We must understand India today in the light of its rich, long argumentative tradition [while] appreciating not only the richness of India’s diversity but its need for toleration. – Nobel Awardee Amartya Sen >>
Freedom of religion or belief, freedom of opinion and expression, the right to peaceful assembly and the right to freedom of association are interdependent, interrelated and mutually reinforcing. They are enshrined in articles 18, 19 and 20 of the Universal Declaration of Human Rights. Upholding these rights plays an important role in the fight against all forms of intolerance and of discrimination based on religion or belief.
The open, constructive and respectful debate of ideas, as well as interreligious, interfaith and intercultural dialogue, at the local, national, regional and international levels, can play a positive role in combating religious hatred, incitement and violence.
Furthermore, the exercise of the right to freedom of opinion and expression and full respect for the freedom to seek, receive and impart information can play a positive role in strengthening democracy and combating religious intolerance.
Even the brilliant Semmangudi Srinivasa Iyer, who was himself deeply religious, clarified that bhakti is essential for a Carnatic music, but this bhakti is for music, not for any personal deity.
Lakshmi Sreeram in “Carnatic Music Ruminating the Landscape”, Indian Horizons published by The Indian Council for Cultural Relations
Listen to Uma Ramasubramaniam demonstrating the svaras (notes) for the present raga(s) on Raga Surabhi >>
Practice with basic “Sa” = G# Note: this recording has no fifth note “Pa” (as advised for those janya ragas wherein “Pa” will not be sung or played) Download this audio file (2 MB, 2 min. mono) Credit: eSWAR / FS-3C Sruthi petti + Tanjore Tambura
Become fluent with the help of svara syllables (solmisation): practice a series of exercises, each based on a set of melodic figures that lend themselves to frequent repetition (“getting into flow”) | Practice goal, choosing your vocal range & more tips >>
South Indian conventions (raga names & svara notation): karnATik.com | Guide >>
raagam: hamsAnandi Aa: S R1 G3 M2 D2 N3 S | Av: S N3 D2 M2 G3 R1 S
raagam: shrIranjani Aa: S R2 G2 M1 D2 N2 S | Av: S N2 D2 M1 G2 R2 S
Having but 6 notes (instead of 7), this type of raga pattern is traditionally classified as being “derived” (janya) from a melakarta raga. More specifically, text books refer to any raga limited to 6 notes as shadava raga.
The most characteristic feature in the above svara pattern is the absence of the fifth note (pa) – the very note that conveys a sense of balance in most other ragas. It may be sung, hummed or practiced silently with any sadava–sadava raga you are already familiar with (e.g. Sriranjani and Hamsanandi).
Once internalized you may want to contemplate and remember the same exercise with the help of the “8 x 8 beads” pattern shared here>>
Listen to a brief excerpt of a sloka in raga Hamsanandi sung by Aruna Sairam (Padam le chant de Tanjore, Ocora, Radio France, 1999)
Please note that the above figures lend themselves to several “Carnatic sister ragas”.
So try and follow the same exercise with the proper notes associated with these janya ragas (carefully avoiding the 5th note, pa):
Bhavani (derived from the 44th melakarta raga, Bhavapriya)
Hamsanandi (derived from the 53th melakarta raga, Gamanasrama)
Lalita (derived from the 15th melakarta raga, Mayamalavagaula, for some composers from the 17th melakarta raga, Suryakanta)
Ravicandrika (derived from the 28th melakarta raga, Harikambhoji, and in compositions distinguished by the vakra “zigzag” pattern ni-dha-‘sa heard in the ascending series)
Sriranjani (derived from the 22nd melakarta raga, Kharaharapriya)
Suddha Todi (derived from the 8th melakarta raga, Hanumatodi)
Become fluent with the help of svara syllables (solmisation): practice a series of exercises, each based on a set of melodic figures that lend themselves to frequent repetition (“getting into flow”) | Practice goal, choosing your vocal range & more tips >>
South Indian conventions (raga names & svara notation): karnATik.com | Guide >>
raagam: kuntalavarALi Aa: S M1 P D2 N2 D2 S | Av: S N2 D2 P M1 S
If a raga2 constitutes more than mere arrangements of notes derived from a given scale, this is due to the mood it evokes in listeners from different backgrounds. This shared experience is often explained in terms of “colour, beauty, pleasure, passion and compassion”, the very connotations of the Sanskrit root ranj from which rāga is derived.
Many scholars have probed into such associations, some shared across India and depicted in countless miniatures, carrying a specific connotation (for a given community of practitioners), or relating to regional customs.
So innovation – including new ragas and adaptations from other cultures – has been a matter of prestige for centuries, thereby confirming a common human trait: innate curiosity giving rise to open-mindedness, thereby widening the scope for self-expression and intercultural collaboration (or new patronage in response to changing economic circumstances and technological advancement).
This is the common ground for vocal and instrumental music whereby neither “side” dominates the other and instead, provides scope for playful interaction. What makes such interaction special is that more often than not, it dispenses with detailed musical scores, even rehearsal; and instead, relying on memory and swift anticipation. No doubt, these are assets worth acquiring (and maintaining) for young and old alike, being useful in many fields of knowledge, and therefore worth integrating in general education.
In the present context of “learning and teaching South Indian (Carnatic) music in unconventional ways”, we may freely explore this vast scope for creativity and lifelong learning: starting from minuscule motifs, then internalizing them and eventually appreciating the achievements of revered musicians past and present including the nuances in the way they render any given raga.
It is in this spirit that you are encouraged to “fill in the blanks” by first listening to a raga rendition of your own choice, then adapt any of the previous patterns in a manner that entices you to actually practice what attracted Mahatma Gandhi to music which he loved “though his philosophy of music was different”:
In his own words ‘Music does not proceed from the throat alone. There is music of mind, of the senses and of the heart.’ […] According to Mahatma ‘In true music there is no place for communal differences and hostility.’ Music was a great example of national integration because only there we see Hindu and Muslim musicians sitting together and partaking in musical concerts. He often said, ‘We shall consider music in a narrow sense to mean the ability to sing and play an instrument well, but, in its wider sense, true music is created only when life is attuned to a single tune and a single time beat. Music is born only where the strings of the heart are not out of tune.’
I have a suspicion that perhaps there is more of music than warranted by life […] Why not the music of the walk, of the march, of every movement of ours, and of every activity?
To create your own exercises based on any favourite raga including “pa”, copy and fill the above table (fields marked in green) as seen in other “Flow” exercises on this course website >>
For ragas excluding the fifth note “pa” while containing “dha” (from a group of ragas known as pancama varja ragas), use the above table
For ragas including the fifth note “pa” while containing a “zigzag” (vakra) feature, use the above table
Practice with basic “Sa” = G# Download this audio file (2 MB, 2 min. mono) Credit: eSWAR / FS-3C Sruthi petti + Tanjore Tambura
Become fluent with the help of svara syllables (solmisation): practice a series of exercises, each based on a set of melodic figures that lend themselves to frequent repetition (“getting into flow”) | Practice goal, choosing your vocal range & more tips >>
South Indian conventions (raga names & svara notation): karnATik.com | Guide >>
raagam: vasantA 17 sUryakAntam janya Aa: S M1 G3 M1 D2 N3 S | Av: S N3 D2 M1 G3 R1 S
Listen to Uma Ramasubramaniam demonstrating the svaras (notes) for the present raga(s) on Raga Surabhi >>
Practice with basic “Sa” = G# Note: this recording has no fifth note “Pa” (as advised for those janya ragas wherein “Pa” will not be sung or played) Download this audio file (2 MB, 2 min. mono) Credit: eSWAR / FS-3C Sruthi petti + Tanjore Tambura
Having but 6 notes (instead of 7), this type of raga pattern is traditionally classified as being “derived” (janya) from a melakarta raga. Text books refer to any raga limited to 6 notes as shadava raga. More specifically, raga Vasanta is an audava-shadava raga which means it has 5 notes in ascending, and 6 in descending melody patterns.
The most characteristic feature in the above svara pattern is the absence of the fifth note (pa) – the very note that conveys a sense of balance in most other ragas.
Practice with basic “Sa” = G# Download this audio file (2 MB, 2 min. mono) Credit: eSWAR / FS-3C Sruthi petti + Tanjore TamburaThe above exercise1 is inspired by the eminent violin duo Lalgudi G.J.R. Krishnan & Lalgudi Vijayalakshmi rendering a varnam by their late father Lalgudi Shri. G Jayaraman: Chalamu seya in Adi tala2
Become fluent with the help of svara syllables (solmisation): practice a series of exercises, each based on a set of melodic figures that lend themselves to frequent repetition (“getting into flow”) | Practice goal, choosing your vocal range & more tips >>
South Indian conventions (raga names & svara notation): karnATik.com | Guide >>
raagam: valaci (valaji), 16 cakravAkam janya Aa: S G3 P D2 N2 S | Av: S N2 D2 P G3 S
Listen to Uma Ramasubramaniam demonstrating the svaras (notes) for the present raga(s) on Raga Surabhi >>
Practice with basic “Sa” = G# Note: this recording has no fifth note “Pa” (as advised for those janya ragas wherein “Pa” will not be sung or played) Download this audio file (2 MB, 2 min. mono) Credit: eSWAR / FS-3C Sruthi petti + Tanjore Tambura
