The 7 foundational scale exercises of Carnatic music — Māyāmālavagowla, Adi Tala — as taught by Purandara Dasa
The traditional teaching raga of Carnatic music. Introduced by Purandara Dasa (1484–1564) as the ideal raga for beginners. Its symmetrical structure — R₁ G₂ in the lower tetrachord mirrored by D₁ N₂ in the upper — makes it ideal for scale exercises. All Sarali, Janta, and Dhatu Varisai are taught in this raga first.
Adi Tala is the most common tala in Carnatic music. Almost all Sarali, Janta, and Dhatu Varisai exercises are set in Adi Tala. The 8-beat cycle is counted as: Clap (1) — Index (2) — Middle (3) — Ring (4) — Clap (5) — Wave (6) — Clap (7) — Wave (8).
|End of a tala section (anga boundary)||End of a full tala cycle (avartanam),Half-beat rest (one unit of silence)-Phrase separator (musical or lyrical).Continuation of a lyrical syllablePPallavi (first section of a composition)A PAnupallavi (second section)CCharanam (verse section)In Carnatic music, speed is the number of notes per beat of the tala — distinct from tempo (which relates to time). Choose a tempo where the 4th speed sounds melodious, then derive all other speeds from that reference. (PCM Book 1, p.13)
One note per unit of the tala. Focus on pitch accuracy.
Two notes per unit. Maintain evenness.
Standard performance speed. Four notes per unit.
Advanced. Eight notes per unit. Requires complete mastery.
Rendering tuneful music is the most important aspect of any system. It is the primary source of musical joy. The first step is to procure a good tanpura or shruti box (manual or electronic), which will provide the two constant notes, Sa (S) and Pa (P). Listen carefully and try to register these notes in your mind before singing a single swara.
The ideal pitch depends on your voice or instrument. Seek your guru's help in finding a pitch that lets you traverse at least two octaves — from Mandra Pa (P̣) to Tara Pa (Ṗ) — comfortably over time.
The teacher introduces the notes of Māyāmālavagowla in order:S R₁ G₂ M₁ P D₁ N₂ Ṡ. Learn to feel each note's position relative to Sa before moving to exercises.
"Make an effort to understand the relationship between Sa and Pa. Subsequently, the teacher will introduce the rest of the notes and here again, you should try to make yourself aware of their position with respect to Sa." — PCM Book 1, p.7
After a few sessions of singing the swaras by name (Sa, Ri, Ga…), the same phrases are rendered using the open vowel "aa" (as in Apple or America). This is called Ākāram — a very integral part of Carnatic vocal music.
Akaram helps achieve a fuller, more resonant tone. It opens the throat and enables smoother transitions (gamakas) between notes without the harshness of consonants.
Sustained 'aa' requires steady breath support to maintain a note or phrase without breaks. This builds the stamina needed for Kalpanaswaras and Alapana.
Without the support of consonants, the voice must find each note purely by ear. Regular akaram practice sharpens intonation and sruti alignment.
The 'aa' vowel allows natural oscillations (kampita), slides (jaaru), and drawls — the first seeds of gamaka emerge from akaram practice.
Begin with short 'a', extend to 'aa', then sustain 'aah' and 'aaah' — each step increases breath span and opens the resonance cavity. Practice each Sarali Varisai below first by swara names, then repeat entirely on 'aa'.
The foundational exercise. A plain ascent (Ārōhanam) followed by a plain descent (Avarōhanam) of the raga scale. Each note receives one beat of Adi Tala.
The 1st varishai is a plain ascent and descent of the notes of the raga. (PCM Book 1, p.9)
Begin at a tempo where the 4th speed sounds melodious and comfortable. Divide all other speeds from that reference. In 1st speed, each beat has one note: S , , , , , , , R , , , , , , , etc.
The 2nd varishai focuses on the second note from S — R in the ascent and N in the descent. The pattern starts on S, moves to R, and holds or ornaments R before continuing.
The 2nd varishai focuses on the second note from S, namely R (in the ascent) and N (in the descent). (PCM Book 1, p.9)
The '-' after R and N indicates a held note (karvai). Sustain R for one full beat before moving on. This develops the ability to hold notes tunefully.
The 3rd varishai centres on the third note — G in the ascent and D in the descent.
The 3rd varishai centres on the third note, G and D. (PCM Book 1, p.9)
G and D are the 'characteristic' notes of Mayamalavagowla. Ensure G₂ (Antara Gandhara) and D₁ (Shuddha Dhaivata) are in perfect tune.
The 4th varishai concentrates on the fourth note — M in the ascent and P in the descent.
The 4th varishai concentrates on the fourth note, M and P. (PCM Book 1, p.9)
M₁ (Shuddha Madhyama) is the pivot note of the raga. Ensure it is perfectly in tune. P (Panchama) is fixed in all ragas — it never varies.
A general exercise that combines the lower tetrachord (S R G M) with the upper tetrachord (P D N Ṡ) in a flowing pattern.
The last 3 varishais are general exercises. (PCM Book 1, p.9)
This exercise develops the ability to move fluidly between the lower and upper tetrachords. Practice at all four speeds.
A more complex general exercise with compound phrases that span the full octave.
The last 3 varishais are general exercises. (PCM Book 1, p.9)
This exercise extends into the upper octave (Tara Sthayi). Ṙ Ġ Ṁ Ṗ Ḋ Ṅ are the upper-octave equivalents of R G M P D N. Develop range gradually.
The culminating Sarali Varisai exercise. Covers the full two-octave range from lower S to upper Ṡ and back.
Some books have split the last one into 5 parts, but singing it as a single varishai is more desirable. (PCM Book 1, p.9)
This exercise covers three octaves. The lower octave (Mandra Sthayi) notes are marked with a dot below: Ṣ Ṛ G̣ Ṃ. Develop the lower range gradually — do not strain.