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LIST
OF
ITEM
S:==
====
====
====
====
====
====
====
====
01.P
rimar
y-te
sts
& La
ya-e
xerc
ises
(11
item
s):
001-
Inst
rum
enta
l-mus
ic -
400
2-In
stru
men
tal-m
usic
- 3
003-
Met
rono
me-
beat
s - 1
20 b
pm00
4-M
etro
nom
e-be
ats
- 060
bpm
005-
Jati-
alan
kara
-4-1
006-
Jati-
alan
kara
-4-2
007-
Jati-
alan
kara
-4-3
008-
Jati-
alan
kara
-4-4
009-
Jati-
alan
kara
-4-5
010-
Jati-
alan
kara
-4-6
011-
Jati-
alan
kara
-4-7
02.P
rimar
y-le
sson
s, G
itas
& Sv
arap
alla
vi-
(alo
ng w
ith p
df fi
les)
- Sh
ruti-
G(5
) (56
item
s):
012-
Sara
lee-
15-1
013-
Sara
lee-
15-2
014-
Sara
lee-
15-3
015-
Sara
lee-
15-4
016-
Sara
lee-
15-5
017-
Sara
lee-
15-6
018-
Sara
lee-
15-7
019-
Sara
lee-
15-8
020-
Jant
a-15
-102
1-Ja
nta-
15-2
022-
Jant
a-15
-302
3-Ja
nta-
15-4
024-
Dat
u-15
-102
5-D
atu-
15-2
026-
Dat
u-15
-302
7-Sv
ara-
alan
kara
-15-
102
8-Sv
ara-
alan
kara
-15-
202
9-Sv
ara-
alan
kara
-15-
303
0-Sv
ara-
alan
kara
-15-
403
1-Sv
ara-
alan
kara
-15-
503
2-Sv
ara-
alan
kara
-15-
603
3-Sv
ara-
alan
kara
-15-
703
4-Sa
rale
e-29
-103
5-Sa
rale
e-29
-203
6-Sa
rale
e-29
-303
7-Sa
rale
e-29
-403
8-Sa
rale
e-29
-503
9-Sa
rale
e-29
-604
0-Sa
rale
e-29
-704
1-Sa
rale
e-29
-804
2-Ja
nta-
29-1
043-
Jant
a-29
-204
4-Ja
nta-
29-3
045-
Jant
a-29
-404
6-D
atu-
29-1
047-
Dat
u-29
-204
8-D
atu-
29-3
049-
Svar
a-al
anka
ra-2
9-1
050-
Svar
a-al
anka
ra-2
9-2
051-
Svar
a-al
anka
ra-2
9-3
052-
Svar
a-al
anka
ra-2
9-4
053-
Svar
a-al
anka
ra-2
9-5
054-
Svar
a-al
anka
ra-2
9-6
055-
Svar
a-al
anka
ra-2
9-7
056-
Shan
kara
bhar
ana-
AA05
7-G
ita-S
hank
arab
hara
na05
8-M
ohan
a-AA
059-
Gita
-Moh
ana
060-
Shud
dhas
aver
i-AA
061-
Gita
-Shu
ddha
save
ri06
2-Ka
lyan
i-AA
063-
Gita
-Kal
yani
064-
Mal
ahar
i-AA
065-
Gita
-Mal
ahar
i06
6-H
indo
la-A
A06
7-Sv
arap
alla
vi-H
indo
la03
.Prim
ary-
less
ons,
Gita
s &
Svar
apal
lavi
-(a
long
with
file
s) -
Shru
ti-A#
(6 ½
) (56
item
s):
068-
Sara
lee-
15-1
069-
Sara
lee-
15-2
070-
Sara
lee-
15-3
071-
Sara
lee-
15-4
072-
Sara
lee-
15-5
073-
Sara
lee-
15-6
074-
Sara
lee-
15-7
075-
Sara
lee-
15-8
076-
Jant
a-15
-107
7-Ja
nta-
15-2
078-
Jant
a-15
-307
9-Ja
nta-
15-4
080-
Dat
u-15
-108
1-D
atu-
15-2
082-
Dat
u-15
-308
3-Sv
ara-
alan
kara
-15-
108
4-Sv
ara-
alan
kara
-15-
208
5-Sv
ara-
alan
kara
-15-
308
6-Sv
ara-
alan
kara
-15-
408
7-Sv
ara-
alan
kara
-15-
508
8-Sv
ara-
alan
kara
-15-
608
9-Sv
ara-
alan
kara
-15-
709
0-Sa
rale
e-29
-109
1-Sa
rale
e-29
-209
2-Sa
rale
e-29
-309
3-Sa
rale
e-29
-409
4-Sa
rale
e-29
-509
5-Sa
rale
e-29
-609
6-Sa
rale
e-29
-709
7-Sa
rale
e-29
-809
8-Ja
nta-
29-1
099-
Jant
a-29
-210
0-Ja
nta-
29-3
101-
Jant
a-29
-410
2-D
atu-
29-1
103-
Dat
u-29
-210
4-D
atu-
29-3
105-
Svar
a-al
anka
ra-2
9-1
106-
Svar
a-al
anka
ra-2
9-2
107-
Svar
a-al
anka
ra-2
9-3
108-
Svar
a-al
anka
ra-2
9-4
109-
Svar
a-al
anka
ra-2
9-5
110-
Svar
a-al
anka
ra-2
9-6
111-
Svar
a-al
anka
ra-2
9-7
112-
Shan
kara
bhar
ana-
AA11
3-G
ita-S
hank
arab
hara
na11
4-M
ohan
a-AA
115-
Gita
-Moh
ana
116-
Shud
dhas
aver
i-AA
117-
Gita
-Shu
ddha
save
ri11
8-Ka
lyan
i-AA
119-
Gita
-Kal
yani
120-
Mal
ahar
i-AA
121-
Gita
-Mal
ahar
i12
2-H
indo
la-A
A12
3-Sv
arap
alla
vi-H
indo
la04
. Spe
cial
-laya
-exe
rcis
es (2
9 ite
ms)
:12
4-4-
312
5-4-
512
6-4-
712
7-4—
—5
128-
3-4
129-
3-5
130-
3-7
131-
3——
413
2-G
ati &
Jat
i-ala
nkar
a-4&
3-1
133-
Gat
i & J
ati-a
lank
ara-
4&3-
213
4-G
ati &
Jat
i-ala
nkar
a-4&
3-3
135-
Gat
i & J
ati-a
lank
ara-
4&3-
413
6-G
ati &
Jat
i-ala
nkar
a-4&
3-5
137-
Gat
i & J
ati-a
lank
ara-
4&3-
613
8-G
ati &
Jat
i-ala
nkar
a-4&
3-7
139-
Jati-
alan
kara
-4&3
-114
0-Ja
ti-al
anka
ra-4
&3-2
141-
Jati-
alan
kara
-4&3
-314
2-Ja
ti-al
anka
ra-4
&3-4
143-
Jati-
alan
kara
-4&3
-514
4-Ja
ti-al
anka
ra-4
&3-6
145-
Jati-
alan
kara
-4&3
-714
6-Ja
ti-al
anka
ra-1
,2,3
,4,6
,8—
114
7-Ja
ti-al
anka
ra-1
,2,3
,4,6
,8—
214
8-Ja
ti-al
anka
ra-1
,2,3
,4,6
,8—
314
9-Ja
ti-al
anka
ra-1
,2,3
,4,6
,8—
415
0-Ja
ti-al
anka
ra-1
,2,3
,4,6
,8—
515
1-Ja
ti-al
anka
ra-1
,2,3
,4,6
,8—
615
2-Ja
ti-al
anka
ra-1
,2,3
,4,6
,8—
7
05. J
ati &
Sva
ra-m
ukta
yis
(24
item
s) :
153-
Jati-
muk
tayi
s-6.
1.2-
03—
5,6,
7,9
154-
Svar
a-m
ukta
yis-
6.1.
2-03
—5,
6,7,
915
5-Ja
ti-m
ukta
yis-
6.1.
2-04
—5,
6,7,
915
6-Ja
ti-m
ukta
yis-
6.1.
2-06
—5,
6,7,
915
7-Ja
ti-m
ukta
yis-
6.1.
2-07
—5,
6,7,
915
8-Ja
ti-m
ukta
yis-
6.1.
2-08
—5,
6,7,
915
9-Ja
ti-m
ukta
yis-
6.1.
2-09
—5,
6,7,
916
0-Ja
ti-m
ukta
yis-
6.1.
2-11
—5,
6,7,
916
1-Ja
ti-m
ukta
yis-
6.1.
2-12
—5,
6,7,
916
2-Ja
ti-m
ukta
yis-
6.1.
2-13
—5,
6,7,
916
3-Ja
ti-m
ukta
yis-
6.1.
2-15
—5,
6,7,
916
4-Ja
ti-m
ukta
yis-
6.1.
2-16
—5,
6,7,
916
5-Ja
ti-m
ukta
yis-
6.2.
2-04
—6,
716
6-Sv
ara-
muk
tayi
s-6-
2-2-
04—
6,7
167-
Jati-
muk
tayi
s-6.
2.2-
08—
6,7
168-
Jati-
muk
tayi
s-6.
2.2-
09—
6,7
169-
Jati-
muk
tayi
s-6.
2.2-
10—
6,7
170-
Jati-
muk
tayi
s-6.
2.2-
12—
6,7
171-
Jati-
muk
tayi
s-6.
3.2-
01—
6,7
172-
Svar
a-m
ukta
yis-
6.3.
2-01
—6,
717
3-Ja
ti-m
ukta
yis-
6.3.
2-03
—6,
717
4-Ja
ti-m
ukta
yis-
6.3.
2-06
—6,
717
5-Ja
ti-m
ukta
yis-
6.3.
2-09
—6,
717
6-Ja
ti-m
ukta
yis-
6.3.
2-10
—6,
706
. Var
nas
& Sv
araj
ati (
Alon
g w
ith p
df fi
les)
-Sh
ruti-
A#(6
½) (
109
item
s) :
AB
BR
IVIA
TIO
NS:
P-Pa
llavi
A-An
upal
lavi
M-M
ukta
yisv
ara
C-C
hara
naE-
Ettu
gada
svar
a17
7-N
atak
uran
ji-Ar
ohan
a &
Avar
ohan
a17
8-N
atak
uran
ji-Ad
i-Var
na-P
alla
vi17
9--d
o-An
upal
lavi
180-
-do-
Muk
tayi
svar
a18
1--d
o-C
hara
na18
2--d
o-Et
tuga
dasv
ara-
118
3--d
o-Et
tuga
dasv
ara-
218
4--d
o-Et
tuga
dasv
ara-
318
5--d
o-Et
tuga
dasv
ara-
418
6--d
o-Pu
rvan
ga18
7--d
o-U
ttara
nga
188-
Kam
bhoj
i-Aro
hana
& A
varo
hana
189-
Kam
bhoj
i-Adi
-Var
na-
Palla
vi19
0--d
o-An
upal
lavi
191-
-do-
Muk
tayi
svar
a19
2--d
o-C
hara
na19
3--d
o-Et
tuga
dasv
ara-
119
4--d
o-Et
tuga
dasv
ara-
219
5--d
o-Et
tuga
dasv
ara-
319
6--d
o-Et
tuga
dasv
ara-
4
AM
S E
AS
Y M
ET
HO
DS
- 2
007
IN T
EA
CH
ING
KA
RN
ATA
KA
MU
SIC
Page 2
197-
-do-
Ettu
gada
svar
a-5
198-
-do-
Purv
anga
199-
-do-
Utta
rang
a20
0-D
arba
r-Aro
hana
& A
varo
hana
201-
Dar
bar-A
di-V
arna
-Pa
llavi
202-
-do-
Anup
alla
vi20
3--d
o-M
ukta
yisv
ara
204-
-do-
Cha
rana
205-
-do-
Ettu
gada
svar
a-1
206-
-do-
Ettu
gada
svar
a-2
207-
-do-
Ettu
gada
svar
a-3
208-
-do-
Ettu
gada
svar
a-4
209-
-do-
Purv
anga
210-
-do-
Utta
rang
a21
1-Sh
anka
rabh
aran
a-Ar
ohan
a &
Ava
roha
na21
2-Sh
anka
rabh
aran
a-Ad
i-Var
na-
Palla
vi21
3--d
o-An
upal
lavi
214-
-do-
Muk
tayi
svar
a21
5--d
o-C
hara
na21
6--d
o-Et
tuga
dasv
ara-
121
7--d
o-Et
tuga
dasv
ara-
221
8--d
o-Et
tuga
dasv
ara-
321
9--d
o-Et
tuga
dasv
ara-
422
0--d
o-Pu
rvan
ga22
1--d
o-U
ttara
nga
222-
Kaly
ani-A
roha
na &
Ava
roha
na22
3-Ka
lyan
i-Adi
-Var
na-
Palla
vi22
4--d
o-An
upal
lavi
225-
-do-
Muk
tayi
svar
a22
6--d
o-C
hara
na22
7--d
o-Et
tuga
dasv
ara-
122
8--d
o-Et
tuga
dasv
ara-
222
9--d
o-Et
tuga
dasv
ara-
323
0--d
o-Et
tuga
dasv
ara-
423
1--d
o-Pu
rvan
ga23
2--d
o-U
ttara
nga
233-
Bega
da-A
roha
na &
Ava
roha
na23
4-Be
gada
-Adi
-Var
na-
Palla
vi23
5--d
o-An
upal
lavi
236-
-do-
Muk
tayi
svar
a23
7--d
o-C
hara
na23
8--d
o-Et
tuga
dasv
ara-
123
9--d
o-Et
tuga
dasv
ara-
224
0--d
o-Et
tuga
dasv
ara-
324
1--d
o-Et
tuga
dasv
ara-
424
2--d
o-Pu
rvan
ga24
3--d
o-U
ttara
nga
244-
Todi
-Aro
hana
& A
varo
hana
245-
Todi
-Adi
-Var
na-
Palla
vi24
6--d
o-An
upal
lavi
247-
-do-
Muk
tayi
svar
a24
8--d
o-C
hara
na24
9--d
o-Et
tuga
dasv
ara-
125
0--d
o-Et
tuga
dasv
ara-
2
251-
-do-
Ettu
gada
svar
a-3
252-
-do-
Ettu
gada
svar
a-4
253-
-do-
Ettu
gada
svar
a-5
254-
-do-
Purv
anga
255-
-do-
Utta
rang
a25
6-Sa
veri-
Aroh
ana
& Av
aroh
ana
257-
Save
ri-Ad
i-Var
na-
Palla
vi25
8--d
o-An
upal
lavi
259-
-do-
Muk
tayi
svar
a26
0--d
o-C
hara
na26
1--d
o-Et
tuga
dasv
ara-
126
2--d
o-Et
tuga
dasv
ara-
226
3--d
o-Et
tuga
dasv
ara-
326
4--d
o-Et
tuga
dasv
ara-
426
5--d
o-Pu
rvan
ga26
6--d
o-U
ttara
nga
267-
Bhai
ravi
-Aro
hana
& A
varo
hana
268-
Bhai
ravi
-Ata
-Var
na-
Palla
vi26
9--d
o-An
upal
lavi
270-
-do-
Muk
tayi
svar
a27
1--d
o-C
hara
na27
2--d
o-Et
tuga
dasv
ara-
127
3--d
o-Et
tuga
dasv
ara-
227
4--d
o-Et
tuga
dasv
ara-
327
5--d
o-Pu
rvan
ga27
6--d
o-U
ttara
nga
277-
Bhai
ravi
-Cha
pu-S
vara
jati-
Palla
vi27
8--d
o-C
hara
na-1
279-
-do-
Cha
rana
-228
0--d
o-C
hara
na-3
281-
-do-
Cha
rana
-428
2--d
o-C
hara
na-5
283-
-do-
Cha
rana
-628
4--d
o-C
hara
na-7
285-
-do-
Cha
rana
-807
.Var
nas
& Sv
araj
ati (
alon
g w
ith p
df fi
les)
-Shr
uti-C
(1) (
109
item
s):
286-
Nat
akur
anji-
Aroh
ana
& Av
aroh
ana
287-
Nat
akur
anji-
Adi-V
arna
-Pa
llavi
288-
-do-
Anup
alla
vi28
9--d
o-M
ukta
yisv
ara
290-
-do-
Cha
rana
291-
-do-
Ettu
gada
svar
a-1
292-
-do-
Ettu
gada
svar
a-2
293-
-do-
Ettu
gada
svar
a-3
294-
-do-
Ettu
gada
svar
a-4
295-
-do-
Purv
anga
296-
-do-
Utta
rang
a29
7-Ka
mbh
oji-A
roha
na &
Ava
roha
na29
8-Ka
mbh
oji-A
di-V
arna
-Pa
llavi
299-
-do-
Anup
alla
vi30
0--d
o-M
ukta
yisv
ara
301-
-do-
Cha
rana
302-
-do-
Ettu
gada
svar
a-1
303-
-do-
Ettu
gada
svar
a-2
304-
-do-
Ettu
gada
svar
a-3
305-
-do-
Ettu
gada
svar
a-4
306-
-do-
Ettu
gada
svar
a-5
307-
-do-
Purv
anga
308-
-do-
Utta
rang
a30
9-D
arba
r-Aro
hana
& A
varo
hana
310-
Dar
bar-A
di-V
arna
-Pa
llavi
311-
-do-
Anup
alla
vi31
2--d
o-M
ukta
yisv
ara
313-
-do-
Cha
rana
314-
-do-
Ettu
gada
svar
a-1
315-
-do-
Ettu
gada
svar
a-2
316-
-do-
Ettu
gada
svar
a-3
317-
-do-
Ettu
gada
svar
a-4
318-
-do-
Purv
anga
319-
-do-
Utta
rang
a32
0-Sh
anka
rabh
aran
a-Ar
ohan
a &
Avar
ohan
a32
1-Sh
anka
rabh
aran
a-Ad
i-Var
na-
Palla
vi32
2--d
o-An
upal
lavi
323-
-do-
Muk
tayi
svar
a32
4--d
o-C
hara
na32
5--d
o-Et
tuga
dasv
ara-
132
6--d
o-Et
tuga
dasv
ara-
232
7--d
o-Et
tuga
dasv
ara-
332
8--d
o-Et
tuga
dasv
ara-
432
9--d
o-Pu
rvan
ga33
0--d
o-U
ttara
nga
331-
Kaly
ani-A
roha
na &
Ava
roha
na33
2-Ka
lyan
i-Adi
-Var
na-
Palla
vi33
3--d
o-An
upal
lavi
334-
-do-
Muk
tayi
svar
a33
5--d
o-C
hara
na33
6--d
o-Et
tuga
dasv
ara-
133
7--d
o-Et
tuga
dasv
ara-
233
8--d
o-Et
tuga
dasv
ara-
333
9--d
o-Et
tuga
dasv
ara-
434
0--d
o-Pu
rvan
ga34
1--d
o-U
ttara
nga
342-
Bega
da-A
roha
na &
Ava
roha
na34
3-Be
gada
-Adi
-Var
na-
Palla
vi34
4--d
o-An
upal
lavi
345-
-do-
Muk
tayi
svar
a34
6--d
o-C
hara
na34
7--d
o-Et
tuga
dasv
ara-
134
8--d
o-Et
tuga
dasv
ara-
234
9--d
o-Et
tuga
dasv
ara-
335
0--d
o-Et
tuga
dasv
ara-
435
1--d
o-Pu
rvan
ga35
2--d
o-U
ttara
nga
353-
Todi
-Aro
hana
& A
varo
hana
354-
Todi
-Adi
-Var
na-
Palla
vi35
5--d
o-An
upal
lavi
356-
-do-
Muk
tayi
svar
a
Page 3
357-
-do-
Cha
rana
358-
-do-
Ettu
gada
svar
a-1
359-
-do-
Ettu
gada
svar
a-2
360-
-do-
Ettu
gada
svar
a-3
361-
-do-
Ettu
gada
svar
a-4
362-
-do-
Ettu
gada
svar
a-5
363-
-do-
Purv
anga
364-
-do-
Utta
rang
a36
5-Sa
veri-
Aroh
ana
& Av
aroh
ana
366-
Save
ri-Ad
i-Var
na-
Palla
vi36
7--d
o-An
upal
lavi
368-
-do-
Muk
tayi
svar
a36
9--d
o-C
hara
na37
0--d
o-Et
tuga
dasv
ara-
137
1--d
o-Et
tuga
dasv
ara-
237
2--d
o-Et
tuga
dasv
ara-
337
3--d
o-Et
tuga
dasv
ara-
437
4--d
o-Pu
rvan
ga37
5--d
o-U
ttara
nga
376-
Bhai
ravi
-Aro
hana
& A
varo
hana
377-
Bhai
ravi
-Ata
-Var
na-P
alla
vi37
8--d
o-An
upal
lavi
379-
-do-
Muk
tayi
svar
a38
0--d
o-C
hara
na38
1--d
o-Et
tuga
dasv
ara-
138
2--d
o-Et
tuga
dasv
ara-
238
3--d
o-Et
tuga
dasv
ara-
338
4--d
o-Pu
rvan
ga38
5--d
o-U
ttara
nga
386-
Bhai
ravi
-Cha
pu-S
vara
jati-
Palla
vi38
7--d
o-C
hara
na-1
388-
-do-
Cha
rana
-238
9--d
o-C
hara
na-3
390-
-do-
Cha
rana
-439
1--d
o-C
hara
na-5
392-
-do-
Cha
rana
-639
3--d
o-C
hara
na-7
394-
-do-
Cha
rana
-808
. 395
-KG
to 4
54-K
G: A
udio
file
s of
Kam
pita
s &
Gam
akas
(60
item
s) (t
o be
sun
g @
2 n
otes
per
eac
h se
cond
) alo
ng w
ithpd
f file
s.09
. 455
-KN
to 4
81-K
N: A
udio
file
s of
the
diffe
rent
face
ts o
fKa
mpi
tas
& G
amak
as p
erta
inin
g to
Kai
shik
i-nis
hada
(27
item
s)(to
be
sung
@ 1
not
e pe
r eac
h se
cond
) alo
ng w
ith p
df fi
les.
======
======
======
======
======
======
======
======
======
======
======
======
======
======
======
======
======
=====
Not
e: In
dian
mus
ic is
con
side
red
to h
ave
evol
ved
from
the
mus
ical
cha
ntin
g of
Sam
a Ve
da.
Mus
ic,
like
the
Veda
s is
cons
ider
ed to
be
the
path
to s
elf-r
ealiz
atio
n an
d he
nce
is d
ivin
e.Th
e st
udy
of m
usic
, like
Ved
as, n
eeds
dis
cipl
ine
and
dedi
catio
n.It
has
to b
e pr
actic
ed in
the
early
hou
rs o
f the
day
whe
n th
em
ind
assi
mila
tes
to th
e be
st o
f abi
litie
s. It
is e
ssen
tial t
o be
initi
ated
into
trai
ning
at a
tend
er a
ge. W
ith r
igor
ous
train
ing
and
prac
tice
coup
led
with
foc
usse
d at
tent
ion
one
can
undo
ubte
dly
beco
me
a go
od m
usic
ian.
To in
culc
ate
a se
nse
of S
hrut
i and
faci
litat
e ac
quai
ntan
ce w
ithLa
ya, i
t is
desi
rabl
e to
exp
ose
stud
ents
to th
e co
nsta
nt h
earin
gof
insp
iratio
nal,
rhyt
hmic
, ins
trum
enta
l mus
ic, r
ight
from
thei
rch
ildho
od. A
s pe
r thi
s no
vel m
etho
d, th
e ca
ndid
ate
mus
t firs
tun
derg
o th
e ‘L
aya’
test
by
follo
win
g th
e te
ache
r whi
le h
e/sh
epu
ts b
eats
with
bot
h ha
nds
on h
is/h
er th
ighs
in a
ccor
danc
ew
ith th
e m
usic
pro
vide
d in
the
CD
whi
ch is
set
to C
hatu
rash
ra-
gati.
The
can
dida
tes
who
suc
ceed
in th
is te
st s
houl
d fu
rther
be s
ubje
cted
to th
e ‘S
hrut
i’ te
st in
whi
ch th
e ca
ndid
ates
hav
eto
rep
rodu
ce th
e tw
elve
not
es s
ung
by th
e te
ache
r w
ith th
ehe
lp o
f the
Cas
io. T
he c
andi
date
s w
ho s
ucce
ssfu
lly p
ass
thes
ete
sts
shou
ld p
roce
ed to
the
third
item
whe
rein
the
stud
ent i
sm
ade
to u
tter ‘
ki-ta
-ta-k
a’, u
sing
the
right
han
d be
at fo
r ‘ki
-ta’
follo
wed
by
the
left
hand
bea
t fo
r ‘ta
-ka’
on
thei
r th
ighs
,co
rresp
ondi
ng t
o th
e 12
0 bp
m o
f m
etro
nom
e. T
reat
ing
the
prac
tice
of th
is ‘k
i-ta-
ta-k
a’ a
s ‘E
ka-ta
la-ja
ti-al
anka
ra’, t
hey
have
to le
arn
and
prac
tise
the
rem
aini
ng s
ix J
ati-a
lank
aras
of t
hese
ven
prin
cipl
e Ta
las,
Eka
, Rup
aka,
Mat
hya,
Dhr
uva,
Jha
mpa
,At
a &
Trip
uta,
in th
is s
eria
tim, p
uttin
g b
eats
with
bot
h th
e ha
nds
. La
ter,
th
ey
have
to
si
ng
the
Sar
alee
-sva
ras
ofM
ayam
alav
agau
la-ra
ga / S
hank
arab
hara
na-ra
ga w
ith b
oth
the
hand
s (it
is p
refe
rabl
e to
tea
ch t
he S
aral
ee-S
vara
s, J
anta
-sv
aras
and
Dat
u-sv
aras
in
Sha
nkar
abha
rana
-rag
a as
in
Hin
dust
hani
and
Wes
tern
sys
tem
s of
mus
ic).
Subs
eque
ntly,
they
hav
e to
lear
n an
d pr
actis
e al
l the
Sar
alee
-sva
ras,
Jan
ta-
svar
as
&
Dat
u-sv
aras
of
M
ayam
alav
agau
la-r
aga
/Sh
anka
rabh
aran
a-ra
ga p
uttin
g be
ats
with
bot
h th
e ha
nds,
with
out T
alan
gas.
Fur
ther
, the
y ha
ve to
lear
n an
d pr
actis
e th
eSv
ara-
alan
kara
s in
the
abov
e se
riatim
, in L
alita
/Ham
savi
nodi
ni-
raga
put
ting
beat
s w
ith b
oth
the
hand
s. W
hile
lear
ning
Gita
s in
the
Rag
as,
Sha
nkar
abha
rana
, M
ohan
a, S
hudd
hasa
veri,
Kaly
ani &
Mal
ahar
i and
the
Svar
apal
lavi
in H
indo
la-ra
ga th
eyha
ve to
sin
g th
e ‘S
vara
’ firs
t fol
low
ed b
y th
e re
spec
tive
‘Aka
ra’
and
‘Sah
itya’
. It
shou
ld b
e no
ted
that
the
Gita
s sh
ould
be
rend
ered
with
bot
h th
e ha
nds.
Con
secu
tivel
y th
e cr
ucia
l‘T
alan
gas’
are
intro
duce
d al
ong
with
the
thre
e de
gree
s of
spe
edus
ing
the
right
han
d. T
hus,
all
the
less
ons
lear
nt s
o fa
r mus
tbe
sun
g an
d pr
actic
ed in
thre
e sp
eeds
. The
prim
ary
exer
cise
s,G
itas,
Sva
rapa
llavi
, Var
nas
and
Svar
ajat
i are
reco
rded
in tw
odi
ffere
nt S
hrut
is fo
r the
con
veni
ence
of t
he s
tude
nts.
Lat
er, t
hey
have
to p
ract
ise
the
Sara
lees
, Jan
tas,
Dat
us a
ndAl
anka
ras
in o
ther
non
-Viv
adi M
elas
. Whi
le p
ract
isin
g th
e
Spe
cial
-lay
a-ex
erci
ses,
th
e st
uden
ts
shou
ld
sim
ulta
neou
sly
be ta
ught
the
svar
a, a
kara
and
sah
itya
of th
eAd
i-tal
a-va
rnas
in th
e ra
gas,
Nat
akur
anji,
Kam
bhoj
i, D
arba
r,Sh
anka
rabh
aran
a, K
alya
ni, B
egad
a, T
odi a
nd S
aver
i, in
the
sam
e se
riatim
@ 1
-uni
t per
sec
ond
with
the
esse
ntia
l Kam
pita
san
d G
amak
as.
Furth
er,
the
Ata
-tala
-var
na a
nd S
vara
jati
inBh
aira
vi-ra
ga s
houl
d al
so b
e ta
ught
in th
e sa
me
man
ner.
Whi
lete
achi
ng t
he V
arna
and
Sva
raja
ti, t
he in
ter-
rela
tion
of t
here
leva
nt n
otes
sho
uld
be d
emon
stra
ted
by th
e Te
ache
r in
aph
ased
man
ner.
In o
rder
to
get
muc
h ac
quai
ntan
ce, t
hest
uden
ts s
houl
d lis
ten
to a
nd s
tric
tly f
ollo
w t
he it
ems
prov
ided
in t
he C
D a
t th
eir
resi
denc
e, a
t ev
ery
leve
l of
lear
ning
. Apa
rt fro
m th
e on
e ho
ur o
f his
/her
trai
ning
in th
ecl
ass,
the
stud
ent m
ust b
e ab
le to
pra
ctic
e in
depe
nden
tly fo
rth
e m
axim
um p
erio
d du
ring
the
rest
of t
he d
ay a
nd th
e m
ater
ial
in th
e C
D fa
cilit
ates
the
sam
e. In
this
met
hod
of te
achi
ng, t
hete
ache
r, in
itiat
es a
nd m
otiv
ates
the
stu
dent
s in
to d
eepe
rle
arni
ng. T
his
is th
e m
ost c
ruci
al s
tep
and
is h
ighl
y ef
fect
ive
inm
akin
g th
e st
uden
ts i
ndep
ende
nt,
inst
illin
g tre
men
dous
conf
iden
ce in
them
. The
stu
dent
s ar
e re
quire
d to
pra
ctic
e da
ilyfo
r a
min
imum
of t
wo
hour
s til
l the
com
plet
ion
of G
itas
and
four
hou
rs fr
om th
e be
ginn
ing
of V
arna
s. T
his
will
quic
ken
the
proc
ess
of le
arni
ng a
nd a
fter t
he c
ompl
etio
n of
thes
e Va
rnas
they
will
be a
ble
to s
ing
/ pla
y th
e Sv
ara,
Aka
ra a
nd S
ahity
a of
the
nota
ted
Kriti
s et
c., m
ostly
on
thei
r ow
n. T
hey
will
be a
ble
tosi
ng/p
lay
Sva
raka
lpan
a w
ith e
asy
muk
thay
is a
fter
the
com
plet
ion
of 1
0 or
12
Kriti
s. In
add
ition
, the
y w
ill be
abl
e to
rend
er b
rief R
agal
apan
a w
ithin
a s
pan
of s
ix m
onth
s af
ter t
heco
mm
ence
men
t of K
ritis
. Thi
s is
a u
niqu
e fe
atur
e of
this
mod
ern
teac
hing
met
hod
and
it ha
s be
en s
ucce
ssfu
lly im
plem
ente
don
a n
umbe
r of
stu
dent
s, p
rodu
cing
gra
tifyi
ng a
nd a
maz
ing
resu
lts. T
he it
ems
in t
he C
D a
re c
lass
ified
into
9 h
eadi
ngs
com
pris
ing
of 4
81 tr
acks
cat
erin
g to
the
need
s of
the
stud
ents
.
Appa
rent
ly, th
e se
ts o
f 10
and
15 G
amak
as p
resc
ribed
in o
uran
cien
t tre
atis
es a
re in
adeq
uate
in c
onte
mpo
rary
mus
ic.
Karn
atak
a m
usic
is o
ne o
f the
mos
t com
plex
sys
tem
s in
the
wor
ld a
nd th
e ne
ed o
f the
hou
r is
to d
ocum
ent a
nd s
afeg
uard
ever
y su
btle
nua
nce.
Hen
ce a
n at
tem
pt h
as b
een
mad
e to
cate
goriz
e an
d do
cum
ent t
he v
ario
us K
ampi
tas
and
Gam
akas
(60
varie
ties)
alo
ng w
ith il
lust
ratio
ns. T
he a
udio
-clip
ping
s of
the
sam
e ha
ve b
een
prov
ided
in th
e C
D. S
imila
rly tw
enty
sev
ennu
ance
s of
Kai
shik
i-nis
hAda
are
furn
ishe
d in
PD
F fil
es a
long
with
aud
io-c
lippi
ngs.
The
sym
bols
ass
igne
d ar
e in
con
curre
nce
with
the
trave
l of t
he s
ound
(of t
he n
ote)
. The
Var
nas
and
the
Svar
ajat
i hav
e be
en n
otat
ed w
ith s
ymbo
ls to
faci
litat
e a
bette
run
ders
tand
ing.
Thi
s at
tem
pt is
the
first
and
fore
mos
t in
the
anna
ls o
f Kar
nata
ka m
usic
lite
ratu
re.
Visi
t ht
tp://
yout
ube.
com
/msa
kella
for
the
vid
eo-c
lippi
ngs
ofso
me
of th
e La
ya-e
xerc
ises
and
Vio
lin-e
xerc
ises
.
Page 4
EASY, EFFECTIVE & INNOVATIVE METHODSIN TEACHING KARNATAKA MUSIC
JATI ALANKARAS(k= ki; t=ta; t=tha; k=ka; d=dhi; m=mi)
1. Eka Tala : || k t t k ||2. Rupaka Tala : || t k | k t t k ||3. Mathya Tala : || k t t k | t k | k t t k ||
or || t k d m | t k | k t t k ||4. Dhruva Tala : || k t t k | t k | k t t k | k t t k ||
or || t k d m | t k | k t t k | k t t k ||5. Jhampa tala : || t k t t k t k | t | t , ||6. Ata Tala : || t k , t , | t, k t , | t , | t , ||7. Triputa Tala : || t k t | k t | t k ||
SARALEE SVARAS
MAYAMALAVAGAULA SHANKARABHARANAAro : S R1 G3 M1 P D1 N3 S Aro : S R2 G3 M1 P D2 N3 SAva : S N3 D1 P M1 G3 R1 S Ava : S N3 D2 P M1 G3 R2 S
1. s r g m | p d | n s || s n d p | m g | r s ||
2. s r g m | s r | g m || s r g m | p d | n s ||s n d p | s n | d p || s n d p | m g | r s ||
3. s r g m | s r | s r || s r g m | p d | n s ||s n d p | s n | s n || s n d p | m g | r s ||
4. s r g m | p m | g r || s r g m | p d | n s ||s n d p | m p | d n || s n d p | m g | r s ||
5. s r g m | s m | g r || s r g m | p d | n s ||s n d p | s p | d n || s n d p | m g | r s ||
6. s r g m | p m | d p || s r g m | p d | n s ||s n d p | m p | g m || s n d p | m g | r s ||
7. s r g m | p , | s r || s r g m | p d | n s ||s n d p | m , | s n || s n d p | m g | r s ||
8. s r g m | p , | , , || s r g m | p d | n s ||s n d p | m , | , , || s n d p | m g | r s ||
ADI TALA (I4 O O)
Page 5
JANTA SVARASMAYAMALAVAGAULA SHANKARABHARANAAro : S R1 G3 M1 P D1 N3 S Aro : S R2 G3 M1 P D2 N3 SAva : S N3 D1 P M1 G3 R1 S Ava : S N3 D2 P M1 G3 R2 S
1. s s r r | g g | m m || p p d d | n n | s s ||s s 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 | s s || s s 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 | s s ||s s n n | d d | n n || s s 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 m m | g g | r r || s s r r | g g | m m ||r r p p | m m | g g || r r g g | m m | p p ||g g d d | p p | m m || g g m m | p p | d d ||m m n n | d d | p p || m m p p | d d | n n ||p p s s | n n | d d || p p d d | n n | s s ||s s p p | d d | n n || s s n n | d d | p p ||n n m m | p p | d d || n n d d | p p | m m ||d d g g | m m | p p || d d p p | m m | g g ||p p r r | g g | m m || p p m m | g g | r r ||m m s s | r r | g g || m m g g | r r | s s ||
ADI TALA (I4 O O)
Page 6
DATU SVARASMAYAMALAVAGAULA SHANKARABHARANAAro : S R1 G3 M1 P D1 N3 S Aro : S R2 G3 M1 P D2 N3 SAva : S N3 D1 P M1 G3 R1 S Ava : S N3 D2 P M1 G3 R2 S
1. s g r m | g p | m d || p n d s | s d | n p ||d m p g | m r | g s ||
2. s m g r | s r | g m || r p m g | r g | m p ||g d p m | g m | p d || m n d p | m p | d n ||p s n d | p d | n s || s p d n | s n | d p ||n m p d | n d | p m || d g m p | d p | m g ||p r g m | p m | g r || m s r g | m g | r s ||
3. 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 s n s | d n | p d || p n d n | p d | n s ||s p d p | n d | s n || s d n d | s n | d p ||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 ||
V
ADI TALA (I4 O O)
Page 7
SVARA ALANKARASLALITA(15) HAMSAVINODINI(29)Aro : S R1 G3 M1 D1 N3 S Aro : S R2 G3 M1 D2 N3 SAva : S N3 D1 M1 G3 R1 S Ava : S N3 D2 M1 G3 R2 S
1. Chaturashra Jaati - Eka Tala - (14)14
s r g m ||r g m d ||g m d n ||m d n s ||s n d m ||n d m g ||d m g r ||m g r s ||
2. Chaturashra Jaati - Rupaka Tala - (0 14)0 14
s r | s r g m ||r g | r g m d ||g m | g m d n ||m d | m d n s ||s n | s n d m ||n d | n d m g ||d m | d m g r ||m g | m g r s ||
3. Chaturashra Jaati - Mathya Tala - (14 0 14) 14 0 14
s r g r | s r | s r g m ||r g m g | r g | r g m d ||g m d m | g m | g m d n ||m d n d | m d | m d n s ||s n d n | s n | s n d m ||n d m d | n d | n d m g ||d m g m | d m | d m g r ||m g r g | m g | m g r s ||
Page 8
4. Chaturashra Jaati - Dhruva Tala - (14 0 14 14) 14 0 14 14
s r g m | g r | s r g r | s r g m ||r g m d | m g | r g m g | r g m d ||g m d n | d m | g m d m | g m d n ||m d n s | n d | m d n d | m d n s ||s n d m | d n | s n d n | s n d m ||n d m g | m d | n d m d | n d m g ||d m g r | g m | d m g m | d m g r ||m g r s | r g | m g r g | m g r s ||
5. Mishra Jaati - Jhampa Tala - (17 U 0)17 U 0
s r g s r s r | g | m , ||r g m r g r g | m | d , ||g m d g m g m | d | n , ||m d n m d m d | n | s , ||s n d s n s n | d | m , ||n d m n d n d | m | g , ||d m g d m d m | g | r , ||m g r m g m g | r | s , ||
6. Khanda Jaati - Ata Tala- (15 15 0 0)15 15 0 0
s r , g , | s , r g , | m , | m , ||r g , m , | r , g m , | d , | d , ||g m , d , | g , m d , | n , | n , ||m d , n , | m , d n , | s , | s , ||s n , d , | s , n d , | m , | m , ||n d , m , | n , d m , | g , | g , ||d m , g , | d , m g , | r , | r , ||m g , r , | m , g r , | s , | s , ||
7. Trisra Jaati - Triputa Tala - (13 0 0)13 0 0
s r g | s r | g m ||r g m | r g | m d ||g m d | g m | d n ||m d n | m d | n s ||s n d | s n | d m ||n d m | n d | m g ||d m g | d m | g r ||m g r | m g | r s ||
V
Page 9
Jati
Ala
nkar
as s
ung
@ 4
uni
ts in
Cha
tura
shra
-gat
i and
3 u
nits
in T
risra
-gat
i
12
34
1.Ek
a-
4-
k t t
k| k
t t k
| k t
t k| k
t t k
||3
-k
t t| k
/ k
t| t
k /
k| t
t k
||
12
34
56
2.R
upak
a-
4-
t k k
t| t
k /
t k| k
t t k
| t k
k t
| t k
/ t k
| k t
t k||
3-
t k k
| t t
k| t
k k
| t t
k| t
k k
| t t
k||
12
34
56
78
910
3.M
athy
a-
4-
t k d
m| t
k k
t| t
k /
t k| d
m t
k| k
t t k
| t k
d m
| t k
k t
| t k
/ t k
| d m
t k
| k t
t k||
3-
t k d
| m t
k| k
t t
| k /
t k| d
m t
| k k
t| t
k /
t| k
d m
| t k
k| t
t k
||
12
34
56
78
910
1112
1314
4.D
hruv
a-
4-
t k d
m| t
k k
t| t
k k
t| t
k /
t k| d
m t
k| k
t t k
| k t
t k| t
k d
m| t
k k
t| t
k k
t| t
k /
t k| d
m t
k| k
t t k
| k t
t k||
3-
t k d
| m t
k| k
t t
| k k
t| t
k /
t| k
d m
| t k
k| t
t k
| k t
t| k
/ t k
| d m
t| k
k t
| t k
k| t
t k
||
12
34
56
78
910
5.Jh
ampa
-4
-t k
t t
| k t
k t
| t ,
/ t k
| t t
k t
| k t
t ,|
t k t
t| k
t k
t| t
, / t
k| t
t k
t| k
t t ,
||3
-t k
t| t
k t
| k t
t| ,
/ t k
| t t
k| t
k t
| t ,
/ t| k
t t
| k t
k| t
t ,
||
12
34
56
78
910
1112
1314
6. A
ta-
4-
t k ,
t| ,
t , k
| t ,
t ,| t
, / t
k| ,
t , t
| , k
t ,
| t ,
t ,| t
k ,
t| ,
t , k
| t ,
t ,| t
, / t
k| ,
t , t
| , k
t ,
| t ,
t ,||
3-
t k ,
| t ,
t| ,
k t
| , t
,| t
, / t
| k ,
t| ,
t ,
| k t
,| t
, t
| , /
t k| ,
t ,
| t ,
k| t
, t
| , t
,||
12
34
56
77.
Trip
uta
-4
-t k
t k
| t t
k / t
| k t
k t
| t k
/ t k
| t k
t t
| k /
t k t
| k t
t k||
3-
t k t
| k t
t| k
/ t k
| t k
t| t
k /
t| k
t k
| t t
k||
Page 10
Jati
Ala
nkar
as s
ung
@ 1
, 2, 3
, 4, 6
& 8
per
eac
h K
riya
1. E
ka :
12
34
1k
|t
|t
|k
||2
k t
|t k
|k
t|
t k||
3k
t t|
k / k
t|
t k /
k|
t t k
||4
k t t
k|
k t t
k|
k t t
k|
k t t
k||
6k
t t k
/ k
t|
t k /
k t t
k|
k t t
k /
k t
|t k
/ k
t t k
||8
k t t
k /
k t t
k|
k t t
k /
k t t
k|
k t t
k /
k t t
k|
k t t
k /
k t t
k||
2. R
upak
a :
12
34
56
1t
|k
|k
|t
|t
|k
||2
t k|
k t
|t k
|t k
|k
t|
t k||
3t k
k|
t t k
|t k
k|
t t k
|t k
k|
t t k
||4
t k k
t|
t k /
t k|
k t t
k|
t k k
t|
t k /
t k|
k t t
k||
6t k
k t
t k|
t k k
t t k
|t k
k t
t k|
t k k
t t k
|t k
k t
t k|
t k k
t t k
||8
t k k
t t k
/ t k
|k
t t k
/ t k
k t
|t k
/ t k
k t
t k|
t k k
t t k
/ t k
|k
t t k
/ t k
k t
|t k
/ t k
k t
t k||
3. M
athy
a : 1
23
45
67
89
101
t|
k|
d|
m|
t|
k|
k|
t|
t|
k||
2t k
|d
m|
t k|
k t
|t k
|t k
|d
m|
t k|
k t
|t k
||3
t k d
|m
t k
|k
t t|
k / t
k|
d m
t|
k k
t|
t k /
t|
k d
m|
t k k
|t t
k||
4t k
d m
|t k
k t
|t k
/ t k
|d
m t
k|
k t t
k|
t k d
m|
t k k
t|
t k /
t k|
d m
t k
|k
t t k
||6
t k d
m t
k|
k t /
t k
t k|
d m
t k
k t
|t k
/ t k
d m
|t k
/ k
t t k
|t k
d m
t k
|k
t / t
k t k
|d
m t
k k
t|
t k /
t k d
m|
t k /
k t t
k||
8tk
dm
tkk
t|
tk/t
kdm
tk|
kttk
/tkd
m|t
kktt
k/tk
|dm
tkkt
tk|
tkd
mtk
kt|t
k/tk
dm
tk|k
ttk/
tkd
m|
tkkt
tk/t
k|
dm
tkkt
tk||
4. D
hruv
a: 1
23
45
67
89
1011
1213
14
1t
|k
|d
|m
|t
|k
|k
|t
|t
|k
|k
|t
|t
|k
||
2t k
|d
m|
t k|
k t
|t k
|k
t|
t k|
t k|
d m
|t k
|k
t|
t k|
k t
|t k
||
3t k
d|
m t
k|
k t t
|k
k t
|t k
/ t
|k
d m
|t k
k|
t t k
|k
t t|
k / t
k|
d m
t|
k k
t|
t k k
|t t
k||
4t k
d m
| t
k k
t|
t k k
t|
t k /
t k|
d m
t k
|k
t t k
|k
t t k
|t k
d m
| t
k k
t|
t k k
t|
t k /
t k|
d m
t k
|k
t t k
|k
t t k
||
6tk
dmtk
|kt
tkkt
|tk
/tkdm
|tk
kttk
|kt
tk/tk
|dm
tkkt
|tk
kttk
|tk
dmtk
|kt
tkkt
|tk
/tkdm
|tk
kttk
|kt
tk/tk
|dm
tkkt
|tk
kttk
||
8tk
dmtk
kt|
tkkt
tk/tk
|dm
tkkt
tk|
kttk
/tkdm
|tk
kttk
kt|t
k/tk
dmtk
|kttk
kttk
|tk
dmtk
kt|
tkkt
tk/tk
|dm
tkkt
tk|k
ttk/tk
dm|
tkkt
tkkt
|tk/
tkdm
tk|k
ttkk
ttk
||
Page 11
5. J
ham
pa :
12
34
56
78
910
1t
|k
|t
|t
|k
|t
|k
|t
|t
|,
||2
t k|
t t|
k t
|k
t|
t ,|
t k|
t t|
k t
|k
t|
t ,||
3t k
t|
t k t
|k
t t|
, / t
k|
t t k
|t k
t|
t , /
t|
k t t
|k
t k|
t t ,
||4
t k t
t|
k t k
t|
t , /
t k|
t t k
t|
k t t
,|
t k t
t|
k t k
t|
t , /
t k|
t t k
t|
k t t
,||
6t k
t t k
t|
k t t
, / t
k|
t t k
t k
t|
t , /
t k t
t|
k t k
t t ,
|t k
t t k
t|
k t t
, / t
k|
t t k
t k
t|
t , /
t k t
t|
k t k
t t ,
||8
t k t
t k t
k t
|t ,
/ t k
t t k
t|
k t t
, / t
k t
t|k
t k
t t ,
/ t k
|t t
k t
k t t
,|
t k t
t k t
k t
|t ,
/ t k
t t k
t|k
t t ,
/ t k
t t|
k t k
t t ,
/ t k
|t t
k t
k t t
,||
6. A
ta :
12
34
56
78
910
1112
1314
1t
|k
|,
|t
|,
|t
|,
|k
|t
|,
|t
|,
|t
|,
||
2t k
|, t
|, t
|, k
|t ,
|t ,
|t ,
|t k
|, t
|, t
|, k
|t ,
|t ,
|t ,
||
3t k
,|
t , t
|, k
t|
, t ,
|t ,
/ t
|k
, t|
, t ,
|k
t ,|
t , t
|, /
t k
|, t
,|
t , k
|t ,
t|
, t ,
||
4t k
, t
|, t
, k
|t ,
t ,
|t ,
/ t k
|, t
, t
|, k
t ,
|t ,
t ,
|t k
, t
|, t
, k
|t ,
t ,
|t ,
/ t k
|, t
, t
|, k
t ,
|t ,
t ,
||
6t k
, t ,
t|
, k t
, t ,
|t ,
/ t k
, t
|, t
, k
t ,|t
, t ,
/ t k
|, t
, t ,
k|t
, t ,
t ,|
t k ,
t , t
|, k
t , t
,|t
, / t
k ,
t|
, t ,
k t ,
|t ,
t , /
t k|
, t ,
t , k
|t ,
t , t
,||
8tk
,t,t
,k|t
,t,t
,/tk
|,t
,t,k
t,|
t,t,
/tk,
t|,
t,kt
,t,|
t,/t
k,t,
t|,k
t,t,
t,|
tk,t
,t,k
|t,t
,t,/
tk|,
t,t,
kt,
|t,
t,/t
k,t
|,t,
kt,t
,|
t,/t
k,t,
t|,
kt,t
,t,
||
7. T
riput
a :
12
34
56
71
t|
k|
t|
k|
t|
t|
k||
2t k
|t k
| t
t|
k / t
|k
t|
k t
|t k
||
3t k
t|
k t t
|k
/ t k
|t k
t|
t k /
t|
k t k
|t t
k||
4t k
t k
|t t
k /
t|
k t k
t|
t k /
t k|
t k t
t|
k / t
k t
|k
t t k
||
6t k
t k
t t|
k / t
k t
k t
|t k
/ t k
t k
|t t
k /
t k t
| k
t t k
/ t k
|t k
t t k
/ t
|k
t k t
t k||
8t k
t k
t t k
/ t
|k
t k t
t k /
t k|
t k t
t k /
t k t
|k
t t k
/ t k
t k
|t t
k /
t k t
k t
|t k
/ t k
t k
t t|
k / t
k t
k t t
k||
Page 12
Groups of Trisra (3), Khanda (5) & Mishra (7) Jatis to be rendered inChaturshra-gati
The regular practice of the exercises of different Jati-groups play a vital role in getting thedesirable command over rhythm. It is always imperative to practice along with the beats of the lefthand also, even though they are not furnished in the forthcoming exercises.
1. Trisra-jati (3)(a) Considering that a Kriya in Chaturashra-gati consists of 4 units, a group of 4 Trisra-jatis (4x3=12-
units) fit into a group of 3 Kriyas (3x4=12-units). Similarly, a group of 4 Trisra-jatis fit into 3Kriyas in Chaturashra-gati Adi tala. Thus, groups of Trisra-jatis should be rendered in Adi talaas follows:
from 1st to 3rd Kriya 1st group,from 4th to 6th Kriya 2nd group,from 7th to 9th Kriya 3rd group andfrom 10th to 12th Kriya 4th group —
Hence, 16 Trisra-jatis should be rendered to complete 1 ½ avartas . The Jatis are rendered as ‘t-k-t - t-k-t - t-k-t’ with stress being laid on the first syllable.
(b) The Trisra-jatis should be rendered as ‘t-a-a - d-i-i - t-a-a – d-i-I’ in the next 1 ½ avartas with thestress being laid on the first syllable.
(c) In the next 1 ½ avartas, the Trisra-jatis are rendered as ‘t-,-, - d-,-, - t-,-, ‘ with the stress beinglaid on the first syllable and the next two units are rendered as gaps. The following exercise for4 ½ avartas has been illustrated below:
1. Exercise - Adi-tala - I4 O O – Chaturashra-gati – Trisra-jati-groups
1 2 3 4 5 6 7 8/t k t - t k t - t k t - t k t / t k t - t k t - t k t - t k t / t k t - t k t - t kt - t k t / t k t - t k t - t k t - t k t / t a a - d i i - t a a - d i i / t a a - di i - t a a - d i i / t a a - d i i - t a a - d i i / t a a - d i i - t a a - d i i /t , , d , , t , , d , , / t , , d , , t , , d , , / t , , d , , t ,, d , , / t , , d , , t , , d , , /
2. Khanda-jati (5)
(a) Considering that a Kriya in Chaturashra-gati consists of 4 units, a group of 4 Khanda-jatis (4x5=20-units) fit into a group of 5 Kriyas (5x4=20-units). Similarly, a group of 4 Khanda-jatis fit into 5Kriyas in Chaturashra-gati Adi-tala. Thus, groups of Khanda-jatis should be rendered in Adi-tala as follows:
from 1st to 5th Kriya 1st group,from 6th to 10th Kriya 2nd group,from 11th to 15th Kriya 3rd group andfrom 16th to 20th Kriya 4th group —
Hence, 16 Khanda-jatis should be rendered to complete 2 ½ avartas . The Jatis are rendered as‘t-k-t-k-t - t-k-t-k-t - t-k-t-k-t’ with stress being laid on the first syllable.
(b) The Khanda-jatis should be rendered as ‘t-a-a-a-a - d-i-i-i-i - t-a-a-a-a – d-i-I-i-i’ in the next 2½ avartas with the stress being laid on the first syllable.
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(c) In the next 2 ½ avartas, the Khanda-jatis are rendered as ‘t-,-,-,-, - d-,-,-,-, - t-,-,-,-, ‘ with thestress being laid on the first syllable and the next four units are rendered as gaps. The followingexercise for 7 ½ avartas has been illustrated below:
2. Exercise – Adi-tala - I4 O O – Chaturashra-gati – Khanda-jati-groups
1 2 3 4 5 6 7 8
/t k t k t - t k t k t - t k t k t - t k t k t / t k t k t - t k t k t - t kt k t - t k t k t / t k t k t - t k t k t - t k t k t - t k t k t / t k t kt - t k t k t - t k t k t - t k t k t / t a a a a - d i i i i - t a a a a - di i i i / t a a a a - d i i i i - t a a a a - d i i i i / t a a a a - d i ii i - t a a a a - d i i i i / t a a a a - d i i i i - t a a a a - d i i i i /t , , , , - d , , , , t , , , , - d , , , , / t , , , , - d , , , , - t ,, , , - d , , , , / t , , , , - d , , , , - t , , , , - d , , , , / t , , ,, - d , , , , - t , , , , - d , , , , /
3. Mishra-jati (7)
(a) Considering that a Kriya in Chaturashra-gati consists of 4 units, a group of 4 Mishra-jatis (4x7=28-units) fit into a group of 7 Kriyas (7x4=28-units). Similarly, a group of 4 Mishra-jatis fit into 7Kriyas in Chaturashra-gati Adi-tala. Thus, groups of Mishra-jatis should be rendered in Adi-talaas follows:
from 1st to 7th Kriya 1st group,from 8th to 14th Kriya 2nd group,from 15th to 21th Kriya 3rd group andfrom 22nd to 28th Kriya 4th group —-
Hence, 16 Mishra-jatis should be rendered to complete 3 ½ avartas . The Jatis are rendered as ‘t-k-t-k-t-k-t - t-k-t-k-t-k-t - t-k-t-k-t-k-t’ with stress being laid on the first syllable.
(b) The Mishra-jatis should be rendered as ‘t-a-a-a-a-a-a - d-i-i-i-i-i-i - t-a-a-a-a-a-a - d-i-I-i-i-i-i’in the next 3 ½ avartas with the stress being laid on the first syllable.
(c) In the next 3 ½ avartas, the Mishra-jatis are rendered as ‘t-,-,-,-,-,-, - d-,-,-,-,-,-, - t-,-,-,-,-,-, ‘with the stress being laid on the first syllable and the next six units are rendered as gaps. Thefollowing exercise for 10 ½ avartas has been illustrated below:
3. Exercise – Adi-tala - I4 O O – Chaturashra-gati – Mishra-jati-groups
1 2 3 4 5 6 7 8/t k t k t k t - t k t k t k t - t k t k t k t - t k t k t k t / t k t kt k t - t k t k t k t - t k t k t k t - t k t k t k t / t k t k t k t - tk t k t k t - t k t k t k t - t k t k t k t / t k t k t k t - t k t k tk t - t k t k t k t - t k t k t k t / t a a a a a a - d i i i i i i - t aa a a a a - d i i i i i i / t a a a a a a - d i i i i i i - t a a a a aa - d i i i i i i / t a a a a a a - d i i i i i i - t a a a a a a - d i ii i i i / t a a a a a a - d i i i i i i - t a a a a a a - d i i i i i i /t , , , , , , - d , , , , , , - t , , , , , , - d , , , , , , / t , , ,, , , - d , , , , , , - t , , , , , , - d , , , , , , / t , , , , , , - d, , , , , , - t , , , , , , - d , , , , , , / t , , , , , , - d , , , ,, , - t , , , , , , - d , , , , , , /
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Note:By a careful analysis it could easily be understood that:
(a) the groups of Trisra-jati are being concluded either in ‘3-kriyas’ or in ‘3- avartas’ or in the half ofthe ‘3-avartas’ i.e., 1 ½ Avartas, all of which pertain to the value of Trisra i.e., ‘3’,
(b) the groups of Khanda-jati are being concluded either in ‘5-kriyas’ or in ‘5-avartas’ or in the halfof the ‘5-avartas’ i.e., 2 ½ Avartas, all of which pertain to the value of Khanda i.e., ‘5’ and
(c) the groups of Mishra-jati are being concluded either in ‘7-kriyas’ or in ‘7-avartas’ or in the halfof the ‘7-avartas’ i.e., 3 ½ Avartas, all of which pertain to the value of Mishra i.e., ‘7’.
The above exercises should be practiced in the prescribed order. It is essential to gain commandover the first exercise, i.e., rendering the Jatis in all three varieties before moving on to the nextand so on. The fourth exercise should be attempted/practiced only after the completion of thefirst three exercises.
4. Khanda-jati - groups in the cyclic-ending of Tala
4. Exerxise - Adi-tala - I4 O O - Chaturashra-gati
1 2 3 4 5 6 7 8/k t t k k t t k k t t k k t t k k t t k k t t k k t t k t d g nt / k t t k - k t t k - k t t k - k t t k - k t t k - k t t k - k t t k / t d gn t / k t t k - k t t k - k t t k - k t t k - k t t k - k t t k - k t t k / t dg n t / k t t k - k t t k - k t t k - k t t k - k t t k - k t t k - / t d g n t ||
As furnished in the above exercise, groups of four units (Chaturashra-jatis) are rendered in fouravartas of Adi-tala with each Avarta ending with a Khanda-jati, thereby extending it to the next Avartaby one, two and three units, respectively.
This exercise enables the learner to acquire good rhythmical command. The aspirants desiringabundant command over ‘rhythm’ should write down various Jati groups in different Gatis and prac-tice them rigorously. While practicing the Gatis, whose values are in odd numbers, the left hand beatis mandatory.
It is important to note that a regular practice of all these exercises is inevitable to get reasonablecommand over Svarakalpana.
* * * * * *
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Groups of Chaturashra (4), Khanda (5) and Mishra (7) Jatis to be rendered inTrisra-gati
The regular practice of the excercises of different Jati-groups play a vital role in getting thedesirable command over rhythm. It is always imperative to practice along with the beats of the lefthand also, even though they are furnished in the forthcoming exercises.
1.Chaturshra-jati (4)
(a) Considering that a Kriya in Trisra-gati consists of 3 units, a group of 3 Chaturashra-jatis (3x4=12-units) fit into a group of 4 Kriyas (4x3=12-units). Similarly, a group of 3 Chaturashra-jatis fitinto 4 Kriyas in Trisra-gati Adi tala. Thus, groups of Chaturashra-jatis should be rendered inTrisra–gati Adi tala as follows:
from 1st to 4th Kriya 1st group,from 5th to 8th Kriya 2nd group
Hence, 6 Chaturashra-jatis should be rendered to complete 1 Avarta . The Jatis are rendered as‘k-t-t-k - k-t-t-k - k-t-t-k’ with stress being laid on the first syllable.
(b) The Chaturashra-jatis should be rendered as ‘t-a-a-a - d-i-i-i - t-a-a-a - d-i-i-i’ in the next Avartawith the stress being laid on the first syllable.
(c) In the next Avarta, the Chaturashra-jatis are rendered as ‘t-,-,-, - d-,-,-, - t-,-, -,‘ with the stressbeing laid on the first syllable and the next two units are rendered as gaps. The following exercisefor 3 Avartas has been illustrated below:
1. Exercise - Adi-tala - I4 O O – Trisra-gati – Chaturashra-jati-groups
1 2 3 4 5 6 7 8/k-t-t- k – k-t- t-k – k- t-t-k k-t-t- k – k-t- t-k – k- t-t-k /t-a-a- a – d-i- i-i – t- a-a-a d-i-i- i – t-a- a-a – d- i-i-i /t-,, , – d-, , , – t- , , , d- , , , – t- , , , – d- , , , /
2. Khanda-jati (5)
(a) Considering that a Kriya in Trisra-gati consists of 3 units, a group of 3 Khanda-jatis (3x5=15-units) fit into a group of 5 Kriyas (5x3=15-units). Similarly, a group of 3 Khanda-jatis fit into 5Kriyas in Trisra-gati Adi-tala. Thus, groups of Khanda-jatis should be rendered in Trisra-gatiAdi-tala as follows:
from 1st to 5th Kriya 1st group,from 6th to 10th Kriya 2nd group,from 11th to 15th Kriya 3rd group andfrom 16th to 20th Kriya 4th group —
Hence, 12 Khanda-jatis should be rendered to complete 2 ½ Avartas. The Jatis are rendered as‘t-k-t-k-t - t-k-t-k-t - t-k-t-k-t’ with stress being laid on the first syllable.
(b) The Khanda-jatis should be rendered as ‘t-a-a-a-a - d-i-i-i-i - t-a-a-a-a - d-i-i-i-i’ in the next 2 ½Avartas with the stress being laid on the first syllable.
(c) In the next 2 ½ Avartas, the Khanda-jatis are rendered as ‘t-,-,-,-, - d-,-,-,-, - t-,-,-,-, ‘ with thestress being laid on the first syllable and the next four units are rendered as gaps. The followingexercise for 7 ½ Avartas has been illustrated below:
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2. Exercise – Adi-tala - I4 O O – Trisra-gati – Khanda-jati-groups
1 2 3 4 5 6 7 8
/t k t k t - t k t k t - t k t k t / t k t k t - t k t kt - t k t k t / t k t k t - t k t k t - t k t k t / t k tk t - t k t k t - t k t k t / t a a a a - d i i i i - t aa a a / d i i i i - t a a a a - d i i i i / t a a a a - di i i i - t a a a a / d i i i i - t a a a a - d i i i i /t , , , , - d , , , , t , , , , / d , , , , / t , , ,, - d , , , , / t , , , , - d , , , , - t , , , , / d , ,, , / t , , , , - d , , , , /
3. Mishra-jati (7)
(a) Considering that a Kriya in Trisra-gati consists of 3 units, a group of 3 Mishra-jatis (3x7=21-units) fit into a group of 7 Kriyas (7x3=21-units). Similarly, a group of 3 Mishra-jatis fit into 7Kriyas in Trisra-gati Adi-tala. Thus, groups of Mishra-jatis should be rendered in Trisra-gatiAdi-tala as follows:
from 1st to 7th Kriya 1st group,from 8th to 14th Kriya 2nd group,from 15th to 21th Kriya 3rd group andfrom 22nd to 28th Kriya 4th group —
Hence, 12 Mishra-jatis should be rendered to complete 3 ½ Avartas . The Jatis are rendered as ‘t-k-t-k-t-k-t - t-k-t-k-t-k-t – t-k-t-k-t-k-t’ with stress being laid on the first syllable.
(b) The Mishra-jatis should be rendered as ‘t-a-a-a-a-a-a - d-i-i-i-i-i-i - t-a-a-a-a-a-a - d-i-i-i-i-i-i’ inthe next 3 ½ Avartas with the stress being laid on the first syllable.
(c) In the next 3 ½ Avartas, the Mishra-jatis are rendered as ‘t-,-,-,-,-,-, - d-,-,-,-,-,-, - t-,-,-,-,-,-, ‘with the stress being laid on the first syllable and the next six units are rendered as gaps. Thefollowing exercise for 10 ½ Avartas has been illustrated below:
3. Exercise – Adi-tala - I4 O O – Trisra-gati – Mishra-jati-groups
1 2 3 4 5 6 7 8
/t k t k t k t - t k t k t k t - t k t k t k t / t k tk t k t - t k t k t k t - t k t k t k t / t k t k t kt - t k t k t k t - t k t k t k t / t k t k t k t - t kt k t k t - t k t k t k t / t a a a a a a - d i i i ii i - t a a a a a a / d i i i i i i -t a a a a a a - di i i i i i / t a a a a a a - d i i i i i i -t a a aa a a / d i i i i i i - t a a a a a a - d i i i i i i /t , , , , , , - d , , , , , , - t , , , , , , / d , ,, , , , - t , , , , , , - d , , , , , , / t , , , , ,, - d , , , , , , - t , , , , , , / d , , , , , , - t ,, , , , , - d , , , , , , /
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Note:By a careful analysis it could easily be understood that:
(a) the groups of Chaturashra-jati are being concluded either in ‘4-kriyas’ or in ‘4- avartas’ or in thehalf of the ‘4-avartas’ i.e., 2 Avartas or in the half of the 2 Avartas i.e., 1 Avarta all of whichpertain to the value of Chaturashra i.e., ‘4’,
(b) the groups of Khanda-jati are being concluded either in ‘5-kriyas’ or in ‘5-avartas’ or in the halfof the ‘5-avartas’ i.e., 2 ½ Avartas all of which pertain to the value of Khanda i.e., ‘5’ and
(c) the groups of Mishra-jati are being concluded either in ‘7-kriyas’ or in ‘7-avartas or in the half ofthe ‘7-avartas’ i.e., 3 ½ Avartas ,all of which pertain to the value of Mishra i.e., ‘7’.
The above exercises should be practiced in the prescribed order. It is essential to gain commandover the first exercise, i.e. rendering the Jatis in all three varieties before moving on to the nextand so on. The fourth exercise should be attempted/practiced only after the completion of thefirst three exercises.
4. Chaturashra-jati - groups in the cyclic-ending of Tala
4. Exerxise - Adi-tala - I4 O O - Trisra-gati
1 2 3 4 5 6 7 8
/ t k t t k t t k t t k t t k t t k t t k t k t tk / t k t - t k t - t k t - t k t -t k t -t k t -t k t / k tt k / t k t - t k t - t k t - t k t -t k t -t k t -k t t k
As furnished in the above exercise, groups of three units (Trisra-Jatis) are rendered in threeavartas of Trisra-gati Adi-tala with each avarta ending with a Chaturashra-Jati, thereby extending it tothe next avarta by one and two units, respectively.
A thorough practice of this exercise strengthens the rhythmical abilities of aspirants. A meticu-lous practice of similar exercises with various Jati groups and Gatis will enhance the rhythmicalabilities of the learner. The left hand beat must be properly used while practicing the Gatis, whosevalues are in odd numbers.
A regular practice of all these exercises is inevitable to get reasonable command overSvarakalpana.
* * * * * *
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SPECIAL LAYA EXCERCISES
I. RENDERING OF KRIYAS OF TALA :
1. Chaturashra-gati :
a. Rendering of ‘ki-ta’ with the right hand followed by ‘ta-ka’ on the left hand @ 4units per second in Eka-kala.
b. Rendering of ‘ki-ta-ta-ka’ @ 4 units per second with right hand only in Eka-kala
c. Rendering of ‘ki-ta-ta-ka’ with the right hand followed by a consecutive renderingof a ‘ki-ta-ta-ka’ with the left hand @ 8 units per two seconds in Dwi kala.
d. Rendering of ‘ki-ta-ta-ka’ @ 8 units per two seconds with right hand only inDwi-kala.
2. Trisra-gati :
a. Rendering of ‘ta-ki-ta’ @ 3 units per second with right hand only.
b. Rendering by ‘ta-ki-ta’ with the right hand followed by a consecutive renderingof a ‘ta-ki-ta’ with the left hand at @ 6 units per two seconds
c. Rendering of ‘ta-ki-ta -- ta-ki-ta’ @ 6 units per two seconds with right handonly.
II. LAYA EXERCISES:
1. Chaturashra-gati:
a. Practice of 7 Jati-alankaras.
b. Rendering of Trisra (ta-ki-ta-3), Khanda (ta-ka-ta-ki-ta-5) and Mishra (ta-ka-ta-ka-ta-ki-ta-7) Jatis in Adi-tala.
c. Rendering of ‘ki-ta-ta-ka’ in four Avartas of Adi-tala, with the rendering of aKhanda-jati at the cyclic ending of each Avarta, thereby extending it to the nextAvarta by one, two and three units, respectively.
2. Trisra-gati:
a. Practice of Jati-alankaras.
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b. Rendering of Chaturashra (ki-ta-ta-ka-4), Khanda (ta-ka-ta-ki-ta-5) and Mishra(ta-ka-ta-ka-ta-ki-ta-7) Jatis in Adi-tala.
c. Rendering of ‘ta-ki-ta’ in three Avartas of Adi-tala, with the rendering of aChaturashra-jati at the cyclic ending of each Avarta , thereby extending it to thenext Avarta by one and two units, respectively.
3. Rendering of the 7 Jati-alankaras in Chaturashra-gati followed by Trisra-gati, in allvarieties of Eka-kala and Dwi-kala.
4. Rendering of Jati-alankaras @ 1, 2, 3, 4, 6 and 8 units, per kriya in Eka- kala andDwi-kala.
5. Rendering of a Khanda-jati followed by the successive rendering of Chaturashra-jatis @ 4 units per two Kriyas, in two seconds, in Khanda-chapu- Tala withoutoverlapping the Kriyas.
6. Rendering of a Mishra-jati followed by the successive rendering of Chaturashra-jatis @ 4 units per two Kriyas, in two seconds, in Mishra-chapu-tala without overlappingthe Kriyas.
7. Rendering of the three types of easy Mukhtayis in Roopaka, Trisra- Roopaka, Mishra-chapu, Adi (Madhyama-kala), Adi (Chouka-kala), and Adi (Trisra- gati) Talas asfurnished in the first part of Sangeetha Svararaga Sudha in Jatis as well as Svaras.
V
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GEETAS
1. Shankarabharana raga - Mathya Tala (I4 O I4)29th Mela Aro : S R2 G3 M1 P D2 N3 S
Ava : S N3 D2 P M1 G3 R2 S
s n s , | d n | s n d p ||Shri . Go . | vi . | da . . . ||
m g m p | d p | m g r s ||ha re . . | ma dhu | su . da na ||
s s p , | m g | m r g , ||va na ma . | . . | . . la . ||
s s s , | n s | d n , s ||ga ru da . | dhva ja | mu kun da ||
r , s n | d n | s n d p ||Shri . dha ra | Shri . | raghu pa te ||
s , s , | s , | s n d p ||san . . . | . . | kar. sha na ||
m g m p | , p | m g r s ||sun . da ran | . ga | ja ya ja ya ||
r r n s | s d | n n p d ||Shri . . ra | . ma | see . . ta ||
d m p p | g m | m r g , ||. bhi ra . | . . | . . ma . ||
s r g m | p , | d n s , ||maam . . | . . | pa . hi . ||
r r s n | d p | m g r s ||pa . tta . | . bhi | ra . . ma ||
r r s n | d p | m g r s ||pa . tta . | . bhi | ra . . ma ||
S
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2. Mohana raga - Rupaka Tala (O I4)28th Melajanya Aro : S R2 G3 P D2 S
Ava : S D2 P G3 R2 S
g g | p , p , || d p | s , s , ||va ra | ve . na . || mri du | pa . ni . ||
r s | d d p , || d p | g g r , ||va na | ru ha lo . || cha nu | ra . ni . ||
g p | d s d , || d p | g g r , ||su ru | chi ra bam || bha ra | ve . ni . ||
g g | d p g , || p g | g r s , ||su ra | nu ta ka . || lya . | . . ni . ||
g g | g g r g || p g | p , p , ||ni ru | pa ma shu bha || gu na | lo . la . ||
g g | d p d , || d p | s , s , ||ni ra | ta ja ya . || pra da | shee . la . ||
d g | r r s s || d s | d d d p ||va ra | da . pri ya || ran ga | na . ya ki ||
g p | d s d p || d p | g g r s ||vaan. | chi ta pha la || daa . | . . ya ki ||
s r | g , g , || g r | p g r , ||sa ra | see . jaa . || sa na | ja na nee . ||
s r | s g r s || r r | s , s , ||ja ya | ja ya ja ya || pra da | shee . la . ||
S
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3. Shuddhasaveri raga - Triputa Tala (I3 O O)28th Melajanya Aro : S R2 M1 P D2 S
Ava : S D2 P M1 R2 S
r m r | r s | d s || s , s | d p | m p ||Aa . na | le . | ka ra || uu . nni | bo . | la ti ||
d d s | d , | d p || p m r | d d | d p ||sa ka la | sha . | stra pu || ra . na | dhi . | nam . ||
p , p | d d | d p || p , p | m p | d p ||ta . na | dhi . | nam . || ta . la | pa ri | gha tu ||
p m r | s r | s r || p m p | s r | s r ||re . re | Aa . | . . || . . . | . . | . . ||
p p d | p p | m r || r s r | m , | m , ||. . . | . . | . . || se . tu | va . | ha . ||
d p d | s , | s , || r r s | d p | m p ||pa ri ga | tam . | nam . || ja ta . | ju . | . ta ||
d d s | d , | d p || p m r | d d | d p ||sa ka la | sha . | stra pu || ra . na | dhi . | nam . ||
p , p | d d | d p || p , p | m p | d p ||ta . la | dhi . | nam . || ta . la | pa ri | gha tu ||
p m r | s r | s r || p m p | s r | s r ||re . re | aa . | . . || . . . | . . | . . ||
p p d | p p | m r || r s r | m , | m , ||. . . | . . | . . || se . tu | va . | ha . ||
d p d | s , | s , ||pa ri gha | tam . | nam . ||
S
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4. Kalyani raga - Triputa Tala (I3 O O)65th Mela Aro : S R2 G3 M2 P D2 N3 S
Ava : S N3 D2 P M2 G3 R2 S
s s s | n d | n s || n d p | d p | m p ||ka ma la | ja . | da la || vi ma la | su na | ya na ||
g m p | p d | d n || d p m | p g | r s ||ka ri va | ra da | ka ru || naam bu | dhe . | . . ||
d d d | g g | g , || m p , | m g | r s ||ka ru na | sha ra | dhe . || ka ma . | la . | . . ||
r , , | s , | s , || g m p | m p | d p ||kaan. . | ta . | . . || ke . shi | na ra | ka . ||
n d p | d p | m p || g m p | p d | d n ||su ra vi | bhe . | da na || va ra da | ve . | . la ||
d p m | p g | r s || d d d | g g | g , ||su ra pu | ro . | tta ma || ka ru na | sh ra | dhe . ||
m p , | m g | r s || r , , | s , | s , ||ka ma . | la . | . . || kaan. . | ta . | . . ||
5. Malahari raga - Rupaka Tala (O I4)15th Melajanya Aro : S R1 M1 P D1 S
Ava : S D1 P M1 G3 R1 S
m p | d s s r || r s | d p m p ||
1. Shri . | ga na na tha || sin dhu | . ra var na ||2. Si ddha | cha . ra na || ga na | se . vi ta ||3. Sa ka | la vi dya . || Aa di | pu . ji ta ||
r m | p d m p || d p | m g r s ||
1. ka ru | na sa ga ra || ka ri | va da . na ||2. si ddhi | vi na ya ka || te . | na mo na mo ||3. sa . | rvo . tta ma || te . | na mo na mo ||
s r | m , g r || s r | g r s , ||lam . | bo . da ra || la ku | mi ka ra . ||
r m | p d m p || d p | m g r s ||am . | ba . su ta || a ma | ra vi nu ta ||
Page 24
SVARAPALLAVI
1. Hindola raga - Adi tala (I4 O O)20th Melajanya Aro : S G2 M1 D1 N2 S
Ava : S N2 D1 M1 G2 S
Pallavi:
s , , n , d , n | , d , m | d , , n ||
, d , m g , , m | , g , m | , d , n ||
Charanas:
1. s , , m g g s , , g s n d n s , | n , , s n n d , | , n d d m m d , ||
m , , d d m g , , m g g s , , g | s s n n s s , g | g , m m , d d n ||
2. s , , , s n n s d n s n n s n n | d d n , , , n s | n n d d n n d m ||
d , , , , , m d m m g , m m g s | m g m d , d d n | d d , m g m d n ||
3. m , , , , , g g m m g g s g s n | d , , , , , n s | g s m g , m d d ||
m , d d , n d m d n , s , s n n | d d n d d m g m | g g s m g m d n ||
4. n d n s n d m d n , d n s , n d | n s , g s n dn | , s n s d n d m ||. . . . . . ki ta jham . . . . . . | ta jham ta ri ta . . | . . . . ta kumda ri ||
d m g m g s s n s m g m ndns | n s g s n s n d | n d m g m d d n ||. . . ta ki ta . . . da na ta . . . ta | ri ta . . .jha nu ta | . . . ta dhi gi na ta||
V
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KAMPITAS & GAMAKAS(Symbolised, defined and sung by Akella Mallikarjuna Sharma)
Ancient treatises of Indian music have furnished and defined two sets of Gamakas comprising of tenand fifteen in number, respectively. An in depth analysis of these Gamakas reveals that some of the Gamakaslike Tribhinna (a pluck on three strings simultaneously) and Mudrita (sound produced with a closed mouth)are not Gamakas in the strict sense of the word and hence cannot be treated so.
A detailed study of Gamakas throws light upon the various undefined Kampitas and Gamakas . Theneed of the hour is to categorize and define them to suit contemporary music. This, enables a morecomprehensive approach to a study of Gamakas, which is the crux of Karnataka music. In this endeavour,various Kampitas and Gamakas have been categorised and defined. They have also been symbolised sincedocumentation is crucial. An attempt in this direction will safeguard our rich culture, which is of immensevalue to the future generations.
The svaras occupying the twelve Svaragatasthanas have been assigned 16 names .They have beencategorised into three types.
1. The plain notes: The Shadja and Panchama, which are neither Kampitas nor Gamakas, are permanentplain notes.
2. The Kampitas: The oscillation of a note in relation with its adjacent note is Kampita. The adjacentnotes of the Shadja, which are the Shuddha-rishabha and Kakali-nishada and the adjacent notes ofPanchama, which are Shuddha-dhaivata and Prati-madhyama are permanent Kampitas which havenot been symbolised. These Kampitas are of 4 types and they are,
a. Atho-svaragathasthana-prAdhAnya-Ordhva-Kampita wherein the note oscillates from itsimmediate lower note to its original position, for example: Shuddha-rishabha and Shuddha-dhaivatha.b. Ordhva-svaragathasthana-prAdhAnya-atho-kampita wherein the note oscillates from itsimmediate upper note to its original position, for example: Prathi-madhyama and Kakali-nishada. c.Sveeya-Svaragathasthana-prAdhAnya-Ordhva-Kampita wherein the note oscillates from its originalposition to its immediate upper note, for example: Chatushruthi-rishabha and Chatushruthi-dhaivatha.d. Sveeya-Svaragathasthana-prAdhAnya-atho-kampita wherein the note oscillates from its originalposition to its immediate lower note, for example: Sadharana-gandhara(r3) and Kaishiki-nishada (d3).
3. The Gamakas: The Gamakas are categorised into 2 types. They are, Lalitha-gamaka andSampradaya-gamaka. Gamakas, in general begin with a downward glide.
In Lalitha Gamaka, the note starts oscillating from its second upper note to the original note. For eg.The Sadharana-gandhara in the Avarohana of KAnada.This begins with a downward glide fromShuddha-madhyama and oscillates between Shuddha-madhyama and SadhArana-gAndhAra.Similarly, the Lalitha-gamaka of Shuddha-madhyama is the oscillation between Panchama andShuddha-madhyama and the Lalitha-gamaka of Kaishiki-nishAda is the oscillation between Shadjaand Kaishiki-nishAda .
In SampradAya gamaka, the note swings between the second uppernote and the immediate lowernote of a particular note. For eg. in SampradAya-gamaka, the SadhArana-gandhAra begins with adownward glide and oscillates between Shuddha-madhyama and Chathushruti-rishabha like in theArohana of KAnada. Similarly, the SampradAya-gamaka of Kaishiki-nishAda is the oscillation betweenthe Shadja and Chatushruti-dhaivata and Shuddha-madhyama is the oscillation between the Panchamaand the Antara-gAndhAra.
Besides the permanent plain notes and the permanent Kampitas, the remaining six notes are renderedin all the three types.
Note: 1.While the oscillation between two notes is Kampita, the swinging of a note between three or morenotes is Gamaka. 2.Each and every symbol furnished below is strictly based on the traveling of thesound (of the note). 3.The slash across any symbol indicates the SampradAya-gamaka and the thickdot on the symbol indicates a longer duration of the note. 4.The long and short notes are indicatedwith letters of upper case and lower case respectively. 5.The subscript number furnished along withthe note is the serial number of the respective note among the 16 names of the 12 notes. Shuddha-madhyama has not been numbered at all. 6. All the items should be sung @ 2 notes per each second.
Page 26
(Note:- In the figures furnished below in each item while the 1st figure is the serial-number of the main-item,the 2nd figure is the serial-number of the sub-item, the 3rd figure is the successive serial-number of thecorresponding audio-clipping provided in the CD and the 4th figure is the serial number in this file)
Kampitas:
01. (a). 395-01- - R - S r1 - S r1 D - P d1 - P d1
(b). 396-02- - M - P m2 - P m2 N - S n3 - S n3
(c). 397-03- - R - R2 g2 - R2 g2 D - D2n2 - D2n2
(d). 398-04- - G - G2 r2 - G2 r2 N - N2d2 - N2d2
Gamakas:
02. 1. 399-05- - M g r s R N d P S n d p D pmM m r2 s R2 - Arabhi sn2N2 n2 P - Surati r2sS s d2 p D2 - Arabhi
2. 400-06- = - p m G pp mm G - Begada
3. 401-07- - S r2s S
4. 402-08 - S r2r2 S
5. 403-09 - G r s N d p mr2 mr2 r1R1 s - Todi sd2 sd2 d1D1 p - Todi
6.404-10- - m d P d r S mn2 d1D1 P - Todi d1g2 r1R1 S - Todi
03. 1.405-11- | -|r n d p |d m g r
sr2 sn2 d p - Begada pd1 mp g3m r1 - Saveri
2.406-12- - G r s N d p R2G2m r2g2 s - Nayaki D2N2s d2n2 p - Nayaki
04. 1.407-13- \ - S P g2S n2P
- m g m d m mg2 m d - Hindola
= =
\ \
\
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2.408-14- - m g m d m mr2 m d - Todi
3.409-15- - m g r s m g3m r2g3 s - Shankarabharana
4.410-16- - m g r s m mr2 r1 s - Todi
5.411-17- - m G r m mR2m r1 - Todi
6.412-18- - s r g m s g m d s sg3R2 g3 m - Shankarabharana s smG2 m d1 - Hindola
7.413-19- - s r g m p d n s s r1 r1mR2 m - Todi p d1 d1sD2 s - Todi
r g m p r g m p d p r2 r2mR2 m p - Bhairavi r2 r2g2r2 g2pG3 p d1 p - Bhairavi
8.414-20 - R g2R2g2R2g2R2g2 - Bhairavi
9.415-21- - g R s g3 g3mr2g3 s - Begada
05. 1.416-22- - r m g r r2m r2m g2m r2 - Bhairavi
2.417-23- - g m g r n s n d r2m r2m g2m r2 - Kharaharapriya d2s d2 s n2s d2 - Kharaharapriya
- m p m g g3p g3p mp g3 - Shankarabharana
- g m g r n s n d r2m r2m r2m r1 - Todi d2s d2s d2s d1 - Todi
3.418-24- - G r s M g r mR2mG2m r2g2 s - Bhairavi pG3pMp g3m r2 - Begada
N d p sD2sN2s dn2 p - Begada
\
\ \
\
\ \
\ \
\
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06. 1.419-25- - R G p/d/n/s-R2 p/d/n/s/r-G3
- R S G R R2,g3 S - Shankarabharana G2,m R2 - Kharaharapriya
2. 420-26- - m g r s p m g r s n d p
m r2m r1 s - Todi p g3p g3 r2 - Begada s d2s d1 p - Todi
07. 1.421-27- - G r s N d p Mg2m r2 s - Kharaharapriya Sn2s d2n2 p - Kharaharapriya
2.422-28- - G r s N d p mG2m r2 s - Kharaharapriya sN2s d2n2 p - Kharaharapriya
3.423-29- - G r s N d p Mr2m r1 s - Todi Sd2s d1 p - Todi
4.424-30- - G r s N d p mR2m r1 s - Todi sD2s d1 p - Todi
5.425-31- - G m d D m d Mmg2mg2 m d - Hindola D1 d1md1m d1 - Hindola
6.426-32- - R g m D n s R2 mr2mr2 m - Bhairavi D2 sd2sd2 s - Bhairavi
- G m p G3 pg3pg3 p - Shankarabharana
7.427-33- - s n r s s sd2sd2 r2 s - Natakuranji
8.428-34- - p d r s p psd2sd2 r2 s - Kambhoji
08. 1.429-35- - s G m s mg2mg2 m - Hindola
2.430-36- - s G m s mg2mg2 m - Hindola
3.431-37- - r G m r mr2mr2 m - Bhairavi
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4.432-38- - r G m r2 mr2mr2 m - Bhairavi
5.433-39- - P n2pd2p - Bilahari
6.434-40- - P N2pD2p - Bilahari
7.435-41- - M D2g3Pg3 - Darbar
09. 1.436-42- - G m d mg2m g2mg2 m d1 - Hindola
2.437-43- - G m p mr2m r2mr2 m p - Bhairavi
3.438-44- - G m p G p m mr2m r2mr2 m p - Bhairavi mr2mr2mr2 p m - Todi
4.439-45- - G m d mr2mr2m r2mr2 m d1 - Todi
10. 1.440-46- - R D sg3R2 - Shankarabharana psD2 - Shankarabharana
2.441-47- - s R s g M g s Sg3Rg3 s - Shankarabharana g3 G3pMp g3 - Shankarabharana
s G r r G r s SmG2m r2 - Bhairavi r1 R1mG3m r1 - Saveri
3.442-48- - r G r d N d r2 R2mG2m r2 - Kharaharapriya d2 D2sN2s d2 - Kharaharapriya
- r G r d N d r1 R1mR2m r1 - Todi d1 D1sD2s d1 - Todi
4.443-49- - r G r d N d r1 R1g2 R2g2 r1 - Todi d1 D1n2D2n2 d1 - Todi
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5.444-50- - g M p g3 g3Pg3pg3 p - Shankarabharana
6.445-51- - g M p g3 G3pg3pg3 p - Shankarabharana
11. 1.446-52- - R G D S r2g3R2 G3 - Shankarabharana d2sD2 S - Mohana
2.447-53- - N S D2sd2 S - Kharaharapriya
3.448-54- - N S d2Sd2 S - Kharaharapriya
4.449-55- - G M r2mR2 M - Kharaharapriya
5.450-56- - m d n s m d n2sn2s n2s - Hindola
6.451-57- - G G r s r2mR2 r2mr2m r2m s - Darbar
7.452-58- - N S D2sd2sd2 S - Kharaharapriya
8.453-59- - N S d2Sd2sd2 S - Kharaharapriya
9.454-60- - G r s R2mR2 R2mR2 R2mG2m r2g2 s - Bhairavi
- M g r G3pG3 G3pG3 G3pMp g3m r2 - Begada
- N d p D2sD2 D2sD2 D2sN2s d2n2 p - Begada
V
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VARIETIES OF KAMPITA & GAMAKA OF KAISHIKI-NISHADA(to be sung @ one note per each second; the figures are the respective serial numbers of the
Kampitas or Gamakas)
1 1 5301. (455) P D1/D2 N2 S 15. (469) P D1 N2 S
1 1 57
02. (456) P D2 N2 S 16. (470) P D1 N2 S3 27 25
03. (457) P D2 N2 S 17. (471) S N2 D2 P56 25 28 25
04. (458) P D2 N2 S 18. (472) S N2 D2 P35 25
05. (459) P D2 N2 S 19. (473) S N2 D2 P42 57 3
Darbar06. (460) P D2 N2 S 20. (474) S N2 D2 P
53 12 25Nayaki
07. (461) P D2 N2 S 21. (475) S N2 D2 P54 29 9
08. (462) P D2 N2 S 22. (476) S N2 D1 P58 30 9
09. (463) P D2 N2 S 23. (477) S N2 D1 P59 48
10. (464) P D2 N2 S 24. (478) P D2 N2 D2
55 9
11. (465) P D2 N2 S 25. (479) P D2 N2 D1
37 1 48 9
12. (466) P D2 N2 S 26. (480) P D1 N2 D1
43 1 49 9
13. (467) P D2 N2 S 27. (481) P D1 N2 D1
57 25
14. (468) P D2 N2 S
Page 32
Page 33
AMS form No. 1(for Juniors)
Sl. Details Metronome From - To TotalNo. Speed Duration
1. LAYA SADHANA [in Eka-Kala (one Matra - @ 4 Units persecond) & Dwi-Kala (two Matras - @ 8 Units per two seconds)]
1.1 JATI ALANKARAS in SEVEN Talas in :
1.1.1 Chaturashra - gati [4]
1.1.2 Trishra - gati [3]
1.2 JATI BREAKS (Virupulu):
1.2.1 3, 5 & 7 Jati Breaks in Adi Tala in Chaturashra-gati [4]
1.2.2 Khanda Break at the end of Adi Tala in Chaturashra-gati [4]
1.2.3 4, 5 & 7 Jati Breaks in Adi Tala in Trisra-gati [3]
1.2.4 Chaturashra Break at the end of Adi Tala in Trishra-gati [3]
1.3 Jati Alankaras @ 1, 2, 3, 4, 6 & 8 Units per Beat
1.4 JATI MUKTAYEES in Rupaka; Khanda-chapu; Mishra-chapu;Adi-Ekakala; Adi-dwikala & Adi Trisra-gati
1.4.1 Jatis ending with Tala-cycle
1.4.2 Multiples of Tala-cycle syncopated with Jati
1.4.3 Multiples of Jati syncopated with Tala-cycle
2. Primary Exercises in MELAKARTHA Raga:
2.1 Sarali
2.2 Janta
2.3 Daatu
2.4 Alankaras
3. GEETHAs:
4. VARNA Sadhana:
5. SHRAVANA (Listening) Sadhana:
6. Theory Study:
7. Any other :
Total Duration of Sadhana during the day
REASON, for Less or NO practice :
Portion for next class :
Signatures: Sadhaka : __________ Parent:__________ Review by Guru:__________
Minimum Hrs. of Practice : Working Day 3 Hrs. / Holiday 5 Hrs. Designed by : AMS / JSEP
Jai Sitaram
AMS Foundation“Sai Sannidhi” No. 10-283/9/1/1, Vasanthapuri Colony, Malkajgiri, Hyderabad - 500 047.
SANGEETHA SADHANA by :______________________Date :________________ (Working Day / Holiday) I got up at _________a.m.
Page 34
Sl. Details From - To TotalNo. Duration
1. LAYA Sadhana:
2. VARNA Sadhana:
3. AKARA Sadhana:
4. NEW Raga:
5. NEW Composition:
6. OLD Raga:
7. OLD Compositions:
8. SWARA KALPANA for:
9. Notation Writing for a Raga:
10. Notation Writing for a Composition:
11. Composing:
12. SHRAVANA Sadhana:
13. Talaprastara:
14. Theory Study:
15. Teaching:
16.
Total Duration of Sadhana during the day :
Reason, for Less or NO practice :
Portion for next class :
Signatures: Sadhaka : _________ Parent:__________ Review by Guru:______________
Minimum Hrs. of Practice : Working Day 4 Hrs. / Holiday 8 Hrs. Designed by : AMS / JSEP
MetronomeSpeed
Jai Sitaram
AMS Foundation“Sai Sannidhi” No. 10-283/9/1/1, Vasanthapuri Colony, Malkajgiri, Hyderabad - 500 047.
SANGEETHA SADHANA by :______________________Date :________________ (Working Day / Holiday) I got up at _________a.m.
AMS form No. 1(for Seniors)
