Learn Carnatic Flute | Intermediate Level | Varnams Vol - 13

वर्णम (Varnam) is a classical composition in Indian music, Karnatik music to be precise. It is an elaborate form that serves as a comprehensive representation of the melakarta (sargam) system and provides a platform for both vocalists and instrumentalists to demonstrate their prowess in rendering complex rhythmic patterns and intricate swaras (musical notes).

Varnams typically consist of the following parts:

1. Pallavi: This is an invocatory stanza, usually sung without lyrics, using syllables or musical notes that are characteristic of the raga being performed. The pallavi sets the tone for the performance and introduces the melakarta (the basic scale from which a raga is derived).

2. Anupallavi: This is a repetition of the Pallavi, but sung slightly faster, often with additional lyrics or sahitya that complement the pallavi.

3. Muktaayi: Also known as Chitta Swara or Ettugadda Swaram, this section is sung entirely with syllables representing the musical notes. In Pada Varnas, it is accompanied by lyrics that correspond to the Charanam swaras. This section often includes complex rhythmic patterns like Jantai and Dhattu prayogas (specific rhythmic cycles).

4. Charanam: This is the main body of the Varnam where the composer expresses his/her creativity in lyrics and melody, sung to the tala (rhythmic cycle) with a moderate pace. The charanam typically includes the mrudangam solkattu that defines the rhythmic cycle of the varnam.

5. Chitta Swara or Ettugadda Swaram: This is the second and final syllabic composition, which complements the Charanam swaras, followed by its corresponding lyrics or sahitya. It's an elaborate rendering of the melakarta in a rhythmic form.

6. Anubandham: Some varnams have an Anubandham section that is an epilogue to the Varnam. It follows the Charanam and Chitta Swaram (Mukthayi Swaram) and can be sung with lyrics or sahitya, leading back to the Pallavi or the first stanza of the Muktaayi swara.

Varnams are typically rendered in two talas: Adi Tala (8 beat cycle) and Ata Tala (14 beat cycle). Ata Tala varnams are more complex and require higher skill levels due to their intricate rhythmic patterns. The performance style may vary among artists; some prefer to sing the entire composition in 'madhyama kala' (approximately 1.5 times the original speed), while others sing the Pallavi and Anupallavi slowly and repeat them quickly immediately after.

Some famous varnams include:

Adi Tala Varnams:

• "Sami Ninne" in Shree ragam by Karur Devudu Iyer.
• "Ninnukori" in Mohanam ragam by Poochi Srinivasa Iyengar.
• "Evvari Bodhana" in Abhogi ragam by Patnam Subramania Iyer.
• "Era Naapai" in Todi ragam by Patnam Subramania Iyer.
• "Valachi Vacchi" in Navaraagamalika (a garland of nine ragas).

Ata Tala Varnams:

• "Viribhoni" in Bhairavi ragam by Pacchimiriam Adiyappa.
• "Nera Nammiti" in Kaanada ragam by Poochi Srinivasa Iyengar.
• "Chalamela" in Sankarabharanam by Swati Tirunal, which is unique for its dual sahitya and solkattu expressions.

The Arabhi varnam is considered to be the longest piece, incorporating both Jantai and Dhattu prayogas. The "Mathe Malayadhwaja" by Harikesanalloor Mutthiah Bhasgavatar is a notable varnam for its creative use of sahitya in the Chitta Swara and its expression in bharatanatyam dance.

Varnams are not just musical pieces but also a testament to the rich cultural heritage of India, requiring years of practice and dedication to master.