Learn a popular Varnam in the raaga Shanmukhapriya
What you will learn
Students can easily pick up the fingering skills by learning line by line of the Varnams.
Students will get to learn the simple notations to understand and practice.
Students can practice and play along while watching the fingering and notations simultaneously.
Students can learn the Half Notes on Flute.
Why take this course?
Varnams are a fundamental and essential part of Carnatic music, serving as a test bed for both vocalists and instrumentalists to display their technical prowess as well as their artistic sensibility. They are composed with a specific structure that includes various components, each offering a different aspect of musical expression.
Here’s a breakdown of the varnam format and its elements:
- Pallavi: A phrase of sahitya (lyrics) which is set to music, usually in mukthai swara (melodic notes sung syllable by syllable). It is often repeated to establish the raga and taala.
- Anupallavi: A continuation of the pallavi with slight variations or additional sahitya, reinforcing the raga and taala.
- Chitta Swara (Mukthayi Swara): This section is sung completely with syllables, without words. It is a demonstration of the singer’s technical skill in handling swaras and often includes complex rhythmic patterns like jathis and kalpita swaras.
- Charanam: The most important part where sahitya is set to music, typically in a slower pace than the pallavi and anupallavi. It expresses the raga’s emotions and is sung in ‘madhyama kala’, which is roughly 1.5 times the speed of the initial portions.
- Ashtapadi or Tillana: An optional section that follows the charanam, used for faster rhythmic patterns. It is also known as the “Tani Avarthanam” and can be complex, showcasing the musician’s talent in layakari (tempo management) and taala vidwi-ti (rhythmic knowledge).
- Conclusion: This is usually a repetition of the pallavi or anupallavi, but at a faster pace, often doubling the speed to match ‘madhyama kala’. Some varnams may include an Anubandham which is an epilogue in sahitya, bringing the piece to a close.
The tala used in varnams can vary, with Adi and Ata being the most common. Adi talam has 8 beats, while Ata talam has 14 beats. The swaras and sahitya are often arranged to fit these beats, and the use of layakari allows for variations in rhythm and tempo that add to the musical experience.
Famous varnams in different talas:
Adi Tala Varnams:
- “Sami Ninne” in Shree ragam by Karur Devudu Iyer
- “Ninnukori” in Mohanam ragam by Poochi Srinivasa Iyengar
- “Evvari Bodhana” in Abhogi ragam by Patnam Subramania Iyer
- “Era Naapai” in Todi ragam by Patnam Subramania Iyer
- “Valachi Vacchi” in Navaraagamalika (9 ragas) by Thyagaraja
Ata Tala Varnams:
- “Viribhoni” in Bhairavi ragam by Pacchimiriam Adiyappa
- “Nera Nammiti” in Kambhoji (Kaanada) ragam by Poochi Srinivasa Iyengar
- “Chalamela” in Sankara bharanam ragam by Swati Tirunal
The varnam is a versatile form that allows for both intricate vocal exercises and deep emotional expression, making it a beloved and integral part of Carnatic music tradition.