The above svara pattern may be sung, hummed or practiced silently with any svara variants: those you are already familiar with (e.g. raga Mayamalavagaula, mela 15, raga Dhirasankarabharanam, mela 29, raga Mecakalyani, mela 65) or any other you want to practice.
Once internalized you may want to contemplate and remember the same exercise with the help of the “8 x 8 beads” pattern shared here >>
Enjoy practicing by way of gradually getting into a “flow”.1 For this it’s worth remembering that patience is the secret for success in any practice worth the effort!
Tips: (1) start practicing each new mela pattern without counting (keeping tala); (2) repeat the entire pattern several times; (3) articulate all svara names (notes) clearly and with with feeling while paying attention to slow, gentle yet deep breathing; (4) listen, then emulate and compare the way several experienced performers connect or embellish the notes associated with any given melakarta raga; (5) once familiar with the above “flow” pattern, practice while keeping Adi tala in three “speeds”.
The long-term goal is to become fluent in all the 72 melakarta ragas (including those rarely heard). In this manner it becomes easier to recognize both, melakarta and janya ragas, by distinguishing their characteristic notes even when modulated or “embellished” in accordance with classical conventions (gamaka). Their application is demonstrated in an elegant, highly instructive video (duration: 7 min.): The 13-part Sanskrit composition of Chitravina N Ravikiran. For a more detailed application, listen to Smt Kiranavali’s students at Cleveland Aradhana (Part 1) | Part 2 >>References
- “Foster deep concentration. A bedrock of flow is feeling completely absorbed by an activity, and that often requires a state of deep concentration.” – Jill Suttie in “Eight Tips for Fostering Flow in the Classroom“, The Greater Good Science Center at the University of California, Berkeley[↩]