South Indian music has a vast repertory of compositions known as nadai (Tamil “gait, walk”) most students of south Indian rhythm (laya) should be familiar with; this one transcribed at the home of vidvan T.K. Ramakrishnan busy teaching a mridanga lesson with his voice, ears and hands while watching an important cricket match (multitasking being far from alien to Carnatic musicians of his calibre): true to Mahatma Gandhi’s ideals music cannot, should not be separate from daily life. Music always has been the art most suitable to familiarizing people from diverse backgrounds with other human pursuits. In short, “true music is created only when life is attuned to a single tune and a single time beat“. Or even more poignantly:
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?
Whatever one’s personal background and aspirations may be, Carnatic music remains a quest for undiluted aesthetic experience (rasa). Three basic concepts are essential. Read the brief introduction for more!
Also read the course overview if you prefer a more systematic approach.
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 >>
Practice with basic “Sa” = G# Download this audio file (2 MB, 2 min. mono) Credit: eSWAR / FS-3C Sruthi petti + Tanjore Tambura
South Indian conventions (raga names & svara notation): karnATik.com | Guide >>
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.
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 >>
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 raga1 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
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 >>
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
“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 [↩]
