Varnam

Varṇam is a type of composition in the Carnatic music system consisting of short metric pieces which encapsulate the main features (patterns of notes) of a ''raga''. Varnams capture the ''raga bhavam'', ''ranjaka prayogas'' ''visesha sancharas'', etc. ''Dhatu'' and ''janta prayogas'' (phrase usage) are usually part of a varnam. Understanding of these aspects is key to developing ''manodharma sangeetham'' (i.e., improvisation aspects of Carnatic music such as ''raga aalapana'', ''swara kalpana'', ''neraval'', etc.).

Known for their complex structure, varnams are a fundamental form in Carnatic music. All varnams consist of lyrics, Bradnock (1992), p631 as well as ''swara'' passages, including a ''pallavi'', an '' anupallavi'', ''muktaayi swaras'', a ''charanam'', and '' chitta swaras''. There are different types of varnams, such as ''taana varnam'', ''pada varnam'', ''daru varnam'' and ''ragamalika varnam''. They also come in different ''taalams'' (beat cycles). Though the most popular varnams are in ''Aadi'' and ''Ata taalas'', there are a number of varnams in other ''talas'' as well (e.g., ''jampa tala'', ''triputa tala'', ''matya talam'', ''roopaka talam'', etc).

Considered as probably the most complex form in Carnatic music, varnams play a significant role in Carnatic music. A varnam is traditionally performed as an opening item by musicians in Carnatic music concerts to act as warm-up for the musicians, or as a centre main piece in Bharatanatyam dance concerts. As a foundation to Carnatic music, Panchapakesa Iyer (1989), p57 varnams are also practised as vocal exercises by performers of Carnatic music, to help develop voice culture, and maintain proper pitch and control of rhythm. The melodic patterns in a varnam are considered to be characteristic patterns of a particular raga.

Pallavi, ''tanam''-like rhythmic qualities, ''tana varnams'' only have lyrics for the ''pallavi'', '' anupallavi'' and ''charanam''.Royal Carpet: Glossary of Carnatic Terms T
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With rhythmic elements like a Carnatic Music, ''padam'', ''pada varnams'' are generally sung to accompany South Indian classical dance, including ''bharatanatyam''.Royal Carpet: Glossary of Carnatic Terms P
/ref> Unlike the ''tana varnam'' which only has lyrics for the ''pallavi'', ''anupallavi'' and ''charanam'' and swaras for the rest of the sections, a ''pada varnam'' also has lyrics that correspond to the ''muktaayi'' and ''chitta swaras'' of the varnam, so generally, ''pada varnams'' contain more lyrical content than a ''tana varnam''. The ''swaras'' in this type of varnam are suitable for intricate footwork. ''Padajathi varnams'' are simply ''pada varnams'' that also contain ''jatis'', making them again more suitable for South Indian classical dance.

Contents of a varnam

The name ''varnam'' (meaning 'letter') was likely given to this form of song due to the prevalence of ''swara'' letters in this type of composition.

Lyrical content of varnams are commonly either devotional or amorous.

The varnam is subdivided into several sections:

*Pallavi: The first section of the Varnam, sung with lyrics or ''sahitya''.
*Anupallavi: A sort of recapitulation, sung with lyrics or ''sahitya'' also.
*Muktaayi or Ettugade : Sung completely with syllables—or ''swaras'' -- (like ''s (sa) r (Ri) g(ga) m(ma) p (pa) d(da) n(ni) (sa)'' (this is the higher version of the normal one). In Pada Varnas it is known as ''Muktaayi Swara-Sahitya''.
*Charanam: Sung with lyrics
*Chitta Swara or Ettugadda Swaram: Sung completely with syllables. In a Pada varnam, there are lyrics which correspond to the Charanam swaras. The swaras occur in several groups or stanzas.
*Anubandham: epilogue to the Varnam. Some varnams have an additional part that follows the ''charanam'' and ''chitta'' (''ettugadda'') ''swaras'', that is sung with lyrics or ''sahitya'', thus leading back to the ''muktaayi'' (''chitta'') ''swara'' or the first ''pallavi'' line itself. It is found more often with very old varnams and it is less prevalent in the newer varnams. In modern times, some old varnams are even sung partially by omitting the ''anubandham'' part. The most classical example of this is the Viribhoni varnam in Bhairavi, which is sung after omitting one of its ''chitta swaras'' and the ''anubandham''.

Varnams are traditionally rendered in a format that consists of ''pallavi'', ''anupallavi'' and ''chitta swaram'' (''mukthayi swaram'') being sung first in a relatively slow pace and repeated immediately after in double the speed. The rest of the composition (''charanam'' onwards) is sung in a ''madhyama kala'' or approximately 1.5 times the speed used at the start. Each ''swara'' passage is sung, followed by the lyrics of the ''charanam''. Some performers do not follow this, though, preferring to sing the entire composition in ''madhyama kala'' or relatively fast pace.

Varnams are generally sung in two varieties of ''talas'', or meter systems, ''adi tala'' (eight-beat cycle) and ''ata tala'' (fourteen-beat cycle), where ''ata tala'' varnams are generally more complicated and advanced. In most of the ''adi tala'' varnams, the ''tala'' is placed in the two-''kalai'' version, so therefore, each beat and finger count is placed twice.

Famous varnams

''Adi Tala'' varnams include:
*"Sami Ninne" in '' Shree ragam'' composed by ''Karur Devudu Iyer'' in Telugu
*"Ninnukori" in ''Mohanam ragam'' by Poochi Srinivasa Iyengar in Telugu
*"Evvari Bodhana" in ''Abhogi ragam'' by Patnam Subramania Iyer in Telugu
*"Era Naapai" in ''Todi raagam'' by Patnam Subramania Iyer in Telugu

''Ata Tala'' varnams include:
*"Viriboni" in ''Bhairavi ragam'' by Pacchimiriam Adiyappa in Telugu
*"Nera Nammiti" in ''Kaanada raagam'' by Poochi Srinivasa Iyengar in Telugu
*"Chalamela" in '' Sankarabharanam'' by Swati Tirunal in Telugu

The ''Arabhi'' ragam varnam is supposed to be the only longest piece with ''jantai'' and ''dhatu prayogas''.

The "Mathe Malayadhwaja" by Harikesanalloor Mutthiah Bhasgavatar is a unique varnam because the chitta swara has two different types of ''saahitya'' arranged according to it. The first is a rhythmic poetry describing the king and has the Raaja mudra and the second is a lilting Solkattu swara which is embodied in expression by ''bharatanatyam'' dancers.

See also

*Navaragamalika

References

Notes

*
* {{cite book, title=Karnataka sangeeta sastra: theory of Carnatic music, last=Panchapakesa Iyer, first=A. S., year=1989, publisher=Ganamrutha Prachuram, ref=PanchapakesaIyer1989

Carnatic music
Elements of a Bharatanatyam performance