{"id":5848,"date":"2025-07-14T13:57:18","date_gmt":"2025-07-14T13:57:18","guid":{"rendered":"https:\/\/artiumacademy.com\/blogs\/?p=5848"},"modified":"2025-07-14T13:57:19","modified_gmt":"2025-07-14T13:57:19","slug":"understanding-the-features-and-benefits-of-varisai-in-carnatic-music","status":"publish","type":"post","link":"https:\/\/artiumacademy.com\/blogs\/understanding-the-features-and-benefits-of-varisai-in-carnatic-music\/","title":{"rendered":"Understanding the Features and Benefits of Varisai-s in Carnatic Music"},"content":{"rendered":"\n

Training systems<\/strong> in any skill-based<\/strong> subject, including language <\/strong>and mathematics<\/strong>, are built on the principle of deconstructing <\/strong>the skill into constituent elements <\/strong>that become building blocks<\/strong>. This enables beginners to train from the alphabet or elements, to the final language<\/strong> of the art or subject. <\/p>\n\n\n\n

The Carnatic Music training system<\/strong>, believed to have been created by Purandaradasa, is a highly scientific methodolog<\/strong>y that effortlessly and rapidly builds students’ melodic, rhythmic, vocal, <\/strong>and aesthetic skills<\/strong>. Within a few months, students can perform simple songs with effectiveness, precision, grammatical correctness<\/strong>, and the aesthetic culture of the Carnatic idiom<\/strong>.<\/p>\n\n\n\n

This article decodes <\/strong>the design of the Basic Varisai-s <\/strong>\u2014 Sarali Varisai, Ecchusthayi Varisai, Thaggusthayi Varisai, Janta Varisai, Dhaatu Varisai, and Alankaram, which are the fundamental Swara exercises of Carnatic Music<\/strong>. It explains how each feature of this marathon inculcates specific skills in the learner<\/strong>. If students become aware <\/strong>of these benefits <\/strong>and practice with awareness<\/strong>, these exercises can serve as lifelong tools<\/strong> to bring continuous progress<\/strong> in virtuosity <\/strong>and command over the fundamental building blocks<\/strong> and elements of Carnatic Music.<\/p>\n\n\n\n

I feel it is critical for teachers of beginners to understand the logic of the exercises created by our forefathers, and ensure that students also understand them, and are able to abide by correct enunciation and practice methods. <\/p>\n\n\n\n

There are minor variations in exercises in different books and sources. I have created PDF files accessible at the beginning of each Varisai section, according to how I learned these exercises as a child.<\/em><\/p>\n\n\n\n

The Fundamental Significance and Benefits of Exercises in Swara Mnemonics \u2013 Sa Re Ga Ma \u2026<\/h2>\n\n\n\n

In Indian Classical Music<\/strong>, unlike in any other system in the world, the mnemonics (Sa Re Ga Ma Pa Dha Ni) <\/strong>of the seven notes \u2013 Shadja, Rishabh, Gandhar, Madhyam, Pancham, Dhaivath, and Nishad are not just mnemonics<\/strong> but serve as an integral part of performance aesthetics and tools<\/strong>. They are employed in compositions<\/strong> and brilliant improvisation <\/strong>in Hindustani and Carnatic music<\/strong>, also in film compositions<\/strong> occasionally, and definitely in the new genre of Indian fusion <\/strong>music, which employs a number of melodic and rhythmic improvisational techniques and skills of Indian Classical Music.<\/p>\n\n\n\n

Command over the Swara mnemonics<\/strong> is a fundamental skill that enables an Indian classical music learner and musician to understand<\/strong>, decode<\/strong>, and create music<\/strong>\u2014literally, the ability to think in notes<\/strong>. The Varisai exercises<\/strong> give the learner this intimacy <\/strong>with note identities<\/strong>, in addition to an array of other musical and vocal benefits<\/strong>.<\/p>\n\n\n\n

In terms of human cognitive psychology, <\/em>intimacy <\/em><\/strong>with any <\/em>identity <\/em><\/strong>comes with the deep <\/em>association <\/em><\/strong>of a <\/em>form <\/em><\/strong>with a <\/em>name<\/em><\/strong>. While notes are universal to all music, the<\/em> practice of Sa Re Ga Ma Pa Dha Ni<\/em><\/strong> gives the Indian Classical Musician an uncanny <\/em>ability <\/em><\/strong>to <\/em>relate to notes <\/em><\/strong>in a manner that <\/em>can be appreciated only when one acquires and experiences that ability.<\/em><\/strong><\/p>\n\n\n\n

Sarali Varisai<\/h2>\n\n\n\n

Sarali Varasai-s<\/strong> are a set of ascent-descent patterns<\/strong> with simple variations <\/strong>set to Adi Thalam<\/strong> of 8 units, which is delineated by the following actions of the hand :<\/strong><\/p>\n\n\n\n

1 Beat, 2 Little finger, 3 Ring Finger,<\/strong><\/p>\n\n\n\n

 4 Beat, 5 Wave, 6 Beat, 7 Wave<\/strong><\/p>\n\n\n\n

Sarali Varisai PDF Link<\/a><\/p>\n\n\n\n

The First Exercise<\/strong><\/p>\n\n\n\n

The very first exercise, which is often taken for granted, is a simple ascent-descent within the mid-octave<\/strong>, to be learned and diligently practiced in Adi Thalam<\/strong> of 8 units,<\/strong> at three speeds<\/strong> –  basic, double of basic,<\/strong> and quadruple of basic<\/strong>. This hierarchy of tempi is referred to as \u2018Kalam\u2019 <\/strong>in Carnatic music. Kalam<\/strong>, originally a Sanskrit term Kala<\/strong>, literally means \u2018time\u2019. <\/p>\n\n\n\n

Benefits that the Learner Gets<\/strong> <\/p>\n\n\n\n