AMS EASY METHODS - 2007 IN TEACHING KARNATAKA MUSIC

05. Jati & Svara-muktayis (24 items) :

LIST OF ITEMS:

================================== 01.Primary-tests & Laya-exercises (11 items):

001-Instrumental-music - 4 002-Instrumental-music - 3 003-Metronome-beats - 120 bpm 004-Metronome-beats - 060 bpm 005-Jati-alankara-4-1 006-Jati-alankara-4-2 007-Jati-alankara-4-3 008-Jati-alankara-4-4 009-Jati-alankara-4-5 010-Jati-alankara-4-6 011-Jati-alankara-4-7

02.Primary-lessons, Gitas & Svarapallavi(along with pdf files) - Shruti-G(5) (56 items): 03.Primary-lessons, Gitas & Svarapallavi(along with pdf files) - Shruti-A#(6 ) (56 items):

050-Svara-alankara-29-2 051-Svara-alankara-29-3 052-Svara-alankara-29-4 053-Svara-alankara-29-5 054-Svara-alankara-29-6 055-Svara-alankara-29-7 056-Shankarabharana-AA 057-Gita-Shankarabharana 058-Mohana-AA 059-Gita-Mohana 060-Shuddhasaveri-AA 061-Gita-Shuddhasaveri 062-Kalyani-AA 063-Gita-Kalyani 064-Malahari-AA 065-Gita-Malahari 066-Hindola-AA 067-Svarapallavi-Hindola 101-Janta-29-4 102-Datu-29-1 103-Datu-29-2 104-Datu-29-3 105-Svara-alankara-29-1 106-Svara-alankara-29-2 107-Svara-alankara-29-3 108-Svara-alankara-29-4 109-Svara-alankara-29-5 110-Svara-alankara-29-6 111-Svara-alankara-29-7 112-Shankarabharana-AA 113-Gita-Shankarabharana 114-Mohana-AA 115-Gita-Mohana 116-Shuddhasaveri-AA 117-Gita-Shuddhasaveri 118-Kalyani-AA 119-Gita-Kalyani 120-Malahari-AA 121-Gita-Malahari 122-Hindola-AA 123-Svarapallavi-Hindola 04. Special-laya-exercises (29 items) : 153-Jati-muktayis-6.1.2-035,6,7,9 154-Svara-muktayis-6.1.2-035,6,7,9 155-Jati-muktayis-6.1.2-045,6,7,9 156-Jati-muktayis-6.1.2-065,6,7,9 157-Jati-muktayis-6.1.2-075,6,7,9 158-Jati-muktayis-6.1.2-085,6,7,9 159-Jati-muktayis-6.1.2-095,6,7,9 160-Jati-muktayis-6.1.2-115,6,7,9 161-Jati-muktayis-6.1.2-125,6,7,9 162-Jati-muktayis-6.1.2-135,6,7,9 163-Jati-muktayis-6.1.2-155,6,7,9 164-Jati-muktayis-6.1.2-165,6,7,9 165-Jati-muktayis-6.2.2-046,7 166-Svara-muktayis-6-2-2-046,7 167-Jati-muktayis-6.2.2-086,7 168-Jati-muktayis-6.2.2-096,7 169-Jati-muktayis-6.2.2-106,7 170-Jati-muktayis-6.2.2-126,7 171-Jati-muktayis-6.3.2-016,7 172-Svara-muktayis-6.3.2-016,7 173-Jati-muktayis-6.3.2-036,7 174-Jati-muktayis-6.3.2-066,7 175-Jati-muktayis-6.3.2-096,7 176-Jati-muktayis-6.3.2-106,7 06. Varnas & Svarajati (Along with pdf files) Shruti-A#(6) (109 items) : ABBRIVIATIONS: P-Pallavi A-Anupallavi M-Muktayisvara C-Charana E-Ettugadasvara 177-Natakuranji-Arohana & Avarohana 178-Natakuranji-Adi-Varna-Pallavi 179-doAnupallavi 180-doMuktayisvara 181-doCharana 182-doEttugadasvara-1 183-doEttugadasvara-2 184-doEttugadasvara-3 185-doEttugadasvara-4 186-doPurvanga 187-doUttaranga 188-Kambhoji-Arohana & Avarohana 189-Kambhoji-Adi-Varna- Pallavi 190-doAnupallavi 191-doMuktayisvara 192-doCharana 193-doEttugadasvara-1 194-doEttugadasvara-2 195-doEttugadasvara-3 196-doEttugadasvara-4 124-4-3 125-4-5 126-4-7 127-45 128-3-4 129-3-5 130-3-7 131-34 132-Gati & Jati-alankara-4&3-1 133-Gati & Jati-alankara-4&3-2 134-Gati & Jati-alankara-4&3-3 135-Gati & Jati-alankara-4&3-4 136-Gati & Jati-alankara-4&3-5 137-Gati & Jati-alankara-4&3-6 138-Gati & Jati-alankara-4&3-7 139-Jati-alankara-4&3-1 140-Jati-alankara-4&3-2 141-Jati-alankara-4&3-3 142-Jati-alankara-4&3-4 143-Jati-alankara-4&3-5 144-Jati-alankara-4&3-6 145-Jati-alankara-4&3-7 146-Jati-alankara-1,2,3,4,6,81 147-Jati-alankara-1,2,3,4,6,82 148-Jati-alankara-1,2,3,4,6,83 149-Jati-alankara-1,2,3,4,6,84 150-Jati-alankara-1,2,3,4,6,85 151-Jati-alankara-1,2,3,4,6,86 152-Jati-alankara-1,2,3,4,6,87

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012-Saralee-15-1 013-Saralee-15-2 014-Saralee-15-3 015-Saralee-15-4 016-Saralee-15-5 017-Saralee-15-6 018-Saralee-15-7 019-Saralee-15-8 020-Janta-15-1 021-Janta-15-2 022-Janta-15-3 023-Janta-15-4 024-Datu-15-1 025-Datu-15-2 026-Datu-15-3 027-Svara-alankara-15-1 028-Svara-alankara-15-2 029-Svara-alankara-15-3 030-Svara-alankara-15-4 031-Svara-alankara-15-5 032-Svara-alankara-15-6 033-Svara-alankara-15-7 034-Saralee-29-1 035-Saralee-29-2 036-Saralee-29-3 037-Saralee-29-4 038-Saralee-29-5 039-Saralee-29-6 040-Saralee-29-7 041-Saralee-29-8 042-Janta-29-1 043-Janta-29-2 044-Janta-29-3 045-Janta-29-4 046-Datu-29-1 047-Datu-29-2 048-Datu-29-3 049-Svara-alankara-29-1 068-Saralee-15-1 069-Saralee-15-2 070-Saralee-15-3 071-Saralee-15-4 072-Saralee-15-5 073-Saralee-15-6 074-Saralee-15-7 075-Saralee-15-8 076-Janta-15-1 077-Janta-15-2 078-Janta-15-3 079-Janta-15-4 080-Datu-15-1 081-Datu-15-2 082-Datu-15-3 083-Svara-alankara-15-1 084-Svara-alankara-15-2 085-Svara-alankara-15-3 086-Svara-alankara-15-4 087-Svara-alankara-15-5 088-Svara-alankara-15-6 089-Svara-alankara-15-7 090-Saralee-29-1 091-Saralee-29-2 092-Saralee-29-3 093-Saralee-29-4 094-Saralee-29-5 095-Saralee-29-6 096-Saralee-29-7 097-Saralee-29-8 098-Janta-29-1 099-Janta-29-2 100-Janta-29-3

197198199251252253254255256-Saveri-Arohana & Avarohana 257-Saveri-Adi-Varna258-do259-do260-do261-do262-do263-do264-do265-do266-doPallavi Anupallavi Muktayisvara Charana Ettugadasvara-1 Ettugadasvara-2 Ettugadasvara-3 Ettugadasvara-4 Purvanga Uttaranga 320-Shankarabharana-Arohana & Avarohana 321-Shankarabharana-Adi-Varna- Pallavi 322-doAnupallavi 323-doMuktayisvara 324-doCharana 325-doEttugadasvara-1 326-doEttugadasvara-2 327-doEttugadasvara-3 328-doEttugadasvara-4 329-doPurvanga 330-doUttaranga 267-Bhairavi-Arohana & Avarohana 268-Bhairavi-Ata-VarnaPallavi 269-doAnupallavi 270-doMuktayisvara 271-doCharana 272-doEttugadasvara-1 273-doEttugadasvara-2 274-doEttugadasvara-3 275-doPurvanga 276-doUttaranga 277-Bhairavi-Chapu-Svarajati278-do279-do280-do281-do282-do283-do284-do285-doPallavi Charana-1 Charana-2 Charana-3 Charana-4 Charana-5 Charana-6 Charana-7 Charana-8 309-Darbar-Arohana & Avarohana 310-Darbar-Adi-VarnaPallavi 311-doAnupallavi 312-doMuktayisvara 313-doCharana 314-doEttugadasvara-1 315-doEttugadasvara-2 316-doEttugadasvara-3 317-doEttugadasvara-4 318-doPurvanga 319-doUttaranga -do-do-do-do-doEttugadasvara-3 Ettugadasvara-4 Ettugadasvara-5 Purvanga Uttaranga

-do-do-do-

Ettugadasvara-5 Purvanga Uttaranga

200-Darbar-Arohana & Avarohana 201-Darbar-Adi-VarnaPallavi 202-doAnupallavi 203-doMuktayisvara 204-doCharana 205-doEttugadasvara-1 206-doEttugadasvara-2 207-doEttugadasvara-3 208-doEttugadasvara-4 209-doPurvanga 210-doUttaranga

303304305306307308-

-do-do-do-do-do-do-

Ettugadasvara-2 Ettugadasvara-3 Ettugadasvara-4 Ettugadasvara-5 Purvanga Uttaranga

211-Shankarabharana-Arohana & 212-Shankarabharana-Adi-Varna213-do214-do215-do216-do217-do218-do219-do220-do221-do-

Avarohana Pallavi Anupallavi Muktayisvara Charana Ettugadasvara-1 Ettugadasvara-2 Ettugadasvara-3 Ettugadasvara-4 Purvanga Uttaranga

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07.Varnas & Svarajati (along with pdf files) -Shruti-C(1) (109 items): 286-Natakuranji-Arohana & Avarohana 287-Natakuranji-Adi-VarnaPallavi 288289290291292293294295296-do-do-do-do-do-do-do-do-doAnupallavi Muktayisvara Charana Ettugadasvara-1 Ettugadasvara-2 Ettugadasvara-3 Ettugadasvara-4 Purvanga Uttaranga 297-Kambhoji-Arohana & Avarohana 298-Kambhoji-Adi-VarnaPallavi 299-doAnupallavi 300-doMuktayisvara 301-doCharana 302-doEttugadasvara-1

222-Kalyani-Arohana & Avarohana 223-Kalyani-Adi-VarnaPallavi 224-doAnupallavi 225-doMuktayisvara 226-doCharana 227-doEttugadasvara-1 228-doEttugadasvara-2 229-doEttugadasvara-3 230-doEttugadasvara-4 231-doPurvanga 232-doUttaranga

233-Begada-Arohana & Avarohana 234-Begada-Adi-VarnaPallavi 235-doAnupallavi 236-doMuktayisvara 237-doCharana 238-doEttugadasvara-1 239-doEttugadasvara-2 240-doEttugadasvara-3 241-doEttugadasvara-4 242-doPurvanga 243-doUttaranga

331-Kalyani-Arohana & Avarohana 332-Kalyani-Adi-VarnaPallavi 333-doAnupallavi 334-doMuktayisvara 335-doCharana 336-doEttugadasvara-1 337-doEttugadasvara-2 338-doEttugadasvara-3 339-doEttugadasvara-4 340-doPurvanga 341-doUttaranga 342-Begada-Arohana & Avarohana 343-Begada-Adi-VarnaPallavi 344-doAnupallavi 345-doMuktayisvara 346-doCharana 347-doEttugadasvara-1 348-doEttugadasvara-2 349-doEttugadasvara-3 350-doEttugadasvara-4 351-doPurvanga 352-doUttaranga 353-Todi-Arohana & Avarohana 354-Todi-Adi-Varna355-do356-doPallavi Anupallavi Muktayisvara

244-Todi-Arohana & Avarohana 245-Todi-Adi-Varna246-do247-do248-do249-do250-do-

Pallavi Anupallavi Muktayisvara Charana Ettugadasvara-1 Ettugadasvara-2

357358359360361362363364-

-do-do-do-do-do-do-do-do-

Charana Ettugadasvara-1 Ettugadasvara-2 Ettugadasvara-3 Ettugadasvara-4 Ettugadasvara-5 Purvanga Uttaranga

365-Saveri-Arohana & Avarohana 366-Saveri-Adi-Varna367-do368-do369-do370-do371-do372-do373-do374-do375-do-

Note: Indian music is considered to have evolved from the musical chanting of Sama Veda. Music, like the Vedas is considered to be the path to self-realization and hence is divine. The study of music, like Vedas, needs discipline and dedication. It has to be practiced in the early hours of the day when the mind assimilates to the best of abilities. It is essential to be initiated into training at a tender age. With rigorous training and practice coupled with focussed attention one can undoubtedly become a good musician.

Pallavi Anupallavi Muktayisvara Charana Ettugadasvara-1 Ettugadasvara-2 Ettugadasvara-3 Ettugadasvara-4 Purvanga Uttaranga

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Later, they have to practise the Saralees, Jantas, Datus and Alankaras in other non-Vivadi Melas. While practising the

376-Bhairavi-Arohana & Avarohana 377-Bhairavi-Ata-Varna-Pallavi 378-doAnupallavi 379-doMuktayisvara 380-doCharana 381-doEttugadasvara-1 382-doEttugadasvara-2 383-doEttugadasvara-3 384-doPurvanga 385-doUttaranga

386-Bhairavi-Chapu-Svarajati387-do388-do389-do390-do391-do392-do393-do394-do-

Pallavi Charana-1 Charana-2 Charana-3 Charana-4 Charana-5 Charana-6 Charana-7 Charana-8

Special-laya-exercises, the students should simultaneously be taught the svara, akara and sahitya of the Adi-tala-varnas in the ragas, Natakuranji, Kambhoji, Darbar, Shankarabharana, Kalyani, Begada, Todi and Saveri, in the same seriatim @ 1-unit per second with the essential Kampitas and Gamakas. Further, the Ata-tala-varna and Svarajati in Bhairavi-raga should also be taught in the same manner. While teaching the Varna and Svarajati, the inter-relation of the relevant notes should be demonstrated by the Teacher in a phased manner. In order to get much acquaintance, the students should listen to and strictly follow the items provided in the CD at their residence, at every level of learning. Apart from the one hour of his/her training in the class, the student must be able to practice independently for the maximum period during the rest of the day and the material in the CD facilitates the same. In this method of teaching, the teacher, initiates and motivates the students into deeper learning. This is the most crucial step and is highly effective in making the students independent, instilling tremendous confidence in them. The students are required to practice daily for a minimum of two hours till the completion of Gitas and four hours from the beginning of Varnas. This will quicken the process of learning and after the completion of these Varnas they will be able to sing / play the Svara, Akara and Sahitya of the notated Kritis etc., mostly on their own. They will be able to sing/play Svarakalpana with easy mukthayis after the completion of 10 or 12 Kritis. In addition, they will be able to render brief Ragalapana within a span of six months after the commencement of Kritis. This is a unique feature of this modern teaching method and it has been successfully implemented on a number of students, producing gratifying and amazing results. The items in the CD are classified into 9 headings comprising of 481 tracks catering to the needs of the students.

08. 395-KG to 454-KG: Audio files of Kampitas & Gamakas (60 items) (to be sung @ 2 notes per each second) along with pdf files. 09. 455-KN to 481-KN: Audio files of the different facets of Kampitas & Gamakas pertaining to Kaishiki-nishada (27 items) (to be sung @ 1 note per each second) along with pdf files. ====================================================== =====================================================

To inculcate a sense of Shruti and facilitate acquaintance with Laya, it is desirable to expose students to the constant hearing of inspirational, rhythmic, instrumental music, right from their childhood. As per this novel method, the candidate must first undergo the Laya test by following the teacher while he/she puts beats with both hands on his/her thighs in accordance with the music provided in the CD which is set to Chaturashragati. The candidates who succeed in this test should further be subjected to the Shruti test in which the candidates have to reproduce the twelve notes sung by the teacher with the help of the Casio. The candidates who successfully pass these tests should proceed to the third item wherein the student is made to utter ki-ta-ta-ka, using the right hand beat for ki-ta followed by the left hand beat for ta-ka on their thighs, corresponding to the 120 bpm of metronome. Treating the practice of this ki-ta-ta-ka as Eka-tala-jati-alankara, they have to learn and practise the remaining six Jati-alankaras of the seven principle Talas, Eka, Rupaka, Mathya, Dhruva, Jhampa, Ata & Triputa, in this seriatim, putting beats with both the hands . Later, they have to sing the Saralee-svaras of Mayamalavagaula-raga / Shankarabharana-raga with both the hands (it is preferable to teach the Saralee-Svaras, Jantasvaras and Datu-svaras in Shankarabharana-raga as in Hindusthani and Western systems of music). Subsequently, they have to learn and practise all the Saralee-svaras, Jantasvaras & Datu-svaras of Mayamalavagaula-raga / Shankarabharana-raga putting beats with both the hands, without Talangas. Further, they have to learn and practise the Svara-alankaras in the above seriatim, in Lalita/Hamsavinodiniraga putting beats with both the hands. While learning Gitas in the Ragas, Shankarabharana, Mohana, Shuddhasaveri, Kalyani & Malahari and the Svarapallavi in Hindola-raga they have to sing the Svara first followed by the respective Akara and Sahitya. It should be noted that the Gitas should be rendered with both the hands. Consecutively the crucial Talangas are introduced along with the three degrees of speed using the right hand. Thus, all the lessons learnt so far must be sung and practiced in three speeds. The primary exercises, Gitas, Svarapallavi, Varnas and Svarajati are recorded in two different Shrutis for the convenience of the students.

Apparently, the sets of 10 and 15 Gamakas prescribed in our ancient treatises are inadequate in contemporary music. Karnataka music is one of the most complex systems in the world and the need of the hour is to document and safeguard every subtle nuance. Hence an attempt has been made to categorize and document the various Kampitas and Gamakas (60 varieties) along with illustrations. The audio-clippings of the same have been provided in the CD. Similarly twenty seven nuances of Kaishiki-nishAda are furnished in PDF files along with audio-clippings. The symbols assigned are in concurrence with the travel of the sound (of the note). The Varnas and the Svarajati have been notated with symbols to facilitate a better understanding. This attempt is the first and foremost in the annals of Karnataka music literature. Visit http://youtube.com/msakella for the video-clippings of some of the Laya-exercises and Violin-exercises.

EASY, EFFECTIVE & INNOVATIVE METHODS IN TEACHING KARNATAKA MUSIC

JATI ALANKARAS
(k= ki; t=ta; t=tha; k=ka; d=dhi; m=mi) 1. 2. 3. 4. 5. 6. 7. Eka Tala : || k t t k || Rupaka Tala : || t k | k t t k || Mathya Tala : || k t t k | t k | k t t k || or || t k d m | t k | k t t k || Dhruva Tala : || k t t k | t k | k t t k | k t t k || or || t k d m | t k | k t t k | k t t k || Jhampa tala : || t k t t k t k | t | t , || Ata Tala : || t k , t , | t, k t , | t , | t , || Triputa Tala : || t k t | k t | t k ||

SARALEE SVARAS
MAYAMALAVAGAULA Aro : S R1 G3 M1 P D1 N3 S Ava : S N3 D1 P M1 G3 R1 S 1. 2. 3. 4. 5. 6. 7. 8. s s s s s s s s s s s s s s s r g m | r g m | n d p | r g m | n d p | r g m | n d p | r g m | n d p | r g m | n d p | r g m | n d p | r g m | n d p | p d | s r | s n | s r | s n | p m | m p | s m | s p | p m | m p | p , m , p , m , | | | | n s || s n d p | g m || s r g m | d p || s n d p | s r || s r g m | s n || s n d p | g r || s r g m | d n || s n d p | g r || s r g m | d n || s n d p | d p || s r g m | g m || s n d p | s r || s r g m | s n || s n d p | , , , , || s r g m | || s n d p |
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ADI TALA (I4 O O)

SHANKARABHARANA Aro : S R2 G3 M1 P D2 N3 S Ava : S N3 D2 P M1 G3 R2 S m g | p d | m g | p d | m g | p d | m g | p d | m g | p d | m g | p d | m g | p d | m g | r s || n s || r s || n s || r s || n s || r s || n s || r s || n s || r s || n s || r s || n s || r s ||

JANTA SVARAS
MAYAMALAVAGAULA Aro : S R1 G3 M1 P D1 N3 S Ava : S N3 D1 P M1 G3 R1 S 1. s s s g p n p s r g m p s n d p m s r g m p s n d p m s r r | s n n | s g p n p s r g m p s n d p m s r g m p s n d p m r m d d m r g m p d n d p m g m p d n s p m g r s r m d d m r g m p d n d p m g m p d n s p m g r s | | | | | | | | | | | | | | | | | | | | | | | | | g g | d d | g p n p g g m p d n d p m g r g m p d n d p m g r g p n p g g m p d n d p m g r g m p d n d p m g r | | | | | | | | | | | | | | | | | | | | | | | | | m m || p p d d | p p || m m g g | m d s m r r g m p d n d p m g r g m p d n d p m g m d s m r r g m p d n d p m g r g m p d n d p m g || || || || || || || || || || || || || || || || || || || || || || || || || r m s d m s r g m p s n d p m s r g m p s n d p m r m s d m s r g m p s n d p m s r g m p s n d p m g p n p g r g m p d n d p m g r g m p d n d p m g g p n p g r g m p d n d p m g r g m p d n d p m g | | | | | | | | | | | | | | | | | | | | | | | | |
ADI TALA (I4 O O)

SHANKARABHARANA Aro : S R2 G3 M1 P D2 N3 S Ava : S N3 D2 P M1 G3 R2 S n n | r r | m d d m r g m p d n d p m g r g m p d n d p m g r m d d m r g m p d n d p m g r g m p d n d p m g r | | | | | | | | | | | | | | | | | | | | | | | | | s s || s s || p n p g s m p d n s p m g r s m p d n s p m g r s p n p g s m p d n s p m g r s m p d n s p m g r s || || || || || || || || || || || || || || || || || || || || || || || || ||

2.

3.

4.

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DATU SVARAS
MAYAMALAVAGAULA Aro : S R1 G3 M1 P D1 N3 S Ava : S N3 D1 P M1 G3 R1 S
ADI TALA (I4 O O)

SHANKARABHARANA Aro : S R2 G3 M1 P D2 N3 S Ava : S N3 D2 P M1 G3 R2 S

1.

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

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

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

s d |

n p ||

2.

r m s d m s r g m p s n d p m

g p n p g r g m p d n d p m g

| | | | | | | | | | | | | | |

m d d m r g m p d n d p m g r

p n p g s m p d n s p m g r s

|| || || || || || || || || || || || || || ||

3.

V
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SVARA ALANKARAS
LALITA(15) Aro : S R1 G3 M1 D1 N3 S Ava : S N3 D1 M1 G3 R1 S HAMSAVINODINI(29) Aro : S R2 G3 M1 D2 N3 S Ava : S N3 D2 M1 G3 R2 S

1.

Chaturashra Jaati 14 s r g m || r g m d || g m d n || m d n s || s n d m || n d m g || d m g r || m g r s || Chaturashra Jaati 0 14 s r | s r g m r g | r g m d g m | g m d n m d | m d n s s n | s n d m n d | n d m g d m | d m g r m g | m g r s Chaturashra Jaati 14 0 s r g r | s r r g m g | r g g m d m | g m m d n d | m d s n d n | s n n d m d | n d d m g m | d m m g r g | m g

- Eka Tala

- (14)

2.

- Rupaka Tala || || || || || || || || - Mathya 14 | s r g | r g m | g m d | m d n | s n d | n d m | d m g | m g r Tala m d n s m g r s || || || || || || || ||

(0 14)

3.

(14 0 14)

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4.

Chaturashra Jaati 14 0 s r g m | g r r g m d | m g g m d n | d m m d n s | n d s n d m | d n n d m g | m d d m g r | g m m g r s | r g Mishra Jaati 17 s r g s r r g m r g g m d g m m d n m d s n d s n n d m n d d m g d m m g r m g Khanda Jaati 15 s r , g , r g , m , g m , d , m d , n , s n , d , n d , m , d m , g , m g , r , Trisra Jaati 13 s r g | r g m | g m d | m d n | s n d | n d m | d m g | m g r | s r g m s n d m r g m d n d m g

| | | | | | | |

Dhruva Tala 14 s r g r | r g m g | g m d m | m d n d | s n d n | n d m d | d m g m | m g r g | Jhampa Tala U 0 g | m , || m | d , || d | n , || n | s , || d | m , || m | g , || g | r , || r | s , ||

14 s r r g g m m d s n n d d m m g -

(14 0 14 14) g m d n d m g r m d n s m g r s || || || || || || || ||

5.

(17 U 0)

| | | | | | | |

6.

| | | | | | | |

- Ata Tala15 s , r g , r , g m , g , m d , m , d n , s , n d , n , d m , d , m g , m , g r ,

(15 15 0 0) 0 | m , | | d , | | n , | | s , | | m , | | g , | | r , | | s , | (13 0 0)

0 m d n s m g r s , , , , , , , , || || || || || || || ||

7.

- Triputa Tala 0 0 s r | g m || r g | m d || g m | d n || m d | n s || s n | d m || n d | m g || d m | g r || m g | r s ||

V
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Jati Alankaras sung @ 4 units in Chaturashra-gati and 3 units in Trisra-gati

2
|kttk |k/kt |kttk |tk/k |kttk |ttk || ||

1. Eka

4 3 -

kttk ktt

1
|tk/tk |ttk |kttk |tkk |tkkt |ttk |tk/tk |tkk |kttk |ttk

6
|| ||

2. Rupaka -

4 3 -

tkkt tkk

1
|tkkt |mtk |tk/tk |ktt |dmtk |k/tk |kttk |dmt |tkdm |kkt |tkkt |tk/t |tk/tk |kdm

10
|| ||

3. Mathya -

4 3 -

tkdm tkd

|dmtk |kttk |tkk |ttk

10

11

12

13

14
|tk/tk |dmtk |kttk |kttk |dmt |kkt |tkk |ttk || ||

Page 9

4. Dhruva -

4 3 -

tkdm |tkkt |tkkt |tk/tk |dmtk |kttk |kttk |tkdm |tkkt |tkkt tkd |mtk |ktt |kkt |tk/t |kdm |tkk |ttk |ktt |k/tk

1
|ktkt |tkt |t,/tk |ktt |ttkt |,/tk |ktt, |t tk | tktt |tkt

7
|ktkt |t,/t

8
|t,/tk |ktt

9
|ttkt |ktk

10
|ktt, |tt, || ||

5. Jhampa -

4 3 -

tktt tkt

1
|,t,k |t,t, |t,t |,kt 2 |ttk/t |ktt |ktkt |k/tk 3 |t,/tk |,t,t |,t, |t,/t |,kt, |k,t

7
|t,t, |,t, 4

8
|tk,t |kt, 5

10
|,t,k |t,t, |t,t |,/tk 6

11

12
|t,/tk |,t,t |,t, |t,k 7

13

14
|,kt, |t,t, |t,t |,t, || ||

6.

Ata

4 3 -

tk,t tk,

7. Triputa -

4 3 -

tktk tkt

|tk/tk |tkt

|tktt |tk/t

|k/tkt |ktk

|kttk |ttk

|| ||

Jati Alankaras sung @ 1, 2, 3, 4, 6 & 8 per each Kriya

2 t tk k/kt kttk tk/kttk kttk/kttk 3 | | | | | | 4 | | | | |tk/tkdm | tk/kttk dmtk | kttk | tkdm k/tk | dmt | kkt | | kt | tk | tk | m | t | k | k dm tk/t tkkt 5 6 7 | | | | tk/tkkttk | tkkttk/tk | kttk/tkkt tkkttk | tkkttk | tkkttk | | 8 t tk kdm tk/tk | | | | kttk | tkkt | tk/tk | tkk | ttk | tkk | tk | tk | kt | tk ttk kttk tkkttk tk/tkkttk 9 t kt tkk dmtk | | | | k | t | t | k 4 5 6 || || || || || || 10 k tk ttk kttk || || || || || | kttk/kttk | kttk/kttk || | kttk/kt | tk/kttk || | kttk | kttk || | tk/k | ttk || | kt | tk || | t | k || 3 4

1. Eka :

kt

ktt

kttk

kttk/kt

kttk/kttk

2. Rupaka : 1

tk

kt

tkk

ttk

tkkt

tk/tk

tkkttk

tkkttk

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3 d tk ktt tk/tk dmtkkt 4 m kt kkt tk/tk | dmtk| tkkttk | tk/t | | tk | kt | | t | k | k tk 5 6 7 | | 8 t tk ttk | | | kttk | kttk | tkdm | 9 t dm ktt | | 10 k tk | k/tk tkkt | tkkt kdm | tkk |

tkkttk/tk

kttk/tkkt

3. Mathya : 1

tk

dm

tkd

mtk

tkdm

tkkt

tkdmtk

kt/tktk |

| tkdmtk | kt/tktk | dmtkkt | tk/tkdm | tk/kttk

tkdmtkkt

| t k / t k d m t k | k t t k / t k d m | t k k t t k / t k | d m t k k t t k | t k d m t k k t | t k / t k d m t k | k t t k / t k d m | t k k t t k / t k | d m t k k t t k || 11 | | | k kt dmt | | | 12 t tk kkt | | | | tk/tk | dmtk | tkkttk 13 t kt tkk kttk | | | 14 k tk ttk | kttk | kttk/tk | dmtkkt | tkkttk || || || || ||

4. Dhruva: 1

tk

dm

tk

tkd

mtk

ktt

tkdm |

tkkt

tkkt

tkdmtk | kttkkt

| tk/tkdm |

| kttk/tk | dmtkkt | tkkttk | tkdmtk | kttkkt | tk/tkdm |

tkdmtkkt | tkkttk/tk | dmtkkttk | kttk/tkdm | tkkttkkt | tk/tkdmtk | kttkkttk | tkdmtkkt | tkkttk/tk | dmtkkttk | kttk/tkdm | tkkttkkt | tk/tkdmtk | k tt kk tt k ||

5. Jhampa : 1 t kt ktt t,/tk ttktkt | t,/tktt | ktktt, | tkttkt | ktt,/tk | ttktkt | t,/tktt | | ttkt | ktt, | tktt | ktkt | t,/tk | ttkt | ktt, ktktt, | ,/tk | ttk | tkt | t,/t | ktt | ktk | tt, | kt | t, | tk | tt | kt | kt | t, || || || || | t | k | t | k | t | t | , ||

10

tk

tt

tkt

tkt

tktt

ktkt

tkttkt

ktt,/tk

tkttktkt

| t , / t k t t k t | k t t , / t k t t |k t k t t , / t k | t t k t k t t , | t k t t k t k t | t , / t k t t k t | k t t , / t k t t | k t k t t , / t k | t t k t k t t , ||

6. Ata : 1 t ,k ,t, t,/tk | ,t,t | ,kt, | t,t, | tk,t | ,t,k | t,t, | | t,/t | k,t | ,t, | kt, | t,t | ,/tk | ,t, t,/tk | t, | t, | t, | tk | ,t | ,t | ,k | , | t | , | k | t | , | t | | | |

10

11

12 , t, t,k ,t,t | | | |

13 t t, t,t ,kt, | | | |

14 , t, ,t, t,t, || || || ||

tk

,t

,t

tk,

t,t

,kt

tk,t

,t,k

t,t,

Page 11
3 | | | | | | tkttk/tkt | tk/tktk | ktkt | k/tk | tkt tk/tk ttk/tkt kttk/tktk tt | k/t t | k | | | | | | 4 5 t kt tk/t tktt kttk/tk ttk/tktkt

tk,t,t | ,kt,t, | t,/tk,t |

, t , k t , | t , t , / t k| , t , t , k | t , t , t , | t k , t , t | , k t , t , | t , / t k , t | , t , k t , | t , t , / t k | , t , t , k | t , t , t , ||

t k , t , t , k| t , t , t , / t k | , t , t , k t , | t , t , / t k , t | , t , k t , t , | t , / t k , t , t | , k t , t , t , | t k , t , t , k | t , t , t , / t k | , t , t , k t , | t , t , / t k , t | , t , k t , t , | t , / t k , t , t | , k t , t , t , ||

7. Triputa :

6 | | | | | | t kt ktk k/tkt tkttk/t tk/tktktt | | | | | |

7 k tk ttk kttk ktkttk k/tktkttk || || || || || ||

tk

tk

tkt

ktt

tktk

ttk/t

tktktt

k/tktkt

tktkttk/t

ktkttk/tk

Groups of Trisra (3), Khanda (5) & Mishra (7) Jatis to be rendered in Chaturshra-gati
The regular practice of the exercises of different Jati-groups play a vital role in getting the desirable command over rhythm. It is always imperative to practice along with the beats of the left hand also, even though they are not furnished in the forthcoming exercises.

1. Trisra-jati (3)
(a) Considering that a Kriya in Chaturashra-gati consists of 4 units, a group of 4 Trisra-jatis (4x3=12units) fit into a group of 3 Kriyas (3x4=12-units). Similarly, a group of 4 Trisra-jatis fit into 3 Kriyas in Chaturashra-gati Adi tala. Thus, groups of Trisra-jatis should be rendered in Adi tala as follows: from 1st to 3rd Kriya 1st group, from 4th to 6th Kriya 2nd group, from 7th to 9th Kriya 3rd group and th th from 10 to 12 Kriya 4th group Hence, 16 Trisra-jatis should be rendered to complete 1 avartas . The Jatis are rendered as tk-t - t-k-t - t-k-t with stress being laid on the first syllable. (b) (c) The Trisra-jatis should be rendered as t-a-a - d-i-i - t-a-a d-i-I in the next 1 avartas with the stress being laid on the first syllable. In the next 1 avartas, the Trisra-jatis are rendered as t-,-, - d-,-, - t-,-, with the stress being laid on the first syllable and the next two units are rendered as gaps. The following exercise for 4 avartas has been illustrated below: 1. Exercise - Adi-tala - I4 O O Chaturashra-gati Trisra-jati-groups 1 /t k t - t t-tkt/ ii-ta t,,d ,d,,/ 2 kt-tk tkt-t a-dii/ ,,t, t,,d 3 t-tkt/ kt-tk taa-d ,d,,/ ,,t, 4 tkt-t t-tkt/ ii-ta t,,d ,d,,/ 5 kt-tk taa-d a-dii/ ,,t, 6 t-tkt/ ii-ta taa-d ,d,,/ 7 tkt-t a-dii/ ii-ta t,,d 8 kt-tk taa-d a-dii/ ,,t,

2. Khanda-jati (5)
(a) Considering that a Kriya in Chaturashra-gati consists of 4 units, a group of 4 Khanda-jatis (4x5=20units) fit into a group of 5 Kriyas (5x4=20-units). Similarly, a group of 4 Khanda-jatis fit into 5 Kriyas in Chaturashra-gati Adi-tala. Thus, groups of Khanda-jatis should be rendered in Aditala as follows: from 1st to 5th Kriya 1st group, from 6th to 10th Kriya 2nd group, from 11th to 15th Kriya 3rd group and from 16th to 20th Kriya 4th group Hence, 16 Khanda-jatis should be rendered to complete 2 avartas . The Jatis are rendered as t-k-t-k-t - t-k-t-k-t - t-k-t-k-t with stress being laid on the first syllable. (b) The Khanda-jatis should be rendered as t-a-a-a-a - d-i-i-i-i - t-a-a-a-a d-i-I-i-i in the next 2 avartas with the stress being laid on the first syllable.
Page 12

(c)

In the next 2 avartas, the Khanda-jatis are rendered as t-,-,-,-, - d-,-,-,-, - t-,-,-,-, with the stress being laid on the first syllable and the next four units are rendered as gaps. The following exercise for 7 avartas has been illustrated below: 2. Exercise Adi-tala - I4 O O Chaturashra-gati Khanda-jati-groups

1 /t k t k tkt-t t-tkt iiii/ ii-ta t,,, ,,,- d ,- d,,

2 t-tkt ktkt/ kt-tk taaa aaa-d ,- d,, ,,,,/ ,,- t,

3 k t-tk tktk tkt-t a-dii iiii/ ,,t, t,,, ,,,- d

4 tkt-t t-tkt ktkt/ ii-ta taaa ,,,- d ,- d,, ,,,,/

5 ktkt/ kt-tk taaa aaa-d a-dii ,,,,/ ,,- t,

6 tktk tkt-t a-dii iiii/ ii-ta t,,, ,,,- d

7 t-tkt ktkt/ ii-ta taaa aaa-d ,- d,, ,,,,/

8 k t-tk tktk aaa-d a-dii iiii/ ,,- t, t,,,

3. Mishra-jati (7)
(a) Considering that a Kriya in Chaturashra-gati consists of 4 units, a group of 4 Mishra-jatis (4x7=28units) fit into a group of 7 Kriyas (7x4=28-units). Similarly, a group of 4 Mishra-jatis fit into 7 Kriyas in Chaturashra-gati Adi-tala. Thus, groups of Mishra-jatis should be rendered in Adi-tala as follows: from from from from 1st 8th 15th 22nd to 7th to 14th to 21th to 28th Kriya Kriya Kriya Kriya 1st group, 2nd group, 3rd group and 4th group -

Hence, 16 Mishra-jatis should be rendered to complete 3 avartas . The Jatis are rendered as tk-t-k-t-k-t - t-k-t-k-t-k-t - t-k-t-k-t-k-t with stress being laid on the first syllable. (b) (c) The Mishra-jatis should be rendered as t-a-a-a-a-a-a - d-i-i-i-i-i-i - t-a-a-a-a-a-a - d-i-I-i-i-i-i in the next 3 avartas with the stress being laid on the first syllable. In the next 3 avartas, the Mishra-jatis are rendered as t-,-,-,-,-,-, - d-,-,-,-,-,-, - t-,-,-,-,-,-, with the stress being laid on the first syllable and the next six units are rendered as gaps. The following exercise for 10 avartas has been illustrated below: 3. Exercise Adi-tala - I4 O O Chaturashra-gati Mishra-jati-groups 1 /t k t k tkt-t ktkt kt-tk aaaa a-dii iiii/ t,,, ,,,- d ,,,, ,,- t, 2 tkt-t ktkt kt-tk t kt k a-dii iiii/ taaa ,,,- d ,,,, ,,- t, ,,,, 3 ktkt kt-tk tktk t-tkt iiii/ taaa aaa-d ,,,, ,,- t, ,,,, ,- d,, 4 kt-tk tktk t-tkt ktkt/ taaa aaa-d iiii ,,- t, ,,,, ,- d,, ,,,,/ 5 tktk t-tkt ktkt/ taaa aaa-d iiii ii-ta ,,,, ,- d,, ,,,,/ 6 t-tkt ktkt/ tktk aaa-d iiii ii-ta aaaa ,- d,, ,,,,/ t,,, 7 ktkt/ tktk tkt-t iiii ii-ta aaaa a-dii ,,,,/ t,,, ,,,- d 8 tktk tkt-t ktkt ii-ta aaaa a-dii iiii/ t,,, ,,,- d ,,,,

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Note: By a careful analysis it could easily be understood that: (a) (b) (c) the groups of Trisra-jati are being concluded either in 3-kriyas or in 3- avartas or in the half of the 3-avartas i.e., 1 Avartas, all of which pertain to the value of Trisra i.e., 3, the groups of Khanda-jati are being concluded either in 5-kriyas or in 5-avartas or in the half of the 5-avartas i.e., 2 Avartas, all of which pertain to the value of Khanda i.e., 5 and the groups of Mishra-jati are being concluded either in 7-kriyas or in 7-avartas or in the half of the 7-avartas i.e., 3 Avartas, all of which pertain to the value of Mishra i.e., 7. The above exercises should be practiced in the prescribed order. It is essential to gain command over the first exercise, i.e., rendering the Jatis in all three varieties before moving on to the next and so on. The fourth exercise should be attempted/practiced only after the completion of the first three exercises.

4. Khanda-jati - groups in the cyclic-ending of Tala

4. Exerxise - Adi-tala - I4 O O - Chaturashra-gati 1 /k t t k t/ktt nt/kt gnt/k 2 kttk k- ktt tk- kt ttk- k 3 kttk k- ktt tk- kt ttk- k 4 kttk k- ktt tk- kt ttk- k 5 kttk k- ktt tk- kt ttk- k 6 kttk k- ktt tk- kt ttk- k 7 kttk k- ktt tk- kt ttk- /t 8 tdgn k/tdg tk/td d g n t ||

As furnished in the above exercise, groups of four units (Chaturashra-jatis) are rendered in four avartas of Adi-tala with each Avarta ending with a Khanda-jati, thereby extending it to the next Avarta by one, two and three units, respectively. This exercise enables the learner to acquire good rhythmical command. The aspirants desiring abundant command over rhythm should write down various Jati groups in different Gatis and practice them rigorously. While practicing the Gatis, whose values are in odd numbers, the left hand beat is mandatory. It is important to note that a regular practice of all these exercises is inevitable to get reasonable command over Svarakalpana.

******

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Groups of Chaturashra (4), Khanda (5) and Mishra (7) Jatis to be rendered in Trisra-gati
The regular practice of the excercises of different Jati-groups play a vital role in getting the desirable command over rhythm. It is always imperative to practice along with the beats of the left hand also, even though they are furnished in the forthcoming exercises.

1.Chaturshra-jati (4)
(a) Considering that a Kriya in Trisra-gati consists of 3 units, a group of 3 Chaturashra-jatis (3x4=12units) fit into a group of 4 Kriyas (4x3=12-units). Similarly, a group of 3 Chaturashra-jatis fit into 4 Kriyas in Trisra-gati Adi tala. Thus, groups of Chaturashra-jatis should be rendered in Trisragati Adi tala as follows: from 1st from 5th to to 4th 8th Kriya Kriya 1st group, 2nd group

Hence, 6 Chaturashra-jatis should be rendered to complete 1 Avarta . The Jatis are rendered as k-t-t-k - k-t-t-k - k-t-t-k with stress being laid on the first syllable. (b) (c) The Chaturashra-jatis should be rendered as t-a-a-a - d-i-i-i - t-a-a-a - d-i-i-i in the next Avarta with the stress being laid on the first syllable. In the next Avarta, the Chaturashra-jatis are rendered as t-,-,-, - d-,-,-, - t-,-, -, with the stress being laid on the first syllable and the next two units are rendered as gaps. The following exercise for 3 Avartas has been illustrated below: 1. Exercise - Adi-tala - I4 O O Trisra-gati Chaturashra-jati-groups 1 /k-t-tt-a-at-,, 2 k k-ta d-i, d-, 3 t-k ki-i t, , t4 t-t-k a-a-a ,,, 5 k-t-td-i-id- , , 6 k k-ti t-a, t- , 7 t-k ka-a d, , d8 t-t-k / i-i-i / ,,,/

2. Khanda-jati (5)
(a) Considering that a Kriya in Trisra-gati consists of 3 units, a group of 3 Khanda-jatis (3x5=15units) fit into a group of 5 Kriyas (5x3=15-units). Similarly, a group of 3 Khanda-jatis fit into 5 Kriyas in Trisra-gati Adi-tala. Thus, groups of Khanda-jatis should be rendered in Trisra-gati Adi-tala as follows: from 1st to 5th Kriya 1st group, from 6th to 10th Kriya 2nd group, from 11th to 15th Kriya 3rd group and from 16th to 20th Kriya 4th group Hence, 12 Khanda-jatis should be rendered to complete 2 Avartas. The Jatis are rendered as t-k-t-k-t - t-k-t-k-t - t-k-t-k-t with stress being laid on the first syllable. (b) (c) The Khanda-jatis should be rendered as t-a-a-a-a - d-i-i-i-i - t-a-a-a-a - d-i-i-i-i in the next 2 Avartas with the stress being laid on the first syllable. In the next 2 Avartas, the Khanda-jatis are rendered as t-,-,-,-, - d-,-,-,-, - t-,-,-,-, with the stress being laid on the first syllable and the next four units are rendered as gaps. The following exercise for 7 Avartas has been illustrated below:
Page 15

2. Exercise Adi-tala - I4 O O Trisra-gati Khanda-jati-groups 1 /t k t t-tk kt-t aaa/ iii t , , ,- d, , ,/ t 2 k t-t t kt/ k tk d ii i- ta , ,- d , , ,/ , , , 3 kt k tkt t-tk ii- t aaa/ , , , t , , ,- d , 4 t-tk kt-t tkt/ aaa dii , t , , ,- d ,,,/ 5 tkt/ ktk taa a-di ii-t , , ,/ , , , 6 t kt t- tk a a-d iii/ aaa d ,, , -t , 7 kt- t tkt/ ii i taa a-di , ,/t , , ,/ 8 ktk tkt i-ta aa-d iii/ , , , d , ,

3. Mishra-jati (7)
(a) Considering that a Kriya in Trisra-gati consists of 3 units, a group of 3 Mishra-jatis (3x7=21units) fit into a group of 7 Kriyas (7x3=21-units). Similarly, a group of 3 Mishra-jatis fit into 7 Kriyas in Trisra-gati Adi-tala. Thus, groups of Mishra-jatis should be rendered in Trisra-gati Adi-tala as follows: from from from from 1st 8th 15th 22nd to 7th to 14th to 21th to 28th Kriya Kriya Kriya Kriya 1st group, 2nd group, 3rd group and 4th group

Hence, 12 Mishra-jatis should be rendered to complete 3 Avartas . The Jatis are rendered as tk-t-k-t-k-t - t-k-t-k-t-k-t t-k-t-k-t-k-t with stress being laid on the first syllable. (b) (c) The Mishra-jatis should be rendered as t-a-a-a-a-a-a - d-i-i-i-i-i-i - t-a-a-a-a-a-a - d-i-i-i-i-i-i in the next 3 Avartas with the stress being laid on the first syllable. In the next 3 Avartas, the Mishra-jatis are rendered as t-,-,-,-,-,-, - d-,-,-,-,-,-, - t-,-,-,-,-,-, with the stress being laid on the first syllable and the next six units are rendered as gaps. The following exercise for 10 Avartas has been illustrated below: 3. Exercise Adi-tala - I4 O O Trisra-gati Mishra-jati-groups 1 /t k t ktk t-tk tkt ii-t iii aaa/ t,, ,,, ,- d, ,,, 2 k tk t- tk tkt kt-t aaa iii/ dii ,,, ,- t, ,,, ,,- d 3 t-t k tkt kt- t ktk aaa/ taa iii ,- d, ,,, ,,- t ,,, 4 tkt kt-t ktk tkt/ dii aaa i-ta ,,, ,,- d ,,, ,,,/ 5 kt-t ktk tkt/ taa iii a-di aaa ,,- t ,,, ,,,/ 6 k tk t kt/ tkt aaa i -t a iii aa-d ,,, ,,,/ d,, 7 tk t/ tkt ktk a-di aaa i i -t iii ,,,/ t,, ,,, 8 tkt ktk t-tk iii aa-d aaa iii/ d,, ,,, ,- t,

Page 16

Note: By a careful analysis it could easily be understood that: (a) the groups of Chaturashra-jati are being concluded either in 4-kriyas or in 4- avartas or in the half of the 4-avartas i.e., 2 Avartas or in the half of the 2 Avartas i.e., 1 Avarta all of which pertain to the value of Chaturashra i.e., 4, the groups of Khanda-jati are being concluded either in 5-kriyas or in 5-avartas or in the half of the 5-avartas i.e., 2 Avartas all of which pertain to the value of Khanda i.e., 5 and the groups of Mishra-jati are being concluded either in 7-kriyas or in 7-avartas or in the half of the 7-avartas i.e., 3 Avartas ,all of which pertain to the value of Mishra i.e., 7. The above exercises should be practiced in the prescribed order. It is essential to gain command over the first exercise, i.e. rendering the Jatis in all three varieties before moving on to the next and so on. The fourth exercise should be attempted/practiced only after the completion of the first three exercises.

(b) (c)

4. Chaturashra-jati - groups in the cyclic-ending of Tala

4. Exerxise - Adi-tala - I4 O O - Trisra-gati 1 /tkt k/tk tk/t 2 tkt t - tk kt - t 3 tkt t- tk kt- t 4 tkt t- tk kt- t 5 tkt t -t k k t -t 6 tkt t -t k k t -t 7 tkt t -t k k t -k 8 ktt t/ kt ttk

As furnished in the above exercise, groups of three units (Trisra-Jatis) are rendered in three avartas of Trisra-gati Adi-tala with each avarta ending with a Chaturashra-Jati, thereby extending it to the next avarta by one and two units, respectively. A thorough practice of this exercise strengthens the rhythmical abilities of aspirants. A meticulous practice of similar exercises with various Jati groups and Gatis will enhance the rhythmical abilities of the learner. The left hand beat must be properly used while practicing the Gatis, whose values are in odd numbers. A regular practice of all these exercises is inevitable to get reasonable command over Svarakalpana.

******

Page 17

SPECIAL LAYA EXCERCISES

I. RENDERING OF KRIYAS OF TALA : 1. Chaturashra-gati : a. Rendering of ki-ta with the right hand followed by ta-ka on the left hand @ 4 units per second in Eka-kala. Rendering of ki-ta-ta-ka @ 4 units per second with right hand only in Eka-kala Rendering of ki-ta-ta-ka with the right hand followed by a consecutive rendering of a ki-ta-ta-ka with the left hand @ 8 units per two seconds in Dwi kala. Rendering of ki-ta-ta-ka @ 8 units per two seconds with right hand only in Dwi-kala.

b. c.

d.

2.

Trisra-gati : a. b. Rendering of ta-ki-ta @ 3 units per second with right hand only. Rendering by ta-ki-ta with the right hand followed by a consecutive rendering of a ta-ki-ta with the left hand at @ 6 units per two seconds Rendering of ta-ki-ta -- ta-ki-ta @ 6 units per two seconds with right hand only.

c.

II.

LAYA EXERCISES: 1. Chaturashra-gati: a. b. Practice of 7 Jati-alankaras. Rendering of Trisra (ta-ki-ta-3), Khanda (ta-ka-ta-ki-ta-5) and Mishra (ta-ka-taka-ta-ki-ta-7) Jatis in Adi-tala. Rendering of ki-ta-ta-ka in four Avartas of Adi-tala, with the rendering of a Khanda-jati at the cyclic ending of each Avarta, thereby extending it to the next Avarta by one, two and three units, respectively.

c.

2.

Trisra-gati: a. Practice of Jati-alankaras.

Page 18

b.

Rendering of Chaturashra (ki-ta-ta-ka-4), Khanda (ta-ka-ta-ki-ta-5) and Mishra (ta-ka-ta-ka-ta-ki-ta-7) Jatis in Adi-tala. Rendering of ta-ki-ta in three Avartas of Adi-tala, with the rendering of a Chaturashra-jati at the cyclic ending of each Avarta , thereby extending it to the next Avarta by one and two units, respectively.

c.

3.

Rendering of the 7 Jati-alankaras in Chaturashra-gati followed by Trisra-gati, in all varieties of Eka-kala and Dwi-kala. Rendering of Jati-alankaras @ 1, 2, 3, 4, 6 and 8 units, per kriya in Eka- kala and Dwi-kala. Rendering of a Khanda-jati followed by the successive rendering of Chaturashrajatis @ 4 units per two Kriyas, in two seconds, in Khanda-chapu- Tala without overlapping the Kriyas. Rendering of a Mishra-jati followed by the successive rendering of Chaturashrajatis @ 4 units per two Kriyas, in two seconds, in Mishra-chapu-tala without overlapping the Kriyas. Rendering of the three types of easy Mukhtayis in Roopaka, Trisra- Roopaka, Mishrachapu, Adi (Madhyama-kala), Adi (Chouka-kala), and Adi (Trisra- gati) Talas as furnished in the first part of Sangeetha Svararaga Sudha in Jatis as well as Svaras.

4.

5.

6.

7.

Page 19

GEETAS
1. Shankarabharana raga - Mathya Tala (I4 O I4) 29th Mela Aro : S R2 G3 M1 P D2 N3 S Ava : S N3 D2 P M1 G3 R2 S s n Shri . m g ha re s , Go . m . p . | | | | | | d vi n . | | s n da . m g su . m . r . d . p . || ||

d p | ma dhu | m . g . s ja n . , . | | | | | | | |

r s || da na || g la , . || ||

s s p , va na ma . s s s ga ru da r , Shri . s , san . m g sun . r r Shri . d . , .

| n | dhva | d | Shri | | s . , . s . g . p . d . d .

d n , mu kun s n raghu s n kar. m ja

s || da || || ||

s n dha ra s . , .

d p pa te

d p || sha na || s || ya || d ta || || || || || ||

m p | da ran | n . s ra p . m . | | | | | | | | | |

p | ga | d | ma | m . , . | | | |

g r ya ja p .

n n see . m . r .

m p bhi ra g .

g , ma . s hi r . r . , .

s r maam r r pa . r r pa .

d n pa . m ra m ra g . g .

s n tta . s n tta .

p | bhi | p | bhi |

s || ma || s || ma ||

S
Page 20

2. Mohana raga - Rupaka Tala (O I4) 28th Melajanya Aro : S R2 G3 P D2 S Ava : S D2 P G3 R2 S g g va ra | | p , ve . d ru p , na . , . || d || mri p | du | s pa g ra g ve g . p lo , . g . g . r . , . s ni r ni r ni s ni p la s la , . , . , . , . , . , . || || || || || || || || || || || || || || || || || || || ||

r s | va na | g p su ru g g su ra g ni g ni g ru g ra | | | | | | | | | | | | | |

d p ha lo

|| d p | || cha nu | || d p || bha ra || p || lya g . | | | |

d s chi ra d p nu ta

d , bam g , ka .

g g r g || p pa ma shu bha || gu d ta p ja d , ya . || d || pra

g | na | p | da | s | ga | | |

s , shee . d na g . p ja d . g .

d g va ra g p vaan. s r sa ra s ja

r r da . d s chi ta g , see . s ja

s s || d pri ya || ran d p pha la g , jaa .

d p ya ki r s ya ki

|| d p || daa . || g || sa

r | na | r | da |

g r , na nee . s la , .

r | ya |

g r ya ja

s || r ya || pra

s , shee .

Page 21

3. Shuddhasaveri raga - Triputa Tala (I3 O O) 28th Melajanya Aro : S R2 M1 P D2 S Ava : S D2 P M1 R2 S r m Aa . r | r na | le s | d . | ka s || s , ra || uu . m . , . m . s | nni | r na p la p . r tu s . r na p la p . r tu | | | | | | | | | | | | | | | | | | d p bo . d d dhi . m p pa ri s . r . | m | la p ti || || || || || || || || || || || || || || || || || || || ||

d d s sa ka la p ta p re p . , . m . p .

| d , | sha .

| d p || p | stra pu || ra || p || ta || p || .

| d p | nam . | d p | gha tu | s | . | m | ha | m | . r . , . p ta

p | d d | d p na | dhi . | nam . r | s r | s re | Aa . | . d . | p | . p | m . | . r . r .

|| r s || se . || r || ja r ta m . , . m .

m , va . d ju p .

d p pa ri

d | s , ga | tam . | d , | sha .

| s , | nam .

d d s sa ka la p ta p re p . , . m . p . p la

| d p || p | stra pu || ra || p || ta || p || .

d d dhi . m p pa ri s . r .

| d p | nam . | d p | gha tu | s | . | m | ha r . , .

| d d | d p | dhi . | nam . r . r .

r | s r | s re | aa . | . d . | p | . p | m . | .

|| r s || se . || ||

m , va .

d p pa ri

d | s , gha | tam .

| s , | nam .

S
Page 22

4. Kalyani raga - Triputa Tala (I3 O O) 65th Mela s s s | n ka ma la | ja g m ka ri d d ka ru r , kaan. n d su ra d p su ra p | p va | ra d . | n s || n | da la || vi d p ma la Aro : S R2 G3 M2 P D2 N3 S Ava : S N3 D2 P M2 G3 R2 S | d | su p | m p || na | ya na || | r | . | r | . s . s . || || || || || || || || || || || ||

d | d n || d p da | ka ru || naam

m | p g bu | dhe . | m | la g .

d | g g | g , na | sha ra | dhe . , . | s | ta , . | s | . , .

|| m p , || ka ma . || g m || ke .

p | m shi | na p | p da | ve d | g na | sh , . | s | ta

p | d p ra | ka . d . | d | . n la

p | d p vi | bhe . m | p pu | ro | m | la g . g .

| m p || g m | da na || va ra | r s || d d | tta ma || ka ru | r | . s . || r , || kaan.

g | g , ra | dhe . , . | s | . , .

m p , ka ma .

5. Malahari raga - Rupaka Tala (O I4) 15th Melajanya m 1. 2. 3. p | d s s ra r na || || || || || || r s | | | | | | | | | Aro : S R1 M1 P D1 S Ava : S D1 P M1 G3 R1 S d . p ra m vi ji r p ta ta s na || || || || || ||

Shri . Si ddha Sa r ka m ru .

| ga na na tha || | cha . | la | p vi d dya . m p

sin dhu | ga na Aa di d te te s la d a p . . r ku

var na

se . pu . m g

1. 2. 3.

ka si sa

| na sa ga ra na ya ka | rvo . | m , | bo . | p d | ba .

ka ri

va da .

ddhi | vi

na mo na mo || na mo na mo || g r s mi ka ra m ra g vi , . || || || ||

tta ma || g r da ra m p su ta || || || ||

s r lam . r m am .

p | ma |

r s nu ta

Page 23

SVARAPALLAVI
1. Hindola raga - Adi tala (I4 O O) 20th Melajanya Aro : S G2 M1 D1 N2 S Ava : S N2 D1 M1 G2 S Pallavi: s , , d , , n m , g d , , , n | , m | , d g , , m |d m |, , d , , n n || ||

Charanas: 1. s , , m g g s , , g s n d n s , | n , , s n n d , m,,ddmg,,mg g s , , g | ssnns s ,g 2. s , , , s n n s d n s n n s n n | d d n , , , n s | , n d d m m d , || | g , m m , d d n || | n n d d n n d m ||

d , , , , , m d m m g , m m g s | m g m d , d d n | d d , m g m d n || 3. m , , , , , g g m m g g s g s n m,dd,ndmd n, s,s nn | d , , , , , n s |gsmg , m dd | ddndd mgm |ggsm gm dn || ||

4. n d n s n d m d n , d n s , n d | n s , g s n dn | , s n s d n d m || . . . . . . ki ta jham . . . . . . | ta jham ta ri ta . . | . . . . ta kumda ri || d m g m g s s n s m g m ndns | n s g s n s n d | n d m g m d d n || . . . ta ki ta . . . da na ta . . . ta | ri ta . . .jha nu ta | . . . ta dhi gi na ta||

V
Page 24

KAMPITAS & GAMAKAS

(Symbolised, defined and sung by Akella Mallikarjuna Sharma) Ancient treatises of Indian music have furnished and defined two sets of Gamakas comprising of ten and fifteen in number, respectively. An in depth analysis of these Gamakas reveals that some of the Gamakas like Tribhinna (a pluck on three strings simultaneously) and Mudrita (sound produced with a closed mouth) are not Gamakas in the strict sense of the word and hence cannot be treated so. A detailed study of Gamakas throws light upon the various undefined Kampitas and Gamakas . The need of the hour is to categorize and define them to suit contemporary music. This, enables a more comprehensive approach to a study of Gamakas, which is the crux of Karnataka music. In this endeavour, various Kampitas and Gamakas have been categorised and defined. They have also been symbolised since documentation is crucial. An attempt in this direction will safeguard our rich culture, which is of immense value to the future generations. The svaras occupying the twelve Svaragatasthanas have been assigned 16 names .They have been categorised into three types. 1. 2. The plain notes: The Shadja and Panchama, which are neither Kampitas nor Gamakas, are permanent plain notes. The Kampitas: The oscillation of a note in relation with its adjacent note is Kampita. The adjacent notes of the Shadja, which are the Shuddha-rishabha and Kakali-nishada and the adjacent notes of Panchama, which are Shuddha-dhaivata and Prati-madhyama are permanent Kampitas which have not been symbolised. These Kampitas are of 4 types and they are, a. Atho-svaragathasthana-prAdhAnya-Ordhva-Kampita wherein the note oscillates from its immediate lower note to its original position, for example: Shuddha-rishabha and Shuddha-dhaivatha. b. Ordhva-svaragathasthana-prAdhAnya-atho-kampita wherein the note oscillates from its immediate upper note to its original position, for example: Prathi-madhyama and Kakali-nishada. c. Sveeya-Svaragathasthana-prAdhAnya-Ordhva-Kampita wherein the note oscillates from its original position to its immediate upper note, for example: Chatushruthi-rishabha and Chatushruthi-dhaivatha. d. Sveeya-Svaragathasthana-prAdhAnya-atho-kampita wherein the note oscillates from its original position to its immediate lower note, for example: Sadharana-gandhara(r3) and Kaishiki-nishada (d3). 3. The Gamakas: The Gamakas are categorised into 2 types. They are, Lalitha-gamaka and Sampradaya-gamaka. Gamakas, in general begin with a downward glide. In Lalitha Gamaka, the note starts oscillating from its second upper note to the original note. For eg. The Sadharana-gandhara in the Avarohana of KAnada.This begins with a downward glide from Shuddha-madhyama and oscillates between Shuddha-madhyama and SadhArana-gAndhAra. Similarly, the Lalitha-gamaka of Shuddha-madhyama is the oscillation between Panchama and Shuddha-madhyama and the Lalitha-gamaka of Kaishiki-nishAda is the oscillation between Shadja and Kaishiki-nishAda . In SampradAya gamaka, the note swings between the second uppernote and the immediate lower note of a particular note. For eg. in SampradAya-gamaka, the SadhArana-gandhAra begins with a downward glide and oscillates between Shuddha-madhyama and Chathushruti-rishabha like in the Arohana of KAnada. Similarly, the SampradAya-gamaka of Kaishiki-nishAda is the oscillation between the Shadja and Chatushruti-dhaivata and Shuddha-madhyama is the oscillation between the Panchama and the Antara-gAndhAra. Besides the permanent plain notes and the permanent Kampitas, the remaining six notes are rendered in all the three types. Note: 1.While the oscillation between two notes is Kampita, the swinging of a note between three or more notes is Gamaka. 2.Each and every symbol furnished below is strictly based on the traveling of the sound (of the note). 3.The slash across any symbol indicates the SampradAya-gamaka and the thick dot on the symbol indicates a longer duration of the note. 4.The long and short notes are indicated with letters of upper case and lower case respectively. 5.The subscript number furnished along with the note is the serial number of the respective note among the 16 names of the 12 notes. Shuddhamadhyama has not been numbered at all. 6. All the items should be sung @ 2 notes per each second. Page 25

(Note:- In the figures furnished below in each item while the 1st figure is the serial-number of the main-item, the 2nd figure is the serial-number of the sub-item, the 3rd figure is the successive serial-number of the corresponding audio-clipping provided in the CD and the 4th figure is the serial number in this file) Kampitas: 01. (a). 395-01- R - S r1 - S r1 D - P d 1 - P d1

(b). 396-02-

- M - P m 2 - P m2

N - S n3 - S n3

(c). 397-03-

- R - R2 g2 - R2 g2

D - D2n2 - D2n2

(d). 398-04Gamakas: 02. 1. 399-05-

- G - G2 r2 - G2 r2

N - N2d2 - N2d2

-M g r s R pmM m r2 s R2 - Arabhi = = -p m G pp mm G - Begada

N d P S n d p D sn2N2 n2 P - Surati r2sS s d2 p D2 - Arabhi

2. 400-06-

3. 401-07-

-S r2s S

4. 402-08

-S r2r2 S

5. 403-09

-G r s mr2 mr2 r1R1 s - Todi

N d p sd2 sd2 d1D1 p - Todi

6.404-10-

-m mn2

d P d1D1 P - Todi

d r S d1g2 r1R1 S - Todi

03. 1.405-11-

-|r

d p

|d m pd1 mp

sr2 sn2 d p - Begada

g3m r1 - Saveri

2.406-12-

-G r s R2G2m r2g2 s - Nayaki \ -S g2S \ g m d mg2 m d - Hindola

N d p D2N2s d2n2 p - Nayaki \ P n2P

04. 1.407-13-

-m m

Page 26

2.408-14-

-m m

g m d mr2 m d - Todi

3.409-15-

-m g r s m g3m r2g3 s - Shankarabharana

4.410-16-

-m g r s m mr2 r1 s - Todi

5.411-17-

-m G r 2 m mR m r1 - Todi

6.412-18-

-s r g m s g m d s sg3R2 g3 m - Shankarabharana s smG2 m d1 - Hindola

7.413-19-

-s r g m s r1 r1mR2 m - Todi r g m p r2 r2mR2 m p - Bhairavi

p d n s p d1 d1sD2 s - Todi r g m r2 r2g2r2 g2pG3 pd p p d1 p - Bhairavi

8.414-20

-R g2R2g2R2g2R2g2 - Bhairavi

9.415-21-

-g R s g3 g3mr2g3 s - Begada \ -r m g r r2m r2m g2m r2 - Bhairavi \ -g m g r r2m r2m g2m r2 - Kharaharapriya \ -m p m g g3p g3p mp g3 - Shankarabharana \ -g m g r r2m r2m r2m r1 - Todi \ -G r s mR2mG2m r2g2 s - Bhairavi \ N d p sD2sN2s dn2 p - Begada \ n s n d d2s d2s d2s d1 - Todi \ r r2 - Begada \ n s n d d2s d2 s n2s d2 - Kharaharapriya

05. 1.416-22-

2.417-23-

3.418-24-

M g pG3pMp g3m

Page 27

06. 1.419-25-

- R p/d/n/s-R2

G p/d/n/s/r-G3

-R S R2,g3 S - Shankarabharana

G R G2,m R2 - Kharaharapriya

2. 420-26-

-m m

p m

sn

r2m r1 s - Todi

p g3p g3

r2 - Begada s d2s d1 p - Todi

07. 1.421-27-

-G Mg2m

r s r2 s - Kharaharapriya

N d p Sn2s d2n2 p - Kharaharapriya

2.422-28-

-G r s mG2m r2 s - Kharaharapriya

N d p sN2s d2n2 p - Kharaharapriya

3.423-29-

-G r s Mr2m r1 s - Todi

N d p Sd2s d1 p - Todi

4.424-30-

-G r s mR2m r1 s - Todi

N d p sD2s d1 p - Todi

5.425-31-

-G m d Mmg2mg2 m d - Hindola

D m d D1 d1md1m d1 - Hindola

6.426-32-

-R g m R2 mr2mr2 m - Bhairavi

D n s D2 sd2sd2 s - Bhairavi

-G m p G3 pg3pg3 p - Shankarabharana

7.427-33-

-s n r s s sd2sd2 r2 s - Natakuranji

8.428-34-

-p d r s p psd2sd2 r2 s - Kambhoji

08. 1.429-35-

-s G m s mg2mg2 m - Hindola

2.430-36-

-s G m s mg2mg2 m - Hindola

3.431-37-

-r G m r mr2mr2 m - Bhairavi Page 28

4.432-38-

-r G r2 mr2mr2

m m - Bhairavi

5.433-39-

-P n2pd2p - Bilahari

6.434-40-

-P N2pD2p - Bilahari

7.435-41-

-M D2g3Pg3 - Darbar

09. 1.436-42-

-G mg2m g2mg2

m d m d1 - Hindola

2.437-43-

-G mr2m r2mr2

m p m p - Bhairavi

3.438-44-

-G m p mr2m r2mr2 m p - Bhairavi

G mr2mr2mr2

p m p m - Todi

4.439-45-

-G m d mr2mr2m r2mr2 m d1 - Todi

10. 1.440-46-

-R sg3R2 - Shankarabharana

D psD2 - Shankarabharana

2.441-47-

-sR s s Sg3Rg3 s - Shankarabharana

g M g g3 G3pMp g3 - Shankarabharana

s G r s SmG2m r2 - Bhairavi

r G r r1 R1mG3m r1 - Saveri

3.442-48-

-r G r r2 R2mG2m r2 - Kharaharapriya

d N d d2 D2sN2s d2 - Kharaharapriya

-r G r r1 R1mR2m r1 - Todi

d N d d1 D1sD2s d1 - Todi

4.443-49-

-r G r r1 R1g2 R2g2 r1 - Todi

d N d d1 D1n2D2n2 d1 - Todi

Page 29

5.444-50-

-g M p g3 g3Pg3pg3 p - Shankarabharana -g M p 3 3 3 3 g G pg pg p - Shankarabharana -R G r2g3R2 G3 - Shankarabharana D d2sD2 S S - Mohana

6.445-51-

11. 1.446-52-

2.447-53-

-N D2sd2

S S - Kharaharapriya

3.448-54-

-N S d2Sd2 S - Kharaharapriya

4.449-55-

-G M r2mR2 M - Kharaharapriya

5.450-56-

-m d n s m d n2sn2s n2s - Hindola

6.451-57-

-G G r s r2mR2 r2mr2m r2m s - Darbar

7.452-58-

-N D2sd2sd2

S S - Kharaharapriya

8.453-59-

-N d2Sd2sd2

S S - Kharaharapriya

9.454-60-

-G r s R2mR2 R2mR2 R2mG2m r2g2 s - Bhairavi

-M G3pG3 G3pG3 G3pMp

g r g3m r2 - Begada

-N D2sD2 D2sD2 D2sN2s

d p d2n2 p - Begada

V
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VARIETIES OF KAMPITA & GAMAKA OF KAISHIKI-NISHADA

(to be sung @ one note per each second; the figures are the respective serial numbers of the Kampitas or Gamakas) 1 01. (455) P D1/D2 N2 1 02. (456) P D2 N2 3 03. (457) P D2 N2 56 04. (458) P D2 N2 35 05. (459) P D2 N2 42 06. (460) P D2 N2 53 07. (461) P D2 N2 54 08. (462) P D2 N2 58 09. (463) P D2 N2 59 10. (464) P D2 N2 55 11. (465) P D2 N2 37 12. (466) P D2 N2 43 13. (467) P D2 N2 57 14. (468) P D2 N2 S 25 S 27. (481) P S 26. (480) P S 25. (479) P D2 1 D1 1 D1 S 24. (478) P D2 S 23. (477) S S 22. (476) S S S S 19. (473) S S 25 S 18. (472) S 17. (471) S S 16. (470) P S 15. (469) P 1 D1 1 D1 27 N2 28 N2 25 N2 57 N2 12 N2 29 N2 30 N2 D2 3 D2 25 D2 9 D1 9 D1 48 N2 9 N2 48 N2 49 N2 D1 9 D1 9 D1 D2 P P P P P 53 N2 57 N2 25 D2 25 D2 P P S S

Darbar 20. (474) S Nayaki 21. (475) S

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Page 32

AMS Foundation
Sai Sannidhi No. 10-283/9/1/1, Vasanthapuri Colony, Malkajgiri, Hyderabad - 500 047.

Jai Sitaram

AMS form No. 1 (for Juniors)

I got up at _________a.m.

SANGEETHA SADHANA by :______________________

Date :________________ (Working Day / Holiday)
Sl. No. 1. 1.1 1.1.1 1.1.2 1.2 1.2.1 1.2.2 1.2.3 1.2.4 1.3 1.4 1.4.1 1.4.2 1.4.3 2. 2.1 2.2 2.3 2.4 3. 4. 5. 6. 7. Details LAYA SADHANA [in Eka-Kala (one Matra - @ 4 Units per second) & Dwi-Kala (two Matras - @ 8 Units per two seconds)] JATI ALANKARAS in SEVEN Talas in : Chaturashra - gati [4] Trishra - gati [3] JATI BREAKS (Virupulu): 3, 5 & 7 Jati Breaks in Adi Tala in Chaturashra-gati [4] Khanda Break at the end of Adi Tala in Chaturashra-gati [4] 4, 5 & 7 Jati Breaks in Adi Tala in Trisra-gati [3] Chaturashra Break at the end of Adi Tala in Trishra-gati [3] Jati Alankaras @ 1, 2, 3, 4, 6 & 8 Units per Beat JATI MUKTAYEES in Rupaka; Khanda-chapu; Mishra-chapu; Adi-Ekakala; Adi-dwikala & Adi Trisra-gati Jatis ending with Tala-cycle Multiples of Tala-cycle syncopated with Jati Multiples of Jati syncopated with Tala-cycle Primary Exercises in MELAKARTHA Raga: Sarali Janta Daatu Alankaras GEETHAs: VARNA Sadhana: SHRAVANA (Listening) Sadhana: Theory Study: Any other : Total Duration of Sadhana during the day REASON, for Less or NO practice : Portion for next class : Metronome Speed From - To Total Duration

Signatures:

Sadhaka : __________

Parent:__________

Review by Guru:__________
Designed by : AMS / JSEP

Minimum Hrs. of Practice : Working Day 3 Hrs. / Holiday 5 Hrs.

Page 33

AMS Foundation
Sai Sannidhi No. 10-283/9/1/1, Vasanthapuri Colony, Malkajgiri, Hyderabad - 500 047.

Jai Sitaram

AMS form No. 1 (for Seniors)

I got up at _________a.m.

SANGEETHA SADHANA by :______________________

Date :________________ (Working Day / Holiday)
Metronome Speed

Sl. No. 1. 2. 3. 4. 5. 6. 7. LAYA Sadhana: VARNA Sadhana: AKARA Sadhana: NEW Raga: NEW Composition: OLD Raga: OLD Compositions:

Details

From - To

Total Duration

8. 9. 10. 11. 12.

SWARA KALPANA for: Notation Writing for a Raga: Notation Writing for a Composition: Composing: SHRAVANA Sadhana:

13. 14. 15. 16.

Talaprastara: Theory Study: Teaching:

Total Duration of Sadhana during the day : Reason, for Less or NO practice : Portion for next class :

Signatures: Sadhaka : _________

Parent:__________

Review by Guru:______________

Minimum Hrs. of Practice : Working Day 4 Hrs. / Holiday 8 Hrs.

Designed by : AMS / JSEP

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