JANTA VARISAI: Carnatic Music Class / Lesson - Mayamalavagowla - Adi - Purandaradasa

Basics of Carnatic music site -> http://www.shivkumar.org/music/varnams/index.html#basics

Full Notation -> http://www.shivkumar.org/music/basics/janta-varisai.htm

Varishais - Sequences:

The great composer Purandara Dasa, hailed as the Father of Carnatic music, created a set of fundamental exercises nearly 500 years ago, which are followed even today.

There are 4 main types of varishais.

Sarali Varishais: These fundamental sequences enable the student to get a feel of melody with rhythm. The logic is quite obvious here. The 1st varishai is a plain ascent and descent of the notes of the raga. The 2nd varishai focuses on the second note from S, namely R (in the ascent) and N (in the descent). The 3rd varishai centers on the third note (G and D) in the ascent and descent respectively. The fourth varishai concentrates on the fourth note M and P. This goes on upto the 7th varishai. The last 3 are general exercises. Some books have split the last sarali varishai into 5 parts, but singing it as a single varishai is more instructive.

Janta Varishais: These are forceful sequences, which facilitate the students to add weight and majesty to their voice. They make use of a form of ornamentation called "spuritham" which is rendering a note twice: plain the first time, and with force from the previous note (i.e. the note just below this note in frequency) in the raga the second time. Teachers must take care that the concept of sphuritham is very clearly embedded in the students' minds. The tendency to render it in a bland and insipid manner should be avoided.

Melsthayi Varishais: These are higher octave sequences, which increase the students' vocal or instrumental range. Again, the logic is easy to understand. The first is the simplest asn every subsequent exercise adds a new phrase to the previous one. The progressively cover notes upto Pa in the higher octave.

Dhatu Varishais: These are zigzag sequences that increase the students' overall command of notes.

Alankarams: These are multi-tala sequences composed in the 35 talas. But usually 7 of these are selected and taught to the students.

Students should be taught to render all these exercises in at least 3-4 speeds. Once they perfect this technique, they could practice most of them in the 3rd speed. It is ideal to render each varishai twice, once just with the swaras, and again, with akaaram.

1. Basic ascent/descent with janta

s  s  r  r  |  g  g  |  m  m  ||
p  p  d  d  |  n  n  |  S  S  ||

2. Janta Emphasis (starting and ending) at each of the seven notes

Laya pattern: 11-22-33-44 and 11-22-33-44

(12-12-12-12)

s  s  r  r  |  g  g  |  m  m  ||
r   r  g  g  |  m  m  |  p  p  ||
g  g  m  m  |  p  p  |  d  d  ||
m  m  p  p  |  d  d  |  n  n  ||
p  p  d  d  |  n  n  |  S  S  ||
S  S  n  n  |  d  d  |  p  p  ||
n  n  d  d  |  p  p  |  m  m  ||
d  d  p  p  |  m  m  |  g  g  ||
p  p  m  m  |  g  g  |  r  r  ||
m  m  g  g  |  r  r  |  s  s  ||