Introduction
A raga is a melodic framework. It has its own ascending and descending paths of swaras (aarohanam and avarohanam), characteristic phrases, particular emphasised notes and gamakas. The note set is only the beginning. Here you learn the notes of two ragas, Mohanam and Mayamalavagowla, and play their paths slowly.
Learning objectives
By the end of this lesson you will be able to:
- Say why a raga is more than a scale.
- Sing and play the aarohanam and avarohanam of Mohanam and Mayamalavagowla.
- Play Sarali varisai 1 in Mayamalavagowla.
Concept
A raga is a melodic framework for improvising and composing. It is often compared to a scale, but it is more than that. A raga specifies:
- Aarohanam: the path of swaras going up.
- Avarohanam: the path going down. It may be the same notes, or different.
- Characteristic phrases that identify the raga.
- Emphasised notes that the raga rests on and returns to.
- Gamakas: the ornaments that belong to particular swaras.
Two ragas with the same notes can sound completely different because of these other features, and a raga's notes alone do not make it that raga.
Mohanam has five swaras in both directions: Sa Ri2 Ga3 Pa Da2 Sa. Its pitches happen to coincide with a major pentatonic scale on the guitar, but the raga is much more than that scale.
Mayamalavagowla has seven swaras in both directions: Sa Ri1 Ga3 Ma1 Pa Da1 Ni3 Sa. It is the raga in which the first graded exercises (the sarali varisai) are traditionally taught, and it has wide steps between Ri1 and Ga3 and between Da1 and Ni3.
Sarali varisai 1 is the first exercise: Sa Ri Ga Ma, Pa Da Ni Sa, then back down Sa Ni Da Pa, Ma Ga Ri Sa, sung or played slowly and steadily.
Visual explanation
e|--------------------|
B|--------------------|
G|--------------------|
D|--------------------|
A|---0--2--4--7--9-12-|
E|--------------------|
SaRi2Ga3 PaDa2 Sae|--------------------------|
B|--------------------------|
G|--------------------------|
D|--------------------------|
A|---0--1--4--5--7--8-11-12-|
E|--------------------------|
SaRi1Ga3Ma1 PaDa1Ni3 Sae|-------------|------------|------------|-------------|
B|-------------|------------|------------|-------------|
G|-------------|------------|------------|-------------|
D|-------------|------------|------------|-------------|
A|---0--1--4--5|--7--8-11-12|-12-11--8--7|--5--4--1--0-|
E|-------------|------------|------------|-------------|
S R G M P D N S S N D P M G R SPractical demonstration
Sing, then play.
- Play Sa (open A string) and sing "Sa" on that pitch.
- Play Ri2 (fret 2) and sing "Ri". Continue through Mohanam's notes, singing each name as you play it.
- Come back down. The avarohanam of Mohanam is the same notes in reverse.
- Move to Mayamalavagowla. Listen to the wide step from Ri1 (fret 1) to Ga3 (fret 4): it gives the raga its distinctive sound.
A caution. The aarohanam and avarohanam are the skeleton. To hear a raga, listen to recordings by Carnatic musicians. You will notice how much happens between and around the notes: that is what the next lesson is about.
Guided exercises
Do these in order. Each one is small. Tick the ones you have practised.
1.Mohanam
4 min · 40 → 60 BPM
- With Sa = A, play the aarohanam on the 5th string: Sa Ri2 Ga3 Pa Da2 Sa (frets 0, 2, 4, 7, 9, 12).
- Sing the swara names as you play each note.
- Play the avarohanam: Sa Da2 Pa Ga3 Ri2 Sa.
You have it when
- You can play and sing the up and down paths in tune with the guitar.
2.Mayamalavagowla
4 min · 40 → 60 BPM
- With Sa = A, play the aarohanam on the 5th string: Sa Ri1 Ga3 Ma1 Pa Da1 Ni3 Sa (frets 0, 1, 4, 5, 7, 8, 11, 12).
- Sing each swara.
- Play the avarohanam, which uses the same notes in reverse.
You have it when
- You can play and sing both paths, noticing the wide steps between Ri1 and Ga3 and between Da1 and Ni3.
3.Sarali varisai 1
4 min · 40 → 70 BPM
- Play Sa Ri Ga Ma, then Pa Da Ni Sa, in Mayamalavagowla (A, B♭, C♯, D, E, F, G♯, A).
- Then play the descent: Sa Ni Da Pa, Ma Ga Ri Sa.
- Sing the names, then repeat three times at a steady pace.
You have it when
- You play the exercise without stopping and sing it in tune with the guitar.
Tempo recommendations
Slow and steady. Sing each swara, hold it for a beat at about 50 BPM, and play it. Traditional practice repeats the same exercise many times, at a steady speed.
| Exercise | Start | Target |
|---|---|---|
| Mohanam | 40 BPM | 60 BPM |
| Mayamalavagowla | 40 BPM | 60 BPM |
| Sarali varisai 1 | 40 BPM | 70 BPM |
Common mistakes
- Describing Mohanam as 'the major pentatonic'. The note set coincides with a major pentatonic scale, but a raga is defined by much more: its phrases, emphasis and gamakas. Treat the pitch set as the skeleton.
- Rushing through the exercise. Traditional practice is slow and steady. The goal is accurate pitch and a settled voice.
- Playing without singing. Sing the swara names. It trains the ear and connects the instrument to the voice.
Musical application
Sarali varisai is the first graded exercise in Carnatic training, traditionally in Mayamalavagowla. Practising it on guitar connects your instrument to the long tradition of learning the music by voice.
Practice assignment
Short version (10 minutes)
Sing and play Mayamalavagowla's aarohanam and avarohanam three times at a slow, steady pace.
Standard version (about 30 minutes)
Do all three exercises, then listen to a recording of a Carnatic musician performing a raga and notice what happens between the notes.
Recap
- A raga is a framework, not just a set of notes.
- Aarohanam is the ascent; avarohanam is the descent.
- Mohanam: Sa Ri2 Ga3 Pa Da2 Sa. Mayamalavagowla: Sa Ri1 Ga3 Ma1 Pa Da1 Ni3 Sa.
- Sarali varisai is the first exercise, sung as well as played.
Completion criteria
You are ready to move on when you can honestly say:
- I can say in my own words why a raga is not just a scale.
- I can play and sing the aarohanam and avarohanam of Mohanam and Mayamalavagowla.
- I can play Sarali varisai 1.