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CHAPTER 3
Varn����am as a Compositional Form
This chapter analyses the varn�am as a compositional form. Various
types of varn�ams are listed and their characteristics are studied. The general
structure of varn�ams is analysed and the structure and stylistic differences
of varn�ams through the ages is brought out.
3.1 Types
Varn�ams are classified as :
1. Pada varn�am
2. Cauka varn�am
3. Tāna varn�am
4. Daru varn�am
Chronologically, the pada varn�ams came before the tana varn�ams,
as these varn�ams were initially composed particularly for dance or were in
praise of royal patrons. Both types of varn�ams have srn�gāra as their theme
and have a rhythmic flow.
The earliest varn�ams were pada varn�ams and since they were
composed mainly for dance, each solfa passage is followed by a sahitya or
textual passage. This is useful in abhinaya or expression. In a pada varn�am
the sāhitya and the mood take predominance as they are used to convey some
idea by the dancer. Srn�gāra is most often depicted in these varn�ams. Pada
varn�ams are also rendered in a slow manner and the words and rāga bhāva
are of prime importance. These varn�ams will be difficult to render in three
speeds as they have a mixed tempo.
Cauka varn�ams as the name implies are rendered in a slow tempo
and the rāga bhāva or melody takes predominance. Cauka varn�ams need not
be all pada varn�ams but all pada varn�ams are usually rendered slow and
are cauka varn�ams. The cauka varn�am had a special place particularly in
the time of Rāmasvāmi Dīkshitar. Nāgasvara vidvāns used to refer to the
number of cauka varn�ams they knew with pride. Many of Rāmasvāmi
Dīkshitar’s varn�ams are listed as cauka varn�ams. ‘Cauka’ literally means
slow and this epithet to the varn�am really meant that the piece was meant to
be rendered slow with a lot of rāga bhava. Both pada varn�ams and tāna
varn�ams may be cauka varn�ams in that sense. Prof. Sambamurthy defines
cauka varn�am 36
‘as its name indicates, is set in slow tempo. In a few cauka
varn�ams, sahitya is found only for the pallavi, anupallavi and carana after
the model of the tāna varn�a…’ Cauka varn�ams refer to the tempo of the
varn�am and usually pada varn�ams are slow to allow for the dance
movements.
Today, the vast majority of varn�ams are tāna varn�ams. These
varn�ams are called tāna varn�ams because of the tānam like movement and
patterns in the varn�am. Sung in the madhyama kālam they have a rhythmic
movement. This reflects the purpose for which many of the varn�ams were
created. These tāna varn�ams lend themselves to being sung in all three
speeds. Sometimes tāna varn�ams too may have svara sāhityam. ‘Tāna
varn�am is a composition both for practice and performance; both instuctive
and enjoyable. It enshrines the characteristic ethos of Carnātic music i.e
madhyama kaala,...’37
36
Dictionary of South Indian Music and Musicians Vol I, Prof P. Sambamurthy 37
Sangeet Natak Silver Jubilee Vol. Aesthetics of some Karnatic musical forms pp. 41
The pada varn�ams and tāna varn�ams are similar in that they
follow the same format of pallavi anupallavi, muktāyi svaram followed by the
caran�am and ettukada svaras which become progressively longer and
complex. Both pada varn�ams and tāna varn�ams may be rendered in two
speeds and sometimes the caran�am is rendered in an accelerated speed not
necessarily double the previous one. Unlike pada varn�ams, which may have
sangatis or variations for a single line, tāna varn�ams do not usually have
sangatis. However, there is a tradition of singing sangatis for the caran�am
sāhitya line. Also because of the emphasis on sāhitya in pada varn�ams there
are many more words in these varn�ams compared to tāna varn�ams.
The term ‘daru’ has many connotations. The daru in a drama would
introduce a character’s entry into the stage. A daru is usually sung in the
madhyama kāla. In the Sangīita Sampradāya Pradarśini, a daru has a pallavi,
anupallavi and caranam followed by a svara sāhitya, so it appears to be more
like a kriti with a citta svaram. Muthiah Bhāgavatar has composed daru
varn�ams which have the usual format of the varn�am except that they have
svara sahitya as well as jatis.
The Kamās daru varn�am Māté Malayadhvaja has a muktāyi svaram
with sāhitya for the entire four āvartas as well as jatis for the same. It has been
printed in the book38
with the title ‘svaram - jati sāhityam’. This has been
included in audio cd 2.
Svaram – jati sāhityam:
d , d , n d d n d d n d d n p m | d , d , n r� s� n | s� d n s� d p
m m ||
38
Muthiah Bhagavatar Sāhityangal pp. 28
tāmtam takajhan�u d d n d dhimitaka| dā dā kukutari ta jan�uta d p m m
||
dā ta sakala ka lā-ni pu n�a catura| dā ta vividha ma| ta samayasamarasa||
d , d , n g� r� n r� s� n d p n d m | d , d , m g m p | m p d d n n
d m ||
dā dā n g� r� n r� s dhimi tarikit�a | jhamjham takit�a | kukutari
n�am tari ||
dāta sulabhahri daya madhu ravacana|dāta sarasaru | ciratara svaralaya ||
d, d r� s� n d n d, d m d n m n | d , d s� s� p d n | d , d m�
g� r � s� n ||
d, ta dhingin�atari je ku m d n ta ka | nam�ta s� s�dhimita |tōmta
dhimitakita ||
gīta sukhada nijabhāva ra sikavara | dāta mahisura nātha nālvad�i Śri
d, d p d , d n d, d s� d, r� d |, m� g� r� s� n d , | n s� n n
d d p m ||
d, d p d, d tareku s� d, r� jham |, m� g� r� s� n d, | n taka
tadingin�tom ||
Krs�n�a rājendra ratāyé sadā poré mahité hari ke sa manōharé sadayē
||
Padajativarn�am is mentioned by Prof. Sāmbamurthy in his book39
stating that these are varn�ams that have jatis included. This is similar to the
daru varn�am composed by Muthiah Bhāgavatar. Kunnakudi Krishna Iyer’s
Kedara varn�am in ādi tālam is listed as a pada jati varn�am in the book
Prathama Śikśa Prakaran�amū published in 1913.40
This varn�am is a pada
varn�am and has jatis as well as pada or sāhitya for the muktāyi svaram after
the pallavi and anupallavi. The notation system is quite different from what is
39
South Indian Music Book III by Prof. P. Sāmbamurthyy pp. 131 40
Prathama Śikśa Prakaran�amū by S. Krishnaswamy pp. 52
being followed today and is given in appendix v. The multiplication sign in
the notation shown in the book indicates an aksharam.
The muktāyi svaram with jati and sāhitya is given below. The first
two āvartās have both while the last two just have sāhitya:
S, � � n�, p� , s, s , n� p p m | m g g r - r s s , | r, g, r s, � �||
ta ri ta ki t�a je n�u ta ka ta ka | dhim dhim ||
dā nava su ra mu ni | sé vi ta | pa da ||
s, g, � � m , p , �� g , m , | p n p, m, g, | r g, , r s, � �||
tājham tājham ta ri | kit�a ta ka | tōm ||
da yā ni dhi bhu vi | lō nī vu | ga dā ||
p, n p m g r s, � m g r s n� | p�, � s s, � m | g, � r
s , � �||
mā mayūra girivā sa - s�an�mukha dé śika-ma hā vi bhō ||
s, m g m m p p s� , s� s� s� , s� s� | s� , s� s� n p p n | p
m g r g r s n� ||
nā manavi vinumu mangal�a dāyaka nammiti guru nā tha -sné ha ni
Singing a jati for the svara involves a lot of movement of the tongue
to utter the syllables and is a lot of practice for articulation. Here the sāhityam
is one akshara for each svara unlike the pallavi and anupallavi where it is
spread out. This calls for a lot of practice particularly while rendering in the
second speed.
Stava varn�ams41
have an entirely devotional content in the sāhitya.
This is with reference to the varn�ams of Mahārāja Svāti Tirun�āl who was
nfluenced by the Tanjāvūr Quartette, particularly Ponniah, who lived in his
41
Sangeet Natak Akademi –58 pp. 39- The Stava Varn�as of Swati Tirunal by Dr. S. Venkita Subramonia
Iyer.
court. Svāti Tirun�al has composed nine varn�ams in praise of God and five
of these are in praise of his favourite deity Padmanābhaswāmi, one each on
Rāma and Krishn�a and one each on Śiva and Pārvati. Following the
example of Muttusvāmi Dīkshitar, Svāti Tirun�al introduced the rāga mudra
in some of his varn�ams. The varn�am Sāvériha tanuja has the rāga mudra
at the beginning itself. Sādhu vibhutam in Bhūpālam is the varn�am used
to wake up Padmanābha at dawn. The rāga name comes in the words
Bhūpalakanikara. This is a unique practice as rāga mudras are not normally
used in varn�ams. He also introduced the anubandham section in his
varn�ams.
Rāgamālika varn�ams have also been composed. These types of
varn�ams are more to display the skill of the composer. Kothavāsal
Venkatarāma Iyer’s Navarāgamalika varn�am is an example. Veen�a
Seshanna has composed one in Behag with a rāgamālika svaram. Vinjimūri
Varadarāja Iyengār composed the ghanarāga pancaka varn�am42
, Calaméla.
(Appendix iv has the notation of the varn�am)(Rendered by the researcher in
Audio cd 2) Calcutta Krishnamurthy has composed a grahabheda varn�am43
Mandaragiridhara starting with Madhyamāvati and moving on to Hindolam,
Śuddha Sāvéri, Śuddha Dhanyāsi and Mōhanam, showing the modal shift of
tonic note.
Some exceptions
A look at some of these varn�ams in Volume 5 of the SSP shows that
the varn�ams in Neelambari and Kannada have a single long ettukada in the
caran�am instead of a series of small ones which is the format that is usually
followed. Other types of varn�ams listed in some books are the Svarasthāna
42
Sangeetha Vahini pp.25 43
Compositions of Calcutta Krishnamurthy, pp. 7
varn�am44
sariganidani in Tōdi is listed in the SSP as a composition of
Rāmasvami Dīkshitar. This varn�am stops with the muktāyi svaram and has
no caranam at all.
3.2 Structure
The varn�am is a unique composition, as for the first time, a
combination of text followed by a whole portion dedicated to solfa syllables,
is introduced. In kritis, the lyrics are very important as also rāga development
and solfa syllables are not usually a part except in some compositions, which
have a chitta svaram. Mention of these two divisions, is made by Prof. P.
Sambamurthy, in his book45
‘The constituent angas of varn�as are:
The Pūrvānga, comprising the Pallavi, Anupallavi and the Muktāyi
svara and the Uttarānga or ettukadai, comprising of caran�a and caran�a
svaras
The pūrvānga and uttarānga are of almost equal length. They
represent two balanced halves of the composition.’
Ettukada svaras also referred to as citta svaram in some books.
Sometimes the caran�am is referred to as the cittai pallavi or upa pallavi.
Most books on varn�ams carry the above details and it is not clear
when the division with the title of purvāngam and uttarāngam came in. This
division is mainly in the oral communication by vidvans and not found in
varn�am notation books. It is possible that this classification came into being
after the discontinuation of the anubandham in varn�ams thus creating two
44
SSP Part I pp. 50 45
South Indian Music Book III by Prof. P. Sāmbamurthy pp. 127
water- tight compartments of almost equal length. The term ettukada svaram
is also not found in most books, instead the heading is ‘caran�am’ and the
svaras that follow are referred to as ‘caran�am svaras’
The length of the different angas of varn����ams
3.2.1 Pūrvāngam or the early part
The pūrvāngam consists of sāhitya or text including a pallavi,
anupallavi followed by solfa notes known as muktāyi svaram. Unlike kritis
where one reverts to the pallavi first line after the whole pallavi is rendered, in
the case of varn�ams, the anupallavi and muktayi svaram continue after the
pallavi is completed and then one reverts to the first line of the pallavi.
Varn�ams have very little textual content and at the most have about
four lines in the purvāngam. with the words spread out. For instance in the
Kalyān�i varn�am Vanajākshiro of Poochi Srinivāsa Iyengar, the textual
lines are:
Pallavi
Vanjākshiro ī virahamōrvané
Vāsudévuni tōdité vé
Anupallavi
Vinavé Nāgapuramuna
Velayu Soundararāju
The above four lines of sāhityam are spread over eight āvartās in the
pallavi and anupallavi. Thus the emphasis is not so much on lyrical beauty or
poetic excellence such as yati and prāsam. Instead the emphasis is on patterns
to train the voice, as well as to present a capsulated form of the rāga, to
preserve the essence of the rāga. The caran�am is a single line of just two
words niluparāni mohamāye.
Āvarta literally means revolution but in musical parlance it refers to a
tāla cyle of a specific number of beats. The pallavi usually consists of two
āvartas of sāhityam or text. Some cauka varn�ams may have a longer pallavi.
Very often the anupallavi is of an equal length of two āvartās. There
are some varn�ams like the Bégada varn�am, Inta chalamu of Veena
Kuppayyar in ādi tālam, which has four āvartas for the anupallavi.
Sarasijamukhiro in Ārabhi by Pallavi Duraiswamy Iyer similarly has an
anupallavi of four āvartas. There are examples of ata tāla varn�ams with four
āvartās such as Sonti Venkata Subbiah’s varn�am in Bilahari.
The same is true of the following muktāyi svaram, which may be
either four or eight avartas. The number of āvartanas is usually an even
number. In the case of rūpaka tāla varn�ams with a short time measure, there
may be eight avartās. In ata tāla varn�ams there may be just two āvartās of
muktāyi svaram as the tālam is longer. In rupaka tāla varn�ams there may be
six āvartanas as the length of the tālam is shorter.
3.2.2 Uttarāngam or the latter part
The emphasis in the purvāngam is on the sāhityam and vowel
extensions while in the uttarangam the emphasis is entirely on the dhātu or the
svaras.
The uttarāngam consists of a line of text, which is like a refrain
followed by three or four ettukada svaras or solfa units sung successively. The
caran�a sahitya was called ettukada pallavi as it is similar to a pallavi line
being repeated after the conclusion of each caran�a svara. Some varn�ams
of Subbarāma Dīkshitar have as many as seven or eight ettukada svaras but
such varn�ams are rarely sung.
An example from the Hamsadhvani varn�am ‘Pagavari’ in adi tālam
by Kothavāsal Venkatarāma Iyer will illustrate the structure of a varn�am.
The pallavi sahitya:
1st āvarta : Pagavaribōdhana vini
2nd
āvarta: Panthaméla jésévura
Anupallavi sāhitya:
3rd
āvarta: Pagaluréyu nanneda
4th āvarta: Bāyakavé Venkateśvara
The muktāyi svaram is of two āvartanas:
pgrs,n grsn, rsn� p�n� | p�s�, p�r, p� g |, rpgrsrg ||
pg npg s�np srgpns�r�g� | p�g�r�nr�np r |�s�np grsrg||
The caran�am begins with the refrain or sāhitya:
‘Sāmi nīkidi meragadura’.
This is usually repeated after each of the ettukada svaras.
The first ettukada svara usually has svarās with kārvais or spaces
between them and extends for one tāla āvartana or rhythmic cycle. Very often
the same pattern of svaras is repeated within the avarta. Once this is rendered
the first line of the caranam is sung before going on to the next ettukada svara.
The commas represent the kārvais or spaces.
Ettukada Svaras:
1. s ׂ◌,, n,, p; g r s| r,, n�,, s| ; r g p, p n ||
The second svara has a combination of spaces and single svaras. Very
often there is a definite pattern in this set of svaras. This is also usually of one
tala cycle
2. s ׂ◌,, s�np gpnp, grsn� ̣p� | ̣s,, rgrsn� |, srgpnsr ׂ◌||
The third ettukada svara usually has no kārvai or spaces between
svarās and has only single svaras often referred to as ‘sarvalaghu’ and may
run into two āvartanas. ‘Sarvalaghu’ literally means all brief and Subbarāma
Dīkshitar in the SSP specially gives the heading of sarvalaghu for such
ettukada svaras in some of the varn�ams.
3. s�npgr npg pgrsṇ� ̣grs| p�̣sṇ�gr npg | s�npg�r ׂ◌p�g� r ׂ◌||
The fourth ettukada is usually a combination of kārvais and single
svaras, has patterns and usually extends four tāla cycles or as in this case
extends to two tāla cycles.
4. s,, sׂ◌,sׂ◌ṛ ׂ◌g ׂ◌s ׂ◌r, ׂ◌ r ׂ◌s ׂ◌npg| n,, npgrs |g,, pgrsṇ� ||
sgps ׂ◌, gpnr ׂ◌, pnr ׂ◌g ׂ◌,r| ׂ◌nps�, npgs|, g p s�, s ׂ◌r ׂ◌g ׂ◌||
The above pattern is what is followed in the majority of varn�ams
being sung on the concert platform as well as part of the learning repertoire.
In some varn�ams there may be more than four ettukada svarās. In
fact the SSP has early varn�ams with seven and sometimes even eight
ettukada svaras.
Even within structure, the third ettukada svara may not always be the
sarvalaghu or without kārvais or spaces. Some varn�ams with brilliant
sarvalaghu svaras are
� Patnam Subramanya Iyer’s Maracitlundedi in Begada
� Veena Kuppayyar’s Maguvéninne in Nārāyan�agaula
� Veena Kuppayyar’s Inta calamu in Begada
� Patnam Subramanya Iyer’s Erānāpai in Tōdi
� Pallavi Duraisvāmi Iyer’s Sarasijamukhirō in Ārabhi
� Kothvāsal Venkatarāma Iyer’s Sarasūda in Sāvéri
� Tiruvottriyur Tyagayyar’s Sāmi daya jūda in Kedāragaula
Today, the pūrvāngam and uttarāngam are treated almost two separate
entities, the former with greater emphasis on sāhitya, consonant sounds and
vowel extensions, the latter with stress on svara patterns or solfa
combinations. Most varn�ams are in ādi tālam or ata tālam. There are some
rare varn�ams in rūpaka tālam, miśra jampa and other tālams.
3.2.3 Anubandham
Many of the early varn�ams had a sāhitya portion after the caran�a
ettukada that reverts back to the pallavi at the end. The word ‘anubandham’ as
part of the varnam, however does not find mention in books in print in the
19th
century or early 20th
century, in books such as SSSS, SSP, PSK. Some
ata tāla varn�ams have a portion of text known as the anubandham (literally
appendix). They consist of sāhitya or a textual portion that is rendered before
one reverts to the anupallavi line, muktāyi svaram and then the pallavi line as
a conclusion. ‘The anubandham can be compared to the coda of European
music. Since it disturbed the balanced length of the purvanga and uttaranga, it
was gradually given up. In later times, the necessity for an anubandham was
obviated as the caran�am expressed a complete idea’46
Often in tāna varn�ams the sāhitya of the ettukada pallavi line is
incomplete such as in the Śankarābharanam varn�am Sāmininne:
Nīrajāks�i pai ni (O lotus eyed one!)
Nenarunci réyi
Maruni kel�ī kūd�i
Maninca rārā – Kumārā
The meaning gets completed with the anubandham - (Please come
and meet to play cupid games! O come Kumāra!)
Some of the varn�ams with anubandhams
1. Pachimirium Adiyapayya’s Viribōni in Bhairavi rāga,47
(given in the
audio cd 1)
Apart from being an extension to complete the meaning of the text,
some of these anubandhams may be used for voice training as well.
The Bhairavi anubandham is very well defined and begins with
multiple janta svaras. Three āvartanas out of the six are given below just to
illustrate the janta patterns as well as the vowel extensions in the sahitya.
These svaras rendered as akara will be useful for voice training as well as
tānam rendition.
46
P. Sambamurthy, South Indian Music, Bk. 3 pp. 133 47
SSP Part II pp. 401
The rare prayōga of n d m is repeated many times in the madhya
sthāyi. The essence of Bhairavi may be seen in this anubandham. After the
anubandham is rendered, one has to revert to the anupallavi and muktāyi svara
before concluding with the pallavi line.
Anubandham for Viriboni varn�am:
* s, m m m m g r g g g g | r s r r s n� s s p m g r s n� g r s n� d� m�|
ci ru ce ma t�a lu
p�d� p� s n� r s m g g r g m n d m || g r g m p , , ,
ra ka
* n n d d n d d m m p m m | p m, - m g r g m n d m p , - d n s� r� n r� s�
|
ga ri ma mi ra ga te ji
p s� n d m p, - s p |, m g r s, n� d�|| d� p� m g r s p m
né kki ka ma kim
* g r n� s - n d m p , - m g r | s, r n� d p p m g r g , r, , , , , , , |
pū cū ā ka
n� , n� d� , , n� s g r s, r, , , | s , , , , , , ,
ā
2. Sonti Venkata Subbiah’s Bilahari varn�am Nenarunci in praise of
King Tulaja I, also has such a sahitya portion and is listed in the SSP48
.
3. Many of Subbarāma Dīkshitar’s varn�ams such as Inta mōdi in
Durbār and Varikaks�ani in Sahāna have anubandhams. Apart from the
anubandham his varn�ams have sāhitya for both the muktāyi and ettukada
svaras.
48
SSP Part IV pp. 884
4. Veen�a Kuppayyar’s early varn�ams have a section known as the
anubandham but he has also composed many varn�ams without this section.
The Śankarabharan�am varn�am Sami ninne49
that is commonly sung, has
an anubandham, which is not sung. This is given in the Pallavi Svara
Kalpavalli, a collection of compositions from the lineage of Veen�a
Kuppayyar brought out by his son Tiruvottriyur Tyāgayyar.
5. The Kāmbhōji varn�am sārasakśi50
of Veena Kuppayyar also has
an anubandham. Tiruvottriyur Tyāgayyar his son and disciple later became
famous as a varn�am composer but his varn�ams do not have the
anubandham.
Anubandhams are not sung today either for paucity of time or it is a
tradition that has just faded away. It is rendered only in some schools of
music.
Khanda ata tāla varn�ams most often begin on the third count of the
first laghu and a melodic phrase for the first three counts is sometimes given
by the composer or added by the musician. There is still no clear explanation
as to why this should be so. Scholars and researchers have given various
explanations for this. Poochi Srinivāsa Iyengar’s varn�am in Varal�i in
catuśra ata is an exception and starts on the samam.
In Viribōn�i, the Bhairavi rāga varn�am in ata tāla, the first two
ettukada svaras also commence in the atīta graha i.e. before the
commencement of the tāla.
49
PSV pp. 22 50
PSV pg. 24
There are are however exceptions to the above mentioned general
structure of varn�ams. Ramasvāmi Dikshitar’s svarasthāna varn�am has no
caran�am at all. Following the pallavi and anupallavi there is a caran�am
nam and muktayi svaram and almost resembles a kriti in format. Again there
are some varn�ams which have jatis as well as sāhitya or text for the muktāyi
and caran�a svaras.
3.3 Varn����ams through the ages
A look at the varn�ams through the ages shows a transition in the
structure of varn�ams. Gradually, starting with many ettukada svaras,
varn�ams started being composed with fewer ettukada svaras. Also the type
of svaras patterns underwent a change.
Composers have been selected from the periods early, medieval and
modern, for analysis so that the difference and evolution of varn�ams may
also be brought out. This is to trace the changes that have taken place over the
past three centuries in the style and structure and whether that will impact the
use of varn�ams for voice training and creativity.
The following varn�ams are also presented in audio cd 1.
Early period
1. Viribōn�i Pachimirium Ādiyapayya’s tāna varn�am in Bhairavi 51
2. Nenarunci Sonti Venkatasubbayya’s varn�am in Bilahari52
51
SSP Part II pp. 400 52
SSP Part IV pp. 882
Medieval period
3. Sarasūda Kothavāsal Venkatarāma Iyer’s varn�am in Sāvéri53
4. Inta Calamu Veena Kuppayyar’s varn�am in Begada54
Modern period
5. Calamuseya Lālgudi Jayarāman’s varn�am in Valaji.55
6. Sendil Vāzh T.R. Subramaniam’s varn�am in Hamīrkalyani56
3.3.1 Structural and Stylistic Analysis of some Varn����ams
Varn�ams will be analysed based on:
a) Overall structure
b) Rāga delineation
c) Svara patterns
d) Particular features of the varn�am that help in voice training
e) Unique style of the composer
Early period
Viribōn����i Pachimirium Ādiyapayya’s tāna varn����am in Bhairavi Pachimirium Ādiyapayya, also known as the tāna varn�a
mārgadarśi, meaning a pathfinder for tāna varn�ams, has composed a
varn�am in the rāga Bhairavi that is known to almost every student of
Carnātic music. Students are first taught a few varn�ams in ādi tāl�am and
then they progress to ata tāla varn�ams. This is an ata tāla varn�am that is
taught universally and Bhairavi varn�am is a must for all because musicians
recognise the value of this varn�am.
53
Gānāmruta Varn�amālika pp. 33 54 SSP Part V pp. 1508 55
Lālgudi’s Creations pp. 11 56
Varn�ams and Pallavis Composed by T.R. Subramanian pp. 9
Chronologically, one of the earliest varn�am composers, as well as
one of the earliest to break away from the pada varn�am mould and to create
the new type of tāna varn�ams, Ādiyapayya though a contemporary of the
Trinity, is not known for any other composition apart for this single varn�am
that has earned him immortality in the field of Carnātic music. Though there
are a few other varn�ams in the rāga Bhairavi, they are rarely sung.
a) Overall structure- Looking at the overall structure, the sāhitya or
text begins on the third finger count as is common in ata tāla varn�ams. The
pallavi of two āvartanās is followed by an anupallavi of equal length followed
by a cittasvaram of two āvartanas or tāla cycles.
The caran�am sāhitya is followed by four ettukada. Of these only
three i. e. the first, second and fourth are commonly sung. The third ettukada
is not sung often but is given in the SSP. The first two ettukada svaras begin
as atita graha or before the commencement of the tāla.
After the ettukada there is a sahitya section of four āvartas. At the end
of this, the anupallavi line ‘sāmi’ is to be sung followed by the citta svaram
and the varn�am is to be concluded with the first line of the pallavi. In any of
the varn�ams where there is an anubandham, the concluding line comes back
to the pallavi. In the performing tradition however, only a few musicians
render the anubandham.
b) Rāga delineation - The essence of Bhairavi is present in this
varn�am. The importance of the ris�abham in the rāga is shown in the
opening line n�, s r, , g s r, g r g g r,,, . The ris�abham is a nyāsa svara or a
note where rāga phrases may end. This is followed by the phrase g g r g m p
d, which is a phrase typical of Bhairavi. Very often a Bhairavi alapana begins
with the phrase r g m p d p. In the entire varn�am the dhaivatam is rarely
used as an elongated svara or a dirgha svara. Even when it is used as a dīrgha
svara it is usually rendered with a kampitam with a śuddha dhaivatam so as to
differentiate it from the rāga Mānji. Bhairavi is a bhas�ānga rāga with the use
of both the dhaivatam but the catusruti dhaivatan is used only during ascent
when one goes to the tāra śadjam and beyond that. This is illustrated in the
varn�am in many phrases.
Yet another phrase that is beautiful in the rāga is the r n���� d���� p���� or r
n���� d���� phrase omitting the śadjam. This occurs a number of times in the
varn�am.
c) Svara patterns- the muktāyi svaram is particularly skilfully
designed with a lot of janta patterns.
g g r s r s n� n� d� n� s r |
m���� m�������� p���� p���� d���� d���� n���� n���� p���� p���� p���� d���� d���� d���� n���� n���� n� s
r
The muktāyi svaram ends with two patterns repeated thrice each
r g, m p d – m p, d n s - n r����, s���� n d
s , , n d p – p , , m g r – s , , r n���� d ||
Repeating a pattern thrice is common to both Hindustāni and Carnātic
music. It is referred to as the Tihāi, particularly in the tabla, of North Indian
music. In Carnātic music kalpana svaram is often concluded with a complex
pattern called a kōrvai where such patterns are repeated thrice.
The third ettukada svara also has a lot of patterns. There is an
example of a srotōvāha yati meaning that the svara pattern begins in a small
way and spreads out like a river.
n���� s - m r grs- p m g r s -d p mg r – nd p m g r s
An example of srotōvāha yati may be seen below:
n���� s
m g r s
p m g r s
d p m g r
n d p m g r s
The same ettukada has some rare prayōgas as well as difficult svara
combinations, which is probably the reason why it is not popularly sung.
m n d m- g g r s r - n� d� n� and m� g� r� - n d n - p d m g r g ....
d) Features that will help in voice training - This varn�am can be
sung well in the middle tempo or madhyama kālam which will automatically
train the voice for producing inflections that are suitable for tānam and
niraval. Tānam is referred to as madhyama kālam because of its gait and the
Bhairavi varn�am has many tānam like patterns.
Ranging from the mandra madhyamam to the tāra madhyamam it
stretches over two entire octaves and thus helps increase vocal range.
Rendering the varn�am in three speeds will train the voice to sing
with ease rendering kalpana svaram and niraval in both speeds and a
combination of three speeds while rendering rāga ālāpana.
e) Unique features - This varn�am has a unique anubandham57
which
extends to four āvartās and has examples of multiple janta svaras as well as
ranges from the mandra madhyamam to the tāra madhyamam.
57
SSP Part II pp. 400
A unique feature of the varn�am is the positioning of the dhaivatam
in the muktāyi svaram. Being a bhas�ānga rāga both dhaivatams are used.
This is a guideline for the correct usage of the dhaivatam.
This varn�am is the only known composition of Pachimirium
Adiyapayya and this single composition is accepted as one of the best tāna
varn�ams ever composed.
Yet another unique feature is a ettukada svara which begins in the
mandra pancamam. This is very rare in varn�ams. This ettukada is not sung
by many musicians but is included in the SSP.58
There are very few kritis in ata tālam but many varn�ams in ata tālam
by composers who followed the lead by Pachimirium Adiyapayya. This tālam
with fourteen akśaras gave ample scope for capsulating rāga details and
sancāras.
Nenarunci Sonti Venkatasubbayya’s varn����am in Bilahari
Sonti Venkatasubbiah’s varn�am in Bilahari has been composed in
the early eighteenth century in praise of his patron, Sri Pratāpasimha.
a) The overall structure - is in keeping with the varn�ams at that
time. Set to khanda jāti ata tāla, this varn�am has two āvartas of pallavi and
four of anupallavi. This is rare in an ata tāla varn�am. The anupallavi is
followed by two āvartas of muktāyi svaram. The caran�am sāhitya is
followed by six ettukada svaras and concludes with the anubandham. This
makes the varn�am a really long one.
58
SSP Part II pp. 400
b) Rāga delineation - A bhā�s�ānga rāga, Bilahari uses both kākali
and kaiśiki nis�ādams but the use of the former is more pronounced in the
varn�am. The kaiśiki nis�ādam occurs only in phrases p n d p and g p d n
d p m g r59
. This is in keeping with the rāga lakshan�a.
Phrases like p d n s�, d n s� n d and r g m g r are found in this
varn�am though they are not commonly used during rāga elaboration.
c) Svara patterns - The phrases s� n n d and p m m g are repeated
many times in the composition as the n and m appear only in the
avarohan�am of the rāga. The varn�am does not extend beyond the tāra
sthāyi gāndhāram.
d) Particular features of the varn�am that help in voice training- the
pallavi and anupallavi have a lot of vowel extensions which help in training
the voice. There are dātu prayōgas like d s n s� d n pd , janta prayōgas like
pp dd s�s� r� r� and pratyāhata gamakas like g� r� r� s s� n n d
d p . All these prayōgas help in training the voice. The first two ettukkada
svaras range between mandra dhaivatam and madhya dhaivatam. It is only in
the third ettukkada that the tāra � s�adjam is reached. This ensures a lot of
practice in the lower registers.
e) Unique style of the composer – the use of the phrase p d n pd to
bring out the beauty of kaiś�iki nis�ādam has been done beautifully in the
muktāyi svaram. The caranam line begins in the dhaivatam. All the six
ettukkada svaras end in the gāndhāram thus giving a vādi samvādi
combination between g and d.
59
Rāgās at a glance by Prof. S.R. Jānakirāman pp. 18
Medieval period
Sarasūda Kothavāsal Venkatarāma Iyer’s varn����am in Sāvéri rāga
a) Overall structure - This varn�am has two āvartas of pallavi
followed by two āvartās of anupallavi but the muktāyi svaram extends to four
āvartās. Not many varn�ams have a muktāyi svaram that is equal in length to
the pallavi and anupallavi put together. The caran�am sahitya line is followed
by four ettukada svaras. The first with a lot of dīrgha or long svaras, the
second with a combination of the two, the third entirely sarvalaghu running
for two āvartās. The fourth ettukada is again a combination of short and long
notes for two āvartās A fifth ettukada has been added by his disciple
Tirukkodikāval Krishnayyar which has been designed with a lot of skill
starting each āvarta with the dhaivatam.
b) Rāga delineation – The essence of the rāga Sāvéri is incorporated
in the varn�am. The opening line starts with the phrase s, r, g, r g r, , , is
typical of Sāvéri and the oscillation of the ris�abham brings out the rāga
svarūpam. The phrase g r s d� is used a number of times. The nis�ādam
varja prayōgam in the avarōhan�am is typical of Sāvēri. The caran�am
begins with an oscillating dhaivatam with a kārvai of three spaces giving it a
wonderful lilt and at the same time a grip over the rāga.
The pattern n d p m, p - s� n d p, d using six notes each time is
repeated. Again the same combination is repeated in two sthayis
g r, s - g���� r���� , s���� n d r� s� n d p m g r s d� .
In the caran�am, the third ettukada has a lot of pancama varja
prayōgas bringing out the rāga bhāva- d n d m g r - n d m g r s - d m g r s d��
c) Svara patterns - a phrase in the muktāyi svaram is like a
palindrome reading the same both ways p m d p n d n p d m p. The
central point is the dhaivatam.
p m d p n d n p d m p
360 320 379 360 450 379 450 360 379 320 360
Saveri Varnam
0
50
100
150
200
250
300
350
400
450
500
p m d p n d n p d m p
Svaras
Sv
ara
Fre
qu
en
cy
The muktāyi has a pattern n d p m , p - s� n d p , d which is repeated
in the fourth ettukada but in the but the position of the phrases is reversed -
s� n d p, d - n d p m, p
c) Particular features of the varn�am that help in voice training – This
varn�am is taught to most students of Carnātic music. One can practice
this in three speeds with the right gamakams. It will ensure singing in
all speeds with precision and confidence. ( rendered in audio cd 2) This
varn�am has a lot of vowel extensions for practice.
sa a ra a sū ū ū ū da a a a ni ī ī ī | ī ī ne e e e e e kō ō ō ō ri i i i ||
cā ā ā ā la a a mā ā ā rū ū ū lū ū ū | ū ū ū ū kō ō na a a a a a dī ī ra a ||
The consonant syllables that occur in between are the text or sāhitya
while the rest are vowel extensions.
e) Unique style of the composer – Śavéri is a rakti rāgam and if the
varn�am is sung with flat notes it will not bring out the feel of the rāga. This
varn�am though simple has to be sung with the suitable gamakas for the rāga.
The composer has used the phrases d s r, d rs, d g r in various combinations
and in various registers to bring out the essence of the rāga.
Inta Calamu Veen����a Kuppayyar’s varn����am in Begada rāga
a) Overall structure – Composed in ādi tala varn�am with a slightly
different structure from the usual varn�ams. The pallavi is of two āvartās but
the anupallavi is a longer one with four āvartās. The muktāyi svaram is again
of four āvartas like the anupallavi. The caran�am sāhitya is followed by four
ettukada svaras.
b) Rāga delineation – Begada is a rāga with a lot of varja and vakra
prayogas. This has been handled well in the varn�am. r n d p and m, p g r s
are typical phrases beautiful for this rāga and are used many times in different
octaves. A bhās�ānga rāga, both kākali and kaisiki nis�ādams are used in
different phrases. The varn�am is a guide for the correct usage of the note.
In the phrase r�ֹn d p , the kākali nis�ādam should be used while in the
phrase p d n, d, kaisiki nis�ādam will be more appropriate. All this is learnt
in the oral tradition
c) Svara patterns – The svaras d p m are used with varying kārvais.
Patterns such as pd, d pm - mp, p m g , . are included in the varn�am. The
third ettukada finishes with a kōrvai pattern s� r� n r� s� - p d m d p - g
m r g m
d) Particular features of the varn�am that help in voice training-
This varn�am is of great help in training the voice for varja prayōgas . The p
s� and d p s� prayogas help in sruti alignment. The dātu prayogas in the
varn�am such as m g m p d m d p m g r – g r g m p s p m g r and s m g r p
m g d p s� n d r� s� are very useful for training the voice when rendered in
akāram.
e) Unique style of the composer - Although in later years the
ārōhan�a and avarōhan�a scheme laid out that Begada has s r g m p d p s�
as ārohan�am, in reality the rāga murchana allows phrases like d n s� and d
n s� r� which are found in the varn�am as published in the SSP and PSV.
Later varn�am compilations have made some changes to be within the
prescribed ārohan�a format.
Modern period
Calamuseya Lālgudi Jayarāman’s varn����am in Valaji
a) Overall structure – Though composed within the last fifty years,
the structure of the varn�am remains the same as earlier varn�ams, with the
pallavi and anupallavi of uniform length of two āvartas each and the
caran�am with four ettukada.
b) Rāga delineation – The change between earlier and modern
varn�ams is more in the choice of rāgas. Valaji is a comparatively new rāga
borrowed from Hindustāni music. It is somewhat akin to their Kalāvati. Since
it is not a major rāga there is a shift on emphasis from rāga murchana to
patterns and combinations.
c) Svara patterns –svara patterns using vādi samvādi notes may be
seen in the following:
� n d s� n p, - d p n d g, - p g d p s, ...( in the muktāyi svaram)
� d, p g p s g p d, s p g d p n| d, ....( in the second ettukada)
� s p g g d p p s� n || dā sa hrudaya ( in the third ettukada)
The following pattern is also referred to as a poruttam where the
pattern blends into the line of the pallavi or caran�a sāhityam. When this
happens, the first syllable of the pallavi or caran�a often act as a
svarāksharam.
s� ||g� p� g� s� g� s� , n d , , , - p d n d p| d p, g s, , , - s g p g s g n, d || p,
Following the lakshan�a set by earlier varn�am composers, this
varn�am too has the entire third ettukada as sarvalaghu without kārvais or
spaces.
d) Particular features of the varn�am that help in voice training –
the combinations in this s��adava (taking six notes) rāga give ample scope
for training the voice. This rāga uses more of jārus or gliding notes as
gamakas and trains the voice in these gliding notes, which may be upwards or
downwards.
e) Unique style of the composer- The varn�am combines aesthetics
and technical skill. There is a flow and a lilt throughout the varn�am. There
is a deliberate use of mathematical patterns in the varn�am. Like most
modern varn�ams this one does not include names of a benefactor but instead
is devotional invoking Svāminātha to take pity on him and dwell in his heart.
Sendil Vāzh T.R. Subramaniam’s varn����am in Hamīrkalyān����i.
a) Overall structure – This varn�am in Tamil, has two āvartās of
pallavi and two āvartās of anupallavi followed by four āvartas of muktāyi
svaram. The carn�am has four ettukada svaras and follows the same pattern
as earlier varn�ams with the first ettukada with a lot of karvais, the second
with a combination of single notes and long notes and the third as sarvalaghu.
This varn�am combines the traditional features of a varn�am as well as
introduced contemporary patterns particularly in svara development.
b) Rāga delineation – Hamirkalyān�i is again a Hindustāni rāga
which has been brought into Carnātic music. A rāga handled by Subbarāya
Śāstri and Tyāgarāja in kritis, this is considered a des�i rāga and not handled
much in varn�ams.
The madhyamam is a very important note in this rāga and this rāga uses
both the madhyamams. Using a dvimadhyamam or both the suddha and prati
madhyamam has been brought into the Carnātic music tradition from
Hindustani music. This is brought out beautifully in the varn�am particularly
in the caran�am
c) Svara patterns - Various svara combinations have been used as well as
patterns with a mathematical approach. This is a special aspect of modern
varn�ams.
i) The anupallavi has a pattern of three fives or three khandams
s� n s� d , - p m d m* , - m* g p r,
ii) The muktāyi ends in a makutam or a kōrvai, which combines the
first akśaram of the pallavi line.
s� | , n s� m�* g� p� m� r� ,
p , m p s� n r� s� d ,
s , n� s m* g p m | d , ( Sendil vazh ....)
iii) The third ettukada which is sarvalaghu uses a lot of janta patterns :
r s s – m*g p m* m*- m* g p m d p p – p m d p s� n r� s� s� - p m d p p – s
n� r s s
The above pattern progressively increases from phrases of three, five,
seven and nine notes. Also the phrase s n r s s is repeated in two
octaves
iv) This varn�am has a combination of multiple speeds in the
ettukada svaram unlike most varn�ams where the same speed is
maintained throughout.
d, , , , n m n d d p pm m *, , g , ,| p, , ,- m* g n� | s – n d m p – r�, , s� , , ||
v ) The last ettukada is again unique as it opens with a kārvai of five
spaces as the caran�am sāhitya . Also an unusual kārvai of 11/2
aksharas, which normally is incorporated in a pallavi, is introduced
four times in the last ettukada.
r� , , s� , , || d , , p , , m , , m*, , r , , s , , m * , ,
vi) the last ettukada concludes using notes s p and s m in varying
octaves bringing out the samvādi relationship between the notes.
d) Particular features of the varn�am that help in voice training –
Because of the combination of speeds it will be difficult to render this
varn�am in two or three speeds for voice training.
i) The use of dātu prayogas help in training the voice. The muktāyi
svaram opens with :
s, n� r s m* g p m d m* , ,
m *, g p m d p s� n r� d , ,
ii) Use of janta svaras particularly help train the voice as the second
syllable has to be stressed. The last ettukada has a profusion of janta
svaras
m | m r� r� s� s� n d , | , s s d d p p m || m* , ,
c) Unique style of the composer – The caran�a sahitya has
sangatis unlike most varn�ams which have no sangatis. It has a unique
opening with a kārvai of five spaces and three variations or sangatis are given.
Also the composer has mixed different kālapraman�am in the fourth ettukada
which is not common in varn�ams.
An analysis of varn����ams through the ages brings to light the following
points:
1. Earlier varn�ams were composed in major rāgas like Todi,
Bhairavi, Kalyāni or rakti rāgas like Sāveri, Kedaragaula, Sahana. Many
modern varn�ams are composed in rāgas like Nalinakānti, Valaji, Béhag or
Hamirkalyān�i.
2. Many of the earlier varn�ams were longer with multiple ettukada
svaras. Most of the modern varn�ams have four ettukada svaras.
3. A general rule followed by varn��ams through the ages is that the
third or sometimes the fourth ettukada has sarvalaghu svaras. Even when it is
not entirely sarvalaghu with one or two kārvais, it has the flow of a sarvalaghu
4. Earlier varn�ams were not so focussed on mathematical patterns.
Their focus was more or typical rāga phrases. In modern varn�ams the
emphasis on permutations and combinations and mathematical patterns is
high.
5. While earlier varn�ams were in praise of patrons or had srngāra
bhava as their theme, later composers have also deviated from composing on
patrons or with the nāyak nayika bhāva. Instead, many modern varn�ams are
devotional in nature, they have sung in praise of their favourite deity such as
Murugan or Ambāl.
6. Since varn�am composers are laksya lakśan�a vidvāns adept at
both the grammar and the aesthetics of music, most varn�ams reflect a
combination of adherence to the grammar of the rāga as well as retain the
essence of the rāga.
7. Ata tāla has not been given so much importance in modern
varn�ams.
8. There is a conscious use of vādi samvadi svaras as also multiple
svara patterns in modern varn�ams.
9. Sangatis have been introduced in caran�am sāhitya in some later
varn�ams whereas earlier varn�ams rarely included sangatis.
10. As far as use of varn�ams for voice training or creativity is
concerned they are immensely useful whatever their chronological period of
composition. While earlier varn�ams will serve as a reference point for rāga
svarūpa ( since many changes have taken place over the years particularly in
some rāgas like Bégada) later varn�ams have explored the entire
possibilities of permutation combination of svaras and will be very helpful for
kalpana svaram.
