Doubled-note exercises (sphuritam) — 7 exercises in Māyāmālavagowla, Adi Tala — as taught by Purandara Dasa
"These sequences enable the student to gain felicity in a form of ornamentation called sphuritam, which is rendering a note twice, plain, the first time, and with force, from the previous note of the raga, the second time. This means that a phrase like G G in Mayamalavagowla will be quite different from the G G in Shankarabharanam, even though the notes appear to be the same. In Mayamalavagowla, the second G will be from R₁, while in Shankarabharanam, the second G will be from R2. This is especially true for slower speeds. Teachers must take care that the concept of sphuritam is very clearly embedded in the students' minds. The tendency to render it in a bland and insipid manner should be avoided."
Each swara is played twice before moving to the next. This is the fundamental Janta pattern — the sphuritam ornament applied to every note of the scale.
The tendency to render it in a bland and insipid manner should be avoided. The concept of sphuritam must be clearly embedded in the students' minds. (PCM Book 1, p.9)
In the basic Janta, the first S is plain (shuddha). The second S is rendered with a slight force from the note below it in the raga — in Mayamalavagowla, there is no note below S, so both Ṡs are plain. But for R, the second R has a slight force from S. For G, the second G has force from R₁.
After each Janta pair, the pattern skips one note up. Creates a characteristic zigzag-within-ascent feel.
Jantai varishais are multi-pattern exercises that develop command over sphuritam at all speeds. (PCM Book 1)
In this pattern, the Janta pair (SS, RR, GG, MM) is followed by a single note that is one step higher. The sphuritam character of the doubled note must be maintained even as the phrase moves forward.
Each Janta pair is followed by a two-note ascending phrase. The phrase length grows to 4 notes per group.
Jantai varishais progressively add more notes after the Janta pair, building longer melodic lines. (PCM Book 1)
The Janta pair initiates each phrase. S-R-G-M-P begins with SS (Janta on S), then R G M P as a flowing phrase. The sphuritam is on the first note only.
Janta pair followed by three ascending notes. A 5-note phrase per group.
Each subsequent Janta varishai adds one more note to the phrase after the Janta pair. (PCM Book 1)
The 6-note phrase (S R G M P D) begins with Janta on S. Practice in Shanmukhi Gati (6-note groups) once comfortable.
Janta pair followed by four ascending notes. A 6-note phrase per group.
Jantai varishais develop the student's overall command of the raga through progressively longer phrases. (PCM Book 1)
The 7-note phrase begins with Janta on S. Practice in Misra Gati (7-note groups). This is the same length as the Misra Chapu tala cycle.
Janta pair followed by five ascending notes. An 8-note phrase — one complete Adi Tala beat at 3rd speed.
The longer Janta varishais prepare the student for Varnam and Kriti phrases. (PCM Book 1)
The full octave phrase with Janta on S. This is the same as Sarali Varisai 1 but with the sphuritam character on S. The difference is subtle but important — feel the 'spring' on the first S.
All 8 notes of the scale doubled in sequence. The culminating Janta exercise — a full Janta scale across the octave.
The Janta varishais culminate in the full doubled scale, which is the most complete expression of sphuritam. (PCM Book 1)
In this exercise, every note has the sphuritam character. The second note of each pair is rendered with a slight force from the previous note in the raga. This is the most complete expression of Janta Varisai.