An exercise for ragas Mohana Kalyani and Bilahari (YouTube) >>
Download this audio file (2 MB, 2 min. mono)
Credit: eSWAR / FS-3C Sruthi petti + Tanjore Tambura
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 >>
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
- Find song lyrics
- Research & Custom search engines
- The Oxford Illustrated Companion to South Indian Classical Music
- Suppliers of books & musical instruments
Learn & practice more
- A brief introduction to Carnatic music (with music examples and interactive map)
- Bhava and Rasa explained by V. Premalatha
- Free “flow” exercises on this website
- Glossary (PDF)
- Introduction (values in the light of modernity)
- PDF-Repository
- Video | Keeping tala with hand gestures: Adi (8 beats) & Misra chapu (7 beats)
- Voice culture and singing
- Why Carnatic Music Matters More Than Ever
- Worldcat.org book and journal search (including Open Access)
- “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 [↩]