View source for Varnam

{{short description|Form of song in Carnatic music}}
{{other uses|Varnam (disambiguation)}}
{{More citations needed|date=May 2008}}
{{Carnatic}}
{{Use dmy dates|date=July 2020}}
{{Use Indian English|date=July 2020}}
'''Varṇam''' is a type of composition in the [[Carnatic music]] system that encapsulates the key features of a raga, and considered as a foundational element in the learning path. Varnams capture the essence of the ragam in terms of typical swara patterns used, vishesha prayogas, highlighting the main notes (jeeva swaras), etc. This forms the basis for creative presentation (manodharma) of the raga in the form of raga aalapana, kalpana swarams and neraval.

Varnams are a fundamental form in Carnatic music.<ref name="Bradnock 1992 p631"/> All varnams consist of lyrics,<ref name="Bradnock 1992 p631">[[#Bradnock1992|Bradnock (1992)]], p631</ref> as well as [[Svara|''swara'']] passages,{{Definition needed|what are swara passages?|date=November 2021}} including a ''[[pallavi]]'', an ''[[Anupallavi (music)|anupallavi]]'', ''muktaayi swaras'', a ''[[charanam]]'', and ''[[chitta swara]]s''. 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).

A varnam is traditionally performed as an opening item by musicians in Carnatic music concerts or as a centre main piece in [[Bharatanatyam]] dance concerts. As a foundation to Carnatic music,<ref name="Panchapakesa Iyer 1989 p57">[[#Panchapakesa1989|Panchapakesa Iyer (1989)]], p57</ref> 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 (music)|anupallavi]]'' and ''[[charanam]]''.<ref>[http://www.karnatik.com/glosst.shtml Royal Carpet: Glossary of Carnatic Terms T<!-- Bot generated title -->]</ref>

With rhythmic elements like a [[Carnatic Music|''padam'']], ''pada varnams'' are generally sung to accompany South Indian classical dance, including ''[[bharatanatyam]]''.<ref name="karnatik.com">[http://www.karnatik.com/glossp.shtml Royal Carpet: Glossary of Carnatic Terms P<!-- Bot generated title -->]</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''.<ref name="karnatik.com"/>  The ''swaras'' in this type of varnam are suitable for intricate footwork.<ref name="karnatik.com"/> ''Padajathi varnams'' are simply ''pada varnams'' that also contain ''jatis'', making them again more suitable for South Indian classical dance.<ref name="karnatik.com"/>

==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.<ref name="MA1997SADAS">{{cite journal | last = Parthasarathy|first = T. S.|title = More Light on Swati Tirunal | journal = The Journal of the Music Academy, Madras| volume = LXVIII| page = 114 |year = 1997 | publisher = Music Academy}}</ref>

Lyrical content of varnams are commonly either devotional or amorous.<ref name="MA1997SADAS"/>

The varnam consists of two parts: poorvadham (first half) - consisting of pallavi, anupallavi and muktaayi swaram and uttarardham (second half) - consisting of charanam and charana swarams. Some of the older compositions have a part called "Anubandham" following this.

*'''Pallavi''': The first section of the Varnam, sung with lyrics (sahitya).
*'''Anupallavi''': Second section, also sung with lyrics (sahitya).
*'''Muktaayi Swaram (also called Chitta Swaram)''': Sung completely with notes. In Pada Varnams, corresponding lyrics are present, which will be sung after the notes are sung.
*'''Charanam or Eththugada Pallavi''': Sung with lyrics
*'''Chitta Swaram or Eththugadda Swaram''': Sung with notes.  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 is sung with lyrics (''sahitya''), and 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, performers rarely sing the anubandham (ie., the rendering is concluded after charana swarams, leading back to the charanam).

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 [[Tala (music)|''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; therefore, each beat and finger count is placed twice.

==Famous varnams==

''Adi Tala'' varnams include:
*"Sami Ninne" in ''[[Shree (Carnatic raga)|Shree ragam]]'' composed by ''Karur Devudu Iyer'' in [[Telugu language|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 ''[[Hanumatodi|Todi]] raagam'' by [[Patnam Subramania Iyer]] in Telugu

''Ata Tala'' varnams include:
*"Viriboni" in ''[[Bhairavi (ragam)|Bhairavi]] ragam'' by [[Pacchimiriam Adiyappa]] in Telugu
*"Nera Nammiti" in ''Kaanada raagam'' by [[Poochi Srinivasa Iyengar]] in Telugu
*"Chalamela" in ''[[Dheerasankarabharanam|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 [[Muthiah Bhagavatar]] 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==
{{Portal|India|Music}}
*[[Navaragamalika]]

== References ==
{{reflist}}

== Notes ==
* {{cite book|title=Analytical Studies in World Music|url=https://archive.org/details/analyticalstudie00tenz|url-access=registration|last=Tenzer|first=Michael|year=2006|publisher=[[Oxford University Press]]|location=[[New York City|New York]]|ref=Tenzer2006}}
* {{cite book|title=Karnataka sangeeta sastra: theory of Carnatic music|last=Panchapakesa Iyer|first=A. S.|year=1989|publisher=Ganamrutha Prachuram|ref=PanchapakesaIyer1989}}

[[Category:Carnatic music]]
[[Category:Elements of a Bharatanatyam performance]]