SaPa

Baby
Violin
Book 2

my name is ________________________

OFFICIAL COURSEWARE

www.sapaindia.com
 Published by
SaPa Learning Pvt. Ltd.
#3, Postal Colony Layout, 1st Main, Sanjaynagar, Bangalore 560094
+91-88613-02886 | [email protected]

First Edition April 2019

Second Edition November 2021

ISBN 978-1-64570-747-9

Copyright © Bindu Subramaniam and Ambi Subramaniam

Performers
Violin: Ambi Subramaniam
Mridangam: Akshay Anantapadmanabhan

Design
Hari Ravikumar and Balaganesan M.
 Introduction 5

Before You Begin... 6

Remember the Violin? 7

Reading Notation 10

Technical Exercises 11

Sri Gananatha 15

Kunda Gaura 18

Sliding Exercises 21

Kereya Neeranu 22

Super Shiva 25

Padumanabha 26

Vishnu’s Violin 30
Vara Veena 32

Kamalajaadala 34

Brilliant Brahma 36

Hare Krishna Vasudeva 37

Mandaradhaare 41
Important Terms 43
 Introduction
Welcome to SaPaBaby Violin 2! These textbooks have been designed to teach the
elements of Indian music to young children. They cover all the basics needed to
build a solid foundation while keeping in mind the child’s unique learning process.

I have dedicated my life to the violin, and I hope the instrument brings you as much
joy as it brings me. As an instrument, the violin exists in many cultures around the
world, mostly because it is emotive and has a tone which resembles the human
voice.

It is believed that Baluswami Dikshitar, the brother of Muthuswami Dikshitar was

responsible for bringing the violin to Carnatic music, though there were violin-like
instruments earlier. Primarily an accompanying instrument, it was the dream of my
father, Professor V. Lakshminarayana, to make the Indian violin a solo instrument
on the global stage, and he developed a truly remarkable technique to make this
a reality.

While learning to play any instrument, technique is extremely important. Focus on

it in the beginning, which is much better than trying to change it later on. Always
pay attention to details like phrasing, fingering, and bowing. While practising, make
sure you always use a tambura to help you focus on pitch, and a metronome or tala
meter to help you focus on the rhythm. If you have a full-length mirror, use that to
check your posture while you play. Focus on your tone, and most importantly, learn
to love playing your instrument!

This is the first ever series specifically designed to teach the Indian violin. The violin
is one of the most versatile instruments you can play, and the SaPa Violin Method
focuses on building technique. Although we teach Carnatic music, you learn a glob-
al violin technique. This will serve as a base, on which another violin style can be
learnt.

Now that you’ve come to level 2, don’t forget what you’ve learnt in level 1! To make
sure you remember whatever you’ve completed in the previous level, practice the
pieces from books 1 and 2!

All the best!

L. Subramaniam

5
 Before You Begin...
Welcome to the wonderful world of music! Your friends Cheerful Cymbalist

Brown Bowman Furry Flautist Happy Harper and Maestro

Melodica will guide you through the book.

Swaras, or notes, are the building blocks of music. A sequence of

notes in a particular order is called a scale. Think of a scale as notes
going up and down on a ladder. Different scales have different
notes. Arohana means ‘notes going up a scale’ and Avarohana
means ‘notes coming down a scale.’

A raga is based on a scale. If you decorate a scale by using

ornaments (gamakas), repeating certain notes, and playing
special phrases, it can become a raga. Each raga has its
own ornaments, important notes, and special phrases.

Laya refers to rhythm or tempo in music. It is steady, like your heartbeat. But just
as your heartbeat can get faster when you run or slower when you’re asleep, the
laya can be different for different compositions.

Tala is the way we measure rhythm. We use tala to keep the beat in music. Each
tala has a fixed number of beats, and is repeated. This is known as a tala cycle.

Always practise music with a tambura or a drone instrument to help you with the
pitch, and a tala meter or metronome to help you with the rhythm.

Note to Parents
The audio material available is helpful for students to listen and follow along, and internalise
what they are going to play. Listening is an important part of learning.

The technical exercises in this book are based on raga Mayamalavagaula. The student can
also go back and play the exercises in Book 1 in this raga. At a later stage, one can play all
the exercises in this book in other ragas like Kalyani, Kharaharapriya, Kiravani, etc.

6
 Remember the Violin?
The violin is a bowed, string instrument. It was first made nearly five hundred years
ago in Italy. The violin has four strings (and sometimes, five). The four strings are
called G, D, A, and E, where ‘G’ is the lowest and ‘E’ is the highest.

The violin is made from maple or spruce wood. T ip

The bow is made from pernambuco wood and
the bow hair is made from the tail of a horse.

Scroll

Neck
Middle
Fingerboard

Bridge
F-hole GDA E
Fine tuner

Tailpiece Frog

VIOLIN BOW

In Western classical music, violinists play the violin standing up. In Indian classical
music, violinists play the violin sitting down.

Before you start playing the violin, you should learn the correct posture for sitting
down, the correction position of the violin, and the correct grip of the bow.

Did You Know?

If you don’t use rosin on a
new bow, you won’t hear any
sound when you play the violin!

7
Sit cross-legged with your back straight. Then
put your right ankle forward. The shoulders
should be at the same height. Then place the
violin as shown in the picture to the right.

The left hand wrist should be gently curved

around the violin neck.

The right hand should hold the bow as shown

in the picture below. The right hand wrist is
never above the arm, the elbow is never above
the shoulder.

The bow is played at a point in between the

fingerboard and the bridge. The bow should be
always parallel to the bridge.

Technique
The symbol ‘п‘ denotes a Down bow.
A Down bow goes from the
direction of the Frog to the Tip.
Usually, we use a Down bow
at the start of a new song
or a new phrase.

The symbol ‘v’ denotes an Up bow.

An Up bow goes from the direction
of the Tip to the Frog.
B
eg
in
UP
En
d

B
OW
DO
W
N

En
B

d
OW
B
eg
in

8
 Activity
It’s fun playing on an open string! There’s no need to use your left hand.
Play the open string ‘A’. Play a Down bow (п)
Make sure you’re playing only one string at a time! Do you have a clear
tone? If yes, now play the open string ‘E’. Play an Up bow (v).
Are you playing only on the E string? Do you have a clear tone? Good!

Now try these variations:

S , , , S , , , S , , , S , , ,
S , S , S , S , S , S , S , S ,
S S S , S S S , S , S , S , , ,
S , S S S S S , S S S S S , , ,

Technique
It’s important to ‘plan’ your bowing.
You can play a full bow:

FULL

Or you can play a half bow, in the middle:

MIDDLE

Or a half bow in the upper half (from the tip to the middle)
of the bow:

TOP HALF

Or a half bow in the lower half (from the middle to the frog)
of the bow:

BOTTOM HALF

Remember, different exercises and songs use different parts

of the bow. Think about your bowing before you play!

The symbol is called a Slur and it means that you

must play all the notes under it with a single bow.

For example, S R G M indicates that the four notes –

S, R, G, and M should all be played in a single bow.

9
 Reading Notation
Indian notation can be written in different scripts. Here’s what you need to help you
understand the basics of reading Indian notation.

Note Name Written as Sung as

Shadja S Sa
Rishabha R Ri
Gandhara G Ga
Madhyama M Ma
Panchama P Pa
Daivata D Da
Nishada N Ni

The dot above a note means that the note is a higher octave. Ṡ is higher than S.

.
P
Tara-sthayi
(Higher octave)
P
Madhya-sthayi
(Middle octave)
P.
Mandra-sthayi
(Lower octave)

A , (comma) after a note means that a note should be made longer. In the phrase
S,,R G,M, P,,, P,,, – the S is three counts, the R is one count, the G and M
are two counts each, and the P is four counts.

An > (accent) over a note means that it should be played with more force. We use
accents to emphasize certain notes.

The || at the end of a line shows the end of the tala.

The | in between separates the different parts of the tala.
(You will learn more about different talas later on).

The most common tala is Adi, which is 8 beats, divided as 4+2+2.

It looks like this:
S R G M | P D | N Ṡ ||

10
 Technical Exercises
Raga: Mayamalavagaula Raga Mayamalavagaula has the notes
S R1 G3 M1 P D1 N3 Ṡ in the arohana and
Ṡ N3 D1 P M1 G3 R1 S in the avarohana.
Tempo: 100 beats per minute
1 S,RSS, | R,GRR, | G,MGG, |
4
M,PMM, | P,DPP, | D,NDD, |
N,ṠNN, | Ṡ,ṘṠṠ, | Ṡ,ṘṠṠ, |
N,ṠNN, | D,NDD, | P,DPP, |
M,PMM, | G,MGG, | R,GRR, | Technique
You can’t play a janti
S,RSS, | swara (double note)
with an open string!

2 S,RSSṆ | R,GRRS | G,MGGR |

4
M,PMMG | P,DPPM | D,NDDP |
N,ṠNND | Ṡ,ṘṠṠN | Ṡ,ṘṠṠN |
N,ṠNND | D,NDDP | P,DPPM |
M,PMMG | G,MGGR | R,GRRS |
S,RSSṆ |

3 S,RSSṆṆ, | R,GRRSS, |
4
G,MGGRR, | M,PMMGG, |
4 4
P,DPPMM, | D,NDDPP, |
N,ṠNNDD, | Ṡ,ṘṠṠNN, |
Note to Parents
The scale of Mayamalavagaula contains different intervals – semi tone, tone, and one and
a half tones. Purandaradasa popularized teaching Mayamalavagaula as the first raga.
The tempo indicated for every exercise is a starting point. As the student progresses, the tempo
can be increased. For compositions, the tempo indicated is the tempo it is intended to be
performed in, but students can also practise faster or slower to gain musical skills.

11
 Ṡ,ṘṠṠNN, | N,ṠNNDD, |
D,NDDPP, | P,DPPMM, |
M,PMMGG, | G,MGGRR, |
R,GRRSS, | S,RSSṆṆ, | Activity
Try to play these
exercises in other ragas
that you have learnt.

Tempo: 135 beats per minute

> > > >4
4 SRS | RGR | GMG | MPM |
>
0 > > >
PDP | DND | NṠN | ṠṘṠ |
> > > >
NṠN | DND | PDP | MPM |
> > >
GMG | RGR | SRS |

> > >4 > 0

5 SGR | RMG | GPM | MDP |
> > >4 >
PND | DṠN | NṘṠ | NṘṠ |
> > > >4
DṠN | PND | MDP | GPM |
> > >4
RMG | SGR | ṆRS |

Activity
Try playing exercises #4 and #5 with slurred bowing.
For example:
4
4 SRS | RGR | GMG | MPM |
0
PDP | DND | NṠN | ṠṘṠ |
NṠN | DND | PDP | MPM |
GMG | RGR | SRS |

12
 Extra Credit

Tempo: 100 beats per minute

п 4
3
a S,RS S,RS S,RS S,,, |
v
R,GR R,GR R,GR R,,, |
G,MG G,MG G,MG G,,, |
4
M,PM M,PM M,PM M,,, |
4
P,DP P,DP P,DP P,,, |
D,ND D,ND D,ND D,,, |
N,ṠN N,ṠN N,ṠN N,,, |
4
Ṡ,ṘṠ Ṡ,ṘṠ Ṡ,ṘṠ Ṡ,,, |
Ṡ,ṘṠ Ṡ,ṘṠ Ṡ,ṘṠ Ṡ,,, |
N,ṠN N,ṠN N,ṠN N,,, |
D,ND D,ND D,ND D,,, |
P,DP P,DP P,DP P,,, |
M,PM M,PM M,PM M,,, |
G,MG G,MG G,MG G,,, |
R,GR R,GR R,GR R,,, |
S,RS S,RS S,RS S,,, |

13
Tempo: 135 beats per minute
> >
п > v > > >
b SRGRS | RGMGR | GMPMG |
> > > > > >
MPDPM | PDNDP | DNṠND |
> > > > > >
NṠṘṠN | NṠṘṠN | DNṠND |
> > > > > >
PDNDP | MPDPM | GMPMG |
> > > >
RGMGR | SRGRS |

Tempo: 100 beats per minute

п
c S,R,G,MGR,GRS,,, |
v
R,G,M,PMG,MGR,,, |
G,M,P,DPM,PMG,,, |
M,P,D,NDP,DPM,,, |
P,D,N,ṠND,NDP,,, |
D,N,Ṡ,ṘṠN,ṠND,,, |
D,N,Ṡ,ṘṠN,ṠND,,, |
P,D,N,ṠND,NDP,,, | Activity

M,P,D,NDP,DPM,,, | Once you’re comfortable

playing these exercises in the
G,M,P,DPM,PMG,,, | scale of Mayamalavagaula,
R,G,M,PMG,MGR,,, | play them in the scale of
Shankarabharanam, which
S,R,G,MGR,GRS,,, | you have already learnt!

Mini Theory Lesson

Do you remember the raga Shankarabharanam?
It has the notes S R2 G3 M1 P D2 N3 in both arohana and avarohana.

You have now learnt the raga Mayamalavagaula.

It has the notes S R1 G3 M1 P D1 N3 in both arohana and avarohana.

Only the notes Ri and Da are different. Shankarabharanam has R2 and D2

while Mayamalavagaula has R1 and D1.

14
 Sri Gananatha
Raga: Malahari This geetam is dedicated
to Ganesha, the God
Tala: Rupaka l 82 beats per minute we pray to at the start
of something new.
Composer: Purandaradasa
Arohana S R1 M1 P D1 Ṡ
Avarohana Ṡ D1 P M1 G3 R1 S

п 4 v 0 4
M P | D Ṡ Ṡ Ṙ || Ṙ Ṡ | D P M P ||
Sri Ga na na tha Sin dhu ra var na
п 0 п
R M | P D M P || D P | M G R S ||
Ka ru na sa ga ra Ka ri va da na
v
S , | R M G R || S R | G R S , ||
Lam bo da ra La ku mi ka ra

п 0
R M | P D M P || D P | M G R S ||
Am ba Su ta A ma ra Vi nu ta

п (п)
S , | R M G R || S R | G R S , ||
Lam bo da ra La ku mi ka ra

п v
M P | D Ṡ Ṡ Ṙ || Ṙ Ṡ | D P M P ||
Si ddha cha ra na Ga na Se vi ta
п п 0
R M | P D M P || D P | M G R S ||
Si ddhi Vi na ya ka Te Na mo Na mo
Note to Parents
A geetam (or gita) is a short and simple composition in praise of a God or a Goddess.
Geetams are taught in preparation for the more difficult pieces.

15
v
S , | R M G R || S R | G R S , ||
Lam bo da ra La ku mi ka ra

п
R M | P D M P || D P | M G R S ||
Am ba Su ta A ma ra Vi nu ta

п (п)
S , | R M G R || S R | G R S , ||
Lam bo da ra La ku mi ka ra
п
M P | D Ṡ Ṡ Ṙ || Ṙ Ṡ | D P M P ||
Sa ka la Vi dya A di Pu ji ta
п
R M | P D M P || D P | M G R S ||
Sa r vo tta ma Te Na mo Na mo
v
S , | R M G R || S R | G R S , ||
Lam bo da ra La ku mi ka ra

п
R M | P D M P || D P | M G R S ||
Am ba Su ta A ma ra Vi nu ta

п (п)
S , | R M G R || S R | G R S , ||
Lam bo da ra La ku mi ka ra

Technique
Always remember to keep
the lower fingers on the string while playing.
If you’re playing the 2nd finger,
make sure the 1st finger is also
on the string
in the right position,
ready to play!
If you’re playing with the 3rd finger,
1st and 2nd fingers should be in position.
If you’re playing the 4th finger –
1st, 2nd, and 3rd fingers should be in place.

16
Lyrics
sri Gananatha sindhura varna
karunasagara karivadana
Lambodara lakumikara Amba suta
amara vinuta Lambodara lakumikara
Siddhacharana Gana sevita
Siddhi Vinayaka te namo namo
(Lambodara . . .)
sakala vidya adi pujita
sarvottama te namo namo
(Lambodara . . .)

Meaning
You are the king of the Ganas,
you are red in colour,
you are an ocean of compassion, and
you have the face of an elephant.
You have a big belly and you give riches to your devotees.
Son of Parvathi, you are worshipped by the Gods.
Sages worship you and the Ganas serve you.
You grant the wishes of your devotees. I salute you.
You are first God we worship before we learn anything new.
You are the best. I salute you.

Did You Know?

The first four geetams that a student learns are:
1. Sri Gananatha
2. Kunda Gaura
3. Kereya Neeranu
4. Padumanabha

All of them are composed in the raga Malahari

and they are called Pillari Geetams.

Other geetams are called Sanchari Geetams.

17
 Kunda Gaura
Raga: Malahari This geetam is dedicated
to Lord Shiva, one of the
Tala: Rupaka l 100 beats per minute Gods in the Hindu trinity.
Composer: Purandaradasa Arohana S R1 M1 P D1 Ṡ
Avarohana Ṡ D1 P M1 G3 R1 S

п 0
D P | M G R S || R M | P D M P ||
Kun da Gau ra Gau ri Va ra
п 4
D Ṙ | Ṙ Ṡ DP || D P | M G R S ||
Man di raa ya Maa na ma ku ta
v п
S , | R , R , || D P | M G R S ||
Man daa ra Ku su maa ka ra
v 4 (п)
S R | P M G R || S R | G R S , ||
Ma ka ran dam Vaa si tu re
п 0
D P | M G R S || R M | P D M P ||
He ma ku ta Sim haa sa na
п 4
D Ṙ | Ṙ Ṡ D P || D P | M G R S ||
Vi ru paa ksha Ka ru na ka ra
v п
S , | R , R , || D P | M G R S ||
Man da ra Ku su ma ka ra
v 4 (п)
S R | P M G R || S R | G R S , ||
Ma ka ran dam Va si tu re

18
п 0
D P | M G R S || R M | P D M P ||
Chan da maa ma Man daa ki ni
п 4
D Ṙ | Ṙ Ṡ D P || D P | M G R S ||
Man di raa ya Maa na ma ku ta
v п
S , | R , R , || D P | M G R S ||
Man daa ra Ku su maa ka ra
v 4
(п)
S R | P M G R || S R | G R S , ||
Ma ka ran dam Vaa si tu re

Lyrics
kunda gaura Gauri vara
mandiraaya maana makuta
Mandaara kusumaakara
makarandam vaasiture
hemakuta simhaasana
Virupaaksha karunakara
(Mandaara . . .)
Chandamaama Mandaakini
mandiraaya maana makuta
(Mandaara . . .)

Did You Know?

Hampi, a UNESCO World Heritage Site in Karnataka, houses the famous
Virupaksha temple and the Hemakuta Mountains are also found nearby.
Saint Purandaradasa, as a travelling monk spent his last years at Hampi
and incorporated these details into this composition.

19
Meaning
You are as white as a jasmine,
you are the husband of Gauri,
and you live in her heart.
You wear a great crown.
You grow Mandara flowers and
you spread their honey everywhere.
The Hemakuta mountains are your throne,
Virupaksha, and you are so kind.
The moon and the river Ganga
decorate your crown.
Virupaksha Temple, Hampi

Mini Theory Lesson

Mayamalavagaula is a Janaka raga or parent scale.

Janaka ragas are also called Melakarta ragas.

Malahari is a Janya raga or derived scale.

Malahari is derived from Mayamalavagaula.

Here is the arohana-avarohana of Mayamalavagaula:

S R1 G3 M1 P D1 N3 Ṡ – Ṡ N3 D1 P M1 G3 R1 S

Here is the arohana-avarohana of Malahari:

S R1 M1 P D1 Ṡ – Ṡ D1 P M1 G3 R1 S

When we remove some of

the notes of Mayamalavagaula,
we get Malahari.
Activity
Can you identify which notes are Daily practise of at least 30 minutes is a must!
removed in the arohana Here’s a practise template for you to follow.
and which notes are The more you practise, the better you’ll get!
removed in the avarohana? Exercises: 10 minutes
Revision piece: 5 minutes
New lesson: 15 minutes
Do this every day!

20
 Sliding Exercises
Raga: Mayamalavagaula Raga Mayamalavagaula has the notes
S R1 G3 M1 P D1 N3 Ṡ in the arohana and
Ṡ N3 D1 P M1 G3 R1 S in the avarohana.

п 4
1 S,R, R,G, G,M, M,P,
3 4
P,D, D,N, N,Ṡ, Ṡ,Ṙ,
Ṙ,Ṡ, Ṡ,N, N,D, D,P,
P,M, M,G, G,R, R,S, Technique
Whenever you slide
п 4 from one note to another,
2 S,G, R,M, G,P, make sure you move
only the higher finger.
P,G, M,R, G,S, For example,
if you are sliding
from R to G,
п 3 4 your first finger
3 P,N, D,Ṡ, N,Ṙ, stays down on R, and
only your second finger
slides from R to G.
Ṙ,N, Ṡ,D, N,P,
While shifting, make sure
п 4
your hand position
stays the same.
4 R,S, G,R, M,G, P,M, For example,
if you’re shifting
P,G, M,R, G,S, from S to G,
make sure
your first finger
п 3 4
slides along with
5 D,P, N,D, Ṡ,N, Ṙ,Ṡ, the second finger,
and stops at R.
Ṙ,N, Ṡ,D, N,P,

Note to Parents
Gamakas are ornamentation we add to notes to make them more beautiful.
For example, we can slide between notes, or repeat notes.
Although some ragas may have similar notes, they can have different gamakas.
It’s important to remember and play the correct gamakas for each raga.

21
 Kereya Neeranu
Raga: Malahari This geetam is dedicated to
Lord Vishnu, one of the Gods
Tala: Triputa l in the Hindu trinity.
120 beats per minute Arohana S R1 M1 P D1 Ṡ
Avarohana Ṡ D1 P M1 G3 R1 S
Composer: Purandaradasa

п 3
D Ṡ Ṡ | D P | M P ||
Ke re ya Nee ra nu
(п)
п 4
D D P | M M | P , ||
Did You Know?
Ke re ge Chel li
The lyrics of this geetam
are in Kannada
п 0
D D Ṡ | D P | M P ||
Va ra va Pa de da va
v
D D P | M G | R S ||
ran te Kaa ni ro

п
S R R | S R | S R ||
Ha ri ya Ka ru na do
v
D D P | M G | R S ||
laa da Bhaa gya va

п
D P D | Ṡ , | D P ||
Ha ri Sa mar pa ne

22
п
D D P | M G | R S ||
Maa di Ba du ki ro
п
D Ṡ Ṡ | D P | M P ||
Sri Pu ran da ra

v 4
D D P | M M | P P ||
Vi tha la raa ya na

v 0 Purandaradasa
D D Ṡ | D P | M P || Purandaradasa
Cha ra na ka ma la va (1484–1564)
is known as Karnataka
п Sangita Pitamaha
D D P | M G | R S || (which means
Nam bi Ba du ki ro ‘great father of
Carnatic music.’)
His mudra or ‘signature
п word’ is “Purandara
S R R | S R | S R || Vitthala” and you can find
Ha ri ya Ka ru na do it in many of his songs.
He composed
v the Pillari geetams
D D P | M G | R S || as well as
laa da Bhaa gya va many of the
vocal warm-ups
п and exercises, like
D P D | Ṡ , | D P || saralai varisai,
janti varisai,
Ha ri Sa mar pa ne and alankarams.
п He introduced
Mayamalavagaula
D D P | M G | R S || as the first raga
Ma di Ba du ki ro that students learn.

23
Lyrics
kereya neeranu kerege chelli
varava padedavarante kaaniro
Hariya karunadolaada bhaagyava
Hari samarpane maadi badukiro
sri Purandaravithala raayana
charanakamalava nambi badukiro
(Hariya . . .)

Meaning
As you take water from the lake, Mini Theory Lesson
offer it back, and live a blessed Tyagaraja, Muthuswami
life. In the same way, as you receive Dikshitar and Shyama Shastry
are together called the
good fortune because of Hari’s kindness, Carnatic Music Trinity.
offer it back to Him. Live with faith in They are considered to be the
most important composers
Purandara Vittala and bow down to him. of Carnatic Music. Tyagaraja’s
mudra (signature word) was
“Tyagaraja,” Muthuswami
Diskhitar’s was “Guruguha,”
and Shyama Shastry’s was
“Shyama Krishna.”

Shyama Shastri Tyagaraja Muthuswami Dikshitar

24
 Super Shiva
Raga: Mayamalavagaula Arohana S R1 G3 M1 P D1 N3 Ṡ
Avarohana Ṡ N3 D1 P M1 G3 R1 S
Tala: Eka l 100 beats per minute
Composer: Ambi Subramaniam
Variation 1
п 0 4
M P M P G P G P R G M P M G R S ||
п 0 4
M PP M PP G PP G PP R G M P M G R S ||
п 0
S Ṡ S N S D S P Ṡ N D P M G R S ||
п
S Ṡ S N S D S P ṠṠNNDDPP MMGGRRSS ||

Variation 2
п 0
M P M P G P G P R G M P M G R S ||
п
MP P MP P GP P GP P R G M P M G R S ||
п
S Ṡ S N S D S P Ṡ N D P M G R S ||
п
S Ṡ S N S D S P ṠṠNNDDPP MMGGRRSS ||

Variation 3
п0
MPPPMPPP GPPPGPPP RRGGMMPP MMGGRRSS ||
п 4 3
MPPPMPPP GPPPGPPP RRGGMMPP MMGGRRSS ||
п
SṠṠṠSNNN SDDDSPPP ṠṠNNDDPP MMGGRRSS ||
п
SṠṠṠSNNN SDDDSPPP SṠSNSDSP ̣
PMP
̣GP
̣RP
̣S ||

Technique
Try keeping your fingers as close to the fingerboard as you can.
The lesser you move, the faster you can play!

When playing MPMP GPGP change only your bow; don’t move the whole hand.
25
 Padumanabha
Raga: Malahari This geetam is dedicated to
Lord Vishnu, one of the Gods
Tala: Triputa l 120 beats per minute in the Hindu trinity.
Composer: Purandaradasa Arohana S R1 M1 P D1 Ṡ
Avarohana Ṡ D1 P M1 G3 R1 S

п
R S Ḍ | S , | S , ||
Pa du ma na bha
v
M G R | M M | P , ||
Pa ra ma pu ru sha
v 0
S D , | D P | M P ||
Pa ram jyo ti
v
D D P | M G | R S ||
swa ru pa
п
R S Ḍ | S , | S , ||
Vi du ra van dya
v
M G R | M M | P , ||
Vi ma la cha ri ta
v 0
S D , | D P | M P ||
Vi han ga di
v
D D P | M G | R S ||
ro ha na

26
п 0
P M P | D Ṡ | D Ṡ ||
U da di ni vaa sa
п
Ṙ Ṡ D | D Ṡ | D P || Did You Know?
U ra ga sha ya na The four Malahari geetams,
which are called
п Pillari geetams, are
D D P | P , | P M || often sung or played
Un na to nnata one after another.

v
R M M | P , | , , ||
Ma hi ma
п
D D P | P , | P M ||
Ya du ku lo tta ma
п
R , M | M G | R S ||
Ya jna Ra ksha ka
v
S , S | D D | D P ||
Aa jna Shi ksha ka
п
P , P | M G | R S ||
Raa ma Naa ma
п 0 4
D Ṡ , | D P | M P ||
Vi bhee sha na paa
v 0
D D P | M G | R S ||
la ka Na mo Na mo
v 0 4
Ṙ Ṡ , | D P | M P ||
I bhau va ra daa

27
п
D D P | M G | R S ||
ya ka Na mo Na mo
п
P M P | D Ṡ | D Ṡ ||
Shu ba pra da Su ma Technique
п Be mindful of places
Ṙ Ṡ D | D Ṡ | D P || where you play two, three,
and four notes per bow.
no ra tha ya Su Think of how Slurs
affect your phrasing.
v 0 4
D D P | P , | P M ||
ren dra Ma no
v
R M M | P , | P , ||
ran ja na
п 0 4
D D P | P , | P M ||
A bhi na va Pu
v
R , M | M G | R S ||
ran da ra
п
S S S | D D | D P ||
vi tha la Bal la re
п
4
P , P | M G | R S ||
Raa ma naa ma
п
R S Ḍ | S , | S , ||
Pa du ma na bha
v
M G R | M M | P , ||
Pa ra ma pu ru sha

28
Lyrics
Padumanabha paramapurusha paramjyoti swarupa
Vidura vandya vimala charita vihangaadirohana
udadi nivaasa uragashayana unnatonnata mahima
yadukulottama yajna rakshaka aajna sikshaka
raama naama Vibheeshana paalakaa namo namo
ibhau varadaayakaa namo namo shubhaprada
sumanorathaya Surendra manoranjana
abhinava Purandara vithala bhallare raama naama
Padumanabha paramapurusha

Meaning
The great Padumanabha, you shine like the brightest light.
Vidura worships you and you are so pure.
You sit on the eagle Garuda.
You live in the ocean, sleeping on the snake Shesha.
Your glory is great and you are the best of the Yadavas.
You protect the rituals and you teach the ignorant.
You protect Vibhishana. I bow to you.
You give many gifts. I bow to you.
You give good things and grace; you entertain Indra.

Activity
If this line is played at twice the speed, how will you write it?
S S R , R , R S |
............................................................................................

If this line is played at half the speed, how will you write it?
S,,, P,M, G,,, R,S, |
...................................................................................

29
 Vishnu’s Violin
Raga: Vaishnavi Arohana S R2 G3 M1 P D2 Ṡ
Avarohana Ṡ D2 P M1 G3 R2 S
Tala: Adi l 90 beats per minute
Composer: Ambi Subramaniam

Technique
When the index finger is on the first note on a string,
that is called First Position.
When the index finger is on the third note on a string,
that is called Third Position.
All three variations of this exercise have to be played in Third Position.

Variation 1
п 1 1
D P D Ṡ Ṙ , Ṡ Ṙ Ṙ , Ṡ Ġ Ṙ Ṡ D P ||
1 1
D P D Ṡ Ġ , Ṡ Ġ Ġ , Ṡ Ġ Ṙ Ṡ D P ||
1
P D D Ṡ Ṡ Ṙ Ṙ Ġ Ġ Ṗ Ṗ Ġ Ġ Ṁ Ṁ Ṙ ||
Ṡ,,Ṡ ṠṠ ṠṠṠṠ Ṡ, S,,S SS SSSS S, ||

Technique
When you shift your hand position,
ensure that the index finger is in the right place.
In this variation, when shifting to the Third Position,
ensure the Sa (played with the index finger) is perfectly in tune.
If it is, all the other notes will be in tune too!

Variation 2
п 2 1
D Ṙ Ṡ Ṙ Ṙ , Ṡ Ṙ Ṙ , Ṡ Ġ Ṙ Ṡ D P ||
3 1
D Ġ Ṡ Ġ Ġ , Ṡ Ġ Ġ , Ṡ Ġ Ṙ Ṡ D P ||
1
P D D Ṡ Ṡ Ṙ Ṙ Ġ Ġ Ṗ Ṗ Ġ Ġ Ṁ Ṁ Ṙ ||
Ṡ,,Ṡ ṠṠ ṠṠṠṠ Ṡ, S,,S SS SSSS S, ||

30
 Technique
When you play in First or Third Position, try to think of all fingers as one unit.
In this exercise, the moment you shift from Da to Ga, ensure that
your Sa (index finger) and Ri (middle finger) are in the right place.

When playing Ġ-Ṁ and Ġ-Ṗ, use the little (pinky) finger for both Ṁ and Ṗ.
Try playing Ṗ by extending the little finger, without changing the hand position.

Variation 3
п 2 1
D Ṙ Ṡ Ṙ Ṙ , Ṡ Ṙ Ṙ , Ṡ Ġ Ṙ Ṡ D P ||
2 1
D Ṙ Ṡ Ṙ Ṙ , Ṡ Ṙ Ṙ , Ṡ ĠĠ ṘṘṠṠDDPP ||
3 1
D Ġ Ṡ Ġ Ġ , Ṡ Ġ Ġ , Ṡ Ġ Ṙ Ṡ D P ||
3 1
D Ġ Ṡ Ġ Ġ , Ṡ Ġ Ġ , Ṡ ĠĠ ṘṘṠṠDDPP ||
1 3 4 4 3 3 4 4 3
P D D Ṡ Ṡ Ṙ Ṙ Ġ Ġ Ṗ Ṗ Ġ Ġ Ṁ Ṁ Ṙ ||
1 2
D P Ṡ D Ṙ Ṡ Ġ Ṙ Ġ Ṗ Ġ Ṁ Ṙ Ġ Ṡ Ṙ ||
Ṡ,,Ṡ ṠṠ ṠṠṠṠ Ṡ, S,,S SS SSSS S, ||

Activity
Try to play the scale of Shuddha Saveri with the following fingering:
0 1 1 0 1 1 1 1 0 1 1 0
S R M P D Ṡ | Ṡ D P M R S |

Try this exercise for quick shifting from one position to another:
3 1 3 3 1 3 3 1 3 3 1 3
M1 M M | Ṡ Ṡ Ṡ | M M M | S S S |

Now try this loop exercise in the scale of raga Vaishnavi:

0 1 0 0 1 2 1 0
S R S , | S R G R S , |
0 1 2 1 2 1 0 0 1 2 1 2 1 2 1 0
S R G M G R S , | S R G M P M G R S , |
0 1 2 1 2 3 2 1 2 1 0
S R G M P D P M G R S , | Remember?
0 1 2 1 2 3 4 3 2 1 2 1 0 When notes are
S R G M P D Ṡ D P M G R S , |
underlined, they are
played twice as fast.

31
 Vara Veena
Raga: Mohana This geetam is dedicated to
Goddess Lakshmi, the
Tala: Rupaka l 120 beats per minute goddess of wealth.
Composer: Appayya Dikshitar Arohana S R2 G3 P D2 Ṡ
Avarohana Ṡ D2 P G3 R2 S

п 0
G G | P , P , || D P | Ṡ , Ṡ , ||
Va ra Vee na Mr du Pa ni
п
Ṙ Ṡ | D D P , || D P | G G R , ||
Va na ru ha Lo cha na Raa ni
v 0
G P | D Ṡ D , || D P | G G R , ||
Su ru chi ra Bam ba ra Ve ni

п 4 (п)
G G | D P G , || P G | G R S , ||
Su ra nu ta Kal ya ni

п 4
G G | G G R G || P G | P , P , ||
Ni ru pa ma Shu bha gu na lo la

п 0 (п) п
G G | D P D , || D P | Ṡ , Ṡ , ||
Ni ra ta Ja ya pra da Shee la
п
D Ġ | Ṙ Ṙ Ṡ Ṡ || D Ṡ | D D D P ||
Va ra da pri ya Ran ga na ya ki
п 0
G P | D Ṡ D P || D P | G G R S ||
Vaan cchi ta pha la daa ya ki

32
п (п)
4
S R | G , G , || G R | P G R , ||
Sa ra si jaa sa na Ja na ni
п
S R | S G R S ||
Ja ya ja ya ja ya

Lyrics
Vara Veena mrdu paani
vanaruha Lochana raani
suruchira bambara veni
Suranuta Kalyani
nirupama shubhagunalola
nirata jayaprada sheela
Varadapriya Ranganayaki
vaancchitaphala daayaki
sarasijaasana janani
jaya jaya jaya

Meaning

With soft hands you hold the divine veena.

You are the queen of Lord Vishnu.
Your beautiful braids resemble a beehive.
The Gods worship you, pure one.
You are the Goddess with unique, auspicious qualities.
You always give us success, O Ranganayaki,
you give us many boons
and grant all our wishes.
You are the mother of Brahma,
who sits on a lotus throne.
Victory to you!

33
 Kamalajaadala
Raga: Kalyani This geetam is dedicated to
the God Krishna, another
Tala: Triputa l form of Lord Vishnu
115 beats per minute Arohana S R2 G3 M2 P D2 N3 Ṡ

Composer: Purandaradasa

п
Ṡ Ṡ Ṡ | N D | N Ṡ ||
Ka ma la jaa da la
п 4
N D P | D P | M P ||
Vi ma la Su na ya na Did You Know?
The scale of Kalyani
v (4) 0 and the scale of
G M P | P D | D N || Shankarabharanam
Ka ri va ra da Ka ru have only one
different note: Ma.
п 4 Shankarabharanam
D P M | P G | R S || has M1 and
Kalyani has M2.
naa mbu dhe
v
Ḍ Ṇ Ḍ | G R | G , ||
Ka ru na sha ra de
v 4
M P , | M G | R S ||
Ka ma laa
п
R , , | S , | S , ||
ka nta
п 4 0
G M P | M P | D P ||
Ke shi Na ra ka

34
v 4
N D P | D P | M P ||
su ra Vi bhe da na
v (4) 0
G M P | P D | D N ||
Va ra da Ve la
п
D P M | P G | R S ||
pu ra Su ro tta ma
п
Ḍ Ṇ Ḍ | G R | G , ||
Ka ru na Sha ra de
п 4
M P , | M G | R S ||
Ka ma laa
v
R , , | S , | S , ||
ka nta

Lyrics
kamala jadala vimala sunayana
Karivarada karunaambudhe
karuna sharade kamalaakanta
keshi Narakasura vibhedana
Varadavelapura surottama
karuna Sharade kamalaakanta

Meaning
Your eyes are pure like a lotus petal,
O protector of Gajendra! You are an ocean of compassion,
O companion of Lakshmi! Be merciful to us.
You are the destroyer of demons like Keshi and Narakasura.
Lord of Velapura, you are the best of the gods.

35
 Brilliant Brahma
Raga: Harikambhoji Arohana S R2 G3 M1 P D2 N2 Ṡ
Avarohana Ṡ N2 D2 P M1 G3 R2 S
Tala: Triputa l 130 beats per minute
Composer: Ambi Subramaniam
Variation 1
п1 4 1
Ṡ , Ṙ | Ṡ , | N D || N , Ṡ | N , | D P ||
п 2 0 1
M , P | D , | N Ṙ || Ṡ , P | Ṡ , | , , ||
п 4 1
Ṡ Ṡ P | Ṡ Ṡ | Ṡ , || N N M | N N | N , ||
п 1
D N Ṡ | Ṙ Ġ | Ṁ Ṙ || Ṡ Ṡ Ṙ | Ṡ , | , , ||
Variation 2
п1 1
4 1 4
Ṡ , Ṙ | Ṡ,ṘṠ | N D || N , Ṡ | N,ṠN | D P ||
п 2 0 1
M , P | D,ND | N Ṙ || Ṡ , P | Ṡ , | , , ||
п 4 1
Ṡ Ṡ P | ṠṠṘ, | Ṡ , || N N M | NNS, | N , ||
п 1
D N Ṡ | Ṙ Ġ | Ṁ Ṙ || Ṡ Ṡ Ṙ | Ṡ , | , , ||

Variation 3
п
3 4 2 4
Ġ Ṁ Ṙ | Ṡ,ṘṠ | N D || N Ṙ Ṡ | N,ṠN | D P ||
1 1
п 2
M , P | D,ND | N Ṙ || ṠṠMMPP| Ṡ , | , , ||
п 0 4 1
Ṡ Ṡ P | ṠṠṘ, | Ṡ , || N N M | NNṠ, | N , ||
п 1
D NDN,| Ṡ,ṘĠ | Ṁ Ṙ || Ṡ Ṡ Ṙ | Ṡ , | , , ||
Technique
Here, you play two Down bows one after the other;
try playing without lifting the bow in between – stop and start.

36
 Extra Credit

Hare Krishna Vasudeva

Raga: Chakravakam This geetam is dedicated to
the God Krishna, another
Tala: Triputa l 120 beats per minute form of Lord Vishnu
Composer: Govindacharya Arohana S R1 G3 M1 P D2 N2 Ṡ
Avarohana Ṡ N2 D2 P M1 G3 R1 S

п
R R S | Ṇ S | R S ||
Ha re Kri 3 4 shna
п
Ṇ Ḍ Ṇ | P Ḍ | Ṇ S ||
Va su de va
0
п
G R G | M G | R S ||
Mu kun da Ma
п
Ṇ R R | S , | S , ||
dha vu Re Re
п 3
Ṇ Ḍ Ṇ | S R | S R ||
An ta ra
0 1
v
G , R | G , | M G ||
Gan dha ra
Note to Parents
The words of a Lakshana Geetam describe the characteristics of the raga in
which it is composed.

37
п 3
R S , | Ṇ Ḍ | Ṇ S ||
Cha tu shru ti Dai
v
R G , | G M | G , ||
va ta Swa ra Kai
п 4
M P M | G R | G M ||
shi ki Ni sha da
v
0
P M P | M G | M P ||
I ta ra Shu ddha
п
D N D | D , | N D ||
A ro ha
v
N D P | M P | D N ||
A va ro ha
v
Ṡ , N | Ṡ , | N D ||
Sam poo rna
п
N Ṡ N | D P | D N ||
Sa gra han ya
п
Ṡ N D | P M | P D ||
sam sha
п
N D P | M G | M P ||
Tri pu ta Yu kta

38
v
D N D | P M | P D ||
Me la dhi
п
P , M | G , | M G ||
ka ra
п
R , S | Ṇ Ḍ | Ṇ S ||
Cha kra va ka
п
Ṇ Ḍ P. | Ṃ P. | Ḍ Ṇ ||
Ra ga
п
S R G | M P | D N ||
ma va dhaa ra ya
v
Ṡ N D | P M | G R ||
Sri Ra ma
п
S R R | S R | S , ||
Na mo Na mo

Lyrics
Hare Krishna Vasudeva
Mukunda Madhavu re re
antara gaandhara chatushruti daivata swara
kaishiki nishada itara shuddha
aroha avaroha sampoorna sagraha nyasamsha
triputa yukta

39
 meladhikara chakravaka ragamavadhaaraya
sri Rama namo namo

Meaning
Krishna! Son of Vasudeva! Mukunda! Madhavu!
With the notes of G3, D2, N2; and R1, M1;
with all the notes in ascending and descending;
with the starting note and the ending note;
set to Triputa tala,
in the Melakarta raga Chakravaka.
I bow to Lord Rama.

Mini Theory Lesson

There are twelve different notes we use in Carnatic music.

1 2 3 4 5 6 7 8 9 10 11 12
S R1 R2 G2 G3 M1 M2 P D1 D2 N2 N3
[G1] [R3] [N1] [D3]

The note R2 is the same as G1 but they are used in different situations.
The note R3 is the same as G2, D2 is the same as N1, and D3 is the same as N2.

The notes R3, G1, D3, and N1 are called vivadi swarams.

In this Lakshana geetam, we find the names of swarams in the scale of Raga Chakravakam:
Antara gandhara = G3
Chatushruti daivata = D2
Kaishiki nishada = N2
‘Itara shuddha’ means that the other notes, i.e. Ri and Ma are ‘shuddha.’
Shuddha rishaba = R1
Shuddha madhyama = M1

So, the raga Chakravakam has the notes: S R1 G3 M1 P D2 N2

40
 Extra Credit

Mandaradhaare
Raga: Kambhoji This geetam is dedicated to
the God Krishna, another
Tala: Adi l 104 beats per minute form of Lord Vishnu.
Composer: Paidala Gurumurti Shastri Arohana S R2 G3 M1 P D2 Ṡ
Avarohana Ṡ N2 D2 P M1 G3 R2 S
(Ṇ3 ̣P Ḍ2 S)
п
Ṡ , N3 P | D D | Ṡ , ||
Man da ra dhaa re
v
1 1
D Ṡ Ṙ Ġ | Ṁ Ġ | Ġ Ṙ ||
Mo ksha Mu ra re
п 1 2
Ṡ Ṙ Ṡ Ṡ | N N | D P ||
Dai tya Ku laa nta ka
п (п)
0 4
D D P M | G M | P , ||
Paa va na Mu rte
п 0
G P D Ṡ | N N | D P ||
Pa da shu bha re kha
п 0
D D P P | M G | R S ||
Ma ku ta Ma yu ra Technique
1 When you play the Ṗ
п 4 4 1
try extending the
G P P D | D Ṡ | Ṡ Ṙ || fourth finger from
a M to P without moving
any of the other fingers.

41
v 4 4
Ṙ Ṗ Ṁ Ġ | Ṙ Ġ | Ṙ Ṡ ||
a
п 1 2
Ṡ Ṙ Ṡ Ṡ | N N | D P ||
Dai tya Ku laa nta ka
п (п)
0 4
D D P M | G M | P , ||
Paa va na Mu rte
п 0
G P D Ṡ | N N | D P ||
Pa da shu bha re kha
п 0
D D P P | M G | R S ||
Ma ku ta Ma yu ra
п
Ṡ , N3 P | D D | Ṡ , ||
Man da ra dhaa re
Lyrics
Mandaradhaare mokshamurare
Daityakulaantaka Paavanamurte
padashubharekha makutamayura aa
(daityakulantaka . . .)
Mandaradhaare
Meaning
You carried the Mandara mountain and
you destroyed Mura and his demon dynasty.
Your crown is decorated with peacock feathers.
You have a noble character
and an auspicious form.

42
 Important Terms
Swara = Note

Saptaswara = The seven notes (Sapta = seven, Swara = note)

Scale is a group of notes in a particular order

Gamaka = Ornamentation
Musical ornaments like slides are used on notes to make them sound interest-
ing.

Raga is based on a scale. If you decorate a scale by using gamakas, repeating

certain notes, and playing special phrases, it can become a raga. Each raga has
its own ornaments, important notes, and special phrases.

Arohana = Notes going up on a scale

Avarohana = Notes coming down a scale

Janaka raga is a parent scale from which Janya ragas are derived. They are also
called Melakarta ragas.

Janya raga is a derived scale. These scales are derived from Janaka ragas.

Shankarabharanam is a raga with seven notes, and corresponds to the Major

Scale

Mayamalavagaula is a raga with seven notes. Purandaradasa used this scale to

start teaching music because it has different intervals (∞, 1, and 1∞).

Malahari is a raga with five notes in the arohana and six notes in the avarohana.
It is a Janya raga of Mayamalavagaula.

Laya = Rhythm or tempo

Tala is used to keep the beat in music

Each tala has a fixed number of beats and is repeated. This is known as a tala
cycle or avartana.

Adi Tala is the most common tala cycle in Carnatic music and is eight beats long

Geetams are short and simple compositions that are taught to students. A

43
geetam is performed at the same tempo from beginning to end. Geetam means
‘song.’

Pillari Geetams are the four Malahari geetams; they were all composed by Pu-
randaradasa.

Sanchari Geetams are geetams that are commonly sung. They are in praise of
Gods and Goddesses.

Lakshana Geetams are geetams in which the lyrics describe the characteris-
tics of the raga in which the geetam is composed.

Sahitya = Lyrics or words in a composition

Sama Veda is one of the four Vedas. Indian music originated from the Sama
Veda.

e e !
T hr
oo k
i n B
Y ou
Se e

44