag
Sahana Hari Kamboji 28 SRGMPDNS SNDNPDMGRS Sampurna Vakra
Nalinakanthi Sarasangi 27 SGMPNS SNPMGRS Vakra Varja
Devamanohari Karaharapriya 22 SRMPDNS SNDNPMRS Vakra Varja
Bangala Karaharapriya 29 SRGMPMRPS SNPMRGRS Vakra Varja
Nilambari Dheera 29 SRGMPDPNS SNPMGRGS Ekasvara
Shankarabharanam
Suposhini Dheera 29 SRSMPNDS SDNPMRMS Dviswara
Sankarabharanam
Bharavi Natabhairavi 20 SGRGMPDNS SNDPMGRS Bhasanga Chathusruthi
dhivatham (annya
swaram) in arohanam,
Sudha dhivatham in
avarohanam
2.2 Ragalakshanas 2.2.1 Ragalakshana of Sankarabharanam
RAGAM SANKARABHARANAM
Ragalakshanas are the characteristic features of a ragam.
Arohanam: S R2 G2 M1 P D2 N2 S
S N2 D2 P M2 G2 R2 S
Recall
Other features:
el h
am
M 29t
sw
A ara
Swarasthanas
ll s
Relative position Janaka Janya ragas are Hamsadwani
Jeeva
of notes melakartha swaras and Suddhasaveri
ragam Equivalent to Bilawal raag in
Hindustani music
Nyasa Graha
swaras swaras
R Listen to this ragam :
d M
RAGAM an
an , R,
P
d
Nyasa Jeeva swaras P https://www.youtube.com/
S
36 swaras Janaka Sonant or watch?v=aNrcPwx694o 37
most important
Ending notes or notes
Janya PRACTICAL ACTIVITY
Instrument: Tampura
Graha swaras Prior knowledge: Students should have already been exposed
Starting notes to Sankarabharanam ragam by listening to the teacher or from the
link above.
Note to teacher:
• All steps must be demonstrated and guided by the teacher.
Sankarabharanam ragam. Teacher scaffolds and guides where
necessary.
KALYANI RAGAM
Activity Students can be guided to create simple swara
Arohanam: S R2 G2 M2 P D2 N2 S patterns in any Janaka and Janya ragam.
S N2 D2 P M2 G2 R2 S
Other features:
ds Combination, particular, sonant, starting notes,
Gamakas are employed with Keywor
el h
ending notes
am
M 65t
sw
A ara
ll s
great effect in this ragam.
Janaka It gives scope to elaborate raga
Jeeva
melakartha swaras alapanai and thus suitable for
ragam
Ragam- Tanam- Pallavi
This ragam is equivalent to raag
Nyasa
swaras
Graha
swaras
Yaman in Hindustani Music Points
Ragam is a particular combination of
To
d ,P
an , G
swaras which brings out a precise structure

Listen to this ragam :
sw
Remember
A ara
N
ll s
pleasant to the ears.

S,
https://www.youtube.com/ Ragas are classified mainly into Janaka

38 watch?v=t9B03vNKWEs ragas and Janya ragas. 39
Janaka ragas are also known as Melakartha Ragas or
PRACTICAL ACTIVITY Sampurna ragas.

A Janya raga is a ragam which is derived from a Janaka
(Guided group singing) raga.
Upanga ragas are Janya ragas that take swaras of their
Instrument: Tampura
melakartha ragam uniquely.
Prior knowledge: Students should have already been exposed Bashanga ragas are Janya ragas that take a foreign
to Kalyani ragam by listening to the teacher or from the link above. swara (from some other melakartha) either in arohanam,
Note to teacher: or in avarohanam or in both.
• Get students seated. Vakra ragas are Janya ragas that have zig-zag sequenced
• Ensure that all students can hear the tampura properly. swaras in the arohanam or avarohanam or in both.
• All steps must be demonstrated and guided by the teacher. Varja ragam is a Janya ragam which have 1, 2 or 3 swaras
Step 1: Sing the arohanam and avarohanam of the Kalyani omitted in the arohanam, avarohanam in both from the
ragam. Teacher scaffolds and guides where necessary. Melakartha ragam.
Ragalakshanas are the characteristic features of a ragam.
Assessment
Exercise 1
Name the two main categories of Ragam.
Ragam
Exercise 2
Match the following sentences with correct set of words:
40 a) Upanga ragas that have zig-zag sequenced swaras in
the arohanam or avarohanam or in both.
b) Bashanga ragas that have 1, 2 or 3 swaras omitted in
the arohanam, avarohanam or both from
the Melakartha ragam.
c) Vakra ragas that take swaras of the melakartha ragam
uniquely.
d) Varja ragas that take a foreign swara (from some
other melakartha) either in arohanam, or
in avarohanam or in both.
Exercise 3
Write down the ragalakshana of the following ragas:
• Shakarabharanam ragam
• Kalyani ragam
Chapter 3
Talam
Learning Objectives
Explain the following terms:
(i) Graham (ii) Kalam (iii) Kriyai
Differentiate between Sama and Vishama Graham
Distinguish between Prathama, Dwitiya and Tritiya Kalas
List the Sapta Talas
Illustrate the Sapta Talas with their respective Angas
Write in notation form the prescribed Talas
Enumerate the five Jatis
Calculate the number of Aksharakalas of the Sapta Talas with respect to
the five Jatis
Explain the scheme of 35 Talas
Identify the Angas of a talam
Calculate the number of Aksharakalas of prescribed Talas
Sing:
(i) The Suladi Sapta Tala Alankaras in prescribed Talas
(ii) Sing vocal exercises and musical forms in prescribed Talas
Demonstrate the prescribed Talas
Collaborate as a team and enjoy rhythmic activities.
3.0 TALAM 3.1 GRAHAM
Talam is a term used in Carnatic Music to refer to the measure of musical time Graham is the starting point in the talam. It is also called Eduppu. It is the place
of any rhythmic beat. It consists of rhythmic patterns having a specific number in a tala where the song begins. Eduppu means “starting point”. Eduppu can
of beats. be of two types. One is “Samam” and the other is “Vishamam”. When a song
begins at the first beat of a tala, it is Samam.
Recall
Listen to this ragam :
https://www.youtube.com/watch?v=6wFDO4vukHE
Aksharakalam
Aksharakalam is the unit of time in music.
When a song begins either before or after the stroke of the talam, it is Vishamam.
Avartanam
Vishamam can further be classified into two:
Avartanam is one cycle of a Talam. It is composed of measured beats. (a) Athita : When the talam starts after the begining of the song, it is called
One avartanam is a complete cycle of talam. “Athita Eduppu”.
42 43
Angas
Angas are the several parts of a talam used in Carnatic music. It is an easy and Listen to this ragam :
accurate method of reckoning music time. There are six angas which are known
as the shadangas. The table below shows the name, sign and aksharakala of https://www.youtube.com/watch?v=04pq6FTC_w4
each anga.
Name of Angas Sign Number of (b) Anāgata : When the talam begins before the start of the song, it is
Aksharakala called “Anāgata Eduppu”.
Laghu | 3/4/5/7/9
Dhrutam 0 2
Anudhrutam 1 Listen to this ragam :
Guru 8 8
Plutam 1/8 12
https://www.youtube.com/watch?v=cDHizD_DdNY
Kakapadam ┼ 16
* It is to be noted that only Laghu varies.

3.2 KRIYAI Name of Talam Signs representing Number of
Angams aksharakalas
Kriyai means action. The various actions of Dhruva talam |40|4|4 14
the hands like the clapping of the hands, the Matya talam |40|4 10
wave of the hand and finger counts showing
Rupaka talam 0|4 6
the different angas in a talam are known as
kriyas. Jhampa talam |7 0 10
Triputa talam |3 0 0 7
Ata talam |5|5 0 0 14
Eka talam |4 4
In the above table, the aksharakalas is based on the chaturasra jati Dhruva,
matya, rupaka, eka talam , misra jati jhampa talam, tisra jati triputa talam, and
khanda jati ata talam.
Laghu is a clap and finger count. The sign is denoted by │.
44 45
The Suladi Sapta Talas The number of finger count varies. The time value of the laghu varies with the
change in division of laghu. Thus, the number of aksharakalas can be 3,4,5,7,
There are seven basic Talas in Carnatic Music known as the Suladi Sapta and 9.
Talas. The Suladi Sapta Talas are the most famous ones since the time of Jatis mean divisions in laghus.
Purandaradasa (1484-1564) and most of the Compositions currently sung are
part of these Talas. Jati Number of
Aksharas
Tisra 3
The table shows the name, symbol and number of Chatusra 4
Recall aksharakalas of each of the sapta talas. Khanda 5
Misra 7
Sankeerna 9
35 Talas Broaden your
All the 7 Talas mentioned above cannot

knowledge
Rhythmic
exist independently without Jatis. So, for Pattern
each of the 7 talas and there are 5 Jatis. For Chatusra Jati Triputa
example, the Dhruva Tala can be Chatusra Tala is one of the 35 Regular
Jati Dhruva Tala, Tisra Jati Dhruva Tala talas which is known Rhythmic repeated
Khanda Jati Dhruva Tala, Misra Jati Dhruva cycle Talam in rhythmic
as “Adi Tala”. In other phrase
Tala and Sankeerna Jati Dhruva tala. Thus, words, the technical Carnatic
there are 5 different varieties of Dhruva Tala. name of Adi Tala is Music
Consequently, applying the 5 different jatis “Chatusra Jati Triputa
to the 7 basic talas sum up to 35 talas (7 x 5 Tala”.
=35). Physical Time
representation
Measure
46 47
Tala Anga Tisra Chatusra Khanda Misra Sankeerna
Notation (3) (4) (5) (7) (9) Rupaka
Broaden your
Dhruva lOll 11 14 17 23 29
Jhampa Triputa knowledge
Matya lOl 8 10 12 16 20
Rupaka Ol 5 6 7 9 11
Arunagirinathar,
Jhampa lUO 6 7 8 10 12
the author of
Triputa lOO 7 8 9 11 13 Eka
TALAM Thiruppugazh, got the
Dhruva
Ata llOO 10 12 14 18 22 title of “Chandapavala
Peruman” because of
Eka l 3 4 5 7 9 his great skill in handling
various intricate talas
Ata Matya in compositions called
‘Chandam’
Khanda Jati Ata Talam
Angas : 2 Khanda Laghu + 2 Dhrutam
PRACTICAL ACTIVITY
|5 |5 0 0
5 + 5 + 2 + 2
14 aksharakalas
Instrument: Tampura Kriyas : 1 Clap and 4 finger counts + 1 clap and 4 finger counts + 1 clap and 1
Prior knowledge: Students should have already been exposed wave + 1 clap and 1 wave
to Mayamalagowla ragam and Matya talam previously in Grade 8.
Instruction to teacher: This activity can be done in the same
way as that of the Sarali Varisai whereby the teacher demonstrates
and students sing.
Ragam : Mayamalavagowla
Step 1: Sing the arohanam and avarohanam of the Talam : Khanda Jati Ata Talam
Mayamalavagowla ragam. Teacher scaffolds and guides where Arohanam : S R1 G2 M1 P D1 N2 Ṡ
necessary
48 Step 2: The teacher explains the pattern of the swarams in the 49
Khanda Jati Ata talam. |5 |5 0 0
Step 3: The teacher demonstrates each set of swarams.
S R , G , | S , R G , | M , | M , ||
Step 4: Students sing the swara pattern.
R G , M , | R , G M , | P , | P , ||
Step 5: The above steps are repeated until students are able to G M , P , | G , M P , | D , | D , ||
sing expressively Khanda Jati Ata talam. M P , D , | M , P D , | N , | N , ||
Step 6: The teacher demonstrates the talam (1 clap and 4 finger P D , N , | P , D N , | Ṡ , | Ṡ , ||
counts + 1 clap and 4 finger counts + 1 clap and 1 wave + 1 clap and Ṡ N , D , | Ṡ , N D , | P , | P , ||
1 wave ). N D , P , | N , D P , | M , | M , ||
Step 7: Students follow the pattern and perform the talam. D P , M , | D , P M , | G , | G , ||
P M , G , | P , M G , | R , | R , ||
Step 8: The teacher sings along with the students the K h a n d a
Jati Ata talam Alankaram while implementing the talam. M G , R , | M , G R , | S , | S , ||
Activity
Teacher guides students to write and sing the above Alankaram Assessment
in the second speed as follows:
1 2 3 4 5 1 2 3 4 5 1 2 1 2 Exercise 1
SR ,G ,S ,R G, M, M, RG ,M ,R ,G M, P, P, Complete the tables below:
GM ,P ,G ,M P, D, D, MP ,D ,M ,P D, N, N, (a)
Name of Angas Sign Number of

Aksharakala
r ds Time measure, cyclic, action, finger counts, Laghu 3/4/5/7/9
K e y w o hand wave, beat, clap 0 2
Anudhrutam
8 8
Plutam 12
50 kakapadam 16 51
Points (b)
Talam is the measure of time in Carnatic
To
music.
Remember Angas are parts of a talam. Tala Anga Tisra Chatusra Khanda Misra Sankeerna
Notation (3) (4) (5) (7) (9)
Dhruva lOll
There are six angas which are known as the shadangas. Matya lOl
Graham is the starting point in the talam also called Eduppu.
Rupaka Ol
When a song begins at the first beat of a talam, it is Samam.
When the song begins either before or after the stroke of Jhampa lUO
talam, it is Vishamam. Triputa lOO
When the talam begins after the start of the song, it is called Ata llOO
Atita Eduppu. Eka l
When a talam begins before the start of the song, it is
called Anagata Eduppu.
Kriyas are the various actions of the hand to show
different angas in a talam.
Assessment
Exercise 2
Complete the following using the correct technical terms:
Eduppu Kriyas Athita-eduppu Samam Anagata-eduppu

Vishamam
(a) ………… are the hand gestures to show talam.

(b) ………… is the starting point in the talam.
(c) ……….is when a song starts at the first beat of a talam.
(d) …………is when a song starts either before or after the stroke of
talam.
52
(e) …………is when the talam starts after the begining of the song.
(f) ………….is when the talam begins before the start of the song.
Exercise 3
Give a brief explanation of how the 35 talas are obtained from the
sapta talas.
Exercise 4
Write the notation form including details of the angas and signs
of the Khanda Jati Ata talam alankaram.
Chapter 4
Musica l F or ms
Learning Objectives
Describe the prescribed musical forms

Differentiate among the specified musical forms
Write the following musical forms in notation form:
1. Gitam
2. Swarajati
3. Varnam
Recognise the Ragas of the prescribed musical forms
Sing:
1. the prescribed Gitams (Yezhu Maleimel & Kamalajadhala)
2. the Swarajati in Khamas Ragam ( Samba Siva)
3. the Tana Varnam in Mohana Ragam (1st speed- Ninnu kori)
4. one composition from each of the following musical forms:
Divyanama Kirtanam, Annamacharya Kirtanam, Swarajati, Thiruppugazh,
Thevaram, Kavadi Chindu
Demonstrate the Talas of prescribed musical forms
4.0 Musical forms 4.1.1 Gitam – YEZHU MALEIMEL
Carnatic music is taught and learned through standard compositions. Most of
the compositions are meant to be sung. They have been composed with great
musical detail and give scope for improvisation. There are different musical
forms in Carnatic music.
PRACTICAL ACTIVITY
4.1 Gitam (Guided group singing)

Instrument: Tampura
Prior knowledge: Students should have already been exposed
Gitams are the simplest of Carnatic music forms. They to basic exercises and alankaras.
Recall combine melody, rhythm, and lyrics. They were composed
by Purandara Dasa in the first or second speed and usually Note to teacher:
with common talas. These are simple songs learnt without
sangathis (variations). • All steps must be demonstrated and guided by the
teacher
• Teacher scaffolds and guides where necessary.
54 55
shankarabaranam ragam.
Step 2: Sing the swaras pattern of the composition.
Note: The above steps are repeated until the students are able to
sing the swaram properly.
Note: Step 3 can be done by splitting the composition; by singing each
avartanam of swaras and immediately singing the corresponding
sahityam.
Step 4: Sing the whole composition while executing the talam.
Note: All steps can be repeated to help students grasp the melody
of the composition.
Ragam : Shankarabaram Talam : Triputa
4.1.2 Gitam – Kamalajadhala
Arohanam : S R2 G2 M1 P D2 N2 Ṡ Avarohanam : Ṡ N2 D2 P M1 G2 R2 S
Composer : Purandara Dasa
|
3 0 0
|
3 0 0 PRACTICAL ACTIVITY
P , M | G M | P , || P M P | G , | M R ||
Ye - zhu | ma lei | mel - || Ye zhu ta | Ko - | ti ye ||
Instrument: Tampura
P M G | R , | S , || Ṡ D N | Ṡ , | Ṡ , || Prior knowledge: Students should have already been exposed
Em pe ru | ma - | le - || i ran ki | va - | va - || to basic exercises and alankaras.
Note to teacher:
R N S | R G | M R || M G M | P , | P , || • Get students seated.
i tu ve | ta ru | nam - || ka ra na | se - | vai - || • Ensure that all students can hear the tampura properly.
• All steps must be demonstrated and guided by the
D N P | D N | Ṡ , || Ṡ D N | Ṡ , | Ṡ , || teacher
56 Ye li yar | ka rul | vai - || i ni ya | ko - | ve - || 57
Step 1: Sing the arohanam and avarohanam of the Kalyani
R N Ṡ | D N | Ṡ R || Ṡ N Ṡ | R G | M R || ragam.
Pa ta ma | la rai | ni nain || tu ru ki | na - | ti ye || Step 2: Sing the swaras pattern of the composition.
M G M | R G | Ṡ R || Ṡ D N | S R | R , ||
i lai ttu | me lin | ta pin || ka ti yu | nai yal | lal - ||
G R S | R G | M , || G R S | R G | S R || Note: Step 3 can be done by splitting the composition; by singing each
Kan - ki | le - | ne - || ka ru nai | va ti | va me || avartanam of swaras and immediately singing the corresponding
sahityam.
S N G | R S | N D || P M P | G R | S , || Step 4: Sing the whole composition while executing the talam.
Ka na ka | ma larp | pa ta || ma rul - | va ra | ta - ||
of the composition.
Ragam : Kalyani Talam : Triputa
Composer : Purandara Dasa PRACTICAL
PALLAVI
| | Please Refer to Chapter 1
3 0 0 3 0 0
S S S | N D | N S || N D P | D P | M P ||
for “Swarajati - Samba Siva
Ka ma la | jaa - | da la || Vi ma la | Su na | va na || Yenale”
G M P | P D | D N || D P M | P G | R S ||
Ka ri Va | ra da | Ka ru || naa - | mbu - | dhe - ||
D D D | G G | G , || M P , | M G | R S || 4.3 Varnam
Ka ru na | Sha ra | dhe - || Ka ma - | Laa - | - - ||
R - - | S - | - - || Varnam is usually the last composition learnt as a learner and the first
Kaan - - | thaa - | - - || composition rendered in concert. Varnams characterise the grammar of the
ragam (raga lakshanam).
G M P | M P | D P || N D P | D P | M P ||
Ke - shi | Na ra | kaa - || su ra Vi | bhe - | da na || Varnams are of 2 types: Tana varnam and Pada varnam.
G M P | P D | D N || D P M | P G | R S ||
Va ra dha | Ve - | la a || su ra Pu | ro - | tta ma ||
58 D D D | G G | G - || M P - | M G | R S || Varnam 59
Ka ru na | Sha ra | dhe - || Ka ma - | Laa - | - - ||
R - - | S - | - - ||
Kaan - - | thaa - | - - ||
4.2 Swarajati Broaden your

knowledge Tana Varnam Pada Varnam
Swarajati is another form of
musical composition learnt after
gitams. They are longer than Though the term “jati” may imply the use
gitams as they are composed of rhythmic mnemonics used in dance The Tana Varnam consists of sub The Pada Varnam is meant for dance,
sections known as a pallavi and but is also sung in concerts. It has a
of a pallavi and more than one like ‘tha thi thai thom’, Swarajatis are
anupallavi followed by mukthayi structure similar to the Tana varnam
charanam. Usually the swaras sung without these jatis and consist
swaram and then by charanams. but words of lyrics are also available for
are sung first, followed by the of a pallavi, anupallavi and a number The latter is followed by 3 to 6 the mukthayi and chittaiswaras contrary
chittaiswaram groups, with an to Tana Varnam. The single line of the
lyrics. Some may also contain an of charanams. Simple swarajatis are
charanam often gives considerable
increasing number of avartanas. The
anupallavi. usually taught to students before lyrics of varnam help in training the scope to the dancer to portray several
Sometimes, Swarajatis are also teaching varnams. voice. legends associated with the main deity
on whom the varnam is composed.
used in dance performances.
PRACTICAL PRACTICAL ACTIVITY
Please Refer to Chapter 1
for “Varnam - Ninnu Kori” (Guided group singing)
Instrument: Tampura
to basic exercises and alankaras.
4.4 Divyanama Kirtanam
Note to teacher:
Divyanama Kirtanam is a set of Kirtanas composed by swami Tyagaraja. • Get students seated.
teacher
Divyanama Kirtanam is a set of 78 kirtanas composed by
Recall Swami Tyagaraja and are meant for group singing. The Step 1: Sing the arohanam and avarohanam of the Subhoshini
60 kirtanas are composed on a wide variety of popular ragas ragam. 61
such as Todi, Sankarabharanam, Karaharapriya and Saveri, Step 2: Sing the swaras pattern of the composition.
and less known ragas such as Andhali, Ahiri, and Balahamsa.
sahityam.
of the composition.
4.5 Annamacharya Kirtanam
Ragam : Subhoshini Talam : Rupakam
Arohanam : S R2 S M1 P N2 D2 Avarohanam : D2 P M1 R2 M1 S
Ṡ Ṡ
Annamacharya kirtanas are kirtanas composed by Shri Tallapaka Annamacharya
Composer : Tyagaraaja (1408-1503), in praise of Lord Venkateswara. Clothed in simple music, the
Pallavi kirtanam overflows in bhakti bhava. It is suited for group singing as well as
Raminchu Varevarura Raguttama Ninu Vina individual presentation.
Anupallavi
Shamadi Sadguna Gana Sakala Bhuvana Janulalo
PRACTICAL ACTIVITY
Charanam
Ramayane Su-Marmamu Ramayane Sharmamu Lasa (Guided group singing)
Damara Varula Kabbeno Tyagaraja Sannuta
Instrument : Tampura
Meaning: Prior knowledge: Students should have already been exposed
Pallavi : O Most Eminent of the raghus! Without You, who would attain bliss? to basic exercises and alankaras.
Anupallavi : O Lord endowed with the series of six-fold virtues beginning with
Note to teacher:
control of mind! O Most Eminent of the raghus! Without You, who among people
62 in all the World would attain bliss? • Ensure that all students can hear the tampura properly.
63
Charanam : Were even the effulgent celestial personages able to perceive the • All steps must be demonstrated and guided by the
high secret of the word Rama and the delight of the word Rama? O Lord well- teacher
praised by this Tyagaraja! • Teacher scaffolds and guides where necessary.
Step 1: Sing the arohanam and avarohanam of the Bowli ragam.
sahityam.
Listen to this Kirtanam : Step 4: Sing the whole composition while executing the talam.
https://www.youtube.com/watch?v=uOxT8gxAUew Note: All steps can be repeated to help students grasp the melody
of the composition.
Ragam : Bowli Talam : Adi Sukham Okate
Arohanam : S R1 G2 D1 Ṡ Avarohanam : Ṡ N2 D1 P G2 R1 S Dina Mahoratramulu Tegi Dhanadyuna-Kokate Vonara Nirupedakunu Okate
Composer : Annamaacaarya Aviyu
Pallavi Meaning:
Tandanana Ahi Tandanana Pure Tandanana Bhala Tandanana Bhala The sensual pleasure is one and the same either for angels or for the insects
Brahmamokate Para Brahmamokate Brahmamokate Para Brahmamokate and animals. The day and night are equal to the rich as well as to the poor.
Meaning: Charanam 4
“Tandanana” is a word giving the punch of rhythm in the song. Ahi, pure, bhala Koralu Sistnnamulu Gonu Nakkalokate Tirugu Dustannamulu Dinu
are the words expressing the excitement or ecstasy or appreciation. The Nakkalokate
absolute spirit is one and only one. Paragu Durgandhamulapai Vayuvokate Varusha Parimalamupai Vayuvokate
Charanam 1 Meaning:
Kanduvagu Hinadhikamu Lindulevu Andariki Shri Hare Antaratma One could afford to eat tasty food and the other the condemned food. But the
Indulo Jantukulamu Inta Okate Andariki Shri Hare Antaratma tongues that taste the food are alike. An object of fragrance or an object of
64 foul smell, the air that carries the smell is one and the same. 65
Meaning:
There are no differences of low and high. “srihari” (a name of vishnu. Vishnu Charanam 5
is the form of god who is in charge of maintenance, protection of the good Kadagi Enugu Mida Kayu Enda Okate Pudami Suanakamu Mida Bolayu-
and destruction of the bad. In this context, srihari is the supreme spirit) is the Nendokate
indwelling spirit to one and all. All the beings in creation are one because the Kadu Punyalanu Papa Karmulanu Sarigava Jadiyu Shri Venkateshvaru
indwelling spirit in every creature is one and the same. Nama-Mokate
Charanam 2
Nindara Raju Nidrincu Nidrayu Okate Andane Bantu Nidra Adiyu Okate Meaning:
Mendaina Brahmanudu Mettu Bhumi Okate Candalundeti Sari Bhumi Okate Be it an elephant or a dog, the sun shines alike on both of them. For the good
and the bad, lord venkateshwara alone is “the savior”.
Meaning:
Sleep is same to all, be it a king or a servant. Be it a “brahmin” (man of the
highest caste) or “chandala” (man of the lowest caste), the earth they live on
is the one and the same. Listen to this Kirtanam :
Charanam 3
https://www.youtube.com/watch?v=jLQqWQW4S4s
Anugu Devatalakunu Ala Kama Sukhamokate Ghanakita Pashuvulaku Kama
4.6 Thiruppugazh
Ragam : Hamsanandi Talam : Adi
Thiruppugazh is a collection of 16 000 short compositions in praise of Lord Arohanam : S R1 G2 M2 D2 N2 Ṡ Avarohanam : Ṡ N2 D2 M2 G2 R1
S
Muruga composed by Arunagirinathar of the 15th century A.D.
Composer : Arunagirinathar
Tullu mada velkkaik-kanaiyale tollai nedu nilak-kadalale

PRACTICAL ACTIVITY Mella varu solaik kuyilale mei urugu manait-tazhuvaye
Tellu tamizh padat-telivone seyya kumaresa tiralone
(Guided group singing) Vallal tozhu gnanak-kazhalone valli manavalap perumale
Instrument: Tampura Meaning:

to basic exercises and alankaras. Thullu madha vel: The arrogantly pouncing Love God (Manmathan)
Kaik kanaiyale: is sending a barrage of flower arrows;
Note to teacher:
Thollai nedu neelak kadalale: The blue seas are constantly causing distress;
• Ensure that all students can hear the tampura properly. Mella varu solaik kuyilale: The cuckoo from the groves comes slowly and sings
• All steps must be demonstrated and guided by the a tune in melancholy;
66 67
teacher Mey urugu manaith: All these melt my deer-like daughter who is tormented by
• Teacher scaffolds and guides where necessary. love.
Step 1: Sing the arohanam and avarohanam of the Hamsanandi Thazhuvaye: Will You not come and embrace her?
ragam. Thellu thamizh padath thelivane: You are the learned Sambandhan capable of
Step 2: Sing the swaras pattern of the composition. composing poems in chaste Tamil!
Seyya kumaresa tiralone: You are the fair one named Kumaresan, the valorous!
Note: The above steps are repeated until the students are able to Vallal thozhi gnanak kazhalone: You have the feet of knowledge which Siva
worships.
Step 3: Sing the sahityam part of the composition. Valli manavalap perumale: You are the Consort of Valli, Oh Great One!
sahityam.
Step 4: Sing the whole composition while executing the Talam.
of the composition.
Listen to this Thiruppugazh :
https://www.youtube.com/watch?v=fl8xffBIBXw PRACTICAL ACTIVITY

Instrument: Tampura
4.7 Thevaram
Thevaram are devotional songs composed by the Nayanars (Tamil poets during to basic exercises and alankaras.
the 7th century) in praise of lord Siva. Note to teacher:
Thirumurai, the twelve-volume collection of devotional poetry teacher
Recall in praise of Lord Siva, is one of the first work reflecting • Teacher scaffolds and guides where necessary.
important core values literally as well as grammatically. Step 1: Sing the arohanam and avarohanam of the
68 The songs contain all the information found in the Vedas. Nadanamakriya ragam. 69
These hymns have been sung by Saints and poets. All Step 2: Sing the swaras pattern of the composition.
seven volumes are dedicated to the works of the three most
prominent Tamil poets of the 7th century, the Nayanars -
Sambandar, Tirunavukkarasar and Sundarar.
sahityam.
of the composition.
4.8 Kavadi Chindu
Ragam : Nadanamakriya Talam : Rupakam
Arohanam : S R1 G2 M1 P D1 N2 Ṡ Avarohanam : Ṡ N2 D2 M2 G2 R1 S Kavadi chindu is a common name for a variety of Tamil folk songs which are
Composer : Sundarar popular for their simplicity and devotional aspects. These songs have no pallavi,
anupallavi and charana divisions and are mostly in praise of Lord Subramanya.
Piththa Pirai Sudi Perumane Arulala
Eththan Maravadhe -Ninaikkindren Manaththu Unnai
Vaiththay Pennaith Thenbal Venney -Nallur Arul Thuraiyul PRACTICAL ACTIVITY
Aththa Unakku Alay Ini Allen Enal Ame.
Meaning:
Oh crazy one! Oh the one who is wearing the crescent moon! Oh the great one! Instrument: Tampura
Oh the one who bestows blessings! You have installed yourself in my mind. I Prior knowledge: Students should have already been exposed
remember you always. O father in the Arul Thurai temple in the town of Venney to basic exercises and alankaras.
~Nallur on the southern banks of the Pennai river! How can I say any more that Note to teacher:
I am not your slave? • Get students seated.
70 • All steps must be demonstrated and guided by the 71
teacher
Listen to this Thevaram : Step 1: Sing the arohanam and avarohanam of the Senchurutti
ragam.
https://www.youtube.com/watch?v=f2UfLd-iYjQ
sahityam.
of the composition.
Ragam : Senchurutti Talam : Rupaka
Composer : Annamalai Reddiar
ds Musical compositions, devotional,
1. Chenni kulanagar vasan 4. Arunagiri navil pazhakkam Keywor philosophical, folk.
Tamizh terum annamalai dasan Tarum anda Tiruppugazh
Seppum jagamechiya madura Muzhakkam pala
Kaviyadanai puyavaraiyil Adiyar kanam mozhi podinil
Punai dhiran ayil viran Amaravati imaiyor sevi
Adaikkum adam udaikkum
2. Vanna mayil murugesan
Kuravalli padam pani nesan 5. Karunai Muruganai potri Points
Gitams are the simplest musical forms
Urai varame taru kazhugachala Tanga kavadi tozhlin mel etri To
which combine melody, rhythm and
Pati koyilin valam nan Kozhum kanal eriya mezhugai Remember lyrics.
Maravade solvan madhe Varubavar evarum ihame gati
Kanbar inbam punbar Swarajatis are longer than Gitams and
3. Sannidhiyil tujasthambam have sub-divisions known as pallavi
Vinnil tavi varuginra kumbham and charanams.
Enum chalarasiya
72 Vadivar pala kodi sudiya
Varnams are learnt at the last stage of Abhyasaganam, but 73
Mudi midile is the 1st composition to be sung in a concert (Sabhaganam).
Tangum Uyar tongum There are two types of Varnams, namely: Tana Varnams
and Pada Varnams.
Divyanama Kirtananam is a set of 78 kirtanas composed by
Swami Tyagaraja.
Listen to this Kavadi Chindu :
Annamacharya Kirtanas are devotional songs composed
https://www.youtube.com/watch?v=6MCkBbBN9vs by Shri Tallapaka Annamacharya in the praise of Lord
Venkateswara.
Thiruppugazh is a collection of short compositions in the
praise of Lord Muruga composed by Arunagirinathar.
Thevarams are devotional songs composed in praise of
Lord Siva by Nayanar (Sambandar,Tirunavullarasar and
Sundarar)
Kavadi Chindu are devotional Tamil folk songs in praise of
Lord Muruga.
Assessment
Exercise 1
Fill in the blanks with correct musical forms:
(a) ……………………….. are devotional songs composed in praise

of Lord Siva by Nayanar.
(b) ……………………….. are learnt at the last stage of
Abhyasaganam, but is the 1st composition to be sung in a
Sabhaganam.
(c) ………………………. is a set of kirtanas composed by Swami
Tyagaraja.
74
(d) ………………………. are the simplest musical forms which
combine melody, rhythm and lyrics.
(e) ………………………. are devotional songs composed by Shri
Tallapaka Annamacharya in the praise of Lord Venkateswara.
(f) …………………. are devotional Tamil folk songs in praise of Lord
Muruga.
(g) …………………. is a collection of short compositions in the
praise of Lord Muruga composed by Arunagirinathar.
Exercise 2
Write in notation form the Gitam ‘Kamalajadhala’ of Kalyani Ragam.

Chapter 5
ca t i o n o f
Classifi nﬆrume nts
u s i ca lI
M
Learning Objectives
Classify the musical instruments as per the Natya Shastra of Bharata

Muni
Describe the various types of musical instruments (one of each category)
Distinguish the various types of musical instruments
Identify the instrument(s) played by listening and viewing activities
Demonstrate adequate knowledge and skills through the submission of a
project on the Indian classification of musical instruments.
5.0 Classification of Musical Instruments Physical Components
The first reference of the classification of Indian musical instrument is found in The Veena consists of a large body hollowed out of a block of wood. The stem
the Natyashastra of Bharata Muni. Bharata used the words ‘Atodhya Vadya’ of the instrument is also made of wood. The bridge is placed on the flat top of
for musical instruments and classified them as ‘Ghana Vadya’, ‘Avanaddha the body of the Veena and the neck attached to the stem is usually carved into
Vadya’, ‘Sushira Vadya’ and ‘Tata Vadya’. figure like the head of the dragon.
1) Tata Vadya(String Instruments)

Mizrab
2) Avanaddha Vadya (Instruments covered with membrane)
3) Sushira Vadya (Wind Instruments)
4) Ghana Vadya (Solid, or the Musical Instruments which are struck against
one another, such as Cymbals).
5.1 Tata Vadyas (string instruments)

Tata vadyas are string instruments also known
as Chordophones. The strings are plucked
76 or bowed to produce sound. The string
77
A gourd which is smaller than the rounded
instruments vary in size, shape and number of
part of the body is fixed underneath the neck.
playing strings used.
Twenty one metallic frets are fixed on the
stem by means of a sticky substance.
Bow The Veena has seven strings; four of them
Activity are the main strings that pass over the frets
and are attached to the pegs of the neck.
Name some musical instruments from the Tata Vadya category. The other strings are used as talam strings (tala pakkereku) for rhythmic
accompaniment. The main strings pass over an arched bridge made of brass.
They lie flat over the top of the body and are secured to the main bridge.
5.1.1 Veena
Veena is a stringed instrument. It is one of the oldest musical instruments Did
of India. The veena is played by plucking the strings using a plectrum called You In some Tata Vadya, the strings are hammered
Mizrab. Know? (the strings are struck using a hammer).
Examples are the santoor and piano.
Fret
5.2 Avanaddha Vadyas (Membranophone
Instruments)
Bridge
Avanaddha Vadya are musical instruments, Broaden your
wherein a vessel or a frame is covered with knowledge
a membrane. These instruments are used to
provide rhythm. Avanaddha Vadya are those
Hornbostel-Sachs
instruments in which the body is made up of
divides drums into
special clay, wood or metal. It can be of barrel
three main types: struck
Pegs shape with both the sides open in the opposite
drums, where the skin is
ends like the Mridangam, Pakhawaja and
hit with a stick, the hand,
Dholak.
or something else; string
Gourd
drums, where a knotted
Avanaddha Vadya is known as
string attached to the
membranophones.
skin is pulled, passing its
Posture to play the Veena vibrations onto the skin;
78 and friction drums, where 79
The Veena is played by sitting
some sort of rubbing
cross-legged upon the floor and
motion causes the skin
holding the Veena in front. The
to vibrate.
small gourd rests on the left
thigh, the left arm passing round
Did
the stem so that the fingers rest Damru is among the most ancient percussion
You
easily upon the frets. The main Know? instrument.
body of the instrument is placed
on the ground, partially supported
by the right thigh.
Listen to the Veena : There are different varieties
of Veena. Some of them are
https://www.youtube. Activity
Mahanataka Veena, Saraswati
com/watch?v=o6M_
kXzdDzI&spfreload=10 Veena, Rudra Veena, Vichitra
Veena. Name some musical instruments from the avanaddha Vadya
category.
5.2.1 Mridangam The bass aperture is known as the “thoppi”
and the smaller aperture is known as the
The mridangam is among the oldest percussion instrument of India. It is the “valanthalai”. The smaller membrane,
primary rhythmic accompaniment in a Carnatic music ensemble. when struck, produces higher pitched
The word “mridangam” is derived from the two Sanskrit words “Mrid” (clay or sounds with a metallic timbre. The wider
earth) and “Ang,” (body). Mridangams were originally made of hardened clay. aperture produces lower pitched sounds.
Over the years, the mridangam evolved to be made of different kinds of wood The goat skin covering the smaller aperture
due to its increased durability. is rubbed in the center with a black paste
also known as the “satham” or “karnai” and
gives the mridangam its distinct metallic
Physical Components timbre.
The mridangam is a double-sided drum whose body is usually made using a
hollowed piece of jackfruit wood. The two ends or apertures of the drum are
covered with a goat skin leather and laced to each other with leather straps Immediately, prior to use in a performance,
around the circumference of drum. These straps are put into a state of high the membrane covering the wider aperture
tension to stretch out the circular membranes on either side, allowing them to is made moist and a spot of paste made
resonate when struck. These two membranes are dissimilar in width to allow from rice flour and water is applied to the
80 for the production of both bass and high-pitched sounds from the same drum. center, which lowers the pitch of the left 81
membrane and gives it a very powerful
resonating bass sound.
The artiste tunes the instrument by varying

the tension in the leather straps. This is
achieved by placing the mridangam upright with its larger side facing down and
striking the tension-bearing straps located along the circumference of the right
membrane with a heavy object (such as a stone). A wooden peg is sometimes
placed between the stone and the mridangam during the tuning procedure to
ensure that the force is exerted at precisely the point where it is needed.
Posture to play the mrindangam 5.3.1 Ghatam
The mridangam is played by resting it parallel to the floor. A right-handed Ghatam is a large, narrow-mouthed
mridangam artist plays the smaller membrane with his or her right hand and earthenware water pot used as a percussion
the larger membrane with the left hand. instrument in Indian music. It is especially
used in conjunction with the Mridangam
The mridangam rests upon
in the Carnatic music. Ghatams produce a
the right foot and ankle,
distinctive sound and are made of several
the right leg being slightly
sizes.Each size has a different pitch.
extended, while the left leg
is bent.
It is played with the hands and fingers and can produce a large variety of
sounds right from the neck to the body of the ghatam. The ghatam is one of the
most ancient percussion instruments of South India.
Ghatam was a folk instrument in olden days. Apart from traditional concert
platforms, Ghatam is also gaining prominent status in fusion, ensembles and
82 Listen to the mridangam : unique programmes. The Ghatam produces fast rhythmic patterns and is 83
https://www.youtube.com/watch?v=6jx31BoQ0hg generally a secondary percussion instrument accompanying mridangam.
Physical Components
5.3 Ghana Vadyas (Idiophone Instruments)
Ghatam is made mainly of clay which is baked with brass or copper filings
The Ghana Vadya also known as idiophones, are solid instruments which do mixed with a small amount of iron filings. Although the ghatam has the same
not need any further tuning. Ghana Vadya creates sound primarily by vibrating shape as an ordinary Indian domestic clay pot, it is made specifically to be
itself. They are made to vibrate by being hit, either directly with a stick or played as a musical instrument. The tone of the pot must be good and the walls
hand, by way of a scraping or shaking motion. Examples of Ghana Vadya are: should be of even thickness to produce an even tone.
Ghungaroo , Manjira, Triangle and Ghatam.
Broaden your 5.4 Sushira Vadyas (Wind Instruments)
knowledge Sushira vadyas are also known as aerophones. These instruments have their
Types of Ghatam origin in primitive ages as people have found great delight in playing the flute
Ghatams are of two types: Madras and Manamadurai. The Madras Ghatam to the present age. Air is blown through the instrument to produce sound. The
is a light pot which requires less force to play while the Manamadurai trumpet, flute and Nadeswaram are examples of sushir vadyas.
Ghatam is a heavy pot, which is more complex to play, and produces a
sharp metallic ringing sound. These ghatams have special tonal quality 5.4.1 Flute
and it is believed that the mud is of special quality. Flutes are also known as venu. In India, flutes are usually made of bamboo
pieces. The wind is blown through a mouthhole. The venu, often called flute in
English, is a bamboo transverse flute used in the Carnatic music of South India.
Posture to play the Ghatam
Ghatam is played in two different ways. Physical Components
In North India, the instrument is placed
on a small round block with the mouth
of the instrument facing upwards and One of the oldest musical
84 played on the sides by one hand, instruments of India, the 85
having the other hand on the mouth of flute, is a keyless transverse
the instrument. But in south India, the flute made of bamboo.
Ghatam is placed on the lap and its
mouth facing the stomach. It is played with

fingers and wrists. Hitting different areas of
the pot with different hands can produce
different tones. Its position is changed while
playing. It is the only instrument whose
position is changed while playing. Sometimes
to delight the audience, the instrument is thrown up and caught in rhythm.
Listen to the Ghatam :

https://www.youtube.com/watch?v=TxYyqwSJ01I
Posture to play the Flute
The flute is played seated crossed-legs. The fingers of both hands are used to
d s Strick, Bow, Pluck, Membrane, Shaker,
Keywor
close and open the holes. It has a blowing hole near one end and eight closely
Blow, Wind instruments, Percussion,
placed finger holes. The instrument comes in various sizes. The shorter the
String instruments.
length, the higher the pitch and vice versa.
Points
Musical instruments are classified into
To
four main categories.
Remember Tata Vadyas are string instruments
also known as Chordophones.
Sushira Vadyas are wind instruments also known as

Aerophones.
86 87
Avanaddha Vadyas are percussion instruments also known
Sliding the fingers on and off the holes combined with coordinated breathing as membranophones.
allows for a great degree of ornamentation ( gamaka), important to the Carnatic Ghana Vadyas are solid instruments played with a stick or
music system. hand or by shaking and is also known a Idiophones.
Activity
Name some musical instruments from the Sushira Vadya

category.
Listen to the Flute :

https://www.youtube.com/watch?v=5TZ4JbVPmxI
Assessment
Exercise 1
Label the following musical instruments with the missing words:
Exercise 2
88 Listen to the link below and identify the musical instruments being 89
played.
https://www.youtube.com/watch?v=TxYyqwSJ01I
https://www.youtube.com/watch?v=o6M_kXzdDzI&spfreload=10
https://www.youtube.com/watch?v=5TZ4JbVPmxI
https://www.youtube.com/watch?v=6jx31BoQ0hg
Exercise 3
Differentiate between
(i) Tata Vadya and Sushira Vadya
(ii) Avanaddha Vadya and Ghana Vadya
Exercise 4
Make a poster presentation of the above musical instruments,

describing their category, physical components and posture to
play.
NOTES
90
Chapter 6
om p os e r s
n t C
Emine
Learning Objectives
Sketch the life history of the Musical Trinity of Carnatic Music

Write about the contribution of the Trinity to the field of Carnatic Music
Identify the Mudra used by each of them
Display interest in the contribution of the Modern period’s eminent
composers.
6.0 The Trinity of Carnatic Music 6.1 Syama Sastry: (1762-1847 AD)
The Trinity is the three great composers :
Broaden your
Syama Sastri (1762-1847)
knowledge
Tyagaraja (1767-1847)
Muthuswamy Dishitar (1775-1835)
They lived during the 18th to 19th centuries during which they composed various According to one story,
kritis. Kesavayya, a great
musician, was visiting
Thanjavur and the King
asked Syama Sastri to
have a competition with
him. Before doing so,
Syama Sastri went to
the temple and prayed to
Goddess Parvathi, and
sang the composition,
“Devi brova samayamide’
92 or “Oh Goddess 93
Parvathi, this is the time
for you to help me and
to protect me.” He later
went to the auditorium
and won the competition
against Kesavayya.
Similarly, during his
Syama Sastri was born in 1762. He composed visit to Madurai, Syama
keertanas at a young age. Although he had Sastri composed the
initial music training from his cousins, later he now famous “Navaratna
came under the tutelage of a great sanyasi Malika” or nine kritis in
The philosophical aspect of the songs made them famous. Their songs were
from Benares, Sangitha Swami. admiration of Goddess
emotional, spiritual and intellectual while projecting an image of religion and
Meenakshi.
devotion. All three of the Trinities lived and composed in Thanjavur, in Tamilnadu,
the place where Carnatic Music has been nurtured since time immemorial.
The Kings from Thanjavur are known to have consistently supported Carnatic Syama Sastry composed most of his songs in Telugu and mostly in praise of
music and the artists. Goddess Parvathi. However, some of the compositions were in Tamil as well
as in Sanskrit. Syama Sastri always sought the blessing of the Goddess when
he was in difficult circumstances.
Two main contributions of Syama Sastri in the field of Carnatic music are as Muthuswami Dikshitar composed many
Broaden your
follows: group kritis which are as follows:
knowledge
Swarajati was one of Sastri’s greatest contribution. He converted these The Panchaling Kritis : 5 songs in
from their dance form to the musical form. Syama Sastri has composed songs praise of the 5 lingams.
not only in popular ragas such as Todi, Kalyani, and Sankarabharanam but Dikshitar’s first composition
also in rare ragas such as Manji, Chintamani and Kalagada. The Navagraha Kritis: 9 songs in was rendered in Tiruttani,
praise of the 9 planets according to the about sixty miles from
Another noteworthy contribution of Syama Sastri to Carnatic music is Hindu mythology. Madras city. It is said that, in
related to the layam or talam aspects. He illustrated and highlighted the Viloma the Tiruttani Lord Muruga’s
style of Chapu talam (4 plus 3 instead of the more common 3 + 4). Another The Kamalamba Navaratna Kritis: 9 temple, while praying
contribution in the field of talam is the kriti “Sankari Samkaru (Saveri)”. This kriti songs in the praise of Kamalambika, the and meditating, the Lord
can be sung either in Rupaka Talam or Adi Talam (Tisra Gati). deity of Thiruvarur. appeared to him and asked
him to open his mouth. Lord
Syama Sastri’s mudra is syama Krishna. Muthuswami Dikshitar has composed songs Muruga placed a candy in
in around 191 different ragas. He was also his mouth and disappeared.
Note: Mudra is known as the identity of a musician of Carnatic Music. It is a a master in the art of rhythm. Moreover, he Dikshitar composed his
unique signature using a word or two at the end of the composition. has been proficient in veena playing. first song, Srinathadi
Muthuswami Dikshitar ended his kritis with Guruguho Jayati Jayati (in
the mudra Guruguha. Mayamalavagowla ragam)
94 just after this incident.
95
Muthuswami Dikshitar (1776-1835)
Muthuswami Dikshitar is the youngest of

the Trinity. He was born in 1776. Somewhat Tyagaraja Swami (1767-1947)
similar to Syama Sastri, he also learned
music from Benares. Muthuswami Dikshitar Tyagaraja Swami was
was not only proficient in Carnatic music the greatest composer
but also in Hindustani music. of all times and the most
well-known of the Trinity.
Like Tyagaraja, Dikshitar has composed Like the other two of his
several “sthala” kritis or compositions in contemporaries, Syama
praise of the God or Goddess of a holy Sastri and Dikshitar,
town. Most of Dikshitar’s kritis were written Tyagaraja Swami also lived
in Sanksrit language but some were in in Thanjavur. Tyagaraja
Telugu and a few even in more than one Swami composed 2,000
language. compositions.
His great contributions are :
He developed and restructured the kriti form (transition from kirtana to Kriti) Points
The Trinity of Carnatic music are
and in the talas, for introducing the “Anagata eduppu” starting a composition at To
Syama Sastri, Tyagaraja,
¼ , ½ , ¾, 1 and 1½ beats after the Sama (which starts in synchronization with Remember Muthuswamy Dishitar
the beginning of a talam).
The Trinity’s songs reflect philosophical,
His compositions are mainly in the Telugu language and he has used
multitude of ragas, both popular (Todi, Kalyani, Aarabhi) and rare ragas emotional, spiritual and intellectual aspects while projecting
(Kalavathi and Anoranajani). an image of religion and devotion.
Syama Sastri composed swarajatis. He illustrated and
He also composed two dance dramas (Nowka Charitham and Prahlada highlighted Chapu talam.
Baktha Vijayam) and several group kritis used for special occasions such as Syama Satri’s mudra is Syama Krishna.
the Divyanama Kritis and Utsava Sampradaya Kritis.
Muthuswami Dikshitar composed many group kritis in around
191 different ragas, was also a master in the art of rhythm
His Pancharathanas are the most well-known (five gems in the ragas and has been proficient in veena playing.
Nattai, Gowlai, Aarabhi, Varali and Sri).
Muthuswami Dikshitar’s mudra is Guruguha.
Tyagaraja also composed the Sataragaratnamalikai; 100 divyanama Tyagaraja Swami composed 2000 compositions and
96 Kirtanai offered as a garland to Lord Rama. contributed in developing and restructuring the kriti form 97
aswell as introducing the “Anagata eduppu” (starting a
Tyagaraja Swami was the first composer whose compositions dealt with human composition).
beings, their problems and values. He lived a simple life and demonstrated to Tyagaraja Swami’s mudra is Tyagaraja.
the world that the purpose of education and learning was to mould character.
Tyagaraja Swami’s mudra is Tyagaraja.
e y w o r ds Trinity , philosophical, emotional, spiritual,

K devotional.
Assessment
Exercise 1
Name the Musical Trinity of Carnatic Music of the modern periods:
Exercise 2
State whether the following statements are True or False.
(a) Tyagaraja swami was the youngest of the eminent

composers of his time.
(b) Syama Satri illustrated and highlighted Adi talam.
(c) Muthuswami Dikshitar was proficient in veena playing.
(d) Tyagaraja swami composed the Pancharathanas kritis.
98
(e) Syama Sastry’s mudra was Syama Krishna.
Exercise 3
Chose any one eminent composer from this chapter and write
about his contribution to the field of Carnatic music.
Chapter 7
ou n t r i es
O t h e r C
o f
Music
Photo Courtesy : Ms.E. Rambhojoo
Learning Objectives
Distinguish between Arabian and African music

Demonstrate adequate knowledge and skills through the submission of a
poster presentation of any one of the above music style.
7.0 Music of other countries Music varies across the African Continent:
Music exists in every known culture to man. Music is the universal language of Ethnic groups of Southern African deserts have very simple songs.
the world as it can transcend any language barrier. There are many different People in the Congo River Basin have more complicated forms of singing
types of music genres around the world. and instrumental music.
East Africans are specialized in music played on xylophones.
West Coast tribes have developed high skills in the playing of drums.
Every country has its own type of
music. There are some countries that
have more cultural diversity in their
music. These countries tend to have
a deeper, stronger root in their music
genre. The great thing about the
different types of music from around
the world is that everyone can enjoy
them.
100 101
7.0 African Music
Music is a vital part of the everyday
life in Africa. It is believed to be part
of religious ceremonies, festivals,
and social rituals. Songs are used
for the important events in a person’s
life (birth, anniversary, marriage, Melodies are usually short and simple in African music. They use short pieces
and death). Music is used for curing of melody that are repeated over and over. Singers or instrumentalists may
the sick, bringing rain, and religious change the melody at their will, so that the performance becomes a theme
dances. Many Africans believe with many variations. When performing, one person may begin to improvise, or
that music serves as a link with the make up a special version of the melody while the other singers continue the
original melody. Often, several voices will sing different melodies at the same
spiritual world. time. The accompaniment may consist of chords or short melodic patterns that
are repeated continually.
Instruments are also used to signal
information over long distances.
African Instruments: Rattles, Bells, Clappers
Drums of all kinds, shapes, sizes Mbira or Sansa (also

and varieties known as “thumb-piano”)
102 Stringed Instruments -Harp Wind Instruments -

103
Flute and Horn
Xylophone (all sizes) lyres, Zithers
Listen to this African Music :

https://www.youtube.com/watch?v=W05LPtVm5hY
https://www.youtube.com/watch?v=OSe_UMsi8pA
7.2 Arabian Music
Listen to this oud:
Arabian music is the music of the https://www.youtube.com/watch?v=SJFm5xFsqLc
Arabian countries with all its different
music styles and genres ranging
from classical folk and popular
music. The music of the Middle Along with the Oud, the rhythmic accompaniment used
East has a long tradition going back is the Darbake known as the Goblet drum. This small
many centuries. It has had a strong instrument is made out of 5 hardened clay and has a
influence of other kinds of music single drum head made of goat skin. It can play a variety
from neighbouring countries such of sounds.
as Egypt, Greece, Persia, Iraq and
Kuwait among others.
In ancient times, each of these countries had its own type of music. But, in
the 7th century, a new religion known as the Mohammedan religion emerged
and the followers of Mohammed spread from Arabia and conquered the areas
across the north of Africa as well as Europe. Listen to the Darbake:
https://www.youtube.com/watch?v=vcpBHdS1EmY
The conquerors brought along their music
104 with them. And eventually, certain elements 105
from each country’s music came to be
shared by all the people of these regions. Nowadays, Franco-Arabian, Arabic R&B, Reggae and Hip Hop, Arabic
Arabian classical music is based on the Electronic, Arabic Jazz as well as Arabic Rock have emerged.
maqam system. A maqam has a particular
scale and is sung or played on an Listen to the Arabian Music:
instrument without any rhythmic structure. https://www.youtube.com/watch?v=ppLl_sosdv8
Arabian music is also characterized by
an emphasis on melody and rhythm. An
important melodic instrument used is the
Oud. The Oud belongs to the lute family
of musical instruments and is played with
the feather of an eagle. On the Oud, it is
possible to play notes which are closed
d s Universal , diversity, festival, rituals,
Keywor
together and is possible to slide from one
note to another. rhythmic, melodic.
Points
Every country has its own type of music.
To Assessment
Remember Music is a vital part of the everyday life
in Africa as it is believed to be part of
Exercise 1
religious ceremonies, festivals, and social rituals. Name the following instruments:
Music varies across the African Continent.
Some musical instruments used in African music are; drums,
harp, horns, clappers, xylophones, lyres, harp.
Arabian music is characterized by an emphasis on melody
and rhythm.
The melodic instrument used in Arabian Music is the Oud
and the percussion is the Darbake.
106 107
Exercise 2
Submit a project (can be a poster presentation) on any one musical

style dealt with in this chapter. This should include instruments
used, illustrated by photos or drawings.
Glossary
Kirtanas : simple semi classical, devotional songs meant to
be sung in group
Abhyasaganam : learning and practising of basic lessons
Kriyai : the various actions of the hand to show different
Aksharakalam : unit of time
parts of a talam
Alankaras : swara exercises set to the seven basic Talas
Laghu : a beat followed by finger counts
Anagatam : talam starting before the start of a song
Madhya sthayi : the middle octave
Angas : parts of a talam
Mandra sthayi : the lower octave
Anudhrutam : a beat
Melakartha ragam : major scale
Arohanam : ascending scale of notes
Mudra : signature or identity of a musician of Carnatic
Athitam : talam starting after the beginning of a song
music.
Audava ragam : ragam having 5 swaras in both ascending and
Nayanars : Tamil poets during the 7th century
descending scales.
Nyasa swaras : ending notes
Avarohanam : descending scale of notes
Ragalakshanas : characteristic features of a ragam
Avartanam : one complete cycle of beat
Ragam : a combination of musical notes to form a particular
Bashanga Ragam : ragam using foreign swaras
melody
Datu varisas : swara exercises involving swaras in a zig-zag
108 sequence
Sahityam : lyrics 109
Samam : when both talam and song start together
Dhrutam : a beat and a wave
Sampoorna ragam : seven notes in both ascending and descending
Eduppu : starting point in a talam
scale
Gamakam : oscillation
Sangathis : variations
Gitaṃ : a simple devotional melody song
Sarali varisas : the fundamental sequences designed to help in
Graha swara : starting note
allowing one to become familiar with melody
Graham : Starting point in a talam
and rhythm
Janaka ragam : major ragam
Shadava ragam : ragam having 6 swaras in both ascending and
Janta Varisas : swara exercises involving the double and triple of
descending scales
swaras
Sthala : the place
Janya ragam : ragam derived from another ragam
Sthayi : an octave
Jati : division of laghu.
Suladi Sapta Talas : seven basic talas in Carnatic music
Jatiswarams : swaras set to melodious tone and rhythm
Swaras : musical notes
Jeeva swaras : most sonant or most important notes
Swarathanas : position assigned to each note
Kalam : speed in Carnatic music
Kavadi Chindu : devotional folk songs in praise of Lord Muruga
Talam : is the measure of time in music
Tara sthayi : the higher octave
Tara sthayi varisas : higher octave swara sequenced exercises
Thevaram : devotional song in praise of Lord Shiva
Thirumurai : the twelve-volume collection of Thevaram
Thiruppugazh : a collection of 16 000 short compositions in praise
of Lord Muruga composed by Arunagirinathar
Upanga Ragam : ragam using only swaras from major scale
Vakra Ragam : ragam having less than seven swaras
Varisas : Swara exercises
Varja Ragam : ragam having zig-zag sequenced swaras
Varnam : advanced musical form found in abhyasaganam
as well as sabhaganam
Vishamam : talam starting either before or after the song
110

Carnatic Vocal Grade 9

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Carnatic Vocal Grade 9

Uploaded by

Copyright:

Available Formats

Vocal Carnatic

Based on the National Curriculum Framework

MAHATMA GANDHI INSTITUTE

Dr A.S. Peruman(OSK) - Panel Co-ordinator

Dr. A.S. Peruman(OSK) - Senior Lecturer (Vocal Carnatic),

4. Provide learning activities that are appropriate in complexity and pacing.

5. Provide opportunities for individual and multiple groupings.

Chapter 4 Musical Forms 53

Chapter 5 Classification of Musical Instruments 75

Chapter 6 Eminent Composer 91

Chapter 7 Music in Mauritius and other Cultures 99

Abhyasaganam Sabhaganam 1.1 Vocal Exercises Broaden your

Step 2: Sing swaras by sight singing. 6. S R G M | P D | S R ||

14. S R G M | P , | P , || Instrument: Tampura

Step 1: Sing the arohanam and avarohanam of the

Step 2: Sing each set of the Janta Varisas (1-6).

Using the above example, students can be asked to write any

gaurimanohari ganamurti hanumatodi

Differentiate between Janaka and Janya Ragas

Janaka ragas can be classified into:

Eight kinds of Varja Ragas with examples

swaras which brings out a precise structure

pleasant to the ears.

https://www.youtube.com/ Ragas are classified mainly into Janaka

PRACTICAL ACTIVITY Sampurna ragas.

* It is to be noted that only Laghu varies.

All the 7 Talas mentioned above cannot

Name of Angas Sign Number of

Eduppu Kriyas Athita-eduppu Samam Anagata-eduppu

(a) ………… are the hand gestures to show talam.

Describe the prescribed musical forms

4.1 Gitam (Guided group singing)

4.2 Swarajati Broaden your

Tullu mada velkkaik-kanaiyale tollai nedu nilak-kadalale

Instrument: Tampura Meaning:

https://www.youtube.com/watch?v=fl8xffBIBXw PRACTICAL ACTIVITY

(Guided group singing)

Fill in the blanks with correct musical forms:

(a) ……………………….. are devotional songs composed in praise

Write in notation form the Gitam ‘Kamalajadhala’ of Kalyani Ragam.

Classify the musical instruments as per the Natya Shastra of Bharata

1) Tata Vadya(String Instruments)

5.1 Tata Vadyas (string instruments)

The artiste tunes the instrument by varying

mouth facing the stomach. It is played with

Listen to the Ghatam :

Sushira Vadyas are wind instruments also known as

Name some musical instruments from the Sushira Vadya

Listen to the Flute :

Label the following musical instruments with the missing words:

Make a poster presentation of the above musical instruments,

Sketch the life history of the Musical Trinity of Carnatic Music

Muthuswami Dikshitar is the youngest of

e y w o r ds Trinity , philosophical, emotional, spiritual,

Name the Musical Trinity of Carnatic Music of the modern periods:

(a) Tyagaraja swami was the youngest of the eminent

Distinguish between Arabian and African music

Drums of all kinds, shapes, sizes Mbira or Sansa (also

102 Stringed Instruments -Harp Wind Instruments -

Xylophone (all sizes) lyres, Zithers

Listen to this African Music :

Submit a project (can be a poster presentation) on any one musical

You might also like