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Theory and Practice of Hindu Music

and The Vina Tutor

By C. GANGADHAR

Printed at

Methodist Publishing House, Madras

Price Rupees Two, Foreign Three Shillings

Edition de luxe Five Shillings

Page 2

OPINIONS

W. D. St. Leger, Esq. of the Madras Mail.

It affords me great pleasure to bear testimony to the care and skill the author has brought to bear on the work. It is likely to serve a most important purpose and I shall be glad to see it widely disseminated.

E. Stridiot Esq., Late Band Master to H. E. the Governor of Madras.

I believe this is the first method of its kind in Hindu Musical Literature. As some or most of the explanations and the terms, notation, etc., have their equivalents in English or Europeon notation, the work is worth reading through by Western Musicians, who will find many interesting facts concerning Hindu Music so very different from our Western Music. This book is a step in advance after our own Western Methods of teaching musical instruments.

The Hindu.

An interesting, practical and useful publication on Indian Music. The author possesses the rare advantage of knowing both the Eastern and Western systems of music. In the book the method of instruction and study of Indian Music is simplified, and many practical hints are given as to the way of handling the highest type of Indian Musical instrument, the Vina as to the steps by which mastery could be made of the many technical details of Swaras, Thalas, Ragas, etc. We wish the author every success.

Editor of the Indian Music Journal.

A literature on Music which aims at educating the public.

The Madras Mail.

A useful work on the art of playing the Vina. The book is written in plain, straightforward English and is perfectly easy to understand, while the numerous examples serve as aids to the memory. Photographs of Vina players, showing the various methods of holding the instrument, enhance the value and interest of the work.

Srimathi Satyabala Devi, Principal, All India Academy of Music.

This valuable addition to the Musical literature of Southern India contains all that is necessary for the student of Vina.

Viniks Sigamani Sechanna, State Vidvan of H. H. the Maharaja of Mysore.

A highly useful book to those who are engaged in studying and practising Vina and a desirable addition to the Musical literature.

Vinik’s Vara Kesari, Vidvan Bakshi Subbanna of Mysore.

I am highly pleased with the book.

Vina Chika Subba Row of Mysore.

The book explains many secrets of the Karnatic Music.

A. Sreenivasa Aiyangar Avl., Sangitha Vidvan of H. H. The Raja of Ramnad.

A very useful book for those who are to learn Vina and generally for Musicians.

Dewan Bahadur P. Rajarathna Mudaliar Avl., C. I. E., late Member of the Legislative Council.

A most useful guide to all who may wish to learn to play on the Vina.

B. Suryanarain Rao Esq., B.A., M.R.A.S., M.A.S.B., M.M.L.S., Editor of the Astrological Magazine.

Elementary books taking the students and amateurs into the theory and practice of Vina are in urgent want, and it gives me great pleasure to note that the first systematised attempt to supply such a want has been successfully made by Mr. C. Gangadhar. He may be congratulated on the successful way in which he has arranged the whole course of instructions needed for a beginner in this art. This pioneer publication deserves all encouragement from the lovers of music. .

Theory and Practice of Hindu Music and the Vina Tutor

By C. GANGADHAR

Printed at

Methodist Publishing House, Madras

Price Rupees Two, Foreign Three Shillings

Edition de luxe Five Shillings

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Page 4

A LADY VINA PLAYER OF MALABAR

FOREWORD

In the present state of development of Hindu Music when educated amateurs are showing keen interest in the revival of its science, the presentation of a manual dealing with its art is considered opportune. Every art of the West has a manual or a well-written guide, while the worthy Indian Arts have hardly any. It is desirable, therefore, that the art of playing on the Vina—an instrument that produces the sweetest music—the noblest of all arts, should be recorded in a manual. My humble attempt in presenting to the public this hand-book containing all that can possibly be said about the Vina, besides being a practical guide will, it is hoped, receive cordial support and sympathy from all lovers of the Divine Art.

The Vina is the characteristic stringed instrument of the Hindus and has a great antiquity attributed to it. It is an instrument of the greatest capacity and power. Mention is made in the sacred books that it is a representation of the human body (vide page 9) and hence its capability of imitating the human voice. It is the instrument with the aid of which Hindu Music can be systematically and scientifically learnt, for its construction reveals to us the nature of the musical intervals, scales, modulations, and such like note-worthy facts. Hence the Vina is called a perfect instrument.

Shell—The Indian Vina

What passion cannot Music raise and quell ?

When Jubal struck the chorded shell

His listening brethren stood around,

And, wondering, on their faces fell

To worship that celestial sound.

Less than a God they thought there could not dwell

Within the hollow of that shell

That spoke so sweetly and so well.

What passion cannot Music raise and quell ?

St. Cecilia’s Day.

To popularise and revive this noble art, has been the chief motive with which the book is brought out. It is my earnest prayer that such of the educated public as are aware of the charms of their ancient Magic “Shell” would so far condescend as to appreciate its true worth and endeavour their best to introduce it in each home.

The book deals with the Karnatic system of Music and with the Vina of Southern India generally called the Sarasvati Vina. The Karnatic system was introduced by Narada, the inventor of Arts and Sciences, and forms one of the two main divisions of Hindu Music. The other, viz., the Hindustani system, representing the school established by Hanuman forms no part of our work.

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iv

The book is divided into three parts. The first part deals in abstract with so much

of the Theory of Music as is absolutely required for practical purposes ; while the remain-

ing two parts contain much useful and interesting information regarding the Vina, with

general and practical instructions for playing it.

In defining the musical terms and explaining some of the points connected therewith,

their equivalents in the Western Music have been given with a twofold object : (1) to

familiarise Hindu Readers with the European system of Music as far as possible, and

(2) to minimise the difficulty in understanding Hindu Music by other nations. This

comparative treatment of the subject handled or the term defined may, it is hoped, be found

beneficial to both.

The third part deals exclusively with practical courses for playing on the Vina. An

endeavour has been made to neglect nothing which would lie within the province of written

instructions. The few exercises under each course are given in Tamil, Telugu, Malayalam,

Canarese and Staff Notation, thus making the book useful to one and all.

My thanks are due to many friends who have evinced a deep interest and sym-

pathy in my humble endeavour to present this bouquet of Music to the public and to my

masters who have favoured me with their valuable suggestions. My thanks are also due

to Rev. A. E. Ogg, of the Methodist Publishing House, for the very neat and artistic

manner in which the book is got up. I am indebted also to my benefactors and patrons.

C. G.

CONTENTS

Part I—Rudiments and Theory of Music

Chapter 1. A Sketch of Hindu Music … … … … 1

„ 2. Ragas or Modes … … … … 2

„ 3. Talas or Time … … … … 5

Part II—On Vina

Chapter 4. History, Past and Present … … … … 8

Description … … … … 9
The Finger Board of the Vina … … … 10
Stringing … … … … 12
Tuning … … … … 13
Position … … … … 13
Fingering … … … … 14
Graces or Embellishments … … … 15
Miscellaneous Instructions … … … 19

Part III—Practical Instructions and Exercises

Chapter 13. Manner of Playing … … … … 20

Sarali Varusa … … … … 20
Janta Varusa … … … … 24
Alankara … … … … 26
Geetha, Swara Jathi and Chitta Thanam … … 28
Varnams … … … … 29
Kritis … … … … 34

Appendix A. The names and scales of 72 Major Modes or

Melakartas … … … … 35

B. The names of popular Minor Modes arranged

under their respective Melakartas … … 37

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Part I—Rudiments and Theory of Music

CHAPTER I

A SKETCH OF HINDU MUSIC *

All musical sounds fall under seven notes and are represented by seven characters termed—

† Sa Ri Ga Ma Pa Tha Ni

(Tamil) … … … ச ரி க ம ப த நி

(Telugu) … … … స రి గ మ ప ధ ని

(Malayalam) … … … സ രി ഗ മ പ ധ നി

(Canarese) … … … ಸ ರಿ ಗ ಮ ಪ ಧ ನಿ

The corresponding English names …. Do Re Mi Fa Sol La Si

Each letter indicates a certain degree (pitch)of sound, called Swara. These Swaras are again sub-divided into minor Swaras explained in Chapter II.

The practices or lessons on these Swaras or Notes, which would be the first part of a student's training, are called Sarali Varusa ; Varusa meaning arrangement.

The second part is called Janta Varusa, i. e., lessons on Couplets, Triplets, Quadrulets of Notes or Swaras.

The third part is called Alankara or lessons on time.

The fourth part is called Geeta, i. e., lessons on small sentences in a poetic order arranged in two parts, called Pallavi and Anupallavi ; the Pallavi preceding the Anupallavi.

The fifth part is named Swara Jathi, i. e., lessons on notes and time in a specially beautiful manner.

"The origin of the Divine Art is traced in India to Sama Veda, the first principles having been taught by Brahms (God Creator) himself to Bharatacharaya who in turn imparted a portion of his knowledge to sages Tumburu and Narada. The art was divided into Deva Gana (Music for celestials), Rakshasa Gana (that for the giants) and Manusya Gana (that for men). The last which represents but a small fraction of the whole, after distribution to other creatures such as birds, etc., is what is now recognised as the Music of the Earth.

Any number of heterogeneous system as well as incongruous classification are to be found in standard works forming the Musical literature of India. The primary distinction is into two classes, Marga (celestial) and Desi (terrestrial). The latter is broadly divided into Hindustani and Karnata. The Hindustani system represents the school established by Hanuman, and the Karnatic system, which is by far the most systematic, complete and authentic, by Narada".—Oriental Music by A. C. M.

† The full names of these initial letters are Shadjama, Rishaba, Gandhara, Madhyama, Panchama, Daivata and Nishada, and they signify Peacock, Ox, Goat, Heron, Cuokoo, Horse and Elephant whose primitive sounds uttered at particular seasons and times, the notes are supposed to represent.

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RUDIMENTS AND THEORY OF MUSIC

The sixth part is called Varnams. These are also compiled in a poetical order like

Geetas but a little bigger. It consists of Pallavi, Anupallavi with Swaras or Notes arranged

beautifully to suit the Varnams, and Charanams with Swaras.

The seventh part is called Krithis. These are poems composed with special beauties

in them, to lure the heart and soul to devotion and piety. Each Krithi is made up of three

parts ; Pallavi, Anupallavi and Charanam, sometimes with Swaras and sometimes without.

Pathams and Javalis fall under this class. They are love songs. But the former

have a characteristic beauty in them. The words of Pathams are so arranged as to convey

a double meaning—one ordinary and another divine. The ordinary meaning would be a

lover’s description of the object of his or her love ; while the deeper meaning, a devotee’s

description and praise of his God. Pathams are therefore songs written in Paranomasia.

Thillanas—a species of Kritis, are songs and notes* intermixed in succession. The

notes which represent a song are sung first and the song itself next, thus giving a variety

to the ear, while the music is sung or played.

Lastly comes Raga or Melody-mould, a characteristic peculiar to Hindu Music, the

immense pleasure derived from which is mostly enjoyed by India._ Raga has been defined

by different authors in different ways. One describes it as a melody type founded upon the

intervals of a mode and having a succession of notes so arranged as to excite to a certain feel-

ing of the mind ; another more accurately describes that Raga is a combination of notes,

with peculiar flourishes of graces and embellishments and subtle sound complications of

diverse kinds rendered ornamental by delicate combinations with higher or lower notes.

There are 72 Major Ragas and not less than 1000 Minor Ragas. The former are

those that have all the seven notes in the regular order both while ascending and descend-

ing ; and the latter are those that have less than seven notes in the regular order either while

ascending or descending or both, or that have the seven notes or less in an irregular order

while ascending or descending or both. How so many Ragas are formed is explained in

the next chapter.

Great musicians of the past ages are stated to have indulged themselves in one Raga

for days together. Considering the number of modes that can be formed according to the

science of Hindu music, a whole life-time may not be sufficient to study all the Ragas. It

is no wonder therefore that Hindu music is considered a big ocean.

CHAPTER II

RAGAS OR MODES

A Raga or Melody-mould, as has been already defined, is a combination of notes. A

Sampurna Raga1 is one in which all the seven notes occur in the regular order while ascending

and descending. Such Ragas are ‘72 in number, and are called Melakarta Ragas. A Raga

formed with a note or two left out either when ascending or descending or in both is Varja

Notes herein include the several expressions of Gati or Gath called Tattakara such as Taka, Tika, Tha,

Thi, Gi, Na, Tom.

e.g. -1 Sa Ri Ga Ma Pa Tha Ni Sa, - Sa Ni Tha Pa Ma Ga Ri Sa,

3

RUDIMENTS AND THEORY OF MUSIC

Ragas formed of six notes are called Shadava,2 and those of five notes Audava.3 Less than

five notes cannot form a melody-mould. Four notes4 are occasionally met with in the

Arohana, i. e., the ascending order, but the Avarohana, i. e., the descending order makes up

for the deficiency.

A zig-zag combination of notes differing from the regular ascent or descent is called

Vakra5 and the order of the notes prescribe for each Raga in this class should be strictly

adhered to. By a combination of Shadava and Audava with Vakra, any amount of melody-

mould can be formed. It is thus clear that there is no limit to the number of derivative

Ragas that can be formed. The first 72 Modes are classed as Janaka or Genitive Ragas

and they are the Major Modes. The rest are classed as Janya or Derivative Ragas and

they are the Minor Modes. The former are also called Sampurna, as all the notes occur

while ascending and descending. The number of derivative Ragas now in vogue exceed one

thousand.

Confining ourselves so far to the general classification of Ragas, we shall proceed to

explain the progression of the 72 Melakartas.

We know that Hindu Music is represented by the seven notes Sa, Ri, Ga, Ma,

Pa, Tha, Ni,. To these is added the eighth note Sa, to constitute what is called the Scale

or the Gamut. Of these eight notes, the first, the fifth and the eighth, viz., Sa, Pa, Sa,

are constant or fixed and undergo no variations. They are called the Prakriti notes. The

rest Ri, Ga, Ma, Tha and Ni are called Vikriti * notes, i.e., notes undergoing variations.

(Variation means raising or lowering the pitch of the same note.)

The note Ri has three variations; we shall call them Ri1, Ri2, Ri3.

The note Ga has three variations ; do. Ga1, Ga2, Ga3.

The note Ma has two variations ; do. Ma1, Ma2.

The note Tha has three variations; do. Tha1, Tha2, Tha3.

The note Ni has three variations; do. Ni1, Ni2, Ni3.

For their proper names vide Chapter VI.

Each Vikriti note, therefore, has three variations except Ma which has only two

variations. In all, the five Vikriti notes have 14 variations and if the three Prakriti notes

Sa, Pa, Sa, are added, we arrive at the seventeen variations, viz., Sa, Ri1, Ri2, Ri3, Ga1, Ga2,

Ga3, Ma1, Ma2, Pa, Tha1, Tha2, Tha3, Ni1, Ni2, Ni3, Sa.

e.g.— 2 Sa Ri Ga Ma Pa Tha Sa, - Sa Tha Pa Ma Ga Ri Sa,

3 Sa Ri Ga Pa Tha Sa, - Sa Tha Pa Ga Ri Sa, (Mohana)

4 Sa Ri Ma Pa Sa, - Sa Tha Pa Ma Ga Ri Sa, (Prathapa Varali)

5 Sa Ri Ga Ma Pa Ni Ma Tha Ni Sa, - Sa Ni Tha Ni Pa Ma Ga Ma Ri Sa, (Malavi)

The mythological origin of these notes is rather interesting; Paramasiva created the five varying notes

Ri, Ga, Ma, Dha and Ni, as representatives of the five varying aspects of his Éaka, but as these by themselves

could not produce any pleasing effects, Sakti or Parvati added the two essential and immutable extremes, Sa

and Pa, which perfected the Scale.— Hence the Vikriti and Prakriti notes.

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RUDIMENTS AND THEORY OF MUSIC

The several variations of notes mentioned above, though seventeen in number, represent only 12 degrees (pitch or interval) of sound, as is illustrated in the table below :

Degrees of Notes

0

1st

2nd

3rd

4th

5th

6th

7th

8th

9th

10th

11th

12th

Names

of

Notes

Sa

Ri1

Ri2 or Ga1

Ri3 or Ga2

Ga3

Ma1

Ma2

Pa

Tha1

Tha2 or Ni1

Tha3 or Ni2

Ni3

Sa

The two notes Ri2 and Ri3 are identical with Ga1 and Ga2 respectively, and the two notes Tha2 and Tha3, with Ni1 and Ni2 respectively. Yet why they are treated as different notes, though they occupy the same degree of sound, will be explained presently. The formation of the 72 Modes or Melakartas from these 12 degrees of sound may be briefly stated thus :

The notes Sa-Pa-Sa are taken out first; to these are added in succession any one of the three Ri's, Ga's, Tha's and Ni's, and any one of the two Ma's, to form a scale of eight notes, utilising every variety and possible combination of notes, care however being taken that the identical notes, viz., Ri2 and Ga1, Ri3 and Ga2, Tha2 and Ni1, Tha3 and Ni2 do not occur in one and the same scale. Vide Appendix A for the 72 combinations so formed.

Why the 2nd and the 3rd as well as the 9th and the 10th degrees of sound should be called by two names may now be clear. To utilise every possible combination of the 12 degrees of sound we require that, when Ri1 is combined with any of its two succeeding degrees of sound, they should be called only as Ga1 or Ga2 as the case may be, and when Ri2 is combined with its next degree of sound it should be called as Ga3 only ; and similarly when Ga3 is combined with any of its two preceding degrees of sound they should be called only as Ri2 or Ri3 as the case may be, and when Ga3 is combined with its preceding degree of sound it should be called as Ri3 only. The same reason holds good for having two names for the 9th and 10th degrees of sound. "Herein lies the whole secret of the nomenclature adopted for the Indian Gamut and the explanation for the necessity of having 16 names for the 12 degrees of sound."

By applying the process of permutation and combination, we can find out how the 72 Major Modes are formed from the 12 degrees of notes so that each mode may have only one set of 8 notes. The following simple method also explains the same :

A

B

Ri1 with 3 Ga's = 3 Modes

Tha1 with 3 Ni's = 3 Modes

Ri2 with Ga2 & Ga3 = 2 „

Tha2 with Ni2 & Ni3 = 2 „

Ri3 with Ga3 = 1 „

Tha3 with Ni3 = 1 „

Total 6 Modes

A × B = 36

Since we have 2 Ma's, 36 × 2 = 72

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RUDIMENTS AND THEORY OF MUSIC

Explanation

The number of modes that can be formed of—

Ri1 when combined with Ga1, Ga2 and Ga3 is 3

Ri2 do. Ga2 and Ga3 is 2

Ri3 do. Ga3 is 1

Thus in all Ri's and Ga's can form six combinations. Similarly Tha's and Ni's, six combinations. The first set of six combinations with the second set of six can form 36 combinations. These with 2 Ma's form 72 combinations or modes. Vide Appendix A.

The sub-division of Melakartas or Primary Modes into Ragas or Derivative Scales is much more interesting. This classification is unknown to the West, but is the very soul and life of the Indian System.

No less than a thousand varieties of Ragas with different names have already come into existence. Adequate description of them can hardly be attempted here. However a general outline is sketched below.

Just as the Masters of the Musical Science have utilised every variety of tones and semitones in the formation of Melakartas, the Masters of the Art have, with an incredible amount of labour and patience, analysed the beauties inherent to the succession of particular notes at particular places in each mode and after classifying them systematically have assigned a different name to each melody-mould thus formed.

The adjustment of notes in these Ragas has been so ingeniously devised that they possess remarkably distinct features of their own and are models of beauty and perfection capable of exciting passions of the most varied and heterogeneous character. The expressive powers and æsthetic emotion which lie hidden in each melody-mould are so varied and the distinguishing marks are so clear, that it is quite easy to identify a Raga.

The frequent repetition of the same cluster of notes which constitute the physiognomy of a Raga becomes indispensable. By the omission of particular notes in particular modes, a further sub-division of melody-moulds has been caused. This class is named Varja as distinguished from Sampurna in which all the seven notes occur. The sub-divisions of Varja, as has been already stated, are Shadava and Audava. By a zig-zag progression of notes, Vakra Ragas have been engendered, and by a combination of Shadava, Audava and Vakra several other Ragas have been formed. The number of Derivative Ragas framable under each Melakarta is beyond limit.—Anantham.

Most Ragas are believed to possess particular powers for exciting particular passions and emotions, as well as good or bad qualities; they have their patron deities, castes, genders, family relationship, appropriate hours, etc. The number of anecdotes and the mass of legendary lore connected with these particulars are worthy to be recorded under “Curiosities of Hindu Music.”

CHAPTER III

TALAS OR TIME

According to the theory, Talas or Time used in Hindu Music are 35 in number. If the formation of modes in Hindu Music is complicated, that of time is more complicated

2968—2

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RUDIMENTS AND THEORY OF MUSIC

still. The sub-divisions of time are very complex. Nevertheless they are patiently studied

and steadily practised, so much so that a musician is expected to revere Time and Key-note

as his Father or Mother “Sruthir matha—Layah pita.”

It would be well to note the main difference between the Western and the Hindu

system of time. In both upright lines are drawn across a music phrase to distinguish the

sections into which a melody is divided. These are called Bars or Measures. The interval

between the bars is the same throughout the entire music in the Western system, whatever

may be the number of beats or notes counted in each bar. In Oriental Music, the number

of beats or notes in each bar differs but the *Avarta is uniform throughout as will be seen

from the explanations given below. This is the essential characteristic of the Hindu

method of counting time.

The units of measurement used for counting time are :

Anudruta
Druta
Laghu

(Other minor sub-divisions are left out as they are not required in practice.)

The duration of Anudruta is one letter, and the sign for Anudruta is

The duration of Druta is two letters, and the sign for Druta is

The duration of Laghu, which is indicated by the sign | , depends upon the Jati to

which it belongs. Jatis are species of time, and are five in number. They are named

below with their respective values.

Jatis

Value

Chaturasra (Quadruple)

4 Letters

Trisra (Triple)

3 do.

Misra (Septuple)

7 do.

Khanda (Quintuple)

5 do.

Sankirna (Nonuple)

9 do.

Knowing so far about the units of measurement of time, we shall see how the 35

Talas are framed.

Under the laws and rules of Hindu Music, the following Sapta (seven) Talas

were originated, namely—

Dhruva

made up of | O | |

Matya

do.

| O | O

Rupaka

do.

O | O

Jhampa

do.

| ~ O

Triputa

do.

| O O

Ata

do.

| O O |

Eka

do.

|

= Laghu, = Druta, = Anudruta.

A set of bars forming a Tala.

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RUDIMENTS AND THEORY OF MUSIC

It will be seen that these Sapta Talas are the combinations of Laghu, Druta and

Anudruta. The values of Druta and Anudruta are fixed, viz., two letters and one respect-

ively. Whereas the value of Laghu depends upon its Jati and therefore may be either

4, 3, 7, 5 or 9 letters according to its species. Hence each of the Sapta Talas is subdivided

into five classes and in all the seven Talas combined with five Jatis work out 35 Talas.

Any number of Talas can be framed by so combining Anudruta, Druta and Laghu.

But none of them need be ventured on for Vocal or Instrumental music, as the 35 combina-

tions already framed are enough to stagger a music scholar.

Table showing the number of letters indicated by the Sapta Talas

when combined with their respective Jatis

Usually called Adi Tala and adopted most in common practice.

It may be noticed that certain Talas containing the same number of beats or letters are called by different

names, because their parts differ, i.e., the accents fall on different letters. For example Talas Trisra-Rupaka and

Khanda-Eka represent five beats each; yet the accented letters of the former Tala are the first and third,

whereas the accented letter of the latter Tala is the first only.

Page 10

Part II—On Vina

CHAPTER IV

HISTORY, PAST AND PRESENT

The birth-place of this sacred instrument is said to be Heaven. It is the instrument on which Sarasvati, the Goddess of Learning, practised her music. Narada and other great Rishis of that delighted world amused themselves with the music of the Vina. Narada being the Rishi of both the Earth and the Heaven brought it down from Heaven to Earth. Other Rishis and great men of the age came to know of the sweet pleasure which it gave and learnt it gradually. Such is the mythological origin of this heavenly music but very few know its real value and the pleasure it imparts. As it was the first instrument originated, it deserves to be called the Mother of Instruments.

Vina is practised in India only by a limited few. Different kinds of Vinas are used in different parts of India. The best in form and in harmony is what is used in Southern India. The few that had mastery over the art lived with Rajas and Maharajas, who had the greatest regard for them. These musicians were also highly respected by the people. It seems a pity therefore that the art should have been cultivated but by a few. Several reasons might have led to this. Our past virtuosos on Vina seldom cared to give publicity to the art, They were content with the measures they enjoyed, and the gifts they obtained, by their own proficiency. Vina requires also a great amount of perseverance and labour on the part of those who wish to become experts. Hence the art gradually declined and it is not surprising that only a very few, not more than a dozen, are good Vinaists in the whole of Southern India. Unfortunately no step has been taken till now to spread this art.

At present there are some great masters of Vina under the kind patronage of His Highness the Maharajah of Mysore and a few in the States of Vizianagaram and Travancore. Others of less fame live in Southern Districts.

The Great NARADA of the Golden Age And the MAHAVINA Time of the Sage.

Page 11

FIG. A

FIG. B

FIG. C

Page 12

ON VINA

CHAPTER V

DESCRIPTION

There are several kinds of Vinas.* The one used in Northern India is made of a

bamboo rod about 4 feet in length with two gourds attached to it. The frets are fixed on

the bamboo, which forms the finger board of the instrument, The two gourds serve as

supports as well as sounding boxes or resonators. This species is called by the name of

Sunthari, Ruthra Vina or Rus Bin (Fig. A).

The one used in Southern India is illustrated in the margin (Fig. B). This Vina is

usually made of jack wood. The sounding box generally known as the pot (Kodam) resembles

two-thirds of a hollow ball with an opening on one side, to be connected with the finger board.

The depth of the pot may vary from 9 inches to 10½ inches. The deeper the pot, the

greater the sound. A circular plate covers the open part of the pot. The diameter of

the plate crosswise varies with the size of the pot. The biggest Vinas made are those

having plates of 13 inches diameter; and the medium ones, 12½ inches; while the smaller

ones from 9½ to 11¼ inches.

The pot is connected with a hollow rod usually called the Finger Board (Thandi).

The whole is connected with the neck and face of a Yali, very much resembling the face

of a Dragon. 24 frets(Mettu) are fixed on the finger board with the help of specially prepared

wax. Each fret represents one degree of sound or note. There are seven strings in all,

four running over the finger board and three by one of its sides. A bridge of wood with a

bell metal plate is placed on the pot, and another metal plate in the form of an arc is

placed by the side of the bridge. The four strings rest on the bridge, and the other three

strings on the metal plate kept by the side of the bridge. These strings are attached to

screws, four of them running through the neck and three through the finger board. There

is also a gourd at the other extremity away from the pot. This keeps the instrument

on a level, besides increasing its sonorousness. This is the description of the several parts

of a Vina. There is also another kind which exactly resembles the above except in respect

of the face which, instead of being bent downwards, is bent upwards (Fig. C). But this

kind is not much used and not so common. The best Vina is that which has not only

a good harmony, but also a good shape.

The following physiological description of the Vina will be of much interest. A

knowledge of the Yoga Philosophy is required to understand the true significance of

the terms used therein. From an Archæological point of view it is considered to be a

subject of importance.

In the illustration given in the margin the portion marked G represents the

head of the human body; F the neck; E the finger board, the trunk; D the sounding

box, the abdomen; C the seven strings, the Sapta Thathus (seven pulses); B the place where

In days of yore four kinds of Vinas are stated to have been in existence, viz., Kachapee, Kalavathi,

Puruhoothee and Mahathee. They are the Vinas used by Sarasvati, Thamburu, Gantharvar and Narada

respectively. The last two are said to possess extraordinary powers and are invisible to an ordinary human eye.

They will give out Music of their own accord when prayed for by the Rishis and are not to be handled by any

mortal.

9

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Page 13

the bridge or the Mettu rests, the navel; A the place where the seven strings are fastened,

the place from which the Sapta Thathus begin. This place is the Kundali which accord-

ing to the Yoga Philosophy is a spiritual power situated near the lower end of the spinal

column and when aroused by Yoga or meditation raises itself through the hollow canal and,

as it rises, the mind becomes open and all the different vision and wonderful powers come

to the Yogi.

The 24 frets together with the head piece represent the 25 Thathuvams.

The portion from Kundali to the head is divided into six Atharams (nerve centres)

viz.— 1. Muladhara .... The place where all the wires are tied up.

Svadisthana .... The place where the bridge is placed.
Manipura .... The place where the 14th fret is fixed.
Anahata .... The place where the 19th fret is fixed.
Visuddha .... The place where the 12th fret is fixed.
Ajnaya .... The place where the 7th fret is fixed.

Each Atharam has 12,000 nerves or fibres which convey sensation to the brain and

is considered capable of producing as many Ragas. Hence six Atharams are capable of

producing (6 × 12,000) 72,000 Ragas.

CHAPTER VI

THE FINGER BOARD OF THE VINA

From the diagram it will be seen that 24 frets are fixed on the finger board and that

four strings run across them. These four strings when open, i.e., when they are vibrated

without being pressed on the frets represent Sa, Pa, Sa, Pa, corresponding to the European

notes C, G, C, G. The 3rd string open is the lower octave of the 1st string open, the 4th

that of the 2nd. Each fret as it ascends indicates a note higher, equivalent to a semi-tone

in Western music, and in all the 24 frets give out only two octaves by one string. Whatever

notes the 1st string produces on the several frets, are also produced by the 3rd string butone

octave lower ; similarly the 2nd and 4th strings produce the same note on each fret, but

those produced on the 4th are lower octaves.

(An octave means a set of eight notes from C to C. An octave of a note means its eighth note either

higher or lower as for example—the octave of C is C higher or lower ; the octave of G is G higher or lower.)

The first octave from C to C on the first and third strings, and from G to G on the

second and fourth strings, end on the 12th fret ; the second octave ending on the 24th fret

A little explanation may be necessary why an octave or a scale of only eight notes

viz., Sa Ri Ga Ma Pa Tha Ni Sa should end on the 12th fret instead of on the 7th. The

reason is simple (vide Chapter II). Three frets represent three kinds of Ri's ; three frets

three Ga's ; three frets, three Tha's ; and three frets, three Ni's. Of these two frets are

common to both two kinds of Ri's and Ga's ; similarly two frets for two kinds of Tha's and

Ni's.

OPEN NOTES

THE FINGER BOARD OF THE VINA

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ON VINA

Let us call the three kinds of Ri's as Ri1, Ri2 and Ri3

Do. Ga's as Ga1, Ga2 and Ga3

Since Ri2 and Ri3 are the same as Ga1 and Ga2, only two frets are required to represent

these four kinds of notes. Therefore for all the three Ri's and three Ga's only four frets are

required. Similarly for the three Tha's and three Ni's only four frets are required. But

when one fret indicates one note, say Ri, it will not indicate Ga also in the same Raga or

Mode; it can indicate Ga in any other Mode or Raga. In short one fret cannot represent

both Ri and Ga, in one and the same mode.

Two frets represent two Ma's. The notes Sa and Pa are alone constant and do not

admit of any variation. Thus it will be seen that 12 frets are required to represent all

kinds of notes.

On the first string, therefore, two octaves or two complete sets of notes can be played;

on the second and third strings together, another lower octave can be played; and on

the fourth a semi octave. Thus in all, Vina admits of 3½ octaves or sets of notes. They

are called Sthayis. The lower octave is called Manthara Sthayi; the middle one

Mathyama Sthayi; and the higher one, Thara Sthayi.

The names by which the several notes are known and the frets that

indicate them, are given in the table below :

No. of Frets. Notes. Corresponding

English Notes. Name by which they are called.

Head Piece Sa C Shadjamam.

1st Ri1 C# Suddha Rishabham.

2nd Ri2 or Ga1 D Chatsruti Rishabham or Suddha Gandaram.

3rd Ri3 or Ga2 D# Shatsruti Rishabham or Satharana Gandaram.

4th Ga3 E Antara Gandaram.

5th Ma1 F Suddha Madhyamam.

6th Ma2 F# Prathi Madhyamam.

7th Pa G Panchamam.

8th Tha1 G# Suddha Dhaivatham.

9th Tha2 or Ni1 A Chatsruti Dhaivatham or Suddha Nishadam.

10th Tha3 or Ni2 A# Shatsruti Dhaivatham or Kaisiki Nishadam.

11th Ni3 B Kakali Nishadam.

12th Sa C Shadjamam.

It will be seen from the table above, that the scale of Hindu Music consisting of 12

semi-tones between the key-note and its octave corresponds to the chromatic scale of the

Page 15

Western Music and that the arrangements of frets on the Vina are exactly similar to those on the Guitar, Banjo or Mandoline, or the Keys of the Pianoforte, though the nomenclature adopted differs.

CHAPTER VII

STRINGING

We know that there are in all 7 strings on a Vina, 4 main ones over the finger board and 3 sidewise.

Of the 4 main ones, the 1st and the 2nd are steel wires; the 3rd and the 4th are brass or silver wires. The 2nd is thicker than the 1st, the 3rd than the 2nd, and the 4th than the 3rd. The reason is that the 2nd tuned to G or Pa is three notes less than the 1st which is C or Sa. Similarly, the 3rd tuned to C or Sa one octave less than the 1st, is 4 notes less than the 2nd. The 4th is to the 3rd as the 2nd is to the 1st. Therefore each wire represents 3 or 4 notes less than the other; and the thicker the wire, the lesser the number of vibrations and consequently the lower is the note produced on the thicker string.

All the 3 side strings are steel wires. The topmost is of the same thickness as, or a little thinner than, the 1st of the main wires; the 2nd side string is thinner than the 1st; and the 3rd, thinner than the 2nd. The 1st tala or side string is tuned to the 1st main string, i.e. C or Sa, the 2nd is tuned to G or Pa, and the 3rd or the lowest C or Sa one octave higher.

All the music wires are gauged by the manufacturers and a number is given them. To help the reader I give the number of the wires generally used for a Vina.

Females Males

1st Main String 32 30

2nd 30 28

3rd 26 24

4th 24 22

1st Tala String 33 31

2nd 34 32

3rd 36 34

The higher the number, the thinner are the strings.

Exceptionally, the first main string may be thicker or thinner than what is given above. Then all the other strings will bear the above ratio to it.

The 1st main string is called the Sarani; the 2nd, Panchamam ; the 3rd, Madhyamam ; the 4th, Anu mantharam.

The 1st side string is called the Pakka Sarani ; the 2nd, Pakka Panchamam ; and the 3rd, Teepu Sarani.

CHAPTER VIII

TUNING

Tuning is an important item in learning music on stringed instruments. Though tuning requires a good hearing and music ear, the following ways will help a beginner to a good extent.

Let a beginner try to tune any two strings on the Vina to produce a similar sound or note. Let him try this on the 1st string on the finger board and the topmost Tala string.

Let these two strings be tuned alike in sound; as they are to be tuned always to give the same sound, it is worth trying on them. When they are tuned alike there will be a unison.

If the initial difficulty of tuning the two strings alike is got over, tuning the instrument is quite easy.

From the finger board of the instrument it may be seen that

the 1st string open is Sa or C

2nd Pa or G lower

3rd Sa or C lower

4th Pa or G lowest

and that of the side strings—

the 1st is C or Sa

2nd is G or Pa

3rd is C or Sa higher

The 2nd string on the 5th fret produces Sa (C). Therefore press the string at the 5th fret and tune it alike with the 1st. When open it will indicate the note Pa (G). The 3rd string gives the note Pa (G) at the 7th fret. It can also be tuned with the 2nd similarly, so as to produce the note Sa (C) when open. The 4th should be tuned with the 3rd as the 2nd with the 1st. So far for tuning the four main strings.

The 1st main string and the 1st Tala string should be tuned alike. Press the 1st string at the 7th fret where it gives the note Pa(G), and tune the 2nd Tala string with that note. Press the 1st string at the 12th fret where it gives the note Sa (C) higher and tune the last Tala string with that note. Then the Vina is tuned. The technical word for tuning is Sruthi.

There are two kinds of tuning or Sruthi. The most common is the one described above. It is called the Panchama Sruthi, because the 2nd and the 4th string and the middle Tala string indicate the note Pa (G). These three strings are sometimes tuned to indicate the note Ma (F) instead of the note Pa (G). This Sruthi is called the Mathyama Sruthi. At times musicians indulge themselves in playing or singing in this Sruthi not only for varieties sake, but also for its sweetness.

CHAPTER IX

POSITION

There are two methods of holding the Vina while playing. The first is to hold it in a vertical position tightly with the lower portion of the right palm, the pot resting on

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14

ON VINA

the ground or on the lap. The fingers of the left hand play upon the finger board as in

the diagram A. This is a difficult method but a scientific one and much indulged in by the

Vinaists of Vizianagaram and their followers. One must possess good strength to play

on the Vina in this position. It is therefore called the masculine method of playing

on the Vina.

The second method, which is more common and simpler of the two, is shown in

the diagram B. The pot rests on the ground and the gourd on the left knee. The lower

portion of the right palm holds the Vina ; while the fingers of the right hand beat the

strings, those of the left play upon the finger board. This method is preferable as beginners

can not only learn to play on the Vina more easily, but also indulge themselves for hours

without being much tired.

CHAPTER X

FINGERING

Right Hand: The Vina is held by the lower portion of the right palm, whatever

may be its position, vertical or otherwise. The fingers of the right hand made use of while

playing on a Vina are the forefinger or the index finger and the middle finger for beat-

ing the strings on the finger board, and the little finger for beating the side strings. The

forefinger and the middle finger beat the strings downwards alternately. This is an

important rule of fingering and the student should bear it in mind. The little finger

beats all the side strings simultaneously upwards, and it does so along with the fore-

finger only, but never when the middle finger beats down. The beatings on the side

strings indicate Tala or Time, and those on the main strings the music.

There are exceptional cases when all the main strings are beaten together, but

that is in advanced stages and the beginner need not trouble himself about them now.

There is also an exceptional case when only one of the side strings is touched by the

little finger. At times the beats of the little finger go either before or after that of

the forefinger. It is necessary here to explain when it beats along with, before or after

the forefinger. We know that the beats of the little finger indicate Tala or Time.

The several kinds of Tala have been dealt with in Chapter III. We now proceed to

explain the different species, as distinguished from kinds of Tala.

There are three species of Tala. If the accent or the beat of a Tala falls on the 1st

note, the music is said to be written or sung in Samam ; if the accent falls before the 1st

note, Athetham ; if after the first note, Anagatham- Music written or sung otherwise

than in Samam, i.e. either in Athetham or Anagatham, is also said to be in Vishamam.

It is clear therefore that the beats of the little finger which indicate Tala or

Time may be either along with, before or after the beat of the forefinger as the music

composed is in Samam, Athetham or Anagatham respectively. The beats of the

forefinger and the middle one must be alternative, because we can produce notes very

quickly if both the fingers are alternatively used. In technical language notes can be played

in the Tri-Kala easily.

A

From a Photo of Messrs. Bourne & Co. Madras.

GURURAYACHARYULA VEENA VENKATARAMANADAS

Samasthana Vidvan, Vizianagaram

Page 17

B

From a Photo of Messrs. Varadachari & Co., Mysore.

VINIKA VARA KESARI

VIDVAN BAKSHI SUBBANNA OF MYSORE

VINIKA SIGAMANI

VIDVAN SESHANNA OF MYSORE

Page 18

ON VINA

15

These important rules on fingering should never be violated by a beginner. In cases

where these rules appear to have been broken the deviation will be explained.

Left Hand : The fingering of the left hand is very easy in the beginning, though

it is that which produces a note in all its admirable aspects. The fingers* made use of

are the forefinger and the middle one These fingers press the string at each fret to pro-

duce a note. In ascending, both the fingers should be used ; and in descending, only the

forefinger. In advanced stages, these fingers are used in special ways to produce several

notes in peculiar combinations, such as using both the fingers one at each fret, etc. Some

of them are explained in the next Chapter.

Meet

The fingering of the right hand is called Meetu. They are of ten kinds and are

called Thasanitha Pranam

Meetu

i.e. beating the string with the forefinger.

Low Meetu

i.e. downwards.

Veli Meetu

i.e. upwards.

Pattu Meetu

i.e. with the forefinger and stopping

the vibrations with the middle finger.

Veedupu Meetu

i.e. letting out the string to vibrate after Pattu Meetu.

Thada Meetu

i.e. the last Meetu at the end of each Jathi,

as Sa Ri Ga.

Ni Sa Ri Ga.

Sama or Jodu Meetu

i.e. Meetu with the two fingers closely together producing

the sound Kra or Tra either upwards or downwards more usually the latter.

Kathiry Meetu

i.e. Meetu with two fingers sharply one after another

producing tremolo like sound as Thakita Tharikita.

Laya Meetu

i.e. Meetu of the side strings with the little finger.

Sruthi Meetu

i.e. vibrating the four main strings together by one beat

with the forefinger.

CHAPTER XI

GRACES OR EMBELLISHMENTS

Ghamakas

By different fingering a same note can be produced in its different shades or

colours ; a special beauty can be given to a note by the peculiar manner in which it

is produced or by combining it with other notes in a particular way. Such combinations

are called Ghamakas and they are ten in number, viz :

Expert players on Vina make use of all the fingers but the thumb.

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16

ON VINA

Arohanam, as
Avarohanam, as
Dhalu, as
Ispuritham, as
Kampitham, as

All notes but the first should be produced by merely shaking the string.

Anahatham, as

17

ON VINA

Prathis Atham, as
Thirupusham, as
Antholam, as
Murchanam, as

Orikai

The Orikai which corresponds to the Shake in English music, is produced by shaking the string with the fingers of the left hand at the fret of the note required. This is Simple Orikai. By pulling the string to and fro many notes are also produced at one fret. This is Complex Orikai. It requires a great deal of dexterity to do this and the sweetness of Vina music is due to such Orikais only.

Jaru

The Jaru is made by allowing the two fingers of the left hand slide along the string and passing over the frets after having struck the string with the finger of the right hand. The sound of a note is produced by the finger being stopped at the fret of the note required. The Jaru is used in both ways, either upwards or downwards. The Jaru corresponds to the Slide in English Music.

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18

ON VINA

Rava Jathi

Notes are also produced by striking the string with the middle finger of the left hand, pressing the string at the same time at any fret with the fore finger of the left hand,

Examples of Notes so produced :

et (Commencing from Sa higher)

do.

In the above, the notes at the commencement of each arc are produced by vibrating the string by the finger of the right hand, the rest by the beats of the middle finger of the left hand. In the 3rd example alone it is not exactly by the beat of the middle finger that the 2nd notes are produced, but more accurately by a sharp removal of the same from the 1st notes.

The above three examples or any form of combination of the three are called Rava Jathi.

19

ON VINA

CHAPTER XII

MISCELLANEOUS INSTRUCTIONS

I wish to advise my readers that they should not only learn how to play on the Vina, but should also be able to attend to the petty repairs that may be required to it.

The following instructions may be of much use to them :

The bridge metal plate on which the main strings rest and the side metal plate on which the tala strings rest should always be kept clean. Otherwise the strings will not produce good twang sound. Care must be taken at the same time that the position of the bridge is not altered even a bit. If that is done, the frets will indicate false or incorrect notes.

Of the several petty repairs, the chief and most intelligent one is the adjustment of frets technically called Making Melam.* Every good player on the Vina must know not only how to tune it accurately, but also how to adjust the frets themselves. A Vina with a good fretting helps a student to a very great extent in learning the notes accurately. A Vina with wrong Melam indicates false notes. It is therefore very essential that a beginner who wants to accustom himself to accurate notes, should not play on a Vina whose Melam has gone wrong.

The strings should be cleaned before as well as after the Vina is played. A small piece of chamois leather will best serve the purpose.

Ghee or any other similar oily substance should be slightly smeared on the two fingers of the left hand before playing, so that the fingers may smoothly run over the strings and that the strings may not cut the fingers. Indian oily scents may with advantage be used for ghee.

Special instructions on the subject can be had from the author.

Page 21

Part III—Practical Instructions and Exercises

CHAPTER XIII

MANNER OF PLAYING

The general manner of playing has already been explained partly in Chapter X on “Fingerig,” viz., that the main strings are vibrated with the fore finger and the middle finger alternately and the side strings by the little finger of the right hand.

The two fingers of the left hand, viz., the fore finger and the middle finger alone while together press the strings at each fret while ascending and the fore finger alone while descending. Other special methods of fingering will also be found necessary, in advanced stages. Most of them have been explained in Chapter XI. It should be noted that the strings should not be pressed by the fingers on the fret itself, but near to the fret so that the fingers do not touch the fret. If the fingers touch the frets, no sound will be produced and consequently no music whatever.

To produce soft and pleasing vibrations on strings, it has been the habit of good Vinaists to grow nails on the three fingers of the right hand. If the strings are struck with the tip of the fingers the sound is blunt; but if they are struck with the nails, the sound is sweet. Sometimes artificial nails are used by those who have not got strong nails.

CHAPTER XIV

SARALI VARUSAS OR EXERCISES ON NOTES

Practice on these may be in any one of the 72 Modes. Most commonly mode No. 15* is taken up for all preliminary exercises as the notes in this are farther from each other and help practice in other modes. Besides they sound sweeter also.

Each Raga is said not only to possess certain features of its own, but also to be in its best when played at a certain hour of the day. Mayamalava Gowla (Maya=fascinating and bewitching) i.e. Mode No. 15 is very sweet and pleasant when played in the early morning. Since all the primary exercises are intended for practice at that time, this Mode has been selected.

The other reason is that this Mode contains only Pure Notes, i.e. notes that are known by one name and not by two. A reference to statement in Page 1 will show that Ri1, Ga3, Tha1 and Ni3 (notes used in Mode 15) are pure and known by one name only; whereas the other notes Ri2, Ri3, Ga1, Ga2, Ni1, and Ni2 respectively are also known as Ga1, Ga2, Ni1, and Ni2 respectively.

PRACTICAL INSTRUCTIONS AND EXERCISES

21

The diagram shows the frets on a Vina which indicate the scale of eight notes in Mode No. 15 as played on the 1st string.

Sa Ri Ga Ma Pa Tha Ni Sa

0 1 2 3 4 5 6 7 8 9 10 11 12

Exercise 1. In Common Time or Eka Tala

सा रि ग मा प था नि सा

1 2 1 2 1 2 1 2

सा रि ग मा प था नि सा

2 1 2 1 2 1 2 1

सा रि ग मा प था नि सा

1 2 1 2 1 2 1 2

सा रि ग मा प था नि सा

2 1 2 1 2 1 2 1

1 2 1 2 1 2 1 2

Bearing in mind the instructions given for position and fingering, viz., that the Vina should be held in position as in diagram A and B in page 14, that the fore finger and the middle finger should beat the strings alternately as indicated by the numbers 1 and 2 respectively marked below each note, and that the two fingers of the left hand should be kept close together as they produce notes in their ascending order and that the fore finger alone while descending, the student can play Exercise No. 1 easily.

The Common Time or Eka Tala is selected to make the lessons as easy as possible. The first note in each bar should be played with Tala, i.e., the place where the little finger of the right hand should beat the side strings. Note that the Tala falls always with the 1st finger and never with the 2nd. It is advisable that the student should play the 1st exercise quite thoroughly before he proceeds to the 2nd.

If the student finds the 1st exercise itself difficult, the following exercises will set him right. Let him strike the 1st string with the 1st and the 2nd finger of the left hand alternately at equal intervals, counting 1-2, 1-2, 1-2. Then let him try to strike,

(1) the side strings with the little finger upwards,

(2) the 1st main string with the 1st finger downwards,

(3) the 1st main string with the 2nd finger downwards,

Thus: Little finger upwards-1-2, little finger upwards-1-2.

Then let him try to strike the side strings with the little finger upwards and the main string with the 1st finger downwards simultaneously, and then the main string with

Page 22

the 2nd finger thus: ḷ - 2. ḷ - 2. ḷ -2. star marks representing tala, or the beats

with the little fingers. Exercise No. 1 can then be successfully tried.

Exercise 2.

ச ரி க ம | ச ரி க ம | ப த நி ச் |

1 2 1 2 | 1 2 1 2 | 2 1 2 2 |

ச நி த ப | ச நி த ப | ம க ரி ச் |

1 2 1 2 | 1 2 1 2 | 2 1 2 2 |

ஸ ரி க ம | ஸ ரி க ம | ப ஜ நி ஸ |

1 2 1 2 | 1 2 1 2 | 2 1 2 2 |

ஸ நி த ப | ஸ நி த ப | னு ஜ ரி ஸ |

1 2 1 2 | 1 2 1 2 | 2 1 2 2 |

ஸ ரி ஸ ரி | ஸ 2 ஸ ரி | ஸ 2 ஸ 2 |

2 2 2 2 | 2 2 2 2 | 2 2 2 2 |

ஸ ரி ஸ ரி | ஸ 2 ஸ ரி | ஸ 2 ஸ 2 |

2 2 2 2 | 2 2 2 2 | 2 2 2 2 |

ஸ ரி ஸ ரி | ஸ 2 ஸ ரி | ஸ 2 ஸ 2 |

2 2 2 2 | 2 2 2 2 | 2 2 2 2 |

1 2 1 2 | 1 2 1 2 | 1 2 1 2 |

Exercise 3.

ச ரி க ம | ச ரி க ம | ப த நி ச் |

1 2 1 2 | 1 2 1 2 | 2 1 2 2 |

ச நி த ப | ச நி த ப | ம க ரி ச் |

1 2 1 2 | 1 2 1 2 | 2 1 2 2 |

பா பா மா | பா மா மா | மா க ரி ச் |

1 2 1 2 | 1 2 1 2 | 2 1 2 2 |

தா ஸ ரி க | ஸ ரி க ம | ப ஜ நி ஸ |

1 2 1 2 | 1 2 1 2 | 2 1 2 2 |

பூ மா மா | பூ மா மா | ம ரி ஸ ஸ |

1 2 1 2 | 1 2 1 2 | 2 1 2 2 |

பா பா பா | பா பா பா | ஸ ரி ஸ ஸ |

1 2 1 2 | 1 2 1 2 | 2 1 2 2 |

பா 20 1 | 20 1 20 | 1 20 1 20 |

1 2 1 2 | 1 2 1 2 | 1 2 1 2 |

It may appear that the general rule on fingering, viz., that the 1st and 2nd

finger should beat the string alternately has been violated in Exercise 3. But in fact it is

not so. For the duration of Pa and Ma long is equal to two notes. If two notes

appear there instead, we will use 1 and 2, and when the 2nd Pa or Ma long is

taken, the first finger should be used.

Any number of Exercises on Sarali varusa can be picked up from several existing

books on music and the student may try as many as he likes of them on the Vina.

The Morning Practice of Sarali Varusa

To have a thorough command over the instrument it has been the practice of

good Vinaists, to play the first exercise of Sarali Varusa early in the morning in a more

difficult style. Instead of the Sapta swaras being played in one Sthayi (Octave) they

are played repeatedly in the three Sthayis (viz., Manthara, Mathyama and Thara) in the

1st, 2nd and 3rd Kala,* as also with one metu for one swara (note), with one metu for

two swaras, and with one metu for four swaras.

These practices are however intended for students in the advanced course.

Exercise (to be played in the 1st, 2nd & 3rd Kala, i.e. 4, 8 and 16 time)

Notes with dots above, indicate that they belong to Thara Sthayi, notes with dots below to

Manthara Sthayi, and notes with neither to Mathyama Sthayi.

ச ரி க ம ப த நி ச் | ச ரி க ம ப த நி ச் | ச ரி க ம ப த நி ச் | ச ரி க ம ப த நி ச் |

த ப ம க ரி ஸ ஸ | நி த ப ம க ரி ஸ | த ப ம க ரி ஸ ஸ | நி த ப ம க ரி ஸ |

ஸ ரி க ம ப ஜ நி ஸ | ஸ ரி க ம ப ஜ நி ஸ | ஸ ரி க ம ப ஜ நி ஸ | ஸ ரி க ம ப ஜ நி ஸ |

நி ப ஜ ம க ரி ஸ ஸ | ஜ ப ஜ ம க ரி ஸ | நி ப ஜ ம க ரி ஸ ஸ | ஜ ப ஜ ம க ரி ஸ |

ஸ ரி க ம ப த நி ப | ஸ ரி க ம ப த நி ப | ஸ ரி க ம ப த நி ப | ஸ ரி க ம ப த நி ப |

த நி ப ம க ரி ஸ ஸ | நி த நி ப ம க ரி ஸ | த நி ப ம க ரி ஸ ஸ | நி த நி ப ம க ரி ஸ |

Kalaṣ (Degrees of velocity) determine the length or duration of a note. The relative values of notes in

the 1st, 2nd and 3rd Kala are one, one-half and one-fourth respectively.

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24

PRACTICAL INSTRUCTIONS AND EXERCISES

ನ ರಿ ಗ ಪ ಯ ನಿಸ |ಸ ರಿ ಗ ಪ ಧ ನಿಸ್ |

ಸ ನಿಧ ಪ ಗರಿ ಸ |ಸುನಿ ಧಪ ಗರಿಸ ||

ಸ ರಿಗ ಪಧ ನಿಸ |ಸುನಿ ಪಧಗರಿಸ ||

ಸ ಗರಿಜ ಪಧಮು ಗಸ |ಸ ಪಧಮುಗ ಪರಿಸ ||

CHAPTER XV

JANTA VARUSA

OR EXERCISES ON COuplets, TRIPLETS, ETC.

In this, each note is repeated twice or thrice as the case may be. To play it scientifically a special method of fingering has to be learnt. The second of each couplet should be produced with an accent. To execute this, it will not do if the 2nd note is produced by striking the string with the 2nd finger and pressing the string with the two fingers of the left hand as in Sarali Varisa. The fingers of the left hand should not be kept close and press the string at the fret of the note to be produced. The two fingers should be opened or diverged, the middle finger being kept at the note to be produced and the fore finger at the fret previous to it. Thus if Pa Pa is to be played, the middle finger should press the string at the 7th fret and the fore finger at the 6th fret. The 1st note of the couplet is produced by striking the string with the 1st finger of the right hand, the string being pressed by the left hand fingers at the 6th and 7th frets, and the 2nd note of the couplet is produced by not only beating the string with the middle finger of the right hand, but also by simultaneously hitting the string at the 7th fret by the middle finger without removing the fore finger at the 6th fret.

The beginner may find it difficult to produce the 5th note alone by so hitting ; he will also wrongly produce the note on the 6th fret thus : Ma Pa. The difficulty will be got through by degrees when he succeeds in giving the hit and the beat simultaneously.

This is how the Janta Swaras have to be played while ascending. But while descending the fingering differs. The 1st note of the couplet is produced by pressing the string at the required note by the fore finger alone, and the 2nd note by moving the fore finger to the previous fret and simultaneously hitting the string by the middle

25

PRACTICAL INSTRUCTIONS AND EXERCISES

finger at the required note. Thus if Pa Pa has to be played, the fore finger alone should press the string at the 7th fret for the 1st Pa, and for the 2nd the fore finger moves to the 6th fret while the middle one hits the string at the 7th fret, of course the string being vibrated by the right hand fingers in each case.

The simultaneous bitting at the fret in the manner above indicated gives an accent to the 2nd note of the Couplets. If they are Triplets, the 2nd and the 3rd note should be thus.accented. In short if the same note is repeated, all notes but the 1st must be accented.

The production of accents in the manner above described in Janta Swaras in their ascending order is called Ispuritham, and that in their descending order Prathia Atham. These form two of the ten Ghamakas named in Chapter XI.

The practice on Jantas may be a little difficult task. But it is absolutely necessary that one should get through it well, as the chief part of playing on the Vina depends on it.

Exercise

ಸ ಸ ರಿ ಗ ರಿ ಗ |ಗ ರಿ ಗ ಮ ಗ ಮ |

1 2 1 2 1 2 |1 2 1 2 1 2 |

ಪ ಪ ಧ ನಿ ಧ ನಿ |ನಿ ಧ ನಿ ಸ ನಿ ಸ |

2 2 1 2 1 2 |2 1 2 1 2 1 |

ಸ ಸ ರಿ ಗ ರಿ ಗ |ರಿಗ ಮಗ ಮಗ ಮ |

1 2 1 2 1 2 |1 2 1 2 2 2 |

ಪ ಪ ಧ ನಿ ಧ ನಿ |ಧನಿಸ ನಿಸ ಸ ನಿ |

2 1 2 1 2 1 |1 2 1 2 1 2 |

ಗ ಗ ರಿ ಸ ರಿ ಸ |ರ ಸ ರಿ ಗ ರಿ ಗ |

2 1 2 1 2 1 |1 2 1 2 1 2 |

ಮ ಮ ಗ ರಿ ಗ ರಿ |ಗ ರಿ ಗ ಪ ಗ ಪ |

2 1 2 1 2 1 |1 2 1 2 1 2 |

ನ ನ ಸ ಧ ನಿ ಸ ಧ |ನಿಸ ಧನಿ ಪ ಧ ಪ |

1 2 1 2 1 2 |1 2 1 2 1 2 |

1 2 1 2 1 2 1 2 |1 2 1 2 1 2 1 2 |

2869—7

Page 24

26

PRACTICAL INSTRUCTIONS AND EXERCISES

CHAPTER XVI

ALANKARA

There is no speciality in playing Alankara; but the student should carefully see

that the thala falls on the first letter in each bar.

They should be played note by note, letter by letter, as in Sarali Varusa. and

wherever Janta Swaras occur with Ispuritham or Prathia Atham.

Exercise 1. Eka Tala (4).

Exercise 2. Rupaka Tala (2+4).

27

PRACTICAL INSTRUCTIONS AND EXERCISES

Exercise 3. Triputa Tala (4+2+2).

Page 25

28

PRACTICAL INSTRUCTIONS AND EXERCISES

CHAPTER XVII

GEETHAS, SWARA JATHIS AND CHITTA THANAMS

Geethas

We have already defined Geethas as small Music pieces. In Geethas, the student is given a new course of training. He has hitherto been dealing with Swaras (Notes) only; from Geethas he begins to study Music with words—Sahitya. As he plays the notes which indicate the words of the Sahitya, he should along with them give utterance to the letters of the Sahitya i.e., he should sing the Music piece.

Generally in Geethas, each letter of the Sahitya is represented by a swara. Hence no special fingering is required. Rarely we come across a letter of the Sahitya being represented by two swaras; then the fingering given in Example 1, on page 30, should be adopted.

As Geethas are written in different Ragas, the Scales of each Raga should be referred to in the Tabular statement given in Appendixes A, and B, and the particular notes or frets that should be used for the Raga adhered to. The different Talas in which the Geetha is written should also be kept up.

Geethas are of two kinds—Ordinary Geethas and Laksbana Geethas. The former kind is purely Music in praise of or describing the glories of God; whereas the latter illustrate the fundamental principles in accordance with which the notes ascend and descend in the scale of each Mode or Raga. They are recognised as the standing authority on the subject and are more for reference than for practice. A study of a few Ordinary Geethas is sufficient for practical purposes.

Swara Jathis

These are played in the same way as Geethas, but keeping up to the time is essential. Some Swara Jatis are written with Sahitya and some without. A good practice in these enables a student to count time accurately. By playing two or three exercises, the student will learn how notes are manipulated in this kind of composition.

Chitta Thanams

The practice in Chitta Thanams enables us to understand the several combinations of Jathi. They are also the basis on which Manodharma * Thanams are played. Every student is expected to play Chitta Thanams before going in for Thana Varnams.

Thanams may be played in any Raga; but our ancient musicians have selected the following modes, viz., Nata, Gowla, Aarabi, Sri, Varali, Ketharam, Reethi Gowla, Narayana Gowla, Saranga Nata and Bowli, which are known in usage as Gana Ragas. Every good player on Vina who observes the principles followed by his predecessors (Samprathaya) begins his entertainment even to-day with Gana Raga Thanams. As Thanams play an important part in Vina-playing, a few of them in each Raga should be practised.

The imaginative wealth of the mind.

29

PRACTICAL INSTRUCTIONS AND EXERCISES

The method of playing is shewn in the example given below:— For explanation as to the Symbols used, vide para 1, in page 33.

Náta Raga Thánam

CHAPTER XVIII

VARNAMS

Varnams are of two kinds: Thána Varnam and Patha Varnam. The latter is intended purely for Baratha Natiyam (Art of Dancing) and Abinayam. The first kind alone is intended for musicians.

To play Varnams a Special method of fingering should be practised. In all previous exercises, each letter of a Sahitya * is represented by a single note. But in Varnams and

Sahitya means music as sung orally. Swaras mean the notes that are being played on a musical instrument to represent a song.

2563—8

Page 26

30

PRACTICAL INSTRUCTIONS AND EXERCISES

Krithis, each letter of the Sahitya may be represented either by a single note or by

several notes. Jt is therefore necessary that the several notes which represent each letter

of a Sahitya should be played in a particular manner. For example, if the word Rama

which is composed of two letters in Tamil, Telugu, Malayalam or Canarese is to be

represented by Swaras, these may be only two or more than two. A special fingering should

be adopted.

Sahitya Ra Ma } Here each letter is represented by a note. The ordinary

Swara Ma Pa } fingering should be followed.

Sahitya Ra ....................ma...... } Here each letter is represented by more than

Swara Ma Ga Ri Ga Ma Pa } one note. Each set of these notes should be played

in a connected manner, as they represent only one

letter of the Sahitya.

In certain instances we come across one letter of the Sahitya being represented by

more than half a dozen notes.

When the length of a note is doubled, it is represented as சா - , ஸா - , ஸா, (long) ; when tripled as ஸா - - , ஸா , , ஸா,, ஸா, (long) one coma being added to it.

The length of a nota is increased by adding as many comas as the number of

notes it should represent in addition to the first.

Thus: ஸா ஸா ஸா = ஸா , , = ஸா ,

ஸ ஸ ஸ ஸ = ஸா , , = ஸ

ஸா ஸா ஸா ஸா ஸா = ஸா ,, = ஸா

ஸா ஸா ஸா ஸா = ஸா (long) , = ஸா,

The following preliminary exercises should be gone through before Varnam is

taken up. These may be practised in any of the 72 Modes, but it is preferable to adopt

Mode No. 29.

Exercise 1.

31

PRACTICAL INSTRUCTIONS AND EXERCISES

The arc placed over the notes indicates that all the notes should be produced with

one beat only.

Exercise 2.

Exercise 3.

Exercise 4.

Exercise 5.

Raga Janti—vide page 18.

Page 27

32

PRACTICAL INSTRUCTIONS AND EXERCISES

Having gone through these exercises successfully and thoroughly the student may venture to try Varnams and then Krithis.

The most popular and the first Varnam generally taught is the Sankarabarana Varnam in Athi Tala in mode No. 29 and the manner of playing it is as follows :-

Music ... Varnam

Raga ... Sankará baranam. Mode 29.

Tala .... Athi=(4+2+2+2).

33

PRACTICAL INSTRUCTIONS AND EXERCISES

The arc placed over the notes indicates that they should be played connectively with one beat only. Dots placed over the notes shew that they belong to the Thara Sthayi.

Notes belonging to the Manthara Sthayi are indicated by dots being placed below them.

Comas indicate that the duration of the notes preceding them should be lengthened as many times as there are comas. In the example given above the duration of Sa long (the first note) is two letters, since two comas are added to it, the duration of the note is equal to four letters.

In the above Varnam, the 1st letter of the Sahitya is Sa and it is followed by what is called Akaram, i.e., the continuity of the sound of that letter. The 1st letter with its Akaram has to be played as Sa , Ni Sa Tha Ni, i.e., one letter of the Sahitya being represented by several notes. Therefore all the notes should be played connectively.

But as the Akaram is long, it is split up into parts and the strings should be vibrated when Sa , Ni, Tha are played, i.e., one meetu for Sa ,, one for Ni Sa and one for Tha Ni.

Similarly our meetu should depend upon the Sahitya. There should be meetu for each letter of the Sahitya and a few meetus for Akarams if they happen to be long.

To avoid the difficulty of finding out how many meetus should be given for Akarams an arc sign is, in some treatise on Music, placed over the notes wherever they have to be played connectively. In the example given above also, an arc is placed over the notes grouping them for each meetu. This is the Pallavi of the Varnam. The Anupallavi also is to be played similarly. But the notes attached to it should be played letter by letter.

The Charanam is followed by a series or sets of notes ; each set should be played with Charanam one after another thus :- Charanam with the 1st set, Charanam with the 2nd, Charanam with the 3rd and so on. It should be noted, (1) that, in Varnams, the

Page 28

34

PRACTICAL INSTRUCTIONS AND EXERCISES

Pallavi is repeated after Anupallavi only and that Charanam ends by itself, but in Krithis,

Pallavi is repeated after Anupallavi as well as after Charanam; and (2) that each part has

to be repeated twice.

The several parts of a Varnam are (1) Pallavi, (2) Anupallavi with Swaras,

(3) Charanam with a series of Swaras. These Swaras do not represent any Sahitya at

all; but are played with Charanam one after the other.

This is how Varnams are composed and they are either in Athi Tala or Ada Tala.

A good practice of Varnams gives a steady fingering and any number, not less

than ten, should be practised before the Krithis are taken up.

CHAPTER XIX

KRITHIS

Krithis can be played quite easily, if all the preliminary exercises for Varnams have

been gone through. No special fingering is required. As however Krithis are composed

in a variety of Ragas and Talas, the greater the number of Krithis one learns, the deeper

will be one’s insight into the music. Krithis composed by Thiagaraja and Dhikshada are

worthy ones. The manner of playing Krithis differs from that of playing Varnams in one

respect.

In Varnams, the Pallavi, Anupallavi or Charanam is represented by one set of

notes and each is played in one way only. But in Krithi, the Pallavi, Anupallavi or

Charanam, each is represented in different ways, by a set of different notes. They are

called different Sangathis or manners of executing the same Sahitya of a Pallavi

or Anupallavi or Charanam. In some cases we come across with a dozen Sangathis for

a Pallavi.

Another point to be noted in playing Krithis is about Tala or Time. The beginning

of a Krithi may be in Samam, Atheetham, or Anagatham, i.e., the accent or the

beginning of a Tala may either fall on, before or after the first letter of a composition.

If Samam, the beat should commence with the first finger, otherwise with the second, so

that the following talas may regularly fall with the first finger—(Vide Chapter X,

para. 3).

The playing of Ragas and Pallavi on the Vina requires a wider experience and a

deeper study of the art and the principles underlying them cannot be attempted in this

primer.

(THE END)

APPENDIX A.

Table showing the frets of the Vina that indicate the scales or notes in each of the

72 Melakarthas or Modes

For ready reference, the first 12 frets of the Vina and the notes produced on

them by the 1st string are shown in the diagram below :-

No. of

frets

0

1st

2nd

3rd

4th

5th

6th

7th

8th

9th

10th

11th

12th

Notes

represented

Sa

Ri1

Ri2 or

Ga1

Ri3 or

Ga2

Ga3

Ma1

Ma2

Pa

Tha1

Tha2 or

Ni1

Tha3 or

Ni2

Ni3

Sa

No. of

Modes

Names

The frets that indicate their

Scales or Notes

1

Kana Kāngi

…

0

1

2

5

7

8

9

12

2

Rathnāngi

…

0

1

2

5

7

8

10

12

3

Gāna Moorthi

…

0

1

2

5

7

9

10

12

4

Vanaspathi

…

0

1

2

5

7

9

11

12

5

Māna Vathli

…

0

1

2

5

7

9

11

12

6

Thāna Roopi

…

0

1

2

5

7

10

11

12

7

Sañā Vathli

…

0

1

3

5

7

8

9

12

8

Hanuma Thodi

…

0

1

3

5

7

8

10

12

9

Tānuka

…

0

1

3

5

7

8

11

12

10

Nātakappriya

…

0

1

3

5

7

9

10

12

11

Kokilappriya

…

0

1

3

5

7

9

11

12

Rupā Vathli

…

0

1

3

5

7

9

10

11

12

13

Gayakappriya

…

0

1

4

5

7

8

9

12

14

Vakulāparanam

…

0

1

4

5

7

8

10

12

15

Mayā malava Gowla

…

0

1

4

5

7

8

11

12

16

Chakravākam

…

0

1

4

5

7

9

10

12

17

Suriya Kantham

…

0

1

4

5

7

9

11

12

18

Hata Kāmhāri

…

0

1

4

5

7

10

11

12

19

Jum gārathoni

…

0

2

3

5

7

8

9

12

20

Nata bāiravi

…

0

2

3

5

7

8

10

12

21

Geeraṡāpṛiya

…

0

2

3

5

7

8

11

12

22

Karaharapṛiya

…

0

2

3

5

7

9

10

12

23

Gowri Manohari

…

0

2

3

5

7

9

11

12

24

Varunappriya

…

0

2

3

5

7

10

11

12

25

Māra ran jani

…

0

2

4

5

7

8

9

12

26

Sārukasi

…

0

2

4

5

7

8

10

12

27

Sara sangi

…

0

2

4

5

7

8

11

12

28

Hari Kāmboji

…

0

2

4

5

7

9

10

12

29

Theera Sānkārabaranam

…

0

2

4

5

7

9

11

12

30

Nagā nanthini

…

0

2

4

5

7

10

11

12

Page 29

36

APPENDIX A.

No. of

Modes

Names

The frets that indicate their

Scales or Notes

31

Yakappriya

...

0

3

4

5

7

8

9

12

32

Rāga varthani

...

0

3

4

5

7

8

10

12

33

Kangāya bushani

...

0

3

4

5

7

8

11

12

34

Vāga thisvari

...

0

3

4

5

7

9

10

12

35

Sulini

...

0

3

4

5

7

9

11

12

36

Chala Nāta

...

0

3

4

5

7

10

11

12

37

Salakamu

...

0

1

2

6

7

8

9

12

38

Jalar navamu

...

0

1

2

6

7

8

10

12

39

Jālavarāli

...

0

1

2

6

7

8

11

12

40

Nava neetham

...

0

1

2

6

7

9

10

12

41

Pāvaní

...

0

1

2

6

7

9

11

12

42

Raguppriya

...

0

1

2

6

7

10

11

12

43

Gavām bothi

...

0

1

3

6

7'

8

9

12

44

Bhavapriya

...

0

1

3

6

,7

8

10

12

45

Suba panthu varāli

...

0

1

3

6

7

8

11

12

46

Shat vitha Marnigha

...

0

1

3

6

7

9

10

12

47

Swarnangi

...

0

1

3

6

7

9

11

12

48

Thivya mani

...

0

1

3

6

7

10

11

12

49

Thavalam bari

...

0

1

4

6

7

8

9

12

50

Nama nārayani

...

0

1

4

6

7

8

10

12

51

Kāma varthani

...

0

1

4

6

7

8

11

12

52

Rāma priya

...

0

1

4

6

7

9

10

12

53

Gamanachirama

...

0

1

4

6

7

9

11

12

54

Vis vāmbarí

...

0

1

4

6

7

10

11

12

55

Siyama lāngi

...

0

2

3

6

7

8

9

12

56

Shunmugapriya

...

0

2

3

6

7

8

10

12

57

Simhanthira mathiyam

...

0

2

3

6

7

8

11

12

58

Hāma vathi

...

0

2

3

6

7

9

10

12

59

Tharmā vathi

...

0

2

3

6

7

9

11

12

60

Neethi mathi

...

0

2

3

6

7

10

11

12

61

Kānthā mani

...

0

2

4

6

7

8

9

12

62

Rishaba priya

...

0

2

4

6

7

8

10

12

63

Lathāngi

...

0

2

4

6

7

8

11

12

64

Vāchaspathi

...

0

2

4

6

7

9

10

12

65

Mācha Kalyani

...

0

2

4

6

7

9

11

12

66

Sith rambari

...

0

2

4

6

7

10

11

12

67

Sucharithramu

...

0

3

4

6

7

8

9

12

68

Jothis varupini

...

0

3

4

6

7

8

10

12

69

Thāthu varthani

...

0

3

4

6

7

8

11

12

70

Nasikā bushani

...

0

3

4

6

7

9

10

12

71

Kosalamu

...

0

3

4

6

7

9

11

12

72

Rasika priya

...

0

3

4

6

7

10

11

12

APPENDIX B.

Table showing the names of popular Derivative Ragas, with their ascending and

descending order of Notes, classified under their respective Melakartas, the most popular

and common place Ragas being distinguished by asterisks.

Mode No. 8, Hanumathódi

Thodi*

Sa Ri Ga Ma Tha Ni Sa

Sa Tha Ma Ga Ri Sa

Thanyāsi*

Sa Ga Ma Pa Tha Ni Sa

Sa Tha Pa Ma Ga Ri Sa

Bhūpālam

Ga Pa Ga Pa Tha Sa

Sa Tha Pa Ga Ri Sa

Punnāga Varāli

Ni Sa Ri Ga Ma Pa Dha Ni

Ni Tha Ma Ga Ri Sa Ni

Nāga Varall

Sa Ri Ga Ma Pa Tha Ni

Pa Ma Ga Ri Sa Ni

Aagiri

Sa Ri Sa Ga Ma Pa Tha Ni Sa

Sa Ni Thaa Pa Ma Ga Ri Sa

Asāveri

Sa Ri Ma Pa Tha Sa

Ri Sa

Mode No. 15, Máyę málava gowla

Malahari

Sa Ri Ma Pa Tha Sa

Sa Tha Pa Ma Ga Ri Sa

Sāvari*

Sa Ri Ma Pa Tha Sa

Sa Ni Tha Pa Ma Ga Ri Sa

Gowlai

Ga Ri Ga Ma Ma Pa Ni Sa

Sa Ni Pa Ma Ga Ri Sa

Jaganmohini

Ga Ma Ga Ma Pa Ni Sa

Sa Ni Pa Ma Ga Ri Sa

Bowlí

Sa Ga Pa Tha Sa

Sa Ni Tha Pa Ga Ri Sa

Nāthanāmakriya

Sa Ri Ga Ri Ma Pa Tha Pa Ni Sa

Sa Ni Tha Pa Ma Ga Ri Sa Ni

Gowlipanthu

Sa Ri Ga Ma Pa Tha Ni Sa

Sa Ni Tha Pa Ma Ga Ri Sa

Sowrasāṭram*

Sa Ga Ma Pa Tha Ni Sa

Sa Ni Tha Pa Ma Ga Ri Sa

Sinthurāmakriya

Sa Ri Ma Pa Ni Sa

Sa Ni Pa Ma Ga Ri Sa

Guntakriya

Sa Ri Ma Pa Tha Sa

Sa Ni Tha Pa Ma Ga Ri Sa

Parasu

Sa Ri Ga Ma Pa Tha Ni Sa

Sa Ni Tha Pa Ma Gaa Ri Sa

Purvi

Sa Ri Ga Ma Pa Tha Ni Tha Sa

Sa Ni Tha Pa Ma Tha Ma Ga Ri

Vasantha*

...

Sa Ga Ma Tha Ni Sa

Sa Ni Tha Ma Ga Ri Sa

Mode No. 16, Chakravalakkam

Kalāvathi

Sa Ri Pa Tha Sa

Sa Tha Pa Ma Ga Sa Ri Sa

Malaya mărutham

Sa Ri Ga Pa Tha Ni Sa

Sa Ni Taa Pa Ga Ri Sa

Vega vāgini

Sa Ri Ga Ma Pa Tha Ni Tha Sa

Sa Ni Tha Pa Ma Ga Ri Sa

2969–10

Page 30

98

A

APPENDIX

B.

Mode

No.

17,

Suriya

kántham

Bairavam

...

Sa

Ri

Ga

Ma

Pa

Tha

Ni

Sa

...

Sa

Tha

Pa

Ma

Ga

Ri

Sa

Lalitha

...

Sa

Ri

Ga

Ma

Tha

Ni

Sa

...

Sa

Ni

Tha

Ma

Ga

Ri

Sa

Mode

No.

20,

Nata

Bairavi

Bairavi*

...

Sa

Ri

Ga

Ma

Ni

Tha

Sa

...

Sa

Ni

Tha

Ma

Ga,

Ri

Sa

Ánandha

Bairavi*

...

Sa

Ga

Ri

Ga

Ma

Pa

Ni

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Reethi

gowla*

...

Sa

Ga

Ri

Ga

Ma

Ni

Tha

Ma

Pa

...

Ni

Sa

Ni

Tha

Ma

Pa

Tha,

Ma

Ga,

Ri

Jayanthasri

...

Sa

Ga

Ma

Tha

Ni

Sa

...

Sa

Ni

Tha

Ma

Ta

Ma

Ga

Sa

Aáberi*

...

Sa

Ga

Ma

Pa

Ni

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Uthayaravi

chanthrika

...

Sa

Ma

Pa

Ni

Sa

...

Sa

Pa

Ma

Ga

Sa

Ni

Thevakriya

...

Sa

Ga

Ma

Ni

Tha

Ni

...

Pa

Tha

Ma

Ga

Ri

Sa

Ni

Mánji

...

Sa

Ri

Ga

Ma

Pa

Tha

Sa

...

Sa

Ni

Tha

Ma

Ga

Ri

Sa

Purnasatjama

...

Sa

Ma

Pa

Ma

Tha

Sa

...

Sa

Ni

Tha

Ma

Ga

Ri

Sa

Jingla

...

Sa

Ri

Ga

Ma

Pa

Tha

Ni

Tha

Pa

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Hintha

vasanthamu

...

Sa

Ga

Ma

Pa

Tha

Ma

Ga

Ma

...

Sa

Tha

Pa

Ma

Ga

Tha

Ma

Ga

Mode

No.

22,

Karaharapriya

Kánada*

...

Sa

Ri

Ga

Ma

Tha

Ni

Sa

...

Sa

Ni

Pa

Ma

Pa

Tha

Ni

Tha

Pa

Kápi*

...

Sa

Ri

Ga

Ma

Ri

Pa

Ma

Pa

Tha

...

Ma

Ga

Ma

Ri

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Srirágam

...

Sa

Ri

Ma

Sa

...

Sa

Ni

Pa

Tha

Ni

Pa

Ma

Ri

Ga

Sriranjani

...

Sa

Ri

Ga

Ma

Tha

Ni

Sa

...

Sa

Ni

Tha

Ma

Ga

Ri

Sa

Mukári*

...

Sa

Ri

Ma

Pa

Tha

Ni

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Thurbári*

...

Sa

Ri

Ma

Pa

Tha

Ni

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Usáni*

...

Sa

Ga

Ma

Pa

Ni

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Mathyamávathi*

...

Sa

Ma

Pa

Ni

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Pala

manjari

...

Sa

Ga

Ma

Tha

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ma

Ri

Sa

Náyaki*

...

Sa

Ma

Pa

Tha

Ni

Pa

...

Sa

Ni

Thaa

Ga

Pa

Ri

Sa

Sutha

Thanyási

...

Sa

Ma

Pa

Ni

Sa

...

Sa

Ni

Pa

Ma

Ga

Sa

Sutha

Bungála

...

Sa

Ri

Ma

Pa

Tha

Sa

...

Sa

Tha

Ma

Ri

Ga

Sa

Munjeri

...

Sa

Ga

Ri

Ga

Pa

Ni

Tha

Ni

Sa

...

Sa

Ni

Tha

Ma

Ri

Ga

Sa

Manirangu

...

Sa

Ri

Ga

Ma

Pa

Ni

Sa

...

Sa

Ni

Pa

Ma

Ga

Ri

Sa

Aábogi

...

Sa

Ga

Ma

Tha

Sa

...

Sa

Tha

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Jayanarayani

...

Sa

Ri

Ga

Ma

Pa

Tha

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Kalanithi

...

Sa

Ri

Ga

Ma

Sa

Ma

Tha

Ni

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Theva

Manohari

...

Sa

Ri

Ma

Pa

Tha

Sa

...

Sa

Ni

Tha

Ni

Pa

Ma

Ri

Ga

Ri

Sa

Sitha

sana

...

Sa

Ga

Ri

Ga

Ma

Pa

Tha

Sa

...

Sa

Ni

Tha

Ma

Pa

Ma

Ri

Ga

Ri

Sa

Kannada

gowla

...

Sa

Ri

Ga

Ma

Pa

Ni

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Sa

Mode

No.

27,

Sarasángl

Kamalá

manohari

...

Sa

Ga

Ma

Pa

Ni

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Sa

89

APPENDIX

B.

Mode

No.

28,

Harikámboji

Kámboji*

...

Sa

Ri

Ga

Ma

Pa

Tha

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Yathukula

Kámboji*

...

Sa

Ri

Ma

Pa

Tha

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Kethára

Gowla*

...

Sa

Ri

Ma

Pa

Ni

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Kunthala

varáll

...

Sa

Ma

Pa

Ni

Tha

Ni

Sa

...

Sa

Ni

Tha

Pa

Ma

Sa

Kápi

nárayani

...

Sa

Ri

Ma

Pa

Tha

Ni

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Sa

Ri

Sa

Mohana*

...

Sa

Ri

Ga

Pa

Tha

Sa

...

Sa

Tha

Pa

Ga

Ri

Ma

Ga

Sa

Bala

humsa

...

Sa

Ri

Ma

Pa

Tha

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Ni

Tha

Pa

Jumjuti*

...

Tha

Sa

Ri

Ga

Ma

Pa

Tha

Ni

...

Tha

Pa

Ma

Ga

Ri

Sa

Ni

Tha

Pa

Sahána*

...

Sa

Ri

Ga

Ma

Pa

Ma

Tha

Ni

Sa

...

Sa

Nii

Tha

Pa

Ma

Ga

Ma

Ri

Ga

Ri

Sa

Saraswati

Manohari

...

Sa

Ri

Ga

Ma

Tha

Sa

...

Sa

Tha

Ni

Pa

Ma

Ga

Ri

Sa

Esa

Manohari

...

Sa

Ri

Ga

Pa

Ma

Tha

Ni

Sa

...

Sa

Ni

Tha

Pa

Ma

Ri

Ma

Ga

Ri

Sa

Umábaranam

...

Sa

Ri

Ma

Pa

Ma

Tha

Ni

Sa

...

Sa

Ni

Pa

Ma

Tha

Ma

Ga

Ri

Ga

Ri

Sa

Náráyana

Gowia

...

Sa

Ri

Ga

Pa

Ni

Ma

Tha

Ni

Sa

...

Sa

Ni

Tha

Pa

Ma

Ni

Pa

Ga

Ma

Ri

Sa

Málavi

...

Sa

Ri

Ga

Ma

Pa

Sa

...

Sa

Tha

Pa

Ma

Ri

Sa

Prathápa

Varáll

...

Sa

Ri

Ma

Pa

Tha

Pa

Ni

Sa

...

Sa

Ni

Tha

Pa

Ma

Ri

Sa

Neelambari

...

Sa

Ri

Ma

Pa

Tha

Sa

...

Sa

Tha

Pa

Ma

Ri

Sa

Syama

...

Sa

Ri

Ma

Pa

Tha

Sa

...

Sa

Tha

Pa

Ma

Ga

Sa

Negeswaráll

...

Sa

Ri

Ma

Pa

Fa

3

Tha

Sa

...

Sa

Tha

Pa

Ma

Ga

Sa

Suratti*

...

Sa

Ma

Pa

Ni

Sa

...

Sa

Tha

Pa

Ma

Ga

Pa

Ma

Rii

Nata

Kurumji

...

Sa

Ri

Ga

Tha

Pa

Tha

Ni

Sa

...

Sa

Ni

Tha

Ma

Ga

Sa

Kamasu*

...

Sa

Ga

Ma

Pa

...

ha

Ni

Sa

...

Sa

Ni

Tha

Pa

Ga

Sa

Káthana

Kuthokalam

...

Sa

Ga

Ma

Ga

Ma

Pa

Tha

...

Sa

Ni

Tha

Pa

Ga

Ri

Sa

Sinthu

Kannada

...

Sa

Ma

Ga

Ma

Ga

Ma

Pa

Tha

...

Sa

Ni

Tha

Ma

Ga

Ri

Sa

Navarasa

Kannada

...

Pa

Sa

Ma

Pa

Sa

...

Sa

Ni

Tha

Maa

Ga

Ri

Sa

Bangála

...

Sa

Ri

Ga

Ma

Pa

Ma

Ri

Pa

Sa

...

Sa

Ni

Pa

Ma

Ga

Ri

Sa

Kokilathoni

...

Sa

Ri

Ga

Ma

Tha

Ni

Tha

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Mode

No.

29,

Theera

Sankara

baranám

Sankará

baranám*

...

Sa

Ri

Ga

Ma

Pa

Tha

Ni

Sa

...

Sa

Tha

Pa

Ma

Ga

Ri

Sa

Kuranji

...

Sa

Ni

Sa

Ri

Ga

Ma

Pa

Tha

...

Tha

Pa

Ma

Ga

Sa

Ni

Sa

Kethára*

...

Sa

Ma

Ga

Ma

Pa

Ni

Sa

...

Tha

Ma

Ga

Sa

Ni

Biyág*

...

Sa

Ga

Ma

Pa

Ni

Tha

Ni

Sa

...

Sa

Ni

Tha

Ma

Ga

Ri

Sa

Hamsa

thoni*

...

Sa

Ri

Ga

Pa

Ni

Sa

...

Sa

Ni

Pa

Ga

Ri

Sa

Garudathoni

...

Sa

Ri

Ga

Ma

Pa

Tha

Ni

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Theva

gánthari

...

Sa

Ri

Ga

Ri

Ma

Pa

Tha

Ni

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Belahari*

...

Sa

Ri

Ga

Pa

e

Tha

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Aatara*

...

Sa

Ri

Ma

Pa

Ni

Sa

...

Sa

Ni

Tha

Ma

Ga

Ri

Sa

Aarábi*

...

Sa

Ri

Ma

Tha

Sa

...

Sa

Ni

Tha

Pa

Ma

Ga

Ri

Sa

Navaroj

...

Pa

Tha

Sa

Ri

Sa

Ga

Ma

Pa

...

Ma

Ga

Ri

Sa

Ni

Sa

Tha

Pa

Ma

Kannada

...

Ga

Ri

Sa

Ga

Ma

Pa

Ma

Tha

Ni

Sa

...

Sa

Tha

Pa

Ma

Ga

Mà

Ri

Sa

Page 31

40

APPENDIX B.

Biagada*

... Sa Ga Ri Ga Ma Pa Tha Nii Tha Pa Sa Sa Ni Tha Pa Ma Ga Ri Sa

Sutha Sāvari

... Sa Ri Ma Pa Tha Sa Sa Tha Pa Ma Ri Sa

Purna chanthrika

... Sa Ri Ga Ma Pa Tha Pa Sa Sa Ni Tha Pa Tha Ma Ga Ma Ri Sa

Jana ranjani

... Sa Ri Ga Ma Pa Tha Pa Ni Sa Sa Tha Pa Ma Ri Sa *

Kolahalamu

... Sa Ri Ma Pa Ma Pa Tha Ni Sa Sa Ni Tha Pa Ma Ga Ri Sa

Vivarthani

... Sa Ri Ma Pa Sa Sa cii Tha Pa Ma Ga Ri Sa

Sinthu manthāri

... Sa Ri Ga Ma Pa Sa Sa Ni Tha Pa Ga Ma Tha Pa Ma Ri Sa

Mode No. 36, Chala Nāta

Nāta*

... Sa Ri Ga Ma Pa Tha Ni Sa Sa Ni Pa Ma Ri Sa

Mode No. 39, Jala varali

Varāli*

... Sa Ga Ri Ga Ma Pa Tha Ni Sa Sa Ni Tha Pa Ma Ga Ri Sa

Mode No. 45, Subha Panthavarali

Panthu varāli

... Sa Ri Ga Ma Pa Tha 'Ni Sa Sa Ni Tha Pa Ma Ga Ri Sa

Mode No. 50, Nama nezayani

Manthāri

... Sa Ri Ga Ma°Ni Sa Sa Ni Pa Ma Ga Ri Sa

Mode No. 53, Gamana Srama

Pūrvi Kalyani*

... Sa Ri Ga Ma Pa Tha Ni Tha Sa Sa Ni Tha Pa Ma Ga Ri Sa

Mode No. 57, Simhenthra Mathyayam

-1. Mathāva Manohari

... Sa Ga Ri Ga Ma Pa Ni Tha Ni Sa Sa Ni Tha Pa Ga Ri Sa

Mode No. 65, Macha Kalyāni

Kalyāni*

... Sa Ri Ga Ma Pa Tha Ni Sa Sa Ni Tha Pa Ma Ga Ri Sa

Sāranga*

... Sa Ri Ga Ma Pa Tha Ni Sa Sa Ni Tha Pa Ma Ri Ga Ma Ri Sa

Yamuna Kalyāni

... Sa Ri Ga Ma Pa Tha Ni Sa Sa Tha Pa Ma Pa Ga Ri Sa

4 Hamir Kalyāni

... Sa Pa Ma Pa Tha Ni Sa Sa Ni Tha Pa Ga (Ma) Ga Ri Sa

METHODIST PUBLISHING HOUSE, MOUNT ROAD, MADRAS

Page 32

THE UNIVERSITY OF MICHIGAN

Univ. of Mich.

Music Library

DATE DUE

NEW BOOK

APR 12 1993

3 9015 02915 1464

1. Theory and Practice Hindu Music Vina Tutor Gangadhar C

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