Listen to Uma Ramasubramaniam demonstrating the svaras (notes) for the present raga(s) on Raga Surabhi >>
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.’
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: mOhanakalyANi Aa: S R2 G3 P D2 S | Av: S N3 D2 P M2 G3 R2 S
The above exercise pattern may also be applied to raagam: bilahari | More details: songs listed under raga Bilahari >> Aa: S R2 G3 P D2 S | Av: S N3 D2 P M1 G3 R2 S
Listen to Uma Ramasubramaniam demonstrating the svaras (notes) for the present raga(s) on Raga Surabhi >>
“Harikesanallur L.Muthiah Bhagavatar was something of a Superman in Carnatic music [who] created new raga-s, imported several from Hindustani music and composed many songs in many forms such as kriti-s, varnam-s and tillana-s.” – Sruti Magazine [↩]