Category archives: Flow

Flow | Janya practice 5 & 7 notes


An exercise for ragas Mohana Kalyani and Bilahari (YouTube) >>
Practice with basic “Sa” = G#
Download this audio file (2 MB, 2 min. mono)
Credit: eSWAR / FS-3C Sruthi petti + Tanjore Tambura
The above exercise is inspired by eminent Carnatic flautist
Sikkil Mala Chandrasekhar rendering
Siddhi Vinayakam (Mohana Kalyani, Adi) by
Harikesanallur Muthiah Bhagavatar1
Excerpt © HMV Marga 1996 cassette recording

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

“Flow” exercises

A series of “Flow” exercises invites learners to practice all the 72 musical scales of Carnatic music (“mela” or mēlakarta rāga). It is meant to supplement the comprehensive standard syllabus (abhyāsa gānam) attributed to 16th c. composer Purandara Dasa.

Repeated practice need not be tedious; instead it instantly turns joyful whenever we remind ourselves that Indian 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.” – Mahatma Gandhi on his love for music >>

As regards “time beat” in Carnatic music, the key concept is known as kāla pramānam: the right tempo which, once chosen, remains even (until the piece is concluded). | Learn more >>

Music teachers will find it easy to create their own versions: exercises that make such practice more enjoyable. | Janta variations >>

Concept & images © Ludwig Pesch | Feel free to share in accordance with the 
Creative Commons Attribution-NonCommercial-ShareAlike license >>

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

Information about the persons, items or topics

Learn & practice more

  1. “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 [↩]

Flow | Janya practice 5 & 6 notes – raga Vasanta

sa = middle octave (madhya sthayi), ‘sa = higher octave (tara sthayi)
Explore renditions of raga Vasanta on YouTube >>
Find song lyrics (composers) & translations for these and other ragas >>
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

“Flow” exercises

A series of “Flow” exercises invites learners to practice all the 72 musical scales of Carnatic music (“mela” or mēlakarta rāga). It is meant to supplement the comprehensive standard syllabus (abhyāsa gānam) attributed to 16th c. composer Purandara Dasa.

Repeated practice need not be tedious; instead it instantly turns joyful whenever we remind ourselves that Indian 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.” – Mahatma Gandhi on his love for music >>

As regards “time beat” in Carnatic music, the key concept is known as kāla pramānam: the right tempo which, once chosen, remains even (until the piece is concluded). | Learn more >>

Music teachers will find it easy to create their own versions: exercises that make such practice more enjoyable. | Janta variations >>

Concept & images © Ludwig Pesch | Feel free to share in accordance with the 
Creative Commons Attribution-NonCommercial-ShareAlike license >>

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.

More about the above person(s) and topics

Periodicals and sites included | More resources | Disclaimer >>

Please note that the above figures lend themselves to several “Carnatic sister ragas”.

Learn more and download a free mela-pocket guide here: Boggle Your Mind with Mela (BYMM) method – free mini course >>

Flow | Janya practice 5 notes – raga Valaji 

An exercise for raga Valaji (YouTube) >>
Practice with basic “Sa” = G#
Download this audio file (2 MB, 2 min. mono)
Credit: eSWAR / FS-3C Sruthi petti + Tanjore Tambura
The above exercise 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 tala1
“Flow” exercises

A series of “Flow” exercises invites learners to practice all the 72 musical scales of Carnatic music (“mela” or mēlakarta rāga). It is meant to supplement the comprehensive standard syllabus (abhyāsa gānam) attributed to 16th c. composer Purandara Dasa.

Repeated practice need not be tedious; instead it instantly turns joyful whenever we remind ourselves that Indian 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.” – Mahatma Gandhi on his love for music >>

As regards “time beat” in Carnatic music, the key concept is known as kāla pramānam: the right tempo which, once chosen, remains even (until the piece is concluded). | Learn more >>

Music teachers will find it easy to create their own versions: exercises that make such practice more enjoyable. | Janta variations >>

Concept & images © Ludwig Pesch | Feel free to share in accordance with the 
Creative Commons Attribution-NonCommercial-ShareAlike license >>

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

Information about the persons, items or topics

Learn & practice more

  1. Live Concert at the Narada Gana Sabha Hall 1 January 2004 [↩]

Flow | Janya practice 5 notes – raga Hamsadhvani

An exercise for raga Hamsadhvani (YouTube) >>
Find song lyrics (composers) & translations for these and other ragas >>
Practice with basic “Sa” = G#
Download this audio file (2 MB, 2 min. mono)
Credit: eSWAR / FS-3C Sruthi petti + Tanjore Tambura
The above exercise is inspired by the rendition by eminent flautist
J.A. Jayant (YouTube Channel):
Gaayathi Vanamali by Sadasiva Brahmendra in Adi tala
Listen to a Varnam sung by Bhushany Kalyanaraman >>
“Flow” exercises

A series of “Flow” exercises invites learners to practice all the 72 musical scales of Carnatic music (“mela” or mēlakarta rāga). It is meant to supplement the comprehensive standard syllabus (abhyāsa gānam) attributed to 16th c. composer Purandara Dasa.

Repeated practice need not be tedious; instead it instantly turns joyful whenever we remind ourselves that Indian 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.” – Mahatma Gandhi on his love for music >>

As regards “time beat” in Carnatic music, the key concept is known as kāla pramānam: the right tempo which, once chosen, remains even (until the piece is concluded). | Learn more >>

Music teachers will find it easy to create their own versions: exercises that make such practice more enjoyable. | Janta variations >>

Concept & images © Ludwig Pesch | Feel free to share in accordance with the 
Creative Commons Attribution-NonCommercial-ShareAlike license >>

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: hamsadhvani
Aa: S R2 G3 P N3 S | Av: S N3 P G3 R2 S

Having but 5 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 5 notes as audava raga.

The above svara pattern may be sung, hummed or practiced silently with several svara variants you are already familiar with (e.g. raga Dhirasankarabharanam, mela 29, resulting in Carnatic raga Hamsadhvani which has long been popular among Hindustani musicians as “Hansadhvani”). For details on popular Hindustani ragas, refer to The Raga Guide by Joep Bor.

Once internalized you may want to contemplate and remember the same exercise with the help of the “8 x 8 beads” pattern shared here >>

Practice another raga with 5 notes here >>

Information about the persons, items or topics

Learn & practice more

Flow | Janya practice 5 notes

sa = middle octave (madhya sthayi), ‘sa = higher octave (tara sthayi)
Explore renditions of raga Mohana, raga Bhupalam, raga Revagupti & Hindustani rag Bhupali on YouTube >>
Find song lyrics (composers) & translations for these and other ragas >>
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 >>

The above figures lend themselves to several ragas of Carnatic music:

South Indian conventions (raga names & svara notation): karnATik.com | Guide >>

raagam: mOhanam = raagam: bhUpALi (derived from the 28th melakarta raga, Harikambhoji)
Aa: S R2 G3 P D2 S | Av: S D2 P G3 R2 S

raagam: bhUpALam (derived from the 8th melakarta raga, Hanumatodi)1
Aa: S R1 G2 P D1 S | Av: S D1 P G2 R1 S

raagam: rEvagupti (derived from the 15th melakarta, Mayamalavagaula)2
Aa: S R1 G3 P D1 S | Av: S D1 P G3 R1 S

“Flow” exercises

A series of “Flow” exercises invites learners to practice all the 72 musical scales of Carnatic music (“mela” or mēlakarta rāga). It is meant to supplement the comprehensive standard syllabus (abhyāsa gānam) attributed to 16th c. composer Purandara Dasa.

Repeated practice need not be tedious; instead it instantly turns joyful whenever we remind ourselves that Indian 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.” – Mahatma Gandhi on his love for music >>

As regards “time beat” in Carnatic music, the key concept is known as kāla pramānam: the right tempo which, once chosen, remains even (until the piece is concluded). | Learn more >>

Music teachers will find it easy to create their own versions: exercises that make such practice more enjoyable. | Janta variations >>

Concept & images © Ludwig Pesch | Feel free to share in accordance with the 
Creative Commons Attribution-NonCommercial-ShareAlike license >>

Listen to Uma Ramasubramaniam demonstrating the svaras (notes) for the present raga(s) on Raga Surabhi >>

Having but 5 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 5 notes as audava raga.

The above svara pattern may be sung, hummed or practiced silently with several svara variants you are already familiar with (e.g. raga Harikambhoji, mela 28, resulting in Carnatic raga Mohana which resembles Hindustani raga Bhupali, also known as Bhup or Bhup Kalyan). For details on popular Hindustani ragas, refer to The Raga Guide by Joep Bor.

Once internalized you may want to contemplate and remember the same exercise with the help of the “8 x 8 beads” pattern shared here >>

Practice a different arrangement with 5 notes: raga Hamsadhvani >>

  1. This is the present version of raga Bhupalam, the earlier one would have corresponded to Revagupti, see below. [↩]
  2. According to P. Sambamoorthy this is the modern name for raga Bhupalam (commonly sung with notes derived from the 8th melakarta, Hanumatodi); also known as the Tamil pan Puranīrmai; in temples the earlier version of Bhupalam – the one based on 15th melakarta Mayamalavagaula – is rendered before dawn by nagasvaram players; and it used to be heard in women’s songs and other folk songs. – A Dictionary of South Indian Music and Musicians, Vol. I [↩]