Janta swara

Tala: Chatusra jati Triputa tala
Raga: Mayamalavagoula

1.
ss rr gg mm | pp dd nn ss || s*s* nn dd pp | mm gg rr ss ||

2.
ss rr gg mm | rr gg mm pp ||
gg mm pp dd | mm pp dd nn ||
pp dd nn ss | s*s* nn dd pp ||
nn dd pp mm | dd pp mm gg ||
pp mm gg rr | mm gg rr ss ||

3.
ss rr gg rr | ss rr gg mm ||
rr gg mm gg | rr gg mm pp ||
gg mm pp mm | gg mm pp dd ||
mm pp dd pp | mm pp dd nn ||
pp dd nn dd | pp dd nn s*s* ||
s*s* nn dd nn | s*s* nn dd pp ||
nn dd pp dd | nn dd pp mm ||
dd pp mm pp | dd pp mm gg ||
pp mm gg mm | pp mm gg rr ||
mm gg rr gg | mm gg rr ss ||

4.
ss rs sr sr | ss rr gg mm ||
rr gr rg rg | rr gg mm pp ||
gg mg gm gm | gg mm pp dd ||
mm pm mp mp | mm pp dd nn ||
pp dp pd pd | pp dd nn s*s* ||
s*s* ns* s*n s*n | s*s* nn dd pp ||
nn dn nd nd | nn dd pp mm ||
dd pd dp dp | dd pp mm gg ||
pp mp pm pm | pp mm gg rr ||
mm gm mg mg | mm gg rr ss ||

5.
sm gm rg sr | ss rr gg mm ||
rp mp gm rg | rr gg mm pp ||
gd pd mp gm | gg mm pp dd ||
mn dn pd mp | mm pp dd nn ||
ps* ns* dn pd | pp dd nn s*s* ||
s*p dp nd s*n | s*s* nn dd pp ||
nm pm dp nd | nn dd pp mm ||
dg mg pm dp | dd pp mm gg ||
pr gr mg pm | pp mm gg rr ||
ms rs gr mg | mm gg rr ss ||

6.
mm gg rr gg | ss rr gg mm ||
pp mm gg mm | rr gg mm pp ||
dd pp mm pp | gg mm pp dd ||
nn dd pp dd | mm pp dd nn ||
s*s* nn dd nn | pp dd nn s*s* ||
pp dd nn dd | s*s* nn dd pp ||
mm pp dd pp | nn dd pp mm ||
gg mm pp mm | dd pp mm gg ||
rr gg mm gg | pp mm gg rr ||
ss rr gg rr | mm gg rr ss ||


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Abhyasa Ganam - Theory

Musical forms or structures can be classified into two basic formats:
- Abhyasa Ganam or those useful for the purposes of learning and practicing music and
- Sabha Ganam, those useful for the purposes of performing such as, in a concert

Early music lessions begin with Sarali Varisai/swara (s r g m p d n), Jantai Varisai(ss rr gg mm pp dd nn ss), Melasthayi Varisai, Dattu Varisai, Alankaram, Geetham, Swarajathi, Jatiswaram, and Varnam. Similarly, at the next higher stage, we begin learning Varnams, Kritis, Padam, Javali, Thillana, RTP, Ragamalika etc. These are Sabha Ganam.

Abhyasa Ganam is the music or exercises used to practice voice or instrument to develop music ability, voice strengthening or finger techniques. Abhyasa Ganam may be categorized with several stages of practical music. Of those a series fundamental exercises called Varisais/Swara are learnt in the beginning stage of Carnatic music learning (swarawali exercises).

There are 4 types of Varisais:
1. Sarali Swara
2. Jantai Varisai
3. Melsthayi Varisai
4. Dhattu Varisai

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Sarali Swara - Theory

Sarali swara are the fundamental exercises which help the student to understand the basic swaras (notes) of Carnatic Music. The 'sarali swara' allow the students to find the placements of the basic Carnatic notes and get a feel for the correct melody and the rhythm. These sequences follow a very logical order, mostly to get a good vocal practice in ascending and descending orders of the progressions of the seven notes.

The students should first try to vocalize the three main swaras ‘s’ ‘p’ and high ‘s*’ which are the constant notes, with perfect alignment with their tambura or a Sruti box. Once they familiarize those tones, they may the Sapta Swaras (Seven Notes) s, r, g, m, p, d, n in ragas like Mayamalavagowlai (15th Mela) or Shankarabharanam (29th Mela) for the basic vocal exercises. The first lesson taught in one of these ragas is called sarali swara. Once the students get a good command over one of the selected ragas, these 'sarali swara' exercises may be repeated in different Melakartha Ragas from the 72 Melakartha scheme as well.

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Sarali Swaram

Tala: Chatusra jathi Triputa talam
Raga:Maayamalavagaula
(Aarohana:s r1 g3 m1 p d1 n3 s*, Avarohana:s* n3 d1 p m1 g3 r1 s)

1. srgm srgm | srgm pdns* || s*ndp s*ndp | s*ndp mgrs ||
2. srgm srsr | srgm pdns* || s*ndp s*ns*n| s*ndp mgrs ||
3. srgm pmgr | srgm pdns* || s*ndp mpdn | s*ndp mgrs ||
4. srgm pmdp | srgm pdns* || s*ndp mpgm | s*ndp mgrs ||
5. srgm pmdp | s*nr*p* s*ndp || d*ns*r* sndp| s*ndp mgrs ||



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Swara - Theory

Swara refers to a type of musical sound that is a single note, which defines a relative (higher or lower) position of a note, rather than a defined frequency. Swaras also refer to the solfege of Carnatic music, which consist of seven notes, "sa-ri-ga-ma-pa-da-ni" (compare with Western do-re-mi-fa-so-la-ti). These names are abbreviations of the longer names shadja, rishabha, gandhara, madhyama, panchama, dhaivata and nishada.

Unlike other music systems, every member of the solfege (called a swara) has three variants. The exceptions are the drone notes, shadja and panchama (also known as the tonic and the dominant), which have only one form; and madhyama (the subdominant), which has two forms. Details of each of these variants shown in the image below:

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