PCM I Edition 5 - Apr 2017

Perfecting Carnatic Music
Level I
Fo r p r i m a r y l e v e l s t u d e n t s
revised & improved
Chitravina N Ravikiran
an ifcm publication

Level I

Published by:
The International Foundation for Carnatic Music
Fourth Edition, July 2012

Third Edition, February 2008
Second Edition, December 2003
First Edition, December 1999
Copyright © Chitravina N Ravikiran, July 2012
All rights reserved. No part of this book may be reproduced, stored or transmitted in any form or by any means, electronic,
mechanical, photocopying, recording or otherwise without the prior permission of the copyright author.
Cover design: Lata Ganapathy
Printed by: Sudarshan Graphics, Chennai
Copies Available at:
Karnatic Music Book Centre

27 (old 14) Sripuram First street
Near Ajanta Hotel
Royapettah
Chennai 600 014
India
Tel: (91-44) 2811-1716, (91) 94441 34323
Email: kmbc@vsnl.net
The International Foundation for Carnatic Music (A unit of RFI)

105, 2nd Cross Street, V G P Layout
Palavakkam
Chennai 600 041
India
Tel: (91-44) 2451-1133, (91) 95000 64190
Email: carnaticworld@yahoo.com
Web: http://ifcm.ravikiranmusic.com
To
all great teachers of Carnatic music
all genuine students of the art
all perfectionists in this world

Other Educational Publications and Productions directed or
produced by Ravikiran
Publications
• Appreciating Carnatic Music (Ganesh & Co)
• Compositions of Tanjavur Shankara Iyer
• Oottukkadu Venkata Kavi – Life and Contributions
• Oottukkadu Venkata Kavi’s Kamakshi Navavaranams and Saptaratnas
• Perfecting Carnatic Music – Level II
Audio or Video Productions
• The Brilliance of Begada (expert analysis by Shri Semmangudi Srinivasa Iyer)
• The Exquisite Bhairavi – Vol I & II (expert analysis by Smt D K Pattammal)
• Kaarunyam – Mukhari – Vol I & II (expert analysis by Shri Nedunuri Krishnamurthy)

(Rajalakshmi Audio)
• Saptaratna Krtis of Oottukaadu Venkata Kavi (Rajalakshmi Audio)
• Oottukkadu Venkata Kavi’s Kamakshi Navavaranams
• Ranganathaya Namaha
• Sada Sharanam – 4 DVD pack & book with notations of Ravikiran’s compositions taught by
him (Swathi Soft Solutions)
Some of the above are available online at acharyanet.com
i
Translation of Dr Semmangudi Srinivasa Iyer’s Foreword
Chitravina exponent Ravikiran, is a born genius. I read the book, Perfecting Carnatic Music, authored
by him, intended to address the needs of students aspiring to learn Carnatic music.
Ravikiran has authored this in a style that will enable students from India and also from other parts
of the world to get a better grasp of our music.
I firmly believe that the music world will make full use of this book.
I commend Shri Ravikiran for this monumental work.
Semmangudi Srinivasa Iyer

9.12.1999
Chennai
ii
Author’s note on the First Edition
When I first conceived the idea of books, accompanied by audio productions, on Carnatic music
education for various levels, I was well aware of the fact that many others had attempted similar
publications with varying degrees of success. Stalwarts like Professor Sambamoorthy, Panchapakesha
Iyer and T K Govinda Rao have brought out several noteworthy publications that have benefited
teachers, students and performing musicians, the world over.
I asked myself a few questions.
What would be different about this venture? Would I play the role of Purandara Dasa II, and create
a new set of basic exercises and compositions for Carnatic music aspirants?! Would I re-define the
whole theory of Carnatic music and make radical changes in its very concept and execution?
The answer was "No", on most counts.
Yet, I knew that there was much more to learning Carnatic music than what has been and is being
perceived, by most students as well as a few teachers. The difference lies in visualising the art, and then
striving to enjoy the process of perfecting it. And, forever bearing in mind the truth, that perfection is
never sufficient without correctness and completeness.
It takes a gift from God to possess these abilities and attitudes, but one can well inculcate them with
awareness and application. My endeavour is all about catalysing this process right from the beginning.
Equally vital, is the attitude one possesses. Without the right attitude at every stage, life could become
an imposing albatross. I have endeavoured to focus on this aspect as well.
I have attempted to relive my earliest years as a student and have also drawn upon my experiences
with aspirants of varying age groups, levels and backgrounds.
This book, is the first of a series I intend to bring forth, to address the needs of students. It includes
sections on theory, practice exercises, which comprise Sarali, Jantai and other varishais, and simple
compositions like geetams and swarajatis, besides a series of appendices. I have endeavoured to use a
direct approach aimed at students and teachers.
I have introduced a few refinements and a small number of revisions in the music, lyrics and
conventions, in order to make the exertion more worthwhile. This exercise has eschewed some of the
errors that have crept in over the centuries, despite the best attempts of all. Most of these alterations
are minor but some, like the changes in the Geetam in Anandabhairavi, are significant.
Many of the geetams selected here, are the ones usually taught and rendered in all parts of the world
by students of Carnatic music. Admittedly, there are grey areas with respect to the lyrics in certain
cases, such as the geetams in Shuddhasaveri and Nattai; opinions differ as to which language they
have been composed in, leave alone their meanings! I have taken expert opinions on board and have
opted for the most-probably correct versions.
I wish to thank my guru and father, chitravina maestro Shri N Narasimhan, distinguished multi-lingual
scholars Shri B Madhavan, Shri V A K Ranga Rao and Ms G Saraswati for their expert guidance,
especially in the area of lyrics. I also wish to place on record my appreciation for my disciples
iii
Lata Ganapathy and Savita Narasimhan for participating actively in this project, with commitment,
competence and a sense of purpose. It would be no deviation from the truth were I to state that they
invested at least as much time and energy as I did, in refining this book and ridding it of errors.
My sincere thanks also to Shri Gopalan who spontaneously agreed to sponsor the first edition of this
book and to ‘Hamsadhwani’ Shri Ramachandran, for facilitating this gesture.
I wish to respectfully thank Shri Semmangudi R Srinivasa Iyer, for adding value to this endeavour
with his foreword.
Chitravina N Ravikiran
iv
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vi
Guide to Pronunciation
a - hut dh - wind-hose
˙
ā - father n - pond
˙
i - sing t - wealth
ee - feel th - theme
u - put d - the
oo - mood dh - Buddha
e - medal n - now, van
ē - ray p - pot
ai - kite ph - uphill
o - hotel b - balloon
ō - noble bh - clubhouse
ow - how m - mother
k - skill y - youth
kh - dark-house r - run
g - garden r - Krshna
gh - dog-house r - pretty (Sanskrit)
˙
n - long, tank r - herring (Tamil)
˙
ch - chain l - lamp
chh - beach-holiday l - world
˙
j - jump v - vast
jh - hedgehog sh - sugar
gny - new sh - she
˙
t - till s - sit
˙
th - anthill h - hat
˙
d - disk zh - in Tamil, approxi-
˙ mately like 'rouge'
vii
Contents
Foreword by Shri Semmangudi Srinivasa Iyer ii
Author’s note on the First edition iii
Author’s note on the Fourth edition v
Guide to pronunciation for lyrics vii
Chapter 1 Introduction 1
Chapter 2 Melody 5
Chapter 3 Rhythm 7
Practical Exercises – Phase I
Getting Started 9
Practical Exercises – Phase II
Sequences 10
Saraḷi Varishai 12
Jaṇṭai Varishai 15
Dāṭu Varishai 18
Mēlsthāyi Varishai 20
Alankāram 22
Practical Exercises – Phase III
Geetam & Tiruppuhazh 25
Introductory (voice culture) exercises for various ragas 26
1 Lambōdara lakumikara - Malahari 30

2 Kunda gowra - Malahari 31
3 Kereya neeranu - Malahari 32
4 Padumanābha - Malahari 33
5 Bhaya samaya - Dēshākṣhi 35
6 Shree Gaṇapatiyē - Pantuvarāḷi 36
7 Ānalēkara - Shuddhasāvēri 38
8 Iravu pahar - Khamāch 39
9 Varaveeṇā - Mōhanam 40
10 Harihara vinuta - Nāṭṭai 41
viii
11 Kamalajādaḷa - Kalyāṇi 42
12 Giridhara - Navarōj 43
13 Kamalasulōchani - Ānandabhairavi 44
14 Shivaneṛiyē - Nāgaswarāvaḷi 45
15 Rē rē shree rāmachandra - Ārabhi 46
16 Mandara dhārē - Kāmbhōdhi 47
17 Teerāppiṇi teera - Shahānā 48
18 Sārasa nayana - Varāḷi 49
19 Shree gōvinda - Shankarābharaṇam 50
20 Kalai mahaḷē - Hindōḷam 51
21 Shree rāmachandra - Gowḷa 53
22 Jānakee ramaṇa - Neelāmbari 55
23 Sarasvati - Bēgaḍa 57
24 Shree rāmachandra - Bhairavi 58
25 Jaya karuṇāsindhō - Dhanyāsi 59
26 Sārasākṣhi - Sāvēri 61
27 Bhaktiyāl yānunai - Yadukulakāmbhōdhi 63
28 Meenākṣhi - Shree 64
Practical Exercises – Phase IV
Swarajati 66
29 Rāvēmē maguva - Ānandabhairavi 67

30 Sāmbashivā yanavē - Khamāch 69
Appendices
A Scheme of 72 Melakartas 72
B A few popular ragas 74
C Suggested Listening 75
ix
Perfection is a journey,
not a destination . . .
xi
Chapter 1
Introduction
The art of music is like an ocean. It is vast and deep.

One could go for a swim and come back feeling refreshed. This is what most listeners do.
One could take a boat out into the sea and return with a haul of fish. This is what many students do.
Or, one could dive deep into it and emerge with invaluable treasures. This is what master musicians
do.
The ocean accommodates all, yet, one can only lay claim to having seen a small part of its immensity.
The ocean demands dedication and investment of time, energy and emotion (not to mention money)
from anyone who ventures into it . The ocean poses challenges, which can only be anticipated and
overcome with the guidance of a very able guru.
What exactly is music?
One would be tempted to reply, "Elementary, my dear Watson! Anything that is melodious to the ear,
is music!"
A more scientific approach would be to perceive it as a special means of aural expression with
organised, regular vibrations.
What is the role of music in everyday life?
Music could be viewed as an end in itself, as an art form that can entertain, educate or elevate the
practitioner as well as the listener. One can seek perfection in music for its own sake.
Music could also be viewed as a means to promote peace, unity and goodwill among people all over
the world. Many people have seen and shown the astounding qualities of music towards improving
man’s output and health.
Carnatic music and its popularity
Carnatic music is one of the most colourful, complete and highly evolved melodic systems in the
world, dating back to at least 2000-3000 years, the earliest stages of Vedic and Tamil culture. While it
combines melody, rhythm and lyrics, it also places equal emphasis on compositions and improvisation,
to offer both, emotive and intellectual pleasure. A listener enjoys contrasting speeds ranging from the
fast and exciting to the slow, deep and tranquil and gets to hear some of the world’s most beautiful
melodies and sophisticated rhythms.
Carnatic music enjoys an ever-increasing popularity because of its ability to entertain and elevate
audiences of all age groups across the planet. Every year, leading Carnatic musicians are invited
to present concerts, lectures and courses in countries such as USA, Canada, UK, France, Germany,
Australia, Singapore, Japan, and South Africa, as part of major international festivals. Top-notch
Carnatic artistes have also shown the versatility of the system through collaborations with musicians
and composers from other systems of music including Western Classical, Pop, Jazz, Chinese, African
and South American.
1
Qualities of a good student
Students from numerous countries approach leading musicians and institutions to study Carnatic
music. Some of the vital qualities that contribute to their success are:
• a positive attitude towards life
• pride in the art
• trust and respect for the guru
• genuine enthusiasm to learn, practise and present the art in the best manner
• sincerity, discipline, hard work and steadfast focus on quality
• constant effort towards perfection with correctness and completeness
• last, but not the least, self-enjoyment and love for the art
Teachers must make special efforts to instill the above qualities among the students.
Suggestions
1. Go to a reputed teacher, one whose credentials as a musician are well-established and respected.
It is recommended that you consider leading musicians. Even if the artiste concerned is unable
to take you on as a student, it is very likely that he/she would recommend a good teacher for
you. It is vital to remember that basics form a strong foundation for good music and it is most
desirable that one learns from a good artiste right from the early stages.
2. Be observant even while the teacher teaches other students, since a lot of knowledge can be
imbibed in this manner.
3. Learn vocal music even if you wish to become an instrumentalist. Learning to sing compositions
with lyrics will add an extra dimension to your music. Similarly, if vocalists learn a bit of
instrumental music, it would certainly widen their perspective of the art.
4. Even if you are to learn music as a hobby, practise consistently, everyday, for at least 30 minutes
to an hour. However, if one aims to be a respectable performer, the minimum practice on
weekdays should be for 4-5 hours. This is not impossible, as I have discovered through personal
experience.
5. Listen to a lot of high-calibre music, either through concerts of leading current-day artistes, or
through recordings of great masters of the previous generation (a list of some of the artistes
a student could listen to, has been given in Appendix C). Read a lot about great artistes and
composers and be well-informed about the field.
2
Caution
1. Do not be inattentive to the basic lessons like Sarali, Jantai varishais etc. A strong command
over the basics will hold you in good stead all through your life.
2. Avoid practising mechanically. Make an effort to enjoy what you do and communicate that joy
to others.
3. Do not overstrain your voice by screaming in the higher octaves. Steady practice in the lower
octaves will gradually increase your power in the higher registers.
4. Similarly, don’t rush the music. Try to get the movement of the phrase right, in slower speeds.
Thorough control over slow tempo will increase clarity in faster speeds over a period of time.
5. Never be in a rush to perform. Learn the art thoroughly for a few years. Remember, when you
perform first is not as important as how you perform. Parents must make a special note of this
point and not push their children on to the stage before they are ready.
6. Once you have found a teacher, it is very important to trust and respect his/her judgement,
and resist developing an attitude where you are unconvinced about his/her methods. It is also
essential for parents to follow this and instill such an attitude among their children. I refer to
this expressly because I have known people who have approached me with criticism of their
previous teachers’ methods. While a few of these could be justified, I have also found that
in several other instances, the parents have not given enough time for both the teacher and the
student todevelop a harmonious relationship.
Parents/Guardians
1. First and foremost, they must realize that learning music is a comprehensive process and
not merely a classroom exercise. Learning under reputed gurus and institutions will include
subscribing to their value systems, supporting their projects and initiatives, attending concerts
as recommended by them, all in the interests of the long term progress and real success of the
students.
2. They must monitor the practice of the students regularly, and brief the teacher about any
difficulty he or she faces while learning.
3. They can give their inputs about their long/medium term (say 2-5 years ahead) plans with
respect to their child’s progress, but leave the details of teaching and short-term decisions to the
teachers.
4. They must not pressurize the teacher to move on to more complex lessons, or suggest alternate
methods.
5. They must remember that teaching approaches vary from student to student and must not
compare the pace of learning of their children with that of their peers.
3
6. They must not push the students to perform at public events before getting the nod from the
teachers.
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Chatushruti Rṣhabham R₂ Shuddha Daivatam D₁
Ṣhaṭshruti Rṣhabham R₃ Chatushruti Daivatam D₂
Shuddha Gāndhāram G₁ Ṣhaṭshruti Daivatam D₃
Sādhāraṇa Gāndhāram G₂ Shuddha Niṣhādam N₁
Antara Gāndhāram G₃ Kaishika Niṣhādam N₂
Shuddha Madhyamam M₁ Kākali Niṣhādam N₃

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5
Practically speaking, a raga is much more than a theoretical formula based on notes. It is a living
entity, capable of evoking or communicating emotions. The individuality of a raga is dependent on the
manner in which its notes are handled. Some of them are rendered plain while others are oscillated,
some are rendered fleetingly while others are sustained, and a few are rendered even slightly sharper
or flatter than their original values.
It would be beneficial for students to familiarise themselves with some of the popular ragas and
develop an ability to identify them. Students should also make it a point to learn and remember the
name and important features of every raga they are taught, including its ascending and descending
sequence of notes (ārōhanam and avarōhanam, respectively).
˙ ˙
There are two types of ragas -- parent ragas and derived ragas. Parent (mēlakarta) ragas are those
˙
that have a straight sequence in both ascent and descent, using at least one variety of each of the seven
notes S R G M P D N. The descent is the exact mirror image of the ascending notes. There are 72
parent ragas in Carnatic music (listed in Appendix A).
All other ragas are said to be derived (janya) ragas. A few popular ones are listed in Appendix B.
6
Chapter 3
Rhythm
Rhythm is inherent in almost every activity of nature. There is rhythm in the movements of cosmic
bodies, as there is in the microcosmic.
Tāla: Tala is the orderly physical expression of the rhythm inherent in music. In Carnatic music, this
˙
is done through beats, finger counts or waves of the hand. A tala has several parts. The three that are
commonly used are:
Part Symbol Manner of rendering

Anudhrtam a beat (1 unit)
Dhrtam 0 a beat and a wave of the hand
Laghu I a beat followed by finger counts, starting from the little
finger.
Laghu can be of 5 types, depending on the number of units. These are called jātis.
Jati Symbol Manner of rendering

Chaturashra laghu I4 beat and 3 finger counts (4 units)
Tishra laghu I3 beat and 2 finger counts (3units)
Mishra laghu I7 beat and 6 finger counts; count from the little finger to the
thumb and then re-start from the little finger (7 units)
Khanda laghu I5 beat and 4 finger counts (5 units)
˙˙
Sankeerna laghu I9 beat and 8 finger counts (9 units)
˙
Note : The term ‘chaturashra’ is also referred to as ‘chatushra’.
System of 7 and 35 talas: Just as Carnatic music has a very orderly raga system, it has a highly
organised tala system as well. The 7 basic talas are:
Tala Part
Dhruva laghu, 1 dhrtam and 2 laghus ( I 0 I I )
Mathya 1 laghu, 1 dhrtam and 1 laghu ( I 0 I )
˙
Roopaka 1 dhrtam and 1 laghu ( 0 I )
Jhampa 1 laghu, 1 anudhrtam and 1 dhrtam ( I 0 )
Triputa 1 laghu and 2 dhrtams ( I 0 0 )
˙
Ata 2 laghus and 2 dhrtams ( I I 0 0 )
˙
Ēka 1 laghu ( I )
7
As can be seen from the above, laghu is common to all these tālas. Since laghu can be of 5 types,
˙
every one of these talas can permit 5 varieties. For instance, we can have Chaturashra Dhruva tala,
Tishra Dhruva tala, Mishra Dhruva tala, Khanda Dhruva tala and Sankeerna Dhruva tala. Similar
combinations of the rest of the talas add up to give us 35 talas.
The total number of units of a tala is determined by adding the units of the parts. For instance,
Chaturashra Dhruva tala has 4+2+4+4 = 14 units, while Tishra Dhruva tala has 3+2+3+3 = 11 units.
Students are generally taught exercises (called alankāram) in 7 of these 35 talas.
Variety by way of gati:
Every unit of the tala can have a certain number of internal counts. This internal pulse determines the
gait of the tala, which is referred to as gati or nadai. Again, there are 5 gatis.
Chaturashra One can render a tala in chaturashra gati by saying the

syllables of 4 units like ta-ka-dhi-mi, for every unit. Since
Adi tala has 8 units, one will say ta-ka-dhi-mi 8 times.
Tishra ta-ki-ta (3 units)
Mishra ta-ka-dhi-mi-ta-ki-ta (7 units)
Khanda ta-ka-ta-ki-ta (5 units)
Sankeerna ta-ka-dhi-mi-ta-ka-ta-ki-ta (9 units)
Each of the 35 talas can be executed using these five gatis. For instance, we can have the same Khanda
jati Mathya tala rendered in chaturashra gati, tishra gati, mishra gati and so forth.
The internal count of a tala is determined by multiplying the total count by the gati. For instance,
Khanda jati Mathya tala has 12 units. In chaturashra gati, it has 12x4 = 48 internal units. In tishra
gati, it has 12x3 = 36 internal units. The 35 talas varied by the 5 gatis give rise to 175 possibilities.
Prominent Talas: There are hundreds of talas but the following are more prominently used.
Adi Tala - 8 units per cycle (1 chaturashra laghu and 2 dhrtams)

Roopaka Tala - 3 units (1 anudhrtam and 1 dhrtam)
Mishra Chapu - 7 units (3 beats in the ratio of 3:2:2)
Khanda Chapu - 5 units (3 beats in the ratio of 2:1:2)
The last 3 talas are abridged versions of Chaturashra Roopaka, Tishra Triputa and Chaturashra
Mathya, respectively. The abridged versions are preferred by composers and musicians except when
the tempo of a piece is slow.
Students must give adequate importance to rhythm, familiarise themselves with these talas and also
possess basic command over rhythmic, arithmetic, tempo and changes in gatis. Rhythm is as
importantas melody, in Indian music, as conveyed by the ancient Sanskrit statement, shrutir
mŅWŅ layaf pitŅ (melody is mother, rhythm is father).
Taal Acharya: In order to get command over rhythm, students are strongly advised
to use the visual rhythm instructional software, Taal Acharya, available at:
https://streaming.acharyanet.com/product/carnatic-tala-software-taalacharya-software/
8
Practical Exercises - Phase I
Getting Started
This chapter is of equal importance to both students and teachers, since it explains a few vital things
to be taught and practised, even before getting to the Sarali varishai stage, which is often taught from
day one.
The concept of shruti: Rendering tuneful music is the most important aspect of any system. It is
the primary source of musical joy. It is important to learn how to align oneself to the pitch. The first
step is to procure a good tanpura or shruti box (manual or electronic), which will provide the basic
notes, Sa and Pa. Listen carefully and try to register the notes in your mind.
Ideal pitch: The ideal pitch for voices and instruments depends on a variety of characteristics. You
can seek your guru’s help in determining your ideal pitch, which enables you to traverse at least two
octaves (from Pa in the lower octave to Pa in the higher octave) comfortably, over a period of time.
Now, try to sing the two constant notes, Sa and Pa tunefully. Make an effort to understand the
relationship between them. Subsequently, the teacher will introduce the rest of the notes and here
again, you should try to make yourself aware of their position, with respect to Sa. Usually, the teacher
introduces notes of the raga, Mayamalavagowla, which are:
S R1 G3 M1 P D1 N3 Ṡ
Most teachers prefer to use this raga because it has different intervals between various notes.
Sustaining notes - kārvai: One should try to hold every one of these notes tunefully, as long as
possible. This sustenance of a note is called karvai. Attention should be given not only to singing in
tune, but also, to holding one’s breath and releasing it with a good tone. This is a must, before the
Sarali or other varishais are taught. This should be done without tala initially, till the students learn to
sing or play the notes perfectly.
Karvais are used at all levels in Carnatic music and they can create a very soulful, tranquil and evocative
atmosphere. At a very fundamental level, they build a scientific approach to the rest of the music that
students will subsequently be introduced to. An artiste must be able to hold any note steadily and
tunefully for at least 10-15 seconds and gradually increase this to around a minute.
Musical phrases
Gradually, simple combinations of notes can be tried. Teachers can introduce small musical phrases
like - GM, - GMP, - DDP, - PMG, - MGR, - GMGRS - and so on. Over a few sessions, the phrases can
get perceptibly sophisticated.
Akāram
After a few such sessions, the same phrases can be rendered using the vowel ‘a’ as in ‘America’. This is
called akaram, a very integral part of Carnatic music, with particular reference to vocal music. Thus,
exposure to akarams is very essential at this stage, albeit in a simple form.
9
Practical Exercises - Phase II
Sequences
The great composer Purandara Dasa, hailed as the Father of Carnatic music, created a set of
fundamental exercises nearly 500 years ago, which are followed even today. These are of 5 types.
Sarali varishai: These fundamental sequences enable the student to get a feel of melody with
˙
rhythm. The logic is quite obvious here. The 1st varishai is a plain ascent and descent of the notes of
the raga; the 2nd varishai focuses on the second note from S, namely R (in the ascent) and N (in the
descent). The 3rd varishai centres on the third note, G and D. The 4th varishai concentrates on the
fourth note, M and P. And this goes on up until the 7th varishai. The last 3 are general exercises. Some
books have split the last one into 5 parts, but singing it as a single varishai is more desirable.
Jantai varishai: These sequences enable the student to gain felicity in a form of ornamentation
˙˙
called sphuritam, which is rendering a note twice, plain, the first time, and with force, from the
previous note of the raga, the second time. This means that a phrase like G G in Mayamalavagowla
will be quite different from the G G in Shankarabharanam, even though the notes appear to be the
same. In Mayamalavagowla, the second G will be from R1, while in Shankarabharanam, the second G
will be from R2. This is especially true for slower speeds.
Teachers must take care that the concept of sphuritam is very clearly embedded in the students’ minds.
The tendency to render it in a bland and insipid manner should be avoided.
Mēlsthāyi varishai: These are higher octave sequences, which increase the students’ vocal or
instrumental range. Again, the logic is easy to comprehend. The first is the simplest, and every
subsequent exercise adds a new phrase to the previous one. They progressively cover notes up to P in
the higher octave. Similarly, there are exercises for practice in the lower octave too.
Dātu varishai: These are zigzag sequences that increase the students’ overall command of notes.
˙
Alank¯ aram: Alankarams are multi-tala sequences composed in the 35 talas. But usually, 7 of these
are selected and taught to the students.
Speeds in Carnatic music: In Carnatic music, speed is distinct from tempo. Speed is measured as
the number of notes per beat of the tala, while tempo relates to the number of notes with respect to
time. The 1st speed is rendering one note per unit of the tala. The 2nd speed is exactly double this, i.e.,
two notes per unit, the 3rd speed is four notes per unit, 4th is eight notes per unit, 5th is 16 per unit
and 6th is 32 per unit.
Speed of the tala is rarely varied; only the speed of the music is. But even this is not accomplished in
an arbitrary manner. There is a mathematical precision to it. For instance, the 2nd speed is exactly
twice as fast as the first and the 3rd is exactly twice as fast as the second and so forth.
Students can be taught to render all the exercises in at least 3-4 speeds. Once they perfect this
technique, they could practise most of them in the 3rd speed. It is ideal to render each twice, once with
swaras, and again with akaram.
10
Once students get a reasonable command over these lessons in Mayamalavagowla, they can attempt
them in other parent ragas.
Notation: Carnatic music has a very straight-forward notation system, which makes it all the more
easy to learn. Some of its key features are as below:
S (or any other note) 1 unit

, 1 unit space for the note to be sustained
N (dot below the note) lower register (mandra sthayi)
˙
Ṡ (dot above the note) higher register (tara sthayi). (notes without
a dot belong to the main/middle register or
madhya sthayi)
| denotes end of a section of a tala
|| denotes end of a cycle (or avartanam) of the
tala
. (in the lyrics) denotes continuation of the syllable
- denotes the separation of musical or lyrical
phrases
Note:
• Pallavi, anupallavi and charanam will be abbreviated as ‘P’ , ‘A P’ and ‘C’, respectively.
11
Sarali Varishai
˙
Rāga : Māyāmālavagowla Tāla : Ādi
˙ ˙ ˙
Ārōhanam: S R1 G3 M1 P D1 N3 Ṡ
˙
Avarōhanam: Ṡ N3 D1 P M1 G3 R1 S 15th Mēlakarta
˙ ˙
1 S R G M | P D | N Ṡ ||
Ṡ N D P | M G | R S ||
2 S R- S R- | S R | G M ||
S R G M | P D | N Ṡ ||
Ṡ N- Ṡ N- | Ṡ N | D P ||
Ṡ N D P | M G | R S ||
3 S R G- S | R G- | S R ||
S R G M | P D | N Ṡ ||
Ṡ N D- Ṡ | N D- | Ṡ N ||
Ṡ N D P | M G | R S ||
4 S R G M- | S R | G M ||
S R G M | P D | N Ṡ ||
Ṡ N D P- | Ṡ N | D P ||
Ṡ N D P | M G | R S ||
5 S R G M | P ,- | S R ||
S R G M | P D | N Ṡ ||
Ṡ N D P | M ,- | Ṡ N ||
Ṡ N D P | M G | R S ||
6 S R G M | P D- | S R ||
S R G M | P D | N Ṡ ||
Ṡ N D P | M G- | Ṡ N ||
Ṡ N D P | M G | R S ||
7 S R G M | P D | N ,- ||
S R G M | P D | N Ṡ ||
Ṡ N D P | M G | R ,- ||
Ṡ N D P | M G | R S ||
12
8 S R G M | P M | G R ||
S R G M | P D | N Ṡ ||
Ṡ N D P | M P | D N ||
Ṡ N D P | M G | R S ||
9 S R G M | P M | D P ||
S R G M | P D | N Ṡ ||
Ṡ N D P | M P | G M ||
Ṡ N D P | M G | R S ||
10 S R G M | P , | G M ||
P , , , | P , | , , ||
G M P D | N D | P M ||
G M P- G | M G | R S ||
S˙ , N D | N , | D P ||
D , P M | P , | P , ||
G M P D | N D | P M ||
G M P- G | M G | R S ||
Ṡ Ṡ N D | N N | D P ||
D D P M | P , | P , ||
G M P D | N D | P M ||
G M P- G | M G | R S ||
S R G R | G ,- | G M ||
P M P ,- | D P | D , ||
M P D P | D N | D P ||
M P D P | M G | R S ||
S R G M | P , | P , ||
D D P , | M M | P , ||
D N Ṡ , | Ṡ N | D P ||
Ṡ N D P | M G | R S ||
13
Sarali Varishai in four speeds
˙
First speed - one note per unit
1 2 3 4 5 6 7 8
S R G M P D N Ṡ
Second speed - two notes per unit
1 2 3 4 5 6 7 8
SR GM PD NṠ ṠN DP MG RS
Third speed - four notes per unit
1 2 3 4 5 6 7 8
SRGM PDNṠ ṠNDP MGRS SRGM PDNṠ ṠNDP MGRS
Fourth speed - eight notes per unit
1 2 3 4
SRGMPDNṠ ṠNDPMGRS SRGMPDNṠ ṠNDPMGRS
5 6 7 8
SRGMPDNṠ ṠNDPMGRS SRGMPDNṠ ṠNDPMGRS
Note: While singing four speeds, one must carefully choose a tempo where the 4th speed sounds melodious and feels
comfortable, then, partitition the other speeds, keeping the 8 sub-units of the 4th speed in mind. For example, in 1st speed,
each unit of the tala will have one note like S , , , , , , , R , , , , , , , etc. In 2nd speed, each unit will have 2 notes like S , , , R , , ,
covering 8 units. Similarly, 3rd speed will have 4 notes like S , R , G , M , covering 8 units while the 4th speed will have 8
notes with no pause. There are artistes who have worked upto 6 speeds (32 notes per unit).
14
Jantai Varishai
˙˙
1 S S R R | G G | M M || P P D D | N N | Ṡ Ṡ ||
Ṡ Ṡ N N | D D | P P || M M G G | R R | S S ||
2 S S R R | G G | M M || R R G G | M M | P P ||
G G M M | P P | D D || M M P P | D D | N N ||
P P D D | N N | Ṡ Ṡ || Ṡ Ṡ N N | D D | P P ||
N N D D | P P | M M || D D P P | M M | G G ||
P P M M | G G | R R || M M G G | R R | S S ||
3 S S R R | G G | R R || S S R R | G G | M M ||
R R G G | M M | G G || R R G G | M M | P P ||
G G M M | P P | M M || G G M M | P P | D D ||
M M P P | D D | P P || M M P P | D D | N N ||
P P D D | N N | D D || P P D D | N N | Ṡ Ṡ ||
Ṡ Ṡ N N | D D | N N || Ṡ Ṡ N N | D D | P P ||
N N D D | P P | D D || N N D D | P P | M M ||
D D P P | M M | P P || D D P P | M M | G G ||
P P M M | G G | M M || P P M M | G G | R R ||
M M G G | R R | G G || M M G G | R R | S S ||
4 S S R- S | S R | S R || S S R R | G G | M M ||
R R G- R | R G | R G || R R G G | M M | P P ||
G G M- G | G M | G M || G G M M | P P | D D ||
M M P- M | M P | M P || M M P P | D D | N N ||
P P D- P | P D | P D || P P D D | N N | Ṡ Ṡ ||
Ṡ Ṡ N- Ṡ | Ṡ N | Ṡ N || Ṡ Ṡ N N | D D | P P ||
N N D- N | N D | N D || N N D D | P P | M M ||
D D P- D | D P | D P || D D P P | M M | G G ||
P P M- P | P M | P M || P P M M | G G | R R ||
M M G- M | M G | M G || M M G G | R R | S S ||
5 S S R R | G- S | R G || S S R R | G G | M M ||
R R G G | M- R | G M || R R G G | M M | P P ||
G G M M | P- G | M P || G G M M | P P | D D ||
M M P P | D- M | P D || M M P P | D D | N N ||
P P D D | N- P | D N || P P D D | N N | Ṡ Ṡ ||
Ṡ Ṡ N N | D- Ṡ | N D || Ṡ Ṡ N N | D D | P P ||
N N D D | P- N | D P || N N D D | P P | M M ||
D D P P | M- D | P M || D D P P | M M | G G ||
P P M M | G- P | M G || P P M M | G G | R R ||
M M G G | R- M | G R || M M G G | R R | S S ||
15
6 S , R G | ,- S | R G || S S R R | G G | M M ||
R , G M | ,- R | G M || R R G G | M M | P P ||
G , M P | ,- G | M P || G G M M | P P | D D ||
M , P D | ,- M | P D || M M P P | D D | N N ||
P , D N | ,- P | D N || P P D D | N N | Ṡ Ṡ ||
Ṡ , N D | ,- Ṡ | N D || Ṡ Ṡ N N | D D | P P ||
N , D P | ,- N | D P || N N D D | P P | M M ||
D , P M | ,- D | P M || D D P P | M M | G G ||
P , M G | ,- P | M G || P P M M | G G | R R ||
M , G R | ,- M | G R || M M G G | R R | S S ||
7 S R , G | ,- S | R G || S S R R | G G | M M ||
R G , M | ,- R | G M || R R G G | M M | P P ||
G M , P | ,- G | M P || G G M M | P P | D D ||
M P , D | ,- M | P D || M M P P | D D | N N ||
P D , N | ,- P | D N || P P D D | N N | Ṡ Ṡ ||
Ṡ N , D | ,- Ṡ | N D || Ṡ Ṡ N N | D D | P P ||
N D , P | ,- N | D P || N N D D | P P | M M ||
D P , M | ,- D | P M || D D P P | M M | G G ||
P M , G | ,- P | M G || P P M M | G G | R R ||
M G , R | ,- M | G R || M M G G | R R | S S ||
8 S , R , | G- S | R G || S S R R | G G | M M ||
R , G , | M- R | G M || R R G G | M M | P P ||
G , M , | P- G | M P || G G M M | P P | D D ||
M , P , | D- M | P D || M M P P | D D | N N ||
P , D , | N- P | D N || P P D D | N N | Ṡ Ṡ ||
Ṡ , N , | D- Ṡ | N D || Ṡ Ṡ N N | D D | P P ||
N , D , | P- N | D P || N N D D | P P | M M ||
D , P , | M- D | P M || D D P P | M M | G G ||
P , M , | G- P | M G || P P M M | G G | R R ||
M , G , | R- M | G R || M M G G | R R | S S ||
16
Jantai Varishai in four speeds
˙˙
First speed - one note per unit
1 2 3 4 5 6 7 8
S S R R G G M M
Second speed - two notes per unit
1 2 3 4 5 6 7 8
SS RR GG MM PP DD NN ṠṠ
Third speed - four notes per unit
1 2 3 4 5 6 7 8
SSRR GGMM PPDD NNṠṠ ṠṠNN DDPP MMGG RRSS
Fourth speed - eight notes per unit
1 2 3 4
SSRRGGMM PPDDNNṠṠ ṠṠNNDDPP MMGGRRSS
5 6 7 8
SSRRGGMM PPDDNNṠṠ ṠṠNNDDPP MMGGRRSS
Note: The principle explained in Sarali and Jantai varishais is applicable to all other exercises as well as compositions and
improvisation wherever there is a transition from one speed to another.
17
Dātu Varishai
˙
1 S S M M | R R | G G ||
S S R R | G G | M M ||
R R P P | G G | M M ||
R R G G | M M | P P ||
G G D D | M M | P P ||
G G M M | P P | D D ||
M M N N | P P | D D ||
M M P P | D D | N N ||
P P Ṡ Ṡ | D D | N N ||
P P D D | N N | Ṡ Ṡ ||
Ṡ Ṡ P P | N N | D D ||
Ṡ Ṡ N N | D D | P P ||
N N M M | D D | P P ||
N N D D | P P | M M ||
D D G G | P P | M M ||
D D P P | M M | G G ||
P P R R | M M | G G ||
P P M M | G G | R R ||
M M S S | G G | R R ||
M M G G | R R | S S ||
2 S M G M | R G | S R ||
S G R G | S R | G M ||
R P M P | G M | R G ||
R M G M | R G | M P ||
G D P D | M P | G M ||
G P M P | G M | P D ||
M N D N | P D | M P ||
M D P D | M P | D N ||
P Ṡ N Ṡ | D N | P D ||
P N D N | P D | N Ṡ ||
Ṡ P D P | N D | Ṡ N ||
Ṡ D N D | Ṡ N | D P ||
18
N M P M | D P | N D ||
N P D P | N D | P M ||
D G M G | P M | D P ||
D M P M | D P | M G ||
P R G R | M G | P M ||
P G M G | P M | G R ||
M S R S | G R | M G ||
M R G R | M G | R S ||
3 S R S G | R G | R M ||
S M G R | S R | G M ||
R G R M | G M | G P ||
R P M G | R G | M P ||
G M G P | M P | M D ||
G D P M | G M | P D ||
M P M D | P D | P N ||
M N D P | M P | D N ||
P D P N | D N | D Ṡ ||
P Ṡ N D | P D | N Ṡ ||
Ṡ N Ṡ D | N D | N P ||
Ṡ P D N | Ṡ N | D P ||
N D N P | D P | D M ||
N M P D | N D | P M ||
D P D M | P M | P G ||
D G M P | D P | M G ||
P M P G | M G | M R ||
P R G M | P M | G R ||
M G M R | G R | G S ||
M S R G | M G | R S ||
19
Mēlsthāyi Varishai
1 S R G M | P D | N Ṡ ||
Ṡ , , , | Ṡ , | , , ||
D N Ṡ Ṙ | Ṡ N | D P ||
Ṡ N D P | M G | R S ||
2 S R G M | P D | N Ṡ ||
Ṡ , , , | Ṡ , | , , ||
D N Ṡ Ṙ | Ṡ Ṡ | Ṙ- Ṡ ||
Ṡ Ṙ- Ṡ N | D P | M P ||
D N Ṡ Ṙ | Ṡ N | D P ||
Ṡ N D P | M G | R S ||
3 S R G M | P D | N Ṡ ||
Ṡ , , , | Ṡ , | , , ||
D N Ṡ Ṙ | Ġ Ṙ | Ṡ Ṙ ||
Ṡ Ṙ Ṡ N | D P | M P ||
D N Ṡ Ṙ | Ṡ Ṡ | Ṙ- Ṡ ||
Ṡ Ṙ- Ṡ N | D P | M P ||
D N Ṡ Ṙ | Ṡ N | D P ||
Ṡ N D P | M G | R S ||
4 S R G M | P D | N Ṡ ||
Ṡ , , , | Ṡ , | , , ||
D N Ṡ Ṙ | Ġ Ṁ | Ġ Ṙ ||
Ṡ Ṙ Ṡ N | D P | M P ||
D N Ṡ Ṙ | Ġ Ṙ | Ṡ Ṙ ||
Ṡ Ṙ Ṡ N | D P | M P ||
D N Ṡ Ṙ | Ṡ Ṡ | Ṙ- Ṡ ||
Ṡ Ṙ- Ṡ N | D P | M P ||
20
D N Ṡ Ṙ | Ṡ N | D P ||
Ṡ N D P | M G | R S ||
5 S R G M | P D | N Ṡ ||
Ṡ , , , | Ṡ , | , , ||
D N Ṡ Ṙ | Ġ Ṁ | Ṗ Ṁ ||
Ġ Ṙ Ṡ N | D P | M P ||
D N Ṡ Ṙ | Ġ Ṁ | Ġ Ṙ ||
Ṡ Ṙ Ṡ N | D P | M P ||
D N Ṡ Ṙ | Ġ Ṙ | Ṡ Ṙ ||
Ṡ Ṙ Ṡ N | D P | M P ||
D N Ṡ Ṙ | Ṡ Ṡ | Ṙ- Ṡ ||
Ṡ Ṙ- Ṡ N | D P | M P ||
D N Ṡ Ṙ | Ṡ N | D P ||
Ṡ N D P | M G | R S ||
Suggested exercises in the lower octave
Ṡ N D P | M G | R S ||
Ṇ , , , | Ṇ , | , , ||
N D P M | G R | S Ṇ ||
Ḍ , , , | Ḍ , | , , ||
D P M G | R S | Ṇ Ḍ ||
̣
P , , , | ̣
P , | , , ||
̣
P Ḍ Ṇ S | R G | M P ||
S R G M | P D | N Ṡ ||
21
Alankāram
1 Chaturashra Jāti Dhruva Tālam

˙
|4 0 |4 |4
S R G M | G R | S R G R | S R G M ||
R G M P | M G | R G M G | R G M P ||
G M P D | P M | G M P M | G M P D ||
M P D N | D P | M P D P | M P D N ||
P D N Ṡ | N D | P D N D | P D N Ṡ ||
Ṡ N D P | D N | Ṡ N D N | Ṡ N D P ||
N D P M | P D | N D P D | N D P M ||
D P M G | M P | D P M P | D P M G ||
P M G R | G M | P M G M | P M G R ||
M G R S | R G | M G R G | M G R S ||
2 Chaturashra Jāti Mathya Tālam

˙ ˙
|4 0 |4
S R G R | S R | S R G M ||
R G M G | R G | R G M P ||
G M P M | G M | G M P D ||
M P D P | M P | M P D N ||
P D N D | P D | P D N Ṡ ||
Ṡ N D N | Ṡ N | Ṡ N D P ||
N D P D | N D | N D P M ||
D P M P | D P | D P M G ||
P M G M | P M | P M G R ||
M G R G | M G | M G R S ||
3 Chaturashra Jāti Roopaka Tālam

˙
0 |4
S R | S R G M ||
R G | R G M P ||
G M | G M P D ||
M P | M P D N ||
P D | P D N Ṡ ||
Ṡ N | Ṡ N D P ||
N D | N D P M ||
D P | D P M G ||
P M | P M G R ||
M G | M G R S ||
22
4 Mishra Jāti Jhampa Tālam
˙
|7 0
S R G- S R- S R | G | M , ||
R G M- R G- R G | M | P , ||
G M P- G M- G M | P | D , ||
M P D- M P- M P | D | N , ||
P D N- P D- P D | N | Ṡ , ||
Ṡ N D- Ṡ N- Ṡ N | D | P , ||
N D P- N D- N D | P | M , ||
D P M- D P- D P | M | G , ||
P M G- P M- P M | G | R , ||
M G R- M G- M G | R | S , ||
5 Tishra Jāti Triputa Tālam

˙ ˙
|3 0 0
S R G | S R | G M ||
R G M | R G | M P ||
G M P | G M | P D ||
M P D | M P | D N ||
P D N | P D | N Ṡ ||
Ṡ N D | Ṡ N | D P ||
N D P | N D | P M ||
D P M | D P | M G ||
P M G | P M | G R ||
M G R | M G | R S ||
6 Khanda Jāti Ata Tālam

˙˙ ˙ ˙
|5 |5 0 0
S R , G , | S , R G , | M , | M , ||
R G , M , | R , G M , | P , | P , ||
G M , P , | G , M P , | D , | D , ||
M P , D , | M , P D , | N , | N , ||
P D , N , | P , D N , | Ṡ , | Ṡ , ||
Ṡ N , D , | Ṡ , N D , | P , | P , ||
N D , P , | N , D P , | M , | M , ||
D P , M , | D , P M , | G , | G , ||
P M , G , | P , M G , | R , | R , ||
M G , R , | M , G R , | S , | S , ||
23
7 Sankeerna Jāti Ēka Tālam
˙ ˙
|9
S R , G M , P D N ||
R G , M P , D N Ṡ ||
Ṡ N , D P , M G R ||
N D , P M , G R S ||
24
Practical Exercises - Phase III
Geetam & Tiruppuhazh

Geetams are the simplest musical forms, again pioneered by Purandara Dasa. These combine melody
and rhythm with lyrics.
As a rule, geetams have been composed in the first or second speeds with simple tunes and lyrics.
They are designed primarily to give the learner an introduction to the raga through a definite musical
form. In addition to common talas like Adi, Tishra Triputa (or its abridged form, Mishra Chapu)
and Roopakam, there are also geetams in lesser-used ones like Chaturashra Dhruvam, Chaturashra
Mathyam and Khanda Mathyam.
Geetams can be of two types: sāmānya or lakshana. The lyrics are fairly simple in samanya geetams,
˙ ˙
while lakshana geetams include theoretical details about the raga (raga lakshana). Some composers
have also filled parts of the compositions with vowels like ‘a’ or ‘ae’ or ‘ai’.
Most of the geetams may give an impression of having no well-defined sections while they are rendered
continuously, but a closer study will reveal that a few of them consist of different sections like pallavi,
anupallavi and charanam (technically referred to as khandika). A few well-known composers who have
created geetams, include Purandara Dasa and Pydala Gurumoorthy Shastri. It is almost unknown that
Shyama Shastri, famed for his high-calibre masterpieces, also composed a few simple geetams, some
of which he used to render during his daily worship. In this edition, a few Tamil geetams of various
composers and simple tiruppuhazh-s of Saint Arunagirinathar have also been included.
While rendering most compositions, the artiste has an extra aspect to pay attention to, namely,
lyrics. One must ensure that pronunciation and enunciation are accurate, and that there is clarity
in communicating and projecting the spirit and beauty of the lyrics. Good breath control, combined
with awareness and attention to lyrics and their meanings, will guarantee that words are not split in
inappropriate places, which in turn will enhance the overall quality of music.
25
Introductory (voice culture) exercises for various ragas
1. Students are advised to practise these as both swaras and akaras regularly.
2. These exercises help in
(a) improving their understanding of the raga
(b) improving command over voice (or instrument)
(c) learning compositions with greater ease
(d) enhancing their creativity in the long run
3. More such phrases are given as video lessons in www.acharyanet.com and it is
recommended that students learn these first before attempting to sing the phrases
directly from print.
4. To reiterate, it has been observed that not learning and practising such exercises slows
down the students’ learning by more than 75%.
5. Underlined parts are to be rendered in double speed.
Malahari (15th janyam) S R₁ M₁ P D₁ Ṡ - Ṡ D₁ P M₁ G₃ R₁ S
S R M , , , - G R S , , , - R M P , , , - M P D , , , - P D Ṡ , , , - D Ṡ Ṙ Ṁ , Ġ Ṙ
Ṡ , , , - Ṙ Ṡ D, P , , - D P M G R , , - P M G R S , , - Ḍ , , ,R , , , S , , ,
Dēshākṣhi (28th janyam) S R₂ G₃ P D₂ Ṡ - Ṡ N₂ D₂ P M₁ G₃ R₂ S
S R G P , - M G R G , - P D Ṡ , , - P D Ṡ Ṙ Ġ , , - Ṙ Ġ Ṗ Ṁ Ġ , - Ġ Ṙ Ṡ , - Ṙ Ṡ
, N D P , - D P , M G R , , - G P D Ṡ , N D P M G R , - S Ṇ Ḍ P̣ Ḍ , , S , , ,
Pantuvarāḷi (51st janyam) S R₁ G₃ M₂ P D₁ N₃ Ṡ - Ṡ N₃ D₁ P M₂ G₃ R₁ S

(phrases like D Ṡ can also be used, omitting N)
S R G , , - G M , , - M P D P , , - M P D N , Ṡ , , - N Ṡ Ṙ Ġ , , - Ġ Ṁ Ġ Ṙ , , -
Ġ Ṙ Ṡ , , - Ṙ Ṡ N D , P , , - D P M , , - P M G , , - M G R , , - G R S , , ,
Shuddhasāvēri (22nd janyam) S R₂ M₁ P D₂ Ṡ - Ṡ D₂ P M₁ R₂ S
R M P , , - M P D Ṡ D , - P M R , - S R M , , - R M P D , , - P D Ṡ , - D Ṡ Ṙ Ṁ
Ṙ , Ṡ , , - Ṁ Ṙ Ṡ D , P ,, - M P D ,Ṡ , - P D Ṡ D P M R , - P M R S , - R Ḍ ,,S,,
26
Khamāch (28th janyam) S M₁ G₃ M₁ P D₂ N₂ Ṡ N₃ Ṡ - Ṡ N₂ D₂ P M₁ G₃ R₂ S
S M G M , - N D N P D , , - N , Ṡ , , - N Ṡ Ṁ Ġ , - Ṙ Ṗ Ṁ Ġ Ṙ , Ṡ , - Ṁ Ġ Ṙ Ṡ N
, - Ṙ Ṡ N D , , - Ṡ N D P , , - M G M , , - M G R , S , , - Ṇ Ḍ Ṇ , , - R , , S , ,
Mōhanam (65th janyam) S R₂ G₃ P D₂ Ṡ - Ṡ D₂ P G₃ R₂ S
G D P , , - D Ṡ D P G R S , - R Ḍ , S R G , , R - G P D Ṡ ,, - P D Ṡ Ṙ Ġ ,, - Ṙ Ṗ Ġ Ṙ
, - D Ġ Ṙ Ṡ ,, - Ṙ Ṡ D ,, - Ṡ D P ,, - D G , , - P R ,, - G D P G R S , , - R Ḍ,, S ,,
Nāṭṭai (36th janyam) S R₃ G₃ M₁ P D₃ N₃ Ṡ - Ṡ N₃ P M₁ R₃ S
R S Ṇ S R ,, - G M P M G M R , - G M P ,, - M P N P N Ṡ ,, - N Ṡ Ṙ ,, - Ġ Ṁ Ṙ , Ṡ
N , - Ṡ Ṙ N Ṡ ,, - P N M P ,, - G M PṠ,N - P N P M, - G M P M R ,, - S R Ṇ, S,,
Kalyāṇi (65th mēḷa) S R₂ G₃ M₂ P D₂ N₃ Ṡ - Ṡ N₃ D₂ P M₂ G₃ R₂ S
G ,, RSṆ R ,, - G M R , - G M P ,, - P D ,, - N , D P M - D N Ṡ , - N D Ġ Ṙ,- N
Ṙ Ġ ,, ṘṠN - Ṙ N ,D P M - G N D, - G D P, M G,R ,- P MG R S Ṇ - R Ḍ ,Ṇ S,,
Navarōj (29th janyam) P̣ Ḍ₂ Ṇ₃ S R₂ G₃ M₁ P – P M₁ G₃ R₂ S Ṇ₃ Ḍ₂ P̣
P̣ Ḍ Ṇ S , - R G M G , - G R S Ṇ , , - Ḍ , , - Ḍ Ṇ , P̣ , , - Ḍ Ṇ S , - R G M , , - G M
P , , - P M G , , - P M G R , , - M G R S Ṇ , , - G R S Ṇ Ḍ , , - Ṇ P̣ , - R , , - S , ,
Ānandabhairavi (22nd janyam) S G₂ R₂ G₂ M₁ P D₂ P Ṡ - Ṡ N₂ D₂ P M₁ G₂ R₂ S

(D, N and G are also used at times)
S G R G ,, - G M P ,, - D P M, G, R - G M P M, - P Ġ Ṙ Ṡ ,, - Ṙ Ṡ N,, - Ṡ Ṁ Ġ Ṙ
Ṡ ,- P Ṙ Ṡ N D P,, - M P D P Ṡ, - P D P M ,, - G R G , - P M G R S ,, - GR Ṇ ,S,,
Nāgaswarāvaḷi (28th janyam) S G₃ M₁ P D₂ Ṡ - Ṡ D₂ P M₁ G₃ S
S G M , , - G M P , , - M P D , , - P D Ṡ , , - D Ṡ Ġ , , - Ṁ Ṗ Ṁ Ġ Ṡ , , - Ġ Ṡ
D , , - P D Ṡ D , P , - D Ṡ D P M , , - M G P M , G , , - M G S , , - G Ḍ S , ,
Ārabhi (29th janyam) S R₂ M₁ P D₂ Ṡ - Ṡ N₃ D₂ P M₁ G₃ R₂ S
R P M G R , - S Ṇ Ḍ , - R S R ,, - R M P D , P , - M P D , Ṡ , - Ṡ N D,Ṙ Ṡ Ṙ , - Ṙ Ṗ
Ṁ Ġ Ṙ, - D Ṙ Ṡ N D, - P M G R, - M D Ṙ ,-D Ṡ , -P D Ṡ D P M G R ,- S Ṇ Ḍ,R S ,,
27
Kāmbhōdhi (28th janyam) S R₂ G₃ M₁ P D₂ Ṡ - Ṡ N₂ D₂ P M₁ G₃ R₂ S Ṇ₃ P̣ Ḍ₂ S
M G P D Ṡ , , - D Ṙ N , D P D , , - D Ṡ Ṙ Ġ Ṁ Ġ Ṙ Ṡ ,, - D Ṙ Ṡ N , D P ,, - M P D
Ṡ D P M G , - M G R S R , , - D P , - P M G , - M G R , S , , - G R S Ṇ P̣ Ḍ , , S , ,
Shahānā (28th janyam) S R₂ G₃ M₁ P M₁ D₂ N₂ Ṡ - Ṡ N₂ D₂ P M₁ G₃ M₁ R₂ G₃ R₂ S
Ṇ S RG,R R ,, - R G M P ,, - M D ,, - N , D P M - D N Ṡ , , - N Ṡ Ṙ ,, - Ṗ Ṁ Ġ
Ṁ Ṙ, - Ġ Ṙ Ṡ ,- Ṙ Ṡ N Ṡ D,Ṡ N D P ,, - D P M, - D P M G M R, - G R,S, Ṇ R ,S,,
Varāḷi (39th janyam) S G R G M P D N₃ Ṡ - Ṡ N₃ D₁ P M G R₁ S
S Ṇ G ,, - M ,, - D P M G , R S Ṇ - S P M G , - M P D N D P M , - D N M, - D N Ṡ
, -Ṙ Ṡ N Ġ ,, - Ṗ Ṁ Ġ ,Ṙ Ṡ N, -Ṙ N D P M, -N D P M G ,, - G R R ,, -S R Ṇ ,, S,,
Shankarābharaṇam (29th mēḷa) S R₂ G₃ M₁ P D₂ N₃ Ṡ - Ṡ N₃ D₂ P M₁ G₃ R₂ S
S R , - G M P ,, - M P D N Ṡ ,, - Ṡ N Ṡ Ṙ ,, - Ġ Ṁ Ġ Ṙ , Ṡ ,, - Ṡ N Ṙ Ṡ N Ṡ ,D ,,
- Ṡ N D P,, - M G M ,, - N D P M G R S Ṇ S R ,, - G ,, M P M G R,S ,, - S ḌṆS ,,
Hindōḷam (20th janyam) S G₂ M₁ D₁ N₂ Ṡ - Ṡ N₂ D₁ M₁ G₂ S
S G M , - G M D , - N D M , D N Ṡ , - N Ṡ Ṁ Ġ Ṡ , - Ġ Ṡ N D , - Ṡ N DM , -
D M D G , - G M D , , - G M , G S , , - G S Ḍ , , Ṇ , , S , ,
Gowḷa (15th janyam) S R M₁ P N₃ Ṡ - Ṡ N₃ P M₁ R₁ G₃ M₁ R₁ S
S R P M G M R , - S Ṇ , - S R M P , - M P N ,, - P N Ṡ , , - N Ṡ Ṙ , - Ṡ Ṙ Ġ Ṁ Ṙ , -
Ṗ Ṁ Ġ Ṁ Ṙ , - Ṡ N , - Ṡ N Ṙ Ṡ N P , , - N P M , - P M G M R , , S Ṇ P̣ , , - R , S , ,
Neelāmbari (29th janyam) S R₂ G₃ M₁ P N₃ Ṡ - Ṡ N₃ (D₂ N₃) P M₁ G₃ R₂ G₃ S

(N₂ is also used at times)
S R G M , - G M P , - N P P M G - R G M G, S , - Ṇ S P G M ,- G M P N M, P Ṡ , ,
- N Ṡ Ṗ Ṁ Ġ Ṙ Ġ Ṡ , - Ṙ Ṡ N D N Ṡ N P , - P D N2 P D P - P M G , - R P M G R G , S , ,
Bēgaḍa (28th janyam) S G₃ R₂ G₃ M₁ P D₂ P Ṡ N₃ D₂ P Ṡ - Ṡ N₂ D₂ P M₁ G₃ R₂ S
S G R G , , - M , , G R S , - G R G M P D , P , - M P D P D N , D P , - D P Ṡ , -
P Ṡ Ġ , - Ġ Ṙ Ṁ , Ġ Ṙ Ṡ , - P Ṙ N , D P - M D M , G R S , - S Ṇ 3 Ḍ , P̣ R , S , ,
28
Bhairavi (20th janyam) S G R G M₁ P D₂ N₂ Ṡ - Ṡ N₂ D₁ P M₁ G₂ R₂ S
S G R G M P D , P , , - D P M , , - D P G , R S , - R G M P D M , , - P D N , - D N
Ṡ ,, - N Ġ Ṙ Ġ Ṁ Ġ Ṙ Ṡ , - Ṙ Ṡ N , D P M , , - N D , P M G , R ,, - G R S Ṇ ,, S , ,
Dhanyāsi (8th janyam) S G₂ M₁ P N₂ Ṡ - Ṡ N₂ D₁ P M₁ G₂ R₁ S
S G M , , - G M P , , - G M P N , - P N Ṡ , , - N Ṡ Ṁ , Ġ , , - Ṁ Ġ Ṙ Ṡ , , - N Ṙ Ṡ
D , P , - P M G , , - D P G , R S , - R S Ḍ , P̣ , , - P̣ Ṇ , , - S G R S R Ṇ , S , ,
Sāvēri (15th janyam) S R M₁ P D₁ Ṡ - Ṡ N₃ D₁ P M₁ G₃ R₁ S
S R M P D P , , - M P D M G , R S R , , - M P D P D Ṡ , , - P D Ṡ Ṙ Ġ Ṙ , - Ġ Ṙ ,
Ṡ , , - Ṙ Ṡ N D , , - N D P M , , - P D M G , R , - P M G R , - G R S , ,
Yadukulakāmbhōdhi (28th janyam) S R₂ M₁ P D₂ Ṡ - Ṡ D₂ P M₁ G₃ S R₂ S

(The raga also uses phrases such as 1. S R₂ G₃ , , 2. N₂ Ṡ , , N₂ D₂ , 3. M₁ G₃ R₂ etc at times)
S R M ,, - G M P ,, - M P D ,, - P M P D Ṡ ,, - Ṡ Ṙ ,, - Ṁ Ġ Ṡ ,, - Ṡ N N Ṡ , , N
D , , - Ṡ D P , , - D P M , , - M P D Ṡ P , - M P , M G , - R , , - M G S , R , - P̣ Ḍ , , S , ,
Shree (22nd janyam) S R M₁ P N₂ Ṡ - Ṡ N₂ (P D₂ N₂) P M₁ R₂ G₂ R₂ S
R M P, , - P M R G , , R S , - R M P N M , , - P N Ṡ , , - N Ṡ Ṙ , - Ṗ Ṁ Ṙ Ġ , Ṙ Ṡ ,
- Ġ Ṙ Ṙ Ṡ N , , - Ṙ Ṡ N P , - Ṡ N P M , - P N P M R , - G R S , - Ṇ P̣ , , R , S , ,
29
Lesson 1
Geetam
Malahari (15th mēla janyam) Roopakam

˙
S R1 M1 P D1 Ṡ | Ṡ D1 P M1 G3 R1 S ||
C.1. M P | D Ṡ Ṡ Ṙ || Ṙ Ṡ | D P M P ||
shree . | ga na na¯ tha || sin doo | . ra var na ||
˙ ˙
R M | P D M P || D P | M G R S ||
ka ru | na sā ga ra || ka ri | va da na . ||
˙
P. S R | M , G R || S R | G R S , ||
lam . | bō . da ra || la ku | mi ka ra . ||
R M | P D M P || D P | M G R S ||
am . | bā . su ta || a ma | ra vi nu ta ||
S R | M , G R || S R | G R S , ||
lam . | bō . da ra || la ku | mi ka ra . ||
C.2. M P | D Ṡ Ṡ Ṙ || Ṙ Ṡ | D P M P ||
sid dha | chā . ra na || ga na | sē . vi ta ||
˙ ˙
R M | P D M P || D P | M G R S ||
sid dhi | vi nā ya ka || tē . | na mō na mō ||
(lambōdara lakumikara)
C.3. M P | D Ṡ Ṡ Ṙ || , Ṡ | D P M P ||
sa ka | la vi dyā . || . di | poo . ji ta ||
R M | P D M P || D P | M G R S ||
sa r | vō t ta ma || tē . | na mō na mō ||
(lambōdara lakumikara)
Lambōdara lakumikara:
O Lord Vinayaka, son of Parvati, my obeisance to you. You are red in hue, an ocean of mercy sport-
ing an ample belly, bestower of auspiciousness, worshipped by celestials such as the devas, siddhasand charanas,
and are hailed as the root of all arts.
30
Lesson 2
Geetam
Malahari (15th mēla janyam) Roopakam

˙
C.1. D P | M G R S || R M | P D M P ||
kun da | gow . . ra || gow . | ree . va ra ||
D Ṙ | Ṙ Ṡ D P || D , | P M G R ||
man di | rā . . ya || mā . | na ma ku ta ||
˙
P. S , | R S R , || D P | M G R S ||
man . | dā . ra . || ku su | mā . ka ra ||
S R | M , G R || S R | G R S , ||
ma ka | ran . dam . || vā . | si tu vā . ||
C.2. D P | M G R S || R M | P D M P ||
hē . | ma koo . ta || sim . | hā . sa na ||
˙
D Ṙ | , Ṡ D P || D P | M G R S ||
vi roo | . pā . ksha || ka ru | nā . ka ra ||
˙ ˙ (mandāra...vāsituvā)
C.3. D P | M G R S || R M | P D M P ||
chan da | mā . . ma || man . | dā . ki ni ||
D Ṙ | Ṙ Ṡ D P || D , | P M G R ||
man di | rā . . ya || mā . | na ma ku ta ||
˙ ā)
(mandāra...vāsituv
Kunda gowra:
O Lord of Gowri, you are white as the jasmine flower, with a crown that resembles a mighty temple
tower. Fragrant, three-eyed and merciful, you adorn a golden throne. The moon and the river Ganges reside in
your locks.
31
Lesson 3
Geetam
Malahari (15th mēla janyam) Tishra Triputa

˙ ˙
C.1. D Ṡ Ṡ | D P | M P || D D P | M M | P , ||
ke re ya | nee . | ra nu || ke re ge | chal . | li . ||
D D Ṡ | D P | M P || D D P | M G | R S ||
va ra va | pa de | da va || ran . te | kā . | ni rō ||
˙ ˙
P. S R R | S R | S R || D D P | M G | R S ||
ha ri ya | ka ru | na do || lā . da | bhā . | gya va ||
˙ ˙
D P D | Ṡ , | D P || D D P | M G | R S ||
ha ri sa | mar . | pa nē || mā . di | ba du | ki ro ||
˙ ˙
C.2. D Ṡ Ṡ | D P | M P || D D P | M M | P P ||
shree . pu | ran . | da ra || vi tha la | rā . | ya na ||
˙
D D Ṡ | D P | M P || D D P | M G | R S ||
cha ra na | ka ma | la va || nam . bi | ba du | ki ro ||
˙ (hariya...badukiro)
Kereya neeranu:
Those who regard everything in life as God’s gift and surrender entirely to Him, receive His blessings.
Purandara Dasa has compared this to offering the water of a lake unto itself.
32
Lesson 4
Geetam
Malahari (15th mēla janyam) Tishra Triputa

˙ ˙
P. R S D | S , | S , || M G R | M M | P , ||
pa du ˙ |
ma nā . | bha . || pa ra ma | pu ru | sha . ||
˙
S D , | D P | M P || D D P | M G | R S ||
pa ran . | jyō . | . ti || swa roo . | pa . | . . ||
R S D | S , | S , || M G R | M M | P , ||
vi du ˙
ra | van . | dya . || vi ma la | cha ri | ta . ||
S D , | D P | M P || D D P | M G | R S ||
vi han . | gā . | . di || rō . ha | na . | . . ||
˙
A.P. P M P | D Ṡ | D Ṡ || Ṙ Ṡ D | D Ṡ | D P ||
u da dhi | ni vā | . sa || u ra ga | sha ya | na . ||
D , P | P , | M G || R M M | P , | , , ||
un . na | tō n | na ta || ma hi . | ma . | . . ||
D D P | P , | P M || G R M | M G | R S ||
ya du ku | lō t | ta ma || yag . nya | rak . | sha ka ||
˙
S , S | D , | D P || P , P | M G | R S ||
yag . nya | shik . | sha ka || rā . ma | nā . | . ma ||
˙ (padumanābha)
C. D Ṡ , | D P | M P || D D P | M G | R S ||
vi bhee . | sha na | pā . || la ka . | na mō | na mō ||
˙ ˙
Ṙ Ṡ , | D P | M P || D D P | M G | R S ||
i bha . | va ra | dā . || ya ka . | na mō | na mō ||
P M P | D Ṡ | D Ṡ || Ṙ Ṡ D | D S˙ | D P ||
shu bha . | pra da | su ma || no¯ . ra | da . | .- su ||
D D P | P , | P M || G R M | P , | , , ||
rē n dra | ma . | nō . || ran . ja | na . | . . ||
D D P | P , | , M || G R M | M G | R S ||
a bhi na | va . | . pu || ran . da | ra . | .- vi ||
33
S , S | D , | D P || P , P | M G | R S ||
tha . la | bhal . | la rē || rā . ma | nā . | . ma ||
˙ (padumanābha)
Padumanābha:
O Supreme one with the lotus emerging from your navel, your form is radiant. You are worshipped by
Vidura. You enjoy an unblemished record and have Garuda, the divine eagle, as your vehicle. You reside in
the ocean and repose on the serpent king Adishesha. The finest among the Yadavas, you have formulated and
protected the rules of the sacrificial rites (yagnyas). You bear the name of Rama, have saved Vibheeshana,
liberated the elephant king Gajendra and and have warmed the heart of Devendra, king of the gods.
34
Lesson 5
Geetam
Dēshākshi (28th mēla janyam) Tishra Triputa

˙ ˙ ˙
S R2 G3 P D2 Ṡ | Ṡ N2 D2 P M1 G3 R2 S ||
Ṁ Ġ Ṙ | Ṁ Ġ | Ṙ Ṡ || Ṡ N D | Ṡ , | Ṙ Ṙ ||
bha ya sa | ma ya | dē . || vun . ni | dē . | va shree ||
Ṁ Ġ Ṙ | Ṡ N | D P || D , P | M G | R G ||
ven . ka | tā . | cha la || dē . va | nal . | la rē ||
˙
G P D | P D | P D || Ṡ N D | Ṡ , | , , ||
ke ra la | ma na | da ni || su va . | rē . | . . ||
˙ ˙
Ṁ Ġ Ṙ | Ṁ Ġ | Ṙ Ṡ || Ṡ N D | Ṡ , | Ṙ Ṙ ||
shree . pu | ran . | da ra || vi tha la | rā . | ya shree ||
˙
Ṁ Ġ Ṙ | Ṡ N | D P || D , P | M G | R G ||
ven . ka | tā . | cha la || dē . va | nal . | la rē ||
˙
G P D | P D | P D || Ṡ N D | Ṡ , | , , ||
ke ra la | ma na | da ni || su va . | rē . | . . ||
˙ ˙
Bhaya samaya:
Who can rid one of one’s unsteady and wavering mind, but the Lord of Venkatachala, who is known
to vanquish fear in his devotees’ hearts?
35
Lesson 6
Geetam
Pantuvarāli (51st mēla janyam) Ādi

˙ ˙
S R1 G3 M2 P D1 N3 Ṡ | Ṡ N3 D1 P M2 G3 R1 S ||
P M G R G R S Ṇ | S R G , | M R G , ||
shree. ga ṇa pa ti yē . | sha ra ṇam . | sha ra ṇam . ||
G , M P P D P , | P M G R | G M P , ||
naṛ . gu ṇa ni dhi yē . | sha ra ṇam . | sha ra ṇam . ||
D M D N Ṡ Ṙ Ṡ N | Ġ Ṙ Ṡ N | D N Ṡ , ||
sun . da ra mu kha nē . | sha ra ṇam . | sha ra ṇam . ||
Ṡ , N D N D P M | G D P M | G R S , ||
van . da ruḷ pu ri vāi . | sha ra ṇam . | sha ra ṇam . ||
S , S R G M P , | P , M D | P , , , ||
pan . tu va rā . ḷi . | rā . gam i | du . . . ||
S R G M P D N Ṡ | Ṡ N D P | M G R S ||
sa ri ga ma pa da ni sa | sa ni da pa | ma ga ri sa ||
S , S R G M P , | P , M D | P , , , ||
pan . tu va rā . ḷi . | rā . gam i | du . . . ||
G M P D N , Ṡ , | N D N Ṡ | N Ṙ Ṡ , ||
ta mizh i shai yin . sā . | dā . ri paṇ | . ṇi dē . ||
Ṡ N D P M G R S | S R G M | P D N Ṡ ||
sa ni da pa ma ga ri sa | sa ri ga ma | pa da ni sa ||
G M P D N , Ṡ , | N D N Ṡ | N Ṙ Ṡ , ||
ta mizh i shai yin . sā . | dā . ri paṇ | . ṇi dē . ||
Ṡ , Ṙ Ġ , Ṁ Ġ Ṙ | Ġ Ṙ Ṡ N | D N Ṡ , ||
in . da gee . ta ma dil | un nai pō . | ṭṛi ḍu vōm . ||
36
Ṡ , N D N D P M | G M D M | G R G , ||
van . da ruḷ pu ri vāi . | sha ra ṇam . | sha ra ṇam . ||
G , , , , , P M | G R , , | , , G R ||
. . . . . . sha ra | ṇam . . . | . . sha ra ||
S , , , , , , , | , , , , | , , , , ||
ṇam . . . . . . . | . . . . | . . . . ||
Shree Ganapatiy¯
e:
˙
O handsome Vinayaka, I salute you with this geetam in raga Pantuvarali, also known as Sadari Pann
in Tamil music. You are full of great qualities. Please come and shower your benevolence upon me.

37
Lesson 7
Geetam
Shuddhasāvēri (22nd mēla janyam) Tishra Triputa

˙ ˙
S R2 M1 P D2 Ṡ | Ṡ D2 P M1 R2 S ||
Ṙ Ṁ Ṙ | Ṙ Ṡ | D Ṡ || Ṡ , Ṡ | D P | M P ||
ā . na | lē . | ka ra || un . ni | pō . | la di ||
D D Ṡ | D , | D P || P M R | D , | D P ||
sa ka la | shā . | stra pu || rā . na | dee . | nam . ||
˙
P , M | D , | D P || P , P | M P | D P ||
tā . la | dee . | nam . || tā . la | pa ri | ga tu ||
˙ ˙
P M R | S R | S R || P M P | S R | S R ||
rē . . | . . | . . || rē . . | . . | . . ||
P P D | P P | M R || R S R | M , | M , ||
rē . . | . . | . . || sē . tu | vā . | ha . ||
D P D | Ṡ , | Ṡ , || Ṙ Ṙ Ṡ | D P | M P ||
pa ri ga | tam . | nam . || ja tā . | joo . | . ta ||
˙ ˙
(sakala...parigatamnam)
Ānalēkara:
Even as we watch, the water stored in a tank leaks through another outlet. In the same manner, my
life too has been wasted without the awareness of the ancient texts and scriptures (shastras & puranas).
38
Lesson 8
Tiruppuhazh
th
Khamāch (28 mēḷa janyam) Khaṇḍa Chāpu
S M G M P D N Ṡ N Ṡ | Ṡ N D P M G R S ||
P Ṡ N D P || D P M G M ||
i ra vu pa har || pa la kā . lum ||
S M G M N || D N Ṡ , Ṡ ||
i yal i shai mut || ta mizh koo . ṛi ||
D N Ġ Ṙ Ṡ || Ṙ Ṡ N D N ||
ti ṛa ma da nai || te ḷi vā . ha ||
Ṙ Ṡ N D P || M G M N D ||
ti ru va ru ḷai || ta ru vā . yē ||
D N Ṡ Ġ Ṙ || Ṗ Ṁ Ġ Ṙ Ṡ ||
pa ra ka ru ṇai || pe ru vāzh . vē ||
Ṁ Ġ Ṙ Ṡ N || Ġ Ṙ Ṡ N D ||
pa ra shi va tat || tu va gnyā . na ||
D N Ṙ Ṡ Ṙ || N Ṡ N D P ||
a ran a ruḷ sat || pu dal vō . nē ||
M G M N D || D N Ṡ , Ṡ ||
a ru ṇa gi ri || pe ru mā . ḷē ||
Iravu pahar:
O son of Shiva, Lord Muruha, please bless me so that I am able to sing your praises day and
night.
39
Lesson 9
Geetam
Mōhanam (65th mēla janyam) Roopakam

˙
S R2 G3 P D2 Ṡ | Ṡ D2 P G3 R2 S ||
G G | P , P , || D P | Ṡ , Ṡ , ||
va ra | vee . nā . || mr du | pā . ni . ||
˙ ˙
Ṙ Ṡ | D D P , || D P | G , R , ||
va na | ru ha lō . || cha na | rā . ni . ||
˙
G P | D Ṡ D , || D P | G , R , ||
su ru | chi ra bam . || bha ra | vē . ni . ||
˙
G G | D P G , || P G | G R S , ||
su ra | nu ta kal . || yā . | . . ni . ||
˙
G G | G G R G || P G | P , P , ||
ni ru | pa ma shu bha || gu na | lō . la . ||
˙
P G | D P D , || D P | Ṡ , Ṡ , ||
ni ra | ta ja ya . || pra da | shee . la . ||
D Ġ | Ṙ , Ṙ Ṡ || D Ṡ | D , D P ||
va ra | da . pri ya || ran ga | nā . ya ki ||
G P | D Ṡ D P || D P | G G R S ||
¯
van . | chhi ta pha la || da¯ . | . . ya ki ||
S R | G G , , || G R | P G R , ||
sa ra | si jā . . || sa na | ja na nee . ||
S R | S G R S || , , | , , , , ||
ja ya | ja ya ja ya || . . | . . . . ||
Varaveenā:
˙
(O Lakshmi!) You hold the divine veena in your soft hands, your eyes are like lotus petals and your
curly tresses resemble the bees. Devas worship your auspicious form, which shines with virtuous qualities, and you
delight in bestowing success. You are the consort of Ranganatha and grant the strength that is desired by your
devotees. Mother of Brahma, may victory be yours.

40
Lesson 10
Geetam
Nāttai (36th mēla janyam) Chaturashra Ēkam

˙˙ ˙
S R3 G3 M1 P D3 N3 Ṡ | Ṡ N3 P M1 R3 S ||
A.P. Ṡ Ṡ N P P M G M || P Ṡ Ṡ N P N Ṡ , ||
ha ri ha ra vi nu . ta || a ma ra poo ji tu rē . ||
P. S M M M R G M P || M , R S S , N P ||
vā . ma na roo . . pa || ē . . ka dan . ˙. ˙
ta ||
D N S R R S R , || Ṡ , N P M R R S ||
˙
cha ˙
tu . r bhu . ja . || lam . bō . da ru rē . ||
C. M M R S R R S N || N , P M P , P , ||
sa ka la si d dhi pha ˙
la || dā . ya ku rē . rē . ||
P Ṡ Ṡ N P N P M || G M P N P N Ṡ , ||
pā . shān . ku sha dha ra || vi shā . na dha ru rē . ||
˙ ˙
P. S M M M R G M P || M , R S Ṡ , N P ||
vā . ma na roo . . pa || ē . . ka dan . . ta ||
D N Ṡ Ṙ Ṙ Ṡ Ṙ , || Ṡ , N P M R R S ||
cha tu . r bhu . ja . || lam . bō . da ru rē . ||
Harihara vinuta:
(O Vinayaka!) Vishnu, Shiva and other celestials salute you. Short in stature, with one tusk, four hands
and a large paunch, you bestow the capacity for many special attainments and hold the pasha (lasso), ankusha
(arrow) and vishana (tusk).
41
Lesson 11
Geetam
Kalyāni (65th mēlakarta) Mishra Chāpu

˙ ˙
A.P. Ṡ Ṡ Ṡ | N D | N Ṡ || N D P | D P | M P ||
ka ma la | jā . | da la || vi ma la | su na | ya na ||
˙
G M P | P D | D N || D P M | M G | R S ||
ka ri va | ra da | ka ru || nām . bu | dhē . | . . ||
˙
P. N D D | G R | G , || M P , | M G | R S ||
˙
ka ˙
ru n˙a | sha ra | dhē . || ka ma . | lā . | . . ||
˙
R , , | S , | , , || , , , | , , | , , ||
kā . n | ta . | . . || . . . | . . | . . ||
C. G M P | M P | D P || N D P | D P | M P ||
kē . shi | na ra | kā . || su ra vi | bhē . | da na ||
G M P | P D | D N || D P M | M G | R S ||
va ra da | vē . | . la || pu ra su | rō t | ta ma ||
(karuna sharadhē kamalā kānta)
˙
Kamalajādala:
˙
O merciful one with lotus-like eyes, you showed kindness to the elephant king, Gajendra. You, the Lord
of Lakshmi, slew the demons Keshi and Naraka. Varada, you who are the foremost among devas, reside in the
city of Velapura.

42
Lesson 12
Geetam
Navarōj (29th mēla janyam) Roopakam

˙
P D2 N3 S R2 G3 M1 P | P M1 G3 R2 S N3 D2 P ||
˙ ˙ ˙ ˙ ˙ ˙
D N | S R G , || R G | M , G R ||
˙
gi ri˙ | dha ra mā . || ma va | mā . dha va ||
G M | G , R S || G R | S N D , ||
ha ri | kē . sha va || sa ra | si ˙
ja ˙
lō . ||
S N | D D P , || D N | S R G , ||
cha ˙
na | ˙
ka ˙
ru n˙ā . || ˙
sa li˙ | la ni dhē . ||
˙
R G | M , G R || G R | S , S , ||
bhu va | nā . va na || kam . | sā . rē . ||
M G | M P M G || P P | M P M G ||
su ru | chi ra gu na || su ra | mu ni ga na ||
˙ ˙
R G | M P M G || R G | M G R S ||
vi nu | ta cha ra na || ka lu | sha ha ra na ||
˙ ˙
(sarasija ˙ ārē)
lōchana...kams
Giridhara:
O Giridhara (Krishna), protect me. You are the husband of Lakshmi and are also known as Hari and
Keshava. You have eyes like the lotus and are an ocean of mercy. You preserve the entire world and are the
enemy of Kamsa. You are the abode of numerous admirable qualities and are worshipped by sages and devas.
43
Lesson 13
Geetam
Ānandabhairavi (22nd mēla janyam) Chaturashra Ēkam

˙
S G2 R2 G2 M1 P D2 P Ṡ | Ṡ N2 D2 P M1 G2 R2 S ||
A.P. P M P Ṡ Ṡ , N Ṡ || Ġ Ṙ Ṡ Ṡ N D P M ||
ka ma la su lō . cha ni || vi ma la ta tā . ki ni ||
˙
P. P P , Ṡ N D P M || G M P M G R S , ||
ma rā . la gā . mi ni || ka ri ha ra ma . dhyē . ||
˙
S , N S G R G M || G M P M G R S , ||
bim . b˙ā . . . na na || vi dhu man . da la rē . ||
˙ ˙
C. P , M G M , G R || G , R N S , , , ||
chan . da na kun . ku ma || san . ka li˙ ta . . . ||
P P M G M G , R || G G R N S , , , ||
pa ri ma la kas too . ri || ti la ka ˙
dha rē . . . ||
˙
S G R G M G M , || P D P M P Ṡ N Ṡ ||
jā . . ji shai . yā . || ka cha ku cha gha na ja gha ||
Ġ Ṙ Ṙ ˙
S N D P M ||
nƗm . . . bo¯ . . ja ||
(marāla gāmini ... mandalarē)
˙ ˙˙
Kamalasulōchani:
O lotus-eyed Devi, your gait is as the swan’s and your waist is as thin as the lion’s. Your face is
radiant like the moon. The mixture of sandal and vermilion on your body fills the air with a lovely fragrance. Your
beautiful form lies on a bed of jasmine flowers.
44
Lesson 14
Geetam
Nāgaswarāvali (28th mēla janyam) Roopakam

˙ ˙
S G3 M1 P D2 Ṡ | Ṡ D2 P M1 G3 S ||
P D | Ṡ D P , || P M | G M G S ||
shi va | ne ṛi yē . || mē . | len . ṛu . ||
G S | M G M , || G M | P M P , ||
te ri | vit . ta . || ti ru | vā . ḷā . ||
D P | D Ṡ D P || M G | P M G , ||
ti ru | mu ṛai shei . || nā . | va ra shē . ||
S G | P M G S || Ḍ ̣
P | Ḍ , S , ||
shi va | na ḍi yē . || chin . | tik . kum . ||
S G | M G M , || G M | P , D , ||
ta va | mu dal vā . || u ḷa | mā . ṛa . ||
P D | Ṡ D Ṡ , || D Ṡ | Ġ Ṁ Ġ , ||
pa ḍai | tān . gum . || ta hai | yō . nē . ||
Ṡ , | Ġ Ṁ Ġ Ṡ || D Ṡ | D P M P ||
tāḷ . | pa ṇi yum . || ta mi | yēr . ku . ||
D Ṡ | D , P , || M G | P M G , ||
ta ru | vāi . un . || dan . | a ru ḷē . ||
, , | , , M G || S G | , S , , ||
. . | . . a ru || ḷē . | . . . . ||
Shivaneriy¯
e:
O Saint Tirunavukkarashar, you have established the merits of worshipping Lord Shiva by personal
example. You shower your blessings on those who salute you.

45
Lesson 15
Geetam
Ārabhi (29th mēla janyam) Mishra Chāpu

˙
S R2 M1 P D2 Ṡ | Ṡ N3 D2 P M1 G3 R2 S ||
P , P | M M | P , || M G R | S R | M G ||
rē . rē | shree . | rā . || . . ma | chan . | . . ||
R R S | N D | R S || R , , | , , | S R ||
. . . | ˙. ˙. | . . || dra . . | . . | ra ghu ||
M G R | R S | S , || P , M | P , | P , ||
vam . sha | ti la | ka . || rā . gha | vēn . | dra . ||
P M P | M G | R R || M G R | S R | S S ||
a . . | . . | . . || . . . | . . | . . ||
D D R | S R | S N || D S , | N D | D P ||
a˙ ˙. . | . . | . ˙. || ˙. . . | ˙
shri ˙
ta | ˙
ja ˙
na ||
P M P | D S | S , || R S R | M G | R R ||
p˙ō ˙. sha
˙ | ˙
ku . | rē . || see . . | tā . | . ma ||
˙
M G R | M M | P M || P , P | P , | P , ||
nō . . | ran . | ja na || rē . rē | dhee . | ra . ||
P M P | D Ṡ | Ṡ Ṙ || Ṁ Ġ Ṙ | Ṡ Ṙ | Ṡ , ||
rā . va | nā . | su ra || an . ta | ku . | rē . ||
˙
Ṡ , Ṡ | D D | D P || P M P | M G | R M ||
dee . na | ja na | man . || dā . ra | mā . | ma va ||
P , P | M M | P , || M G R | S R | M G ||
rē . rē | shree . | rā . || . . ma | chan . | . . ||
R R S | N D | R S || R , , | S , | , , ||
. . . | ˙. ˙. | . . || dra . . | . . | . . ||
Rē rē Shree Rāmachandra:
O Ramachandra, you are the beacon of your dynasty, Raghuvamsha. You watch over the devas and
give delight to Sita. You vanquished Ravana and you fulfil the desires of your devotees. Lord, please protect me.
46
Lesson 16
Geetam
th
Kāmbhōdhi (28 mēḷa janyam) Chaturashra Ēkam
S R G M P D Ṡ | Ṡ N D P M G R S Ṇ P̣ Ḍ S ||
Ṡ , N P D , Ṡ , || D Ṡ Ṙ Ġ Ṁ Ġ Ṙ Ṡ ||
man. da ra dhā . rē . || mō . kṣha mu rā . . rē ||
Ṙ , Ṡ Ṡ N N D P || D , P M G M P , ||
dai . tya ku lān . ta ka || pā . va na moor . tē . ||
M P D Ṡ N N D P || D D P M M G R S ||
pa da shu bha rē . . kha || ma ku ṭa ma yoo . . ra ||
M P P D D Ṡ Ṡ Ṙ || Ṙ Ṗ Ṁ Ġ Ṙ Ġ Ṙ Ṡ ||
a . . . . . . . || a . . . . . . . ||
(daitya . . . mayoora)
Mandara dhārē:
You held the mountain, Mandara (in your incarnation as Koorma, the tortoise). You grant salvation
and are the enemy of demons like Mura. You ring the death-knell for demons. You have a pristine form and your
crown is adorned with peacock feathers.
47
Lesson 17
Tiruppuhazh
Shahānā (28th mēla janyam) Sankeerna Chāpu

˙ ˙
S R2 G3 M1 P M1 D2 N2 Ṡ | Ṡ N2 D2 P M1 G3 M1 R2 G3 R2 S ||
R , | R , | G M | P | , P || P M | G M | R R | G | R S ||
tee . | rā p | pi ni | tee | . ra || jee . | vāt . | tu ma | gnyā | . na ||
˙
P M | D Ṡ | N D | P | , M || G M | R , | G M | P | , P ||
oo . | rāt . | shi ya | dā | . na || ōr . | vāk k | a rul | vā | . yē ||
˙ ˙
P M | D N | Ṡ Ṙ | Ṡ | , Ṡ || Ṙ Ġ | Ṁ Ṙ | Ṙ Ṙ | Ġ | Ṙ Ṡ ||
pā . | rōr . | ki rai | shē | . yē || bā . | lā . | gi ri | rā | . jē ||
˙
D Ṙ | N Ṡ | D Ṡ | N | D P || P M | G M | R R | G | R S ||
pē . | rār . | pe ri | yō | . nē || pē . | roor . | pe ru | mā | . lē ||
˙
R , | R , | N D | P | , P || P M | G M | R R | G | R , ||
pē . | rār . | pe ri | yō | . nē || pē . | roor . | pe ru | mā | . . ||
S , | , , | , , | , | , , ||
lē . | . . | . . | . | . . ||
˙
Teerāppini teera:
˙
O Lord Muruha, Lord of Perur, please bless me with the knowledge of theSelf.
48
Lesson 18
Geetam
th
Varāḷi (39 mēḷa janyam) Ādi
S G R G M P D N Ṡ | Ṡ N D P M G R S ||
Ṡ , Ṙ Ṡ N D P , | M , D P | M G M , ||
sā . ra sa na ya na . | mā . ru ta | ta na yā . ||
P , D N , D P D | N , D N | Ṡ Ṙ Ṡ , ||
pā . ra dhee . ra va ra | nee . ra dhi | ta ra ṇa . ||
D , Ġ Ṙ , Ṡ N- D | Ṙ , Ṡ Ṡ | N D P M ||
dā . sa pā . la na dhu | ree . ṇa san | . mār . ga ||
G , M P , D N Ṡ | N D P M | G G R S ||
gā . na lō . la ra vi | sha shi pā . | la shee . la ||
S Ṇ S G R G M P | D P M P | D N Ṡ Ṙ ||
ān . . . . . . | . . ja . | nē . . ya ||
Ġ Ṙ Ṡ N D N Ṡ N | D P M G | G R S , ||
mām . . . . . pā . | . . . . | . . hi . ||
Sārasa nayana:
Lord Anjaneya, please protect me. You have eyes like the lotus and are the son of Maruta (god of
wind). You possess boundless courage and intelligence. You crossed the ocean and are an expert in
protecting your devotees. You are an admirer of high quality music.
49
Lesson 19
Geetam
Shankarābharanam (29th mēlakarta) Chaturashra Mathyam

˙ ˙ ˙
Ṡ , Ṡ N | D N | Ṡ N D P ||
shree . gō . | vin . | da . . . ||
M G M P | D P | M G R S ||
ha rē . . | ma dhu | soo . da na ||
S S P , | M G | M R G , ||
va na mā . | . . | . . la . ||
S S Ṡ , | Ṡ Ṡ | D N , Ṡ ||
ga ru da . | dhwa ja | mu kun . da ||
˙
Ġ Ṙ Ṡ N | D N | Ṡ N D P ||
shree . dha ra | shree . | ra ghu pa tē ||
Ṡ , , , | , , | Ṡ N D P ||
san . . . | . . | kar . sha na ||
˙ ˙
M G M P | , P | M G R S ||
sun . da rā | . nga | ja ya ja ya ||
Ġ Ṙ N Ṡ | , D | N N P D ||
shree . . rā | . ma | see . . tā ||
D M P , | P M | G R G , ||
. bhi rā . | . . | . . ma . ||
S R G M | P , | D N Ṡ , ||
mā . . . | . m | pā . hi . ||
Ġ Ṙ Ṡ N | D P | M G R S ||
pa . ttā . | . bhi | rā . . ma ||
˙˙
Shree Gōvinda:
O Govinda, you are also hailed as Hari, Mukunda and Shreedhara. You vanquished the demon
Madhu and your vehicle is Garuda. You incarnated as Rama and are extremely attractive. Please protect me.
50
Lesson 20
Geetam
th
Hindōḷam (20 mēḷa janyam) Roopakam
S G M D N Ṡ | Ṡ N D M G S ||
P. S S | M G M , || G M | D N Ṡ , ||
ka lai | ma ha ḷē . || ka ru | ṇai e num . ||
Ṡ N | Ġ Ṡ D , || Ṡ N | D M G S ||
a lai | ka ḍa lē . || va ra | ma ru ḷē . ||
Ṇ S | M G M , || M G | , S , , ||
ka lai | ma ha ḷē . || . . | . . . . ||
A.P. D M | D G M , || G G | M N D , ||
a lai | ma ha ḷum . || u yar | i ma ya . ||
G M | N D N , || Ṡ N | D N Ṡ , ||
ma lai | ma ha ḷum . || to zhum | po ru ḷē . ||
1 N Ṡ | Ṡ Ṁ Ġ Ṡ || Ġ Ṡ | D N Ṡ , ||
ni lai | tti ḍum nal . || ma di | a ḷit tu . ||
2 N Ṡ | Ṡ Ṁ Ġ Ṡ || Ġ Ṡ | D N Ṡ Ġ ||
ni lai | tti ḍum nal . || ma di | a ḷit tu . ||
Ġ N | Ṡ D N D || Ṡ N | D M G S ||
a ha | ṭṛi ḍu vāi . || e ma | di ru ḷē . ||
(kalai mahaḷē)
C. M M | M M M , || M G | D M G S ||
ka vi | dai u ṛai . || pu nai | yum ti ṛan . ||
M G | S Ṇ Ḍ Ṇ || S S | M G M , ||
shu vai | ni ṛai nal . || na ṭa | nam i shai . ||
G M | D N Ṡ , || Ṡ Ṡ | Ġ N Ṡ , ||
bhu vi | yi ni lē . || ta rum | ni dhi yē . ||
51
Ṁ Ġ | Ṡ N D , || Ṡ N | D M G S ||
ra vi | sha shi yum . || pa dam | pa ṇi yum . ||
(kalai mahaḷē)
Kalaimahalē:
˙
O Goddess of Knowledge, Sarasvati! You are an ocean of mercy saluted by Lakshmi, Parvati, Ravi
(Sun) and Shashi (Moon). You are the treasure-house that bestows ability in poetry, literature, music and dance.
Please bless me with intelligence and vanquish the darkness of ignorance.

52
Lesson 21
Geetam
Gowla (15th mēla janyam) Roopakam

˙ ˙
S R1 M1 P N3 Ṡ | Ṡ N3 P M1 R1 G3 M1 R1 S ||
S R | R S N S ll R G | M R R S ll
shree . | rā . ˙. ma ll chan . | . . dra . ll
S R | P M G M ll R G | M R R S ll
sā . | kē . . ta ll pu ra | vā . . sa ll
S S | R S N P ll M P | R , R S ll
mu ni | ja na m˙ā ˙. ll ˙
na ˙
sa | ham . . sa ll
R P | M R , S || R , | G M G M ||
ni khi | la lō . ka || pā . | . la na dhu ||
R , | R S N S || S R | R S N S ||
ree . | . . ˙. na || kow . | sal . y˙ā . ||
˙
S N | S R P M || G M | R , S , ||
bhā ˙. | . . . gya || roo . | . . pa . ||
R , | M M P , || P , | M G M , ||
dā . | sha ra thē . || poo . | ra ya mē . ||
R , | , M G M || R M | R , S , ||
vān . | . chhā . . || ta va | van . dē . ||
R M | R P P M || R S | R , P M ||
pā . | da ka ma lam || a ni | sham . . . ||
R M | P N M P || S R | M P N Ṡ ||
kr pā | . . lō . || gā . | na pha ni ti ||
˙ ˙
S , | R M R M || P N | Ṡ N P M ||
mā . | ka la yā . || mu dam | a tu lam . ||
R P | M R G M || R S | M R R S ||
dē . | hi mē . . || bhō . | . . . . ||
S , | R S N P || M P | P R R S ||
swā . | . . ˙
min ˙. || p˙ā ˙. | ˙
la ya mā m ||
R R | P , M M || R G | M R S , ||
gu ru | moor . . ti || na¯ . | . ma kam . ||
53
Shree Rāmachandra:
O Ramachandra, dweller of the city of Saketa (Ayodhya). You are the swan of sages’ hearts! You
are adept at watching over the entire world and are the fortune of your mother Kowsalya. O son of Dasharatha,
please fulfill my desires. I worship you with music; please grant me eternal happiness and protect me.

54
Lesson 22

Neelambari (29th mela janyam) Mishra Chapu

S R₂ G₃ M₁ P N₃ Ṡ | Ṡ N₃ (D₂ N₃) P M₁ G₃ R₂ G₃ S ||
S , R | R S | S N || S R G | M , | , , ||
jā . na | kee . | . ˙. || ra ma na | tē . | . . ||
˙
R G R | M G | M , || M G , | S , | , , ||
na mō . | . . | . . || na mō . | . . | . . ||
S S S | P , | P , || N P M | P M | G , ||
da nu ja | shik . | shā . || pa tō . | mu ni | mā . ||
˙ ˙
M P , | M P | M G || R G M | M G | S , ||
na sā . | . . | . bja || rā . ji | tān . | ghrē . ||
Ṡ , Ṡ | Ṡ , | , , || Ṡ N P | P M | M G ||
gā . na | mā . | . . || dhu . rya | lō . | lu pa ||
G , M | P N | P M || P M G | R G | M , ||
rā . ma | chan . | dra . || dā . . | sha ra | thē . ||
G R M | G , | G S || S S R | R S | N , ||
rā . . | . . | gha va || ni ra tam | mē . | ˙. . ||
S R G | M , | , , || G M P | P , | , , ||
ta va kr | pā . | . . || su ru chi | ram . | . . ||
M G M | P N2 | D N2 || P D P | P M | M G ||
ja gan . | nā . | . tha || tā . va | kee . | . na ||
P M G | R G | S , || Ṡ N P | P M | M G ||
bha ja na | ma ni | sham . || dē . hi | bhō . | . . ||
G R M | G , | S , || N S R | G M | G M ||
swā . . | . . | min . || a˙ . . | . . | . . ||
G M P | M P | Ṡ , || Ṡ N P | P M | M G ||
. . . | . . | . . || a . . | . . | . . ||
P M G | R G | S , || Ṡ N P | P M | M G ||
. . . | . . | . . || ja ya . | shree . | . . ||
55
G R M | G , | S , || , , , | , , | , , ||
gu ru moor | . . | tē . || . . . | . . | . . ||
Jānakee ramaṇa:
O spouse of Sita, salutations to you. You are an expert at punishing the demons and your feet are
worshipped by sages. You enjoy melodious music. O Rama, son of Dasharatha! please show mercy on me forever
and grant me the pleasure of being devoted to you.
56
Lesson 23
Geetam
Bēgada (28th mēla janyam) Mishra Chāpu

˙ ˙
S G3 R2 G3 M1 P D2 P Ṡ N3 D2 P Ṡ | Ṡ N2 D2 P M1 G3 R2 S ||
M G M | P , | D P || D N D | P M | P D ||
sa ra s | va . | ti . || nan . na | na¯ . | li gē ||
P D P | Ṡ N | Ṙ Ṡ || Ṁ Ġ Ṙ | Ṡ Ṙ | N Ṡ ||
yal . li | ku ni | ya li || a va la | nu . | gra ha ||
˙ ˙
P D P | D N | D P || M P D | M , | G R ||
din . da | nan . | na mu || kha da li | mā . | dhur . ||
G , , | G , | M M || G R S | G R | G M ||
ya . . | shree . | la li || ta va cha | nan . | ga lu ||
˙
P D P | � N | � � || � Ġ � | � � | N � ||
ja ni sa | li . | . . || a va ḷa | shu bha | va ra ||
P D P | D N | D P || M P D | M , | G R ||
din . da | ¯
val . | mee . || ki mu ni | pēl . | da nu ||
˙
G , , | G , | M M || G R S | S , | S , ||
shree . . | rā . | ma na || shu bha cha | rit . | ram . ||
Sarasvati:
May Goddess Sarasvati dance on my tongue and grant me the same poetic talent as that of sage
Valmiki, the author of the epic Ramayana.

57
Lesson 24
Geetam
Bhairavi (20th mēla janyam) Chaturashra Dhruvam

˙
S G2 R2 G2 M1 P D2 N2 Ṡ | Ṡ N2 D1 P M1 G2 R2 S ||
G R G M | P , | M G R G | M P M , ||
shree . rā . | ma . | chan . dra . | shri ta pā . ||
P D2 N N | D1 P | M N D1 P | M G R S ||
. ri jā . | . ta | sa ma . . | . . . sta ||
S G R G | M P | G R G M | G G R S ||
kal . . yā | . na | gu nā . bhi | rā . . ma ||
˙ ˙
R , G , | M M | G , R G | M P M M ||
see . tā . | mu kha | am . . . | bō . ru ha ||
P , D2 N | , Ṡ | P D2 N Ṡ | N Ġ Ṙ Ṡ ||
san . cha ree | . . | . . . . | . . . ka ||
N Ṙ Ṡ Ġ | Ṙ Ṡ | N D1 P M | P D2 N Ṡ ||
ni ran . ta | ram . | man . ga la | mā . . ta ||
˙
P D1 P D2 | N Ṡ | P D1 M P | M G R S ||
nō . . . | . . | . . . . | . . . tu ||
G R G M | P , | P M N D1 | D1 P , , ||
shree . rā . | ma . | chan . . . | dra . . . ||
Shree Rāmachandra:
Shree Ramachandra is like the fragrant parijata tree to his devotees. He pleases one and all with his
divine qualities. He is like the bee that flies over the lotus that is Seeta’s face. May he grant benediction forever.

58
Lesson 25
Geetam
Dhanyāsi (8th mēla janyam) Chaturashra Dhruvam

˙
S G2 M1 P N2 Ṡ | Ṡ N2 D1 P M1 G2 R1 S ||
N D P N | S , | N S G , | M G R S ||
˙
ja ˙
ya ˙
ka ˙
ru | nā . | ˙
sin . . . | dhō . . . ||
˙
N D P N | S , | N S M G | G R R S ||
˙
ta ˙
va p˙ā ˙. | dām . | ˙
bu jam a tu | lam . . . ||
G , M , | P , | G M P M | G R S , ||
dhyā . yā . | mi . | shree . . . | kan . tha . ||
˙ ˙
N , S , | N D | P N S S | G R S , ||
˙
bhak . tā . | ˙
va l˙i | p˙ā ˙. la na | cha na rē . ||
˙ ˙
G , M , | G M | N , S , | G , M , ||
dhan . yā . | . si | r˙ā . . . | . . gam . ||
G M , P | M P | G M P G | M G R S ||
gā . . . | . . | yā . . . | mi . . . ||
N D P N | S , | G M P M | G R S , ||
˙
shr n˙u ˙
ta ˙. | . . | la . ksha na | ma khi lam . ||
˙ ˙ ˙
P M P G | M P | D P M G | G G R S ||
a sh ta mā | . dhi | kā . . ri | jan . yam . ||
˙ ˙
N S , G | M P | G M , G | G R R S ||
˙
au . . . | . . | . . . . | . . da va ||
˙
S , N D | P N | S G R S | R N S , ||
sam . ˙. ˙. | ˙. ˙. | poo . . . | . ˙r nam . ||
˙
S , S , | G , | M , P M | G M P , ||
ā . . . | . . | rō . . . | . . hē . ||
N S , N | D P | S , N D | P N S , ||
ri˙ da . ˙. | ˙. ˙. | tya . ˙. ˙. | ˙. k˙ tam . ||
P N S G | , G | P N S G | M G R S ||
a˙ ˙
va rō . | . . | ˙. ˙. . . | hē . . . ||
M G M M | P N | G G M , | P , N , ||
poo . . . | . . | . . . . | . r nam . ||
˙
59
G P M G | R S | G G M P | N , Ṡ , ||
man . . . | . dra | ma . . . | . . dhya . ||
P N Ṡ , | N Ṡ | P P Ṡ , | N N D P ||
tā . . . | . ra | ka li tam . | . . . . ||
P , M P | M G | M , G G | G R R S ||
ga . da . | . . | ā . la si | tam . . . ||
S , N D | P N | S G M P | M G R S ||
nā ˙
da bh˙ ē | ˙. ˙
da | dhu ree . . | . . . na ||
˙
P M G R | S P | M P M G | G R R S ||
gu ru moor . | . . | . . . . | te¯ . . . ||
S S N D | P N | S G R S | R N S , ||
pra si ˙. ˙. | ˙. ˙. | . . . . | . d˙ dha . ||
Jaya karunāsindhō:
˙
Ocean of mercy, may victory always be yours! I worship you, Lord Shreekantha (Shiva), expert at
protecting your devotees. Please listen, as I sing the raga Dhanyasi and explain its lakshana (theoretical aspects).
It is derived from the 8th melakarta Todi, and has 5 notes in the ascent with Ri and Da being absent, while the
descending sequence has all the seven notes. It can be rendered in the lower, middle and higher octaves and the
notes Ga and Da lend a special flavour when elongated.

60
Lesson 26
Geetam
Sāvēri (15th mēla janyam) Mishra Chāpu

˙
S R1 M1 P D1 Ṡ | Ṡ N3 D1 P M1 G3 R1 S ||
Ṡ , Ṡ | N D | D Ṡ || D , P | , M | G R ||
sā . ra | sā . | kshi sa || dā . pā | . hi | mā m ||
˙
S R M | M D | D D || Ṡ N D | M D | Ṡ , ||
ku mā . | ra ja | na ni || sa ra sa | hr da | yē . ||
D Ṡ , | Ṙ Ṙ | Ġ Ṙ || Ṙ , Ṙ | Ġ Ṙ | Ṡ , ||
pa rā . | shak ti | bā . || lē . su | shee . | lē . ||
Ṙ Ṡ , | N D | D D || D M D | , Ṙ | Ṡ , ||
a pa¯ . | ra ma | hi ma || sphoor . te¯ | . shi | vē . ||
Ṡ , Ṡ | N D | D Ṡ || D , P | , M | G R ||
kō . ti | soo r | ya pra || bhē . kō | . ma | lē . ||
˙ ˙
S R M | M D | D D || Ṡ N D | M D | Ṡ , ||
tri kō . | na ni | la yē || ka na ka | sa dr | shē . ||
˙
D Ṡ , | Ṙ Ṙ | Ġ Ṙ || Ṙ , Ṙ | Ġ Ṙ | Ṡ , ||
ka tee . | dhr ta | kān . || chē . sa | lee . | lē . ||
˙
Ṙ Ṡ , | N D | D D || D M D | , Ṙ | Ṡ , ||
pra kā . | sha su | gu n a || keer . te¯ | . u | mē . ||
˙
Ṡ , Ṡ | N D | D Ṡ || D , P | , M | G R ||
shyā . ma | kr sh | na nu || tē . shyā | . ma | lē . ||
˙ ˙ ˙
S R M | M D | D D || Ṡ N D | M D | Ṡ , ||
shree kā . | ma kō | . ti || pee . tha | sa da | nē . ||
˙ ˙
D , Ṡ | Ṡ , | Ṙ Ṡ || Ṙ , Ṙ | Ġ Ṙ | Ṡ , ||
sā . ma | gā . | na lō || lē . su | shō . | bhē . ||
Ṙ Ṡ , | N D | D D || D M D | , Ṙ | Ṡ , ||
vi sha¯ . | la hr | da ya || moor . te¯ | . shu | bhē . ||
61
Sārasākshi:
˙
O lotus eyed, Goddess Parashakti, always protect me. You are the mother of Subrahmanya. You are
noble, with a loving heart, and your glory is unlimited. You are as lustrous as ten million suns. You wear the girdle
around your waist, enjoy the Sama Veda and are the embodiment of auspiciousness.

62
Lesson 27
Tiruppuhazh
Meter-based chhanda tala

th
Yadukulakāmbhōdhi (28 mēḷa janyam)
2 Khanda chāpu-s + 1 Roopakam
S R2 M1 P D2 S˙ | S˙ D2 P M1 G S R2 S ||3
˙˙
S , R G , | S , R M , | G M P M G , ||
bhak. ti \ƗO . | \ƗQ . nu nai . | pa la NƗ . lum . ||
R , R G , | G M G R , | R R M G S , ||
pa . ৬৚i \Ɲ . | PƗ . di ru . | pu hazh SƗ . ঌL . ||
S , R P , | S , R D , | P M P D ‫ټ‬ , ||
mut . ta QƗ . | PƗ . ৚a nai . | pe ru YƗ]K . vin . ||
S , R ‫ټ‬ , | D P M G , | R R M G S , ||
muk . ti \Ɲ . | VKƝU . va GD৚ . | ka UXশ YƗ . \Ɲ . ||
P , D M , | P , D ‫ټ‬ , | ‫ټ‬ P D , ‫ټ‬ , ||

ut . ta ma . | GƗ . na sad . | gu ৆D QƝ . \Ɨ . ||
‫ټ‬ , ‫ټ‬ ‫ٴ‬ , | ‫ٴ‬ ٜ Œ ‫ٴ‬ , | ‫ٴ‬ ‫ٴ‬ ٜ Œ ‫ټ‬ , ||

op . pi OƗ . | PƗ . ma ৆L . | gi ri YƗ . VƗ . ||
P , D ‫ٴ‬ , | ‫ټ‬ N N D , | P M P , D , ||
vit . ta NƗ . | JQ\Ɨ na sat . | ti ni SƗ . GƗ . ||
P , D ‫ټ‬ , | D P M G , | G R M G S , ||
YH৬ ৚i YƝ . | OƗ . yu dha . | pe ru PƗ . শƝ . ||
S , R G , | S , R M , | G M P M G , ||
vit . ta NƗ . | JQ\Ɨ na sat . | ti ni SƗ . GƗ . ||
R , R G , | G M G R , | R R M G S , ||
YH৬ ৚i YƝ . | OƗ . yu dha . | pe ru PƗ . শƝ . ||
Bhaktiyāl yānunai:
I have worshipped you with devotion and sung your praises, O Velayudha (MuruKa)! You are the
embodiment of great qualities who resides on the hills of Viralimalai. Please grant me salvation.
63
Lesson 28
Geetam
Shree (22nd mēla janyam) Chaturashra Dhruvam

˙
S R2 M1 P N2 Ṡ | Ṡ N2 P D2 N2 P M1 R2 G2 R2 S ||
M , P , | P , | N P N N | Ṡ , Ṡ , ||
mee . nā . | kshi . | ja ya kā . | mā . kshi . ||
˙ ˙
Ġ Ṙ Ṡ Ṡ | N P | M P N N | Ṡ , , , ||
kan . ka tee | . ka | vā . mā . | kshi . . . ||
˙ ˙
Ṙ , Ġ Ṙ | Ṡ , | Ṙ , Ṡ , | Ṡ , N P ||
ā . pra ti | bhā . | pra . bhā . | vō n na ta ||
P Ṡ N P | Ṡ N | P M P N | P P M , ||
ma dhu ra ma | dhu ra | sā . lan . | kā . ra . ||
R , M , | P , | N Ṡ Ṙ , | Ṙ Ġ Ṙ Ṡ ||
ōm . kā . | ra . | ka li tā . | lā . . pa ||
Ṙ , Ṗ Ṁ | , Ṗ | Ṙ Ṙ Ṗ Ṁ | Ṙ Ġ Ṙ Ṡ ||
yud . dha mit | . ra | ma dhu kai . | . . ta bha ||
˙
Ġ Ṙ Ṡ Ṡ | N P | N , P M | R G R S ||
bhan . da chan | . da | dan . da nu | jā . . nu ||
˙ ˙ ˙ ˙ ˙ ˙
S N P N | N S | R , M P | N , P M ||
ma ˙
da y˙ā ˙. | ˙. . | . . va lu | yā . na na ||
˙
R , P P | M R | R G R S | , N S , ||
kār . ti kē | . ya | ja na nee . | . ˙
ja ya . ||
R , G , | R S | N S R G | R R S N ||
kā . tyā . | ya ni | k˙ā . li ru | drā . . n˙i ||
˙ ˙
P , N , | N P | P , N N | S N S , ||
˙
vee . n˙ā . | ˙
ni k˙ | v˙ā . ˙. ˙. | . ˙. ni . ||
˙ ˙
N S R G | R S | S R S S | N P M P ||
k˙ā . ra na | ka ra | na kha shi kha | ˙
ram ˙. ja ya ||
˙
P N P P | M , | P P M R | R G R S ||
mu di rā . | bham . | ma dhu rā . | pri ya . . ||
64
Ṡ , Ṡ Ṡ | N P | N N P M | R G R S ||
chok . ka nā | . tha | swā . mi ma | nō . ha ri ||
R M P , | P , | N P N N | Ṡ , Ṡ , ||
mee . nā . | kshi . | ja ya kā . | mā . kshi . ||
˙ ˙
Meenākshi:
˙
O Goddess Meenakshi, you are also hailed as Kamakshi because your enchanting, fish-like eyes fulfil
the desires of your devotees. You are effulgent and your speech is the root of the divine chant ‘Om’. You killed the
demons Madhu and Kaitabha. You are the mother of the elephant-faced Vinayaka and Subrahmanya. Your voice
is as melodious as the tone of the veena. You are the consort of Lord Chokkanatha of Madurai.

65
Practical Exercises - Phase IV
Swarajati
Swarajatis are more sophisticated musical forms than geetams and longer pieces as well. They
have been composed in the 3rd speed and generally have a pallavi and a few charanams. The
charanams are usually rendered once as swaras and the second time, as sahityam (lyrics). Some
swarajatis also contain an anupallavi.
Many swarajatis, like the sublimely devotional ratna-trayam of Shyama Shastri, are concert-worthy.
In fact, the Pancharatna krtis of Tyagaraja and the Saptaratnas of Oottukkadu Venkata Kavi, closely
follow the swarajati format. The swarajatis selected for this book are the ones favoured by most
teachers. They revolve around the theme of romance and are occasionally used in music and dance
performances.
It is highly recommended that students learn these from the video lessons in www.acharyanet.com in
order to get acquainted with the gamakas and phrase splits.
66
Lesson 29
Swarajati
Ānandabhairavi (22nd mēla janyam) Ādi

˙
P. P , , , P M G M P , M , P M G R |
rā . . . . . vē . . . mē . ma . gu . |
S , , , , , M , | G , R , S , N , ||
va . . . . . vi . | na . vu . ta . ˙
ga . ||
S , , , , , S , , , N , G , R , |
va . . . . . vē . . . d˙u . ko . nu . |
˙
S G R G , M G M | P D P P , M G M ||
ka ru na nē . du va ga | ku lu ku tō . du ko ni ||
˙ ˙ ˙
A.P. P , , P , , P , Ṡ N N , Ṡ , Ṡ , |
vē . . vē . . ga . mu . ga . ja . ni . |
Ṡ , , Ṁ Ġ , Ṙ , | Ṡ , N , Ṡ , Ṡ , ||
nā . . vi bhu . ni . | ka . nu . ko . ni . ||
P , , Ṡ , , Ṡ , N , D , P , M , |
ee . . vā . . du . va . la . da . ni . |
G M , P , , M P | M G R , G , M , ||
ee . . mā . . ta . | vi . nu . ma . ni . ||
˙ (rāvēmē maguva)
C.1. P , P , D P M G M , M , P M G R |
ā . mā . ni ni va ga lē . mō . che lu vu na |
G , G , M G R S | N , S G R S M G ||
kē . mō . gha na mu ga | tō . chi na nu ma ra che ||
R S N , S G R S P M G R N S , G |
na ta n˙ē . ma nu ko nu ya da ni ka ˙
ma nam . bu |
˙
R , M G , P M , | P D P P , M G M ||
nan . du nē . mi tō . | cha ka nu nun . ti ga da ||
(r˙āvēmē maguva)
C.2. P , D P M G M , M , , , M , P M |
shree . ka ru da gu shō . bha . . . nā . dri vi |
˙
G R G , G , , , | M P , M G R S N ||
bhu du nē . dā . . . | che lin . ga la se na t˙a ||
˙ ˙
67
S M , G R S S P , M G R S Ṡ , N |
na nun . ga lu va la rā . ju ka la na del . chu |
D P M P , M G R | N , S G , R G M ||
na ta u pā . ya mu na | ˙
del . pi tō . du ko ni ||
˙ (r˙āvēmē maguva)
Rāvēmē maguva:
[The lady says to her friend] "Please come, my dear girl. You won’t listen! Is this a fight between us?
Please go and ask him to forget our quarrel and come back to me. He has fallen for the superficial charms and
viles of my rival and forgotten me, leaving me perplexed. Fetch the Lord of Shobhanadri (Vishnu) here by any
means".

68
Lesson 30
Swarajati
Khamāch Ādi
P. Ṡ , , , , N D , P , , , , M G , |
sām . . . . ba shi . vā . . . . ya na . |
M , , , , , G , | M , P , D , N , ||
vē . . . . . ra . | ja . ta . gi . ri . ||
A.P. Ṡ , , Ṙ N , , Ṡ D , , N P , , D |
shā m . bha vee . . ma nō . . ha rā . . pa |
M , , P M , , G | M , , P D , N , ||
rā . t pa rā . . kr | pā . . ka rā . shree . ||
(sāmbashivāyanavē)
C.1. Ṡ , Ṙ , Ṡ N N , Ṡ , N D D , N , |
nee . vē . gu ru dai . vam . ba ni yē . vē . |
D P M D P M G R | S M , G M P D N ||
la nu sē . vim . pu chu | sa dā . ma di ni shi va ||
˙ (sāmbashivāyanavē)
C.2. Ṡ Ṙ Ṡ N Ṡ , , , N Ṡ N D N , , , |
pa ra ma da yā . . . ni dhi va nu chu . . . |
D N D P D , , , | P D P M P , , , ||
ma ru va ka nā . . . | hr da ya mu na . . . ||
S S S S M M G M P , M P D , P D |
ma hā dē va ma hā pra bhō sun . da ra nā . ya ka |
N Ṡ N Ṡ N D P P | D P M G M P D N ||
su ra va ra dā . ya ka | bha va bha ya ha ra shi va ||
C.3. N Ṡ N D P M G M P , , , P D N D |
sthi ra ma dhu ra pu ra mu na . . . va ra mu lō |
P M G G M , , , | Ṡ N D N D P D N ||
sa gu ha ru ni . . . | ni ra ta mu nu da la chi ||
C.4. Ṡ , , , , , ˙
S N - N D - D P - P M- M G |
shree . . . . . shu bha ka ra sha shi ma ku ta dha |
˙
69
M , , , , , P N | D P M- G M P D N ||
ra . . . . . ja ya | vi ja ya tri pu ra ha ra ||
Ṡ Ṁ Ġ Ṙ Ṡ , Ṡ , Ṡ Ṙ Ṡ Ṡ N , N , |
shri ta ja na lō . lā d bhu ta gu na shee . lā . |
˙
N Ṡ N D D , D , | P D P M P , P , ||
kr ta nu ta bā . lā . | pa ti tu ni kā . lā . ||
S M , M G P , P M D , D P N , N |
mu dam . ba la ran . ga pa dā . bja mu lan . du |
N Ṙ , Ṙ N Ṡ , Ṡ | N Ṡ N D P , , , ||
pa dam . bu lu jēr . chu | pa shu pa ti nee . . . ||
M , P M P , D P D , N D N , Ṡ N |
gnyā . na mu dhyā . na mu snā . na mu pā . na mu |
Ṡ , Ṙ Ṡ Ṙ , Ṡ N | Ṡ Ṙ Ṡ , N D P M ||
dā . na mu mā . na mu | a bhi mā . na ma nu chu ||
G M P D N Ṡ N Ṙ Ṡ , , , Ṡ Ṙ N Ṡ |
ka ni ka ra mu na cha ra nam . . . bu lu ka nu |
˙
D N P D M , , , | D P M G M P D N ||
ko nu - shru tu lan . . . | nu tu la sha ra na nu chu ||
˙
C.5. khanda gati (5 units per beat)

˙˙
Ṡ , Ṙ Ṡ , N D , N , Ṡ , N D , P , , , , l
sā . ra sā . re ku . nee . nā . ma man . tram . . . . l
P , D N , D P , M , | P , M G , M , , , , ||
kō . ri nā . nu nee . pā . | dā b ja yan . tram . . . . ||
M , G M , P , M P , D , P D , N , D N , |
dā su dow . chin . ni krsh . nu . ni ki . dik . ku nee . |
˙ ˙ ˙
Ṡ , Ṙ Ṡ , N , D N , | Ṡ , N D , M , P D N ||
vē . ya ni . chok . ka nā . | thu . ni nam . mu . ko . ni ||
70
Sāmbashivāyanavē:
Pray to Lord Shiva, who resides in the silver mountains (the snow-clad Himalayas), in the following man-
ner. "You are my guru and god, I meditate upon you at all times. I never forget that you are the treasure of
compassion, O Mahadeva. You are handsome and grant boons to the devas. You have the moon on your crown
and you love the devout. You are an embodiment of virtues and destroy sinners. I will not abandon my religious
practices but will forever seek refuge in you, O Lord Chokkanatha."

71
Appendix A
Scheme of 72 Melakartas
The systematic concept of the 72 melakartas (parent scales) is unparalleled in the history of world
music. It is a method that can be easily understood by the student.
The concept can be understood more easily by dividing the 72 melakartas into 12 equal parts called
chakras.
Each of the six ragas of any given chakra has the same set of 4 notes S R G M. For e.g, the first
chakra has S R1 G1 and M1 as its first part (also known as poorvānga). The remaining part (known as
uttarānga) is as follows:
For the first raga it is P D1 N1 S; the next is P D1 N2 S (change in N); the third is N3 in place of N2 . In
the fourth raga, there is a change in D with D2 taking the place of D1 . Since D2 =N1 , the next note of
this raga is obviously be N2 . The fifth raga has D2 and N3 while the sixth one only has D3 and N3 (as
N1 is lower than D3 and N2 = D3 ).
The next six ragas have S R1 G2 M1 with the same set of second tetrachords. Similarly, the next six
have S R1 G3 M1 , the fourth chakra, S R2 G2 M1 , the fifth, S R2 G3 M1 and the sixth group, S R3 G3 Mſȱ
as their first tetrachords.
We now have thirty-six ragas accounted for. As for the next thirty-six, they are a mirror image of the
first thirty-six except for the note M; M1 is replaced by M2 .
Following are the names of the 72 melakartas with their respective serial numbers. The students are
advised to learn and remember both.
72
72 Melakartas
1. Kanakāngi 25. Māraranjani 49. Dhavaḷāmbari

2. Ratnāngi 26. Chārukēshi 50. Nāmanārāyaṇi
3. Gānamoorti 27. Sarasāngi 51. Kāmavardhini
4. Vanaspati 28. Harikāmbhōdhi 52. Rāmapriya
5. Mānavati 29. Dheerashankarābharaṇam 53. Gamanāshrama
6. Tānaroopi 30. Nāgānandini 54. Vishvāmbari
7. Sēnāvati 31. Yāgapriya 55. Shyāmaḷāngi
8. Hanumatōḍi 32. Rāgavardhini 56. Ṣhaṇmukhapriya
9. Dhēnuka 33. Gāngēyabhooṣhaṇi 57. Simhēndramadhyamam
10. Nāṭakapriya 34. Vāgadheeshvari 58. Hēmavati
11. Kōkilapriya 35. Shoolini 59. Dharmavati
12. Roopavati 36. Chalanāṭa 60. Neetimati
13. Gāyakapriya 37. Sālagam 61. Kāntāmaṇi
14. Vakuḷābharaṇam 38. Jalārṇavam 62. Rṣhabhapriya
15. Māyāmāḷavagowḷa 39. Jhālavarāḷi 63. Latāngi
16. Chakravākam 40. Navaneetam 64. Vāchaspati
17. Sooryakāntam 41. Pāvani 65. Mēchakalyāṇi
18. Hāṭakāmbari 42. Raghupriya 66. Chitrāmbari
19. Jhankāradhvani 43. Gavāmbhōdhi 67. Sucharitra
20. Naṭabhairavi 44. Bhavapriya 68. Jyōtisvaroopiṇi
21. Keeravāṇi 45. Shubhapantuvarāḷi 69. Dhātuvardhini
22. Kharaharapriya 46. Ṣhaḍvidhamārgiṇi 70. Nāsikābhooṣhaṇi
23. Gowrimanōhari 47. Suvarṇāngi 71. Kōsalam
24. Varuṇapriya 48. Divyamaṇi 72. Rasikapriya
73
Appendix B
A Few popular ragas
Given below is a list of some ragas (apart from those mentioned or taught earlier in this book) that
students can familiarize themselves with and try to identify. Try and listen to compositions in these ragas
and if possible learn their arohanam and avarohanam. It is also vital to note the right spellings of the
names of ragas like Suraṭi.
Ābhēri Husēni Kuntalavarāḷi Reetigowḷa
Ābhōgi Jaganmōhini Lalita Sāranga
Āhiri Janaranjani Madhyamāvati Sarasvati
Amrtavarṣhiṇi Jayantashree Malayamārutam Shreeranjani
Aṭhāṇā Kadanakutoohalam Mōhanakalyāṇi Shuddhadhanyāsi
Behāg Kalyāṇavasantam Mukhāri Sindhubhairavi
Bilahari Kamalāmanōhari Naḷinakānti Sowrāṣhṭra
Bindumālini Kānaḍā Nāṭṭaikkuranji Sunādavinōdini
Bowḷi Kannaḍagowḷa Navarasakannaḍa Suraṭi
Darbār Karṇaranjani Paras Valachi
Dēvagāndhāri Kēdāragowḷa Poorvikalyāṇi Vasanta
Hamsadhvani Kēdāram Ranjani Yamunākalyāṇi
74
Appendix C
Suggested Listening
This list is by no means exhaustive. I have focussed on artistes who are no longer alive and on
seniorartistes who are over 50 years old. Students should make the effort to listen to concert
recordings ofthese artistes, as opportunities to listen to some of them live are scarce or non-existent
as opposed tothe subsequent generation of musicians who are performing actively.
While listening as a student, one must listen with an open mind and try to absorb the positive features
of every artiste. All the artistes listed below have an abundance of such qualities and even though
different people may find some styles more likeable than others, each one of these styles is highly
respectable.
VOCAL:
1. Ariyakudi Ramanuja Iyengar 11. M L Vasantakumari

2. Maharajapuram Vishwanatha Iyer 12. Ramnad Krishnan
3. Musiri Subramania Iyer 13. Palghat K V Narayanaswamy
4. Semmangudi Srinivasa Iyer 14. M Balamuralikrishna
5. G N Balasubramaniam 15. M D Ramanathan
6. Madurai Mani Iyer 16. T N Seshagopalan
7. Alathur Brothers 17. T V Sankaranarayanan
8. M S Subbulakshmi 18. Voleti Venkateshwarulu
9. T Brinda 19. Nedunuri Krishnamurthy
10. D K Pattammal 20. R K Srikantan
VIOLIN:
1. Dwaram Venkataswami Naidu 5. M S Gopalakrishnan

2. Mysore Chowdaiah 6. L Subramaniam
3. T N Krishnan 7. L Shankar
4. Lalgudi G Jayaraman 8. M Chandrasekaran
FLUTE:
1. K S Gopalakrishnan 3. Sikkil Sisters

2. N Ramani 4. T R Mahalingam
75
VEENA:
1. Chittibabu 3. Mysore Doreswamy Iyengar

2. K S Narayanaswamy 4. S Balachander
NADASWARAM:
1. Karaikkuruchi Arunachalam 3. T N Rajaratnam Pillai

2. Namagiripettai Krishnan 4. Vedaranyam Vedamurthy
MRDANGAM:
1. C S Murugabhoopathy 6. Pazhani Subramaniam Pillai

2. Karaikkudi Mani 7. T K Murthy
3. Madras A Kannan 8. Trichy Sankaran
4. Palghat Mani Iyer 9. Umayalpuram K Sivaraman
5. Palghat Raghu 10. Vellore Ramabhadran
OTHERS:
1. Gotuvadyam Narayana Iyengar 5. T H Subashchandran (konnakkol)

2. Haridwaramangalam Pazhanivel (tavil) 6. T H Vinayakaram (ghatam)
3. Harishankar (kanjira) 7. V Nagarajan (kanjira)
4. K M Vaidyanathan (ghatam) 8. Valaiyapatti Subramaniam (tavil)
Students can obtain recordings of most of the artistes mentioned above from the archives of IFCM and
also access videos (of workshops and courses) from www.acharyanet.com.
76
The International Foundation for Carnatic Music
The International Foundation for Carnatic Music (IFCM), founded by Ravikiran in 1990,
strives to promote, preserve and project Carnatic Music across the world through
concerts, lecture-demonstrations, publications, audio-visual and electronic productions.
Several initiatives of the IFCM such as the Musicians' Benevolent Fund, Centres for
Musical Excellence, Tele-teaching scheme and various music camps and courses have
benefited musicians, music lovers and students alike.
The IFCM intends to open more chapters of its Centres for Musical Excellence in various
parts of the world. Musicians and teachers aligned to our ideals of perfection with
correctness and interested in instilling self-enjoyment among students may contact us
for positions in our faculty.
To learn more about IFCM and its varied activities, please visit
http://ifcm.ravikiranmusic.com. To join our mailing list or to initiate any music related
activity in your region, please email carnaticworld@yahoo.com.
77
Notes
78
Notes
79
Hailed as 'perhaps the greatest slide
instrumentalist in the world today' (Radio
National, Australia), Ravikiran made headlines as
the world’s youngest prodigy at the age of two,
stunning the music world (watch short video at
http://www.youtube.com/watch?v=V4562RZiC
4k). He presented vocal concerts from age five,
chitravina recitals since 12 and performed non-
stop for 24 hours at the age of 18. Regarded as
'An arresting virtuoso' (Los Angeles Times)
M A Rauf
because of his 'Teasing precision' (New York
Times) and 'Infectiously lively intricate up-tempo
material' (BBC Magazine), Ravikiran has toured
around the world several times, played in major
international festivals and TV shows and
recorded extensively.
Recognised as an innovative composer in

world music for his award winning concept,
Melharmony, Ravikiran has collaborated with
top rung international artistes and orchestras
including the BBC Philharmonic and Sacramento
Youth Symphony. (Watch You Tube clip -
http://www.youtube.com/watch?v=M5LnJ3xzU
pM). He also has over 600 traditional music
and dance compositions to his credit including
operatic dance creations such as Lakshmi
Prabhavam, Ramayana, Vinayaka Vaibhavam,
Pushed to the Edge, Cosmos etc. Ravikiran is the
first and/or youngest to win numerous awards
including the President of India's Sangeet Natak
Akademi Award, Harvard University Sangeet
Award, Citations from Cities of Houston, Tulsa
and numerous other titles such as Sangeet
Samrat, Sangeeta Ratnakara, Sangeeta
Choodamani, Isai Peroli etc from prominent
organisations across the world. He attributes all
his successes to his gurus - Chitravina
Narasimhan and T Brinda. For more info, please
visit www.ravikiranmusic.com.

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Perfecting Carnatic Music

revised & improved

The International Foundation for Carnatic Music

Fourth Edition, July 2012

Copyright © Chitravina N Ravikiran, July 2012

Cover design: Lata Ganapathy

Printed by: Sudarshan Graphics, Chennai

Copies Available at:

Karnatic Music Book Centre

The International Foundation for Carnatic Music (A unit of RFI)

all great teachers of Carnatic music

all genuine students of the art

all perfectionists in this world

• Appreciating Carnatic Music (Ganesh & Co)

• Compositions of Tanjavur Shankara Iyer

• Oottukkadu Venkata Kavi – Life and Contributions

• Oottukkadu Venkata Kavi’s Kamakshi Navavaranams and Saptaratnas

• Perfecting Carnatic Music – Level II

Audio or Video Productions

• The Brilliance of Begada (expert analysis by Shri Semmangudi Srinivasa Iyer)

• The Exquisite Bhairavi – Vol I & II (expert analysis by Smt D K Pattammal)

• Kaarunyam – Mukhari – Vol I & II (expert analysis by Shri Nedunuri Krishnamurthy)

• Saptaratna Krtis of Oottukaadu Venkata Kavi (Rajalakshmi Audio)

• Oottukkadu Venkata Kavi’s Kamakshi Navavaranams

Some of the above are available online at acharyanet.com

Semmangudi Srinivasa Iyer

I asked myself a few questions.

The answer was "No", on most counts.

   

Foreword by Shri Semmangudi Srinivasa Iyer ii

Author’s note on the First edition iii

Author’s note on the Fourth edition v

Guide to pronunciation for lyrics vii

Practical Exercises – Phase I

Practical Exercises – Phase II

Practical Exercises – Phase III

Geetam & Tiruppuhazh 25

Introductory (voice culture) exercises for various ragas 26

1 Lambōdara lakumikara - Malahari 30

Practical Exercises – Phase IV

29 Rāvēmē maguva - Ānandabhairavi 67

B A few popular ragas 74

The art of music is like an ocean. It is vast and deep.

• a positive attitude towards life

• pride in the art

• trust and respect for the guru

• sincerity, discipline, hard work and steadfast focus on quality

• constant effort towards perfection with correctness and completeness

Ṣhaḍjam S Prati Madhyamam M₂

Part Symbol Manner of rendering

Jati Symbol Manner of rendering

Chaturashra One can render a tala in chaturashra gati by saying the

Adi Tala - 8 units per cycle (1 chaturashra laghu and 2 dhrtams)

S (or any other note) 1 unit

First speed - one note per unit

Second speed - two notes per unit

Third speed - four notes per unit

Fourth speed - eight notes per unit

First speed - one note per unit

Varāḷi (39th janyam) S G R G M P D N₃ Ṡ - Ṡ N₃ D₁ P M G R₁ S

Gowḷa (15th janyam) S R M₁ P N₃ Ṡ - Ṡ N₃ P M₁ R₁ G₃ M₁ R₁ S

Sāvēri (15th janyam) S R M₁ P D₁ Ṡ - Ṡ N₃ D₁ P M₁ G₃ R₁ S

Shree (22nd janyam) S R M₁ P N₂ Ṡ - Ṡ N₂ (P D₂ N₂) P M₁ R₂ G₂ R₂ S