carnatic violin theory level 1 - cariloker.com...the modern period of carnatic (karnatic) music...

Carnatic Violin Theory

Level 1

Table of Contents

1. Introduction & Elements of Carnatic Music ........................................................... 1

2. The Violin ................................................................................................................ 3

3. The Carnatic Violin – Swara Positions and Finger Guide ........................................ 5

4. Composers – Saint Purandara Dasa ........................................................................ 7

5. Swaravali Varisaigal ................................................................................................ 9

6. Jantai Varisaigal .................................................................................................... 23

7. Dhattu Varisaigal .................................................................................................. 40

8. Upper Sthayi Varisaigal ......................................................................................... 46

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1. Introduction & Elements of Carnatic Music What is Carnatic Music ? It is a system of music that is commonly associated with the Southern India. It is one of the two main subgenres of Indian Classical Music that has evolved from the ancient Hindu traditions, the other subgenre being Hindustani Music, which emerged as a distinct form because of the Persian and Islamic influences in the Northern India. The two main elements of Carnatic Music:

a. Raga – Mode or melodic formulae

b. Tala – Rhythmic cycles

Other important elements of Carnatic music are: a. Shruthi – Refers to the musical pitch – It is an audible sound which can be

heard distinctly. It is a musical sound which a well-trained human ear is

capable of distinguishing.

b. Swara – Refers to a type of musical sound that is in a single note – There are

7 basic swaras – Called the Sapta (7) Swaras

I. Shadjam – Sa

II. Rishabam – Ri

III. Ghandaram – Ga

IV. Madhyamam – Ma

V. Panchamam – Pa

VI. Dhaivatham – Dha

VII. Nishadham – Ni

The Ancient Tamil Music terms and the European Notes are as follows

Symbol Pronounced as

Ancient Tamil Music

European Notes

Shadjam S Sa Kural Doh

Rishabham R Ri Uzhai Ray

Ghandharam G Ga Kaikilai Me

Madhyamam M Ma Thuttam Fa

Panchamam P Pa Ili Soh

Dhaivatham D Dha Vilari Lah

Nishadham N Ni Tharam Te


c. Swara Classification

I. Prakrithi Swaras – Fixed Notes – Sa & Pa (2 Notes)

II. Vikrithi Swaras – Consists of two varieties –

a) Lower – Komal R1, G1, M1, D1, N1 (5 Notes)

b) Higher – Theevra R2, G2, M2, D2, N2 (5 Notes)

In total, there are 12 notes or shruthi’s

Swara Symbol Swara

Classification Position Swaram’s Name Symbol

Shadjam S Prakrithi Fixed Shadjam S

Rishabam R Vikrithi Komal Suddha Rishabham R1

Theevra Chathu Sruthi Rishabham R2

Ghandharam G Vikrithi Komal Sadharana Gandharam G1

Theevra Anthara Gandharam G2

Madhyamam M Vikrithi Komal Suddha Madhyamam M1

Theevra Prathi Madhyamam M2

Panchamam P Prakrithi Fixed Panchamam P

Dhaivatham D Vikrithi Komal Suddha Dhaivatham D1

Theevra Chathu Sruthi Dhaivatham D2

Nishadham N Vikrithi Komal Kaisiki Nishadham N1

Theevra Kakali Nishadham N2

III. Purvanga – The group of first four swaras of the sapta swaras – Sa,

Ri, Ga and Ma

IV. Uttharanga – The group of last three notes – Pa, Da and Ni

d. Raga Pattern

I. Arohana – The ascending order of Swaras

II. Avarohana – The descending order of Swaras

e. Sthayis – The swaras beginning with Sa and ending with Ni is called a Sthayi.

There are five sthayi’s:

I. Anumandra Sthayi – Represented with 2 dots below the swaras

II. Mandra Sthayi – Represented with 1 dot below the swaras

III. Madhya Sthayi – Swara without any dots

IV. Tara Sthayi – Represented with 1 dot above the swaras

V. Ati-Tara Sthayi – Represented with 2 dots above the swaras


The Stayis explained in ascending order with notations

2. The Violin

The strings family

Anumandra Sthayi

Mandra Sthayi

Madhya Sthayi

Tara Sthayi

Ati-Tara Sthayi

.. .. .. .. .. .. .. S R G M P D N

.. .. .. .. .. .. .. S R G M P D N

S R G M P D N

S R G M P D N . . . . . . .

S R G M P D N . . . . . . .

Violin Viola Chello Double Bass


Parts of the violin and the bow


3. The Carnatic Violin – Swara Positions and Finger Guide

Pa String - 1st String

Sa String – 2nd String

Lower Pa String – 3rd String

Lower Sa String – 4th String

R1

R2

G1

G2

M1

M2

D1

D2

N1

N2

S .

Index Finger = R1, R2, D1, D2 Middle Finger = G1, G2, N1, N2 Ring Finger = M1, M2, S .


Swara Positions and Finger Guide

(+ Mel Stayi Varisai, also known as Tara Stayi Varisai)

Pa String - 1st String

Sa String – 2nd String

Lower Pa String – 3rd String

Lower Sa String – 4th String

R1

R2

G1

G2

M1

M2

D1

D2

N1

N2

S .

R1

R2

G1

G2

.

.

M1

M2

P

P

D1

D2

N1

N2

S

.

.

. .

.

.

Index Finger = R1, R2, D1, D2, Middle Finger = G1, G2, N1, N2 Ring Finger = M1, M2, S

.

Part ‘A’

Part ‘A’

Part ‘B’

1st String Index Finger = Hi S Middle Finger = Hi R1, R2 Ring Finger = Hi G1, G2, M1, M2 Pinky – Hi P

.

2nd String Index Finger = M1 Middle Finger = M2, P Ring Finger = D1, D2, N1, N2 Pinky – Hi S

Part ‘B’


4. Composers – Saint Purandara Dasa Actual Name: Srinivasa Nayaka Lived During: 1484 – 1564 C.E. Place of Birth: Purandargarh near Pune in Maharashtra, finally settled at Hampi (Vijayanagar) Wife: Saraswathi Bai The Modern period of Carnatic (Karnatic) music begins with "Purandaradas" (1484-1564). He was the pioneer who blended the rich musical streams of Dravidian and Aryan music into a single stream called Karnatic music. This synthesis of cultures resulted in the hybrid variety, a highly rich traditional and classical musical system. Sri Purandaradas born at Purandargarh near Pune in Maharastra, finally settled at Hampi (Vijayanagar), a border area for both Northern and Southern cultures. The aesthetic beauty of both the Northern and Southern flow of music attracted him as similar ragas and 'thalas' exist in both the systems in different names. The Aryan system was more prevalent in princely courts whereas the Dravidan system was prevalent in the temples of South India. Sri Purandara Das decided that "Malava gowla" raga of the South was the most suited for beginners. The corresponding Raga in the North is called "Bhairav". In "Malavagowla" subsequently named as "Maya Malavagowla", the difference of pitch between 'Ri' and 'Ga', and 'Dha' and 'Ni' are the same and the notes Sa-Ri-Ga-Ma and Pa-Dha-Ni-Sa are perfect concordant notes. That is why Purandara Dasa found Maya Malavagowla the best Raga to begin lessons in the classical music. This system of music is called "Karnataka Music" as he belongs to that region and the music is very pleasing to the ears. He created several phrases of notes called "Sarali" "Janta", Hetchu-sthayi, "Thaggu sthayi" and "Datu" Swaras. He also simplified "Thala" system and moulded it into "Pancha-Thrimsathi" Thala system and composed "Alankaras" to be sung in those Thalas. All these initial notes or Swaras are to be sung in Maya Malavagowla. The next phase of learning of a beginner is "Geetham" for which Purandaradasa created "Pillari Geetams" in Rag-Malahari" a derivative of Maya-Malava-Gowla . Gradually the Ragas and their notes are to be changed to acquaint the student with different notes step by step. Purandara Dasa was therefore, rightly called Karnataka Sangeeta Pithamaha. Further Purandara Dasa said in his song "Vasudevana namavaliya" (Mukhari raga) that he composed 4,75,000 Keerthanas. About 800 of them are available now. As the original tunes are lost, people sing some of them in their own tunes.


Three schools influenced the beginning of the modern period of Karnatic music:

I. The Vishnu Bhaktas of Dwaita school comprising Narahari Theertha, Sree

Pada Raja, Vyasa Raja, Vadhi Raja Purandar dasa, Kanaka Dasa, Vijaya Dasa

Jagannadha Dasa etc. and the compositions of all these Dasas, about 5,00,000

compositions in number, are called Dasara Pada Galu.

II. Shiva sharanas of Veera Saivam such as Basaveswara, Akka Mahadevi, Channa

Basaveswara, Nijaguna Shiva Yogi etc. had their compositions in poetry and

vachanas, which contributed substantially to the enrichment of

contemporary music

III. Nayanars, Alwars and other Tamil writers composed varieties of songs called

Thevaram (Devaram), Thiruppughaz, Arupti etc. The prominent composers of

these were Manikkavachagar, Arunagirinather, Ramalingaswamy, Muthu

Thandavar, Marimuthu Pillay, Papavinas-Mudaliar etc of the subsequent

period.

Sri Purandara Dasa's life is a wonderful episode in human history showing how an initially miserly man was converted into a great Bhakta by the grace of Lord Vithala. The earlier name of Purandara Dasa was Srinivasa Nayaka. In his earlier days he was miserly and cruel. His wife Sri Lakshmi Saraswati Bai was pious and kind to fellow human beings. The turning point in the life of Srinivasa Nayaka occurred at the instance of the Lord who in the guise of a poor brahmin begged for alms for conducting the sacred thread ceremony of his son. Srinivasa Nayaka in his customary style drove away the disguised brahmin who straight away went to his wife and repeated the drama. His wife being a very kind hearted one, gave away her diamond studded nose ring and the Brahmin went to Srinivasa Nayaka again and asked him to give some money in return for the diamond-studded ornament. Srinivas Nayaka identifying it as his wife's ornament kept it in his iron safe and went to his wife to enquire about the nasal ring. Bewildered at the turn of events Sri Saraswathi Bai decided to end her life and was about to take poison. But in that container Lord put a similar ornament to the utter surprise of Saraswathi Bai, who went ahead and showed the same to Srinivasa Nayaka as if nothing has happened. Surprised at this Srinivasa checked his iron safe and found the ornament kept by him intact. This made him realise that the Brahmin in disguise was none other than Lord Vithala. He repented for his misdeeds, begged pardon of the Lord, and renounced all his wealth to become a saint and was called "Purandar Dasa". This inspired him to sing innumerable songs in praise of the Lord, which numbered about 4,75,000 of which about 800 survive.


5. Swaravali Varisaigal Following the examples given, complete lessons 3 until 14 using the correct bars according to the 1st, 2nd and 3rd Speed. Example – Swarali Varisai 1 1st Speed – Full Bow – 1 Bow for 1 Swaram

Sa Ri Ga Ma Pa Dha Ni Sa

Sa Ni Dha Pa Ma Ga Ri Sa

2nd Speed – Half Bow – 1 Bow for 1 Swaram

S R G M P D N S S N D P M G R S

S R G M P D N S S N D P M G R S

3rd Speed – Quarter Bow – 1 Bow for 1 Swaram

S R G M P D N S S N D P M G R S S R G M P D N S S N D P M G R S

S R G M P D N S S N D P M G R S S R G M P D N S S N D P M G R S

Full Bow

Half Bow

Quarter Bow


Example – Swarali Varisai 2 1st Speed – Full Bow – 1 Bow for 1 Swaram

S R S R S R G M

S R G M P D N S

S N S N S N D P

S N D P M G R S


S R S R S R G M S R G M P D N S

S N S N S N D P S N D P M G R S

S R S R S R G M S R G M P D N S

S N S N S N D P S N D P M G R S


S R S R S R G M S R G M P D N S S N S N S N D P S N D P M G R S




Full Bow

Half Bow

Quarter Bow


Swarali Varisai 3 1st Speed – Full Bow – 1 Bow for 1 Swaram



Full Bow

Half Bow

Quarter Bow





Full Bow

Half Bow

Quarter Bow


6. Jantai Varisaigal Following the examples given, complete lessons 4 until 9 using the correct bars according to the 1st, 2nd and 3rd Speed. Example – Jantai Varisai 1 1st Speed – Full Bow – 1 Bow for 2 Swaras or the group of swaras based on the phrasing of the Jantai Varisai.

SS RR GG MM PP DD NN SS

SS NN DD PP MM GG RR SS

2nd Speed – Half Bow – 1 Bow for 2 Swaras or the group of swaras based on the phrasing of the Jantai Varisai.

SS RR GG MM PP DD NN SS SS NN DD PP MM GG RR SS


3rd Speed – Quarter Bow – 1 Bow for 2 Swaras or the group of swaras based on the phrasing of the Jantai Varisai.







Full Bow

Half Bow

Quarter Bow


Example – Jantai Varisai 2 1st Speed – Full Bow – 1 Bow for 2 Swaras or the group of swaras based on the phrasing of the Jantai Varisai.

SS RR GG MM RR GG MM PP

GG MM PP DD MM PP DD NN

PP DD NN SS SS NN DD PP

NN DD PP MM DD PP MM GG

PP MM GG RR MM GG RR SS


SS RR GG MM RR GG MM PP GG MM PP DD MM PP DD NN

PP DD NN SS SS NN DD PP NN DD PP MM DD PP MM GG

PP MM GG RR MM GG RR SS SS RR GG MM RR GG MM PP

GG MM PP DD MM PP DD NN PP DD NN SS SS NN DD PP

NN DD PP MM DD PP MM GG PP MM GG RR MM GG RR SS

Full Bow

Half Bow



SS RR GG MM RR GG MM PP GG MM PP DD MM PP DD NN



PP MM GG RR MM GG RR SS SS RR GG MM RR GG MM PP



NN DD PP MM DD PP MM GG PP MM GG RR MM GG RR SS



PP DD NN SS SS NN DD PP NN DD PP MM DD PP MM GG



GG MM PP DD MM PP DD NN PP DD NN SS SS NN DD PP



Quarter Bow


Example – Jantai Varisai 3 1st Speed – Full Bow – 1 Bow for 2 Swaras or the group of swaras based on the phrasing of the Jantai Varisai.

SSR SSR SR SS RR GG MM

RRG RRG RG RR GG MM PP

GGM GGM GM GG MM PP DD

MMP MMP MP MM PP DD NN

PPD PPD PD PP DD NN SS

SSN SSN SN SS NN DD PP

NND NND ND NN DD PP MM

DDP DDP DP DD PP MM GG

PPM PPM PM PP MM GG RR

MMG MMG MG MM GG RR SS


SSR SSR SR SS RR GG MM RRG RRG RG RR GG MM PP

GGM GGM GM GG MM PP DD MMP MMP MP MM PP DD NN

PPD PPD PD PP DD NN SS SSN SSN SN SS NN DD PP

NND NND ND NN DD PP MM DDP DDP DP DD PP MM GG

PPM PPM PM PP MM GG RR MMG MMG MG MM GG RR SS






Full Bow

Half Bow

































Quarter Bow


Jantai Varisai 4 1st Speed – Full Bow – 1 Bow for 2 Swaras or the group of swaras based on the phrasing of the Jantai Varisai.


Full Bow

Half Bow



Quarter Bow




Full Bow

Half Bow



Quarter Bow




Full Bow

Half Bow



Quarter Bow




Full Bow

Half Bow



Quarter Bow




Full Bow

Half Bow



Quarter Bow




Full Bow

Half Bow



Quarter Bow


7. Dhattu Varisaigal Complete the table below by writing the notes of Dhattu Varisaigal Dhattu Varisai 1 1st Speed – Full Bow – 1 Bow for 1 Swaram

S R S G R G R M

S M G R S R G M

Full Bow


Dhattu Varisai 1 2nd Speed – Half Bow – 1 Bow for 1 Swaram

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

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

Half Bow


Dhattu Varisai 1 3rd Speed – Quarter Bow – 1 Bow for 1 Swaram

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




Quarter Bow


Dhattu Varisai 2 1st Speed – Full Bow – 1 Bow for 1 Swaram

S M G M R G S R

S G R G S R G M

Full Bow


Dhattu Varisai 2 2nd Speed – Half Bow – 1 Bow for 1 Swaram

S M G M R G S R S G R G S R G M

S M G M R G S R S G R G S R G M

Half Bow


Dhattu Varisai 2 3rd Speed – Quarter Bow – 1 Bow for 1 Swaram

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




Quarter Bow


8. Upper Sthayi Varisaigal Complete the table below by writing the notes of Upper Sthayi Varisaigal Upper Sthayi Varisai 1 1st Speed – Full Bow – 1 Bow for 1 Swaram

S R G M P D N S


S R G M P D N S S ; S ;


3rd Speed – 1 Bow for 1 Swaram





Half Bow

Quarter Bow

Full Bow


Upper Sthayi Varisai 2 1st Speed – Full Bow – 1 Bow for 1 Swaram

S R G M P D N S




Half Bow

Full Bow


Upper Sthayi Varisai 2 3rd Speed – 1 Bow for 1 Swaram


Quarter Bow



S R G M P D N S




Half Bow

Full Bow




Quarter Bow



S R G M P D N S




Half Bow

Full Bow




Quarter Bow



S R G M P D N S




Half Bow

Full Bow




Quarter Bow

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