Zigzag exercises — skip-and-return patterns in Māyāmālavagowla, Adi Tala — developing command of non-adjacent notes
"Dātu varishai: These are zigzag sequences that increase the students' overall command of notes. The principle explained in Sarali and Jantai varishais is applicable to all other exercises as well as compositions and improvisations."
Before beginning Dhatu Varisai, establish your Sa firmly. The zigzag patterns require precise pitch memory for non-adjacent notes — the ear must hold the interval clearly. Align Sa with the tanpura drone below, then locate Pa (the perfect fifth) before starting any exercise.
Sing Sa, hold for 4 beats. Then sing Pa (the fifth). The interval should feel stable and resonant. If Pa feels shaky, return to Sa and re-centre before proceeding.
Dhatu patterns rely on hearing thirds and fourths clearly. Practice S–M (fourth), S–G (third), S–P (fifth) as isolated intervals before attempting the full zigzag sequences.
The fundamental Dhatu pattern. Each note is doubled, then the phrase skips a third upward (or downward in descent). This creates the characteristic zigzag motion of Dhatu Varisai.
Dātu varishais are zigzag sequences that increase the students' overall command of notes. (PCM Book 1, p.9)
The zigzag skip is a third (e.g., S to M, skipping R and G). This trains the voice/instrument to navigate non-adjacent notes fluently. Keep the Janta character (sphuritam) on the doubled notes.
Why Sing with 'ā'?
Ākāram (आकारम्) is the practice of singing all swaras on the open vowel "ā" (as in "far"). This is the foundational voice-culture technique in Carnatic training. When you remove the syllable names (Sa, Ri, Ga…) and sing only "ā", the mind can no longer rely on the word — it must find the pitch purely by ear and muscle memory. This builds:
In traditional gurukula training, students spend the first year singing only in Ākāram before learning swara names.
Phonetic rendering (each swara → 'ā'):
Each highlighted cell = one 'ā' syllable at the swara's pitch. Sustain the vowel for the full beat duration.
A more extended zigzag pattern covering wider intervals. The skip extends to a fourth or fifth in some phrases.
The principle of Dhatu varishai is applicable to all compositions and improvisations. (PCM Book 1, p.9)
This pattern skips a third and then returns to the adjacent note. The phrase S-M-G-R means: start on S, skip to M (a third up), come back to G (a step down), then R (a step down). This trains the ear to hear intervals clearly.
Phonetic rendering (each swara → 'ā'):
Each highlighted cell = one 'ā' syllable at the swara's pitch. Sustain the vowel for the full beat duration.
A compound zigzag that combines ascending and descending skips within the same phrase.
Dhatu varishais develop the student's overall command of notes and prepare them for raga improvisations. (PCM Book 1)
The compound zigzag pattern S-R-M-G means: S (start), R (step up), M (skip up a third), G (step down). This creates a wave-like motion that is characteristic of many Carnatic raga phrases.
Phonetic rendering (each swara → 'ā'):
Each highlighted cell = one 'ā' syllable at the swara's pitch. Sustain the vowel for the full beat duration.
The zigzag pattern reversed — each phrase starts with the skip and then returns to the adjacent note.
Dhatu varishais in both directions prepare the student for the full range of raga phrases. (PCM Book 1)
The reverse zigzag M-S-R-G means: M (start), S (skip down a third), R (step up), G (step up). This is the mirror image of Dhatu 3 and develops bidirectional agility.
Phonetic rendering (each swara → 'ā'):
Each highlighted cell = one 'ā' syllable at the swara's pitch. Sustain the vowel for the full beat duration.
The culminating Dhatu exercise. A full octave zigzag that covers all 8 notes with the characteristic skip pattern.
The Dhatu varishais culminate in the full octave zigzag, which is the most complete expression of the Dhatu principle. (PCM Book 1)
This is the most characteristic Dhatu pattern in Mayamalavagowla. The phrase S-M-R-G-P-G-M-D-N-D-P-Ṡ is a classic Carnatic melodic line. Practice it until it flows naturally.
Phonetic rendering (each swara → 'ā'):
Each highlighted cell = one 'ā' syllable at the swara's pitch. Sustain the vowel for the full beat duration.