Ganamrutha Varna Malika (With Notation)

Sri A. S. Panchapakesa Iyer has brought out a book on music essentially for beginners which will be found useful for others who are in an advanced stage of learning. The contents the primary lesson before beginning the varnas.

Though the varnas contained in this has already been published in vari-ous books, this contains in a succinct way all the valuable varnas that one must necessarily learn for attaining proficiency. The notation is in a lucid form and easily learnt by readings. This is perhaps due to the fat. That thte author is a good teacher for a number of years and therefore understands the minds of the young so well.

I heartly commend this for use for the learned as well.

Varnas are the foundation in the art of Karnatic Music. By practicing Varnas in the established manner one gains perfection and thorough knowledge in Ragas, Swaras, Talas and a controlled voice culture. The most important and difficult part in Karnatic Music are unfailing control over talas, while rendering Niravalas and Kalpana swaras. To obtain success in this regard, it is highly essential to practice every varna at least in two kalas (Vilamba and Madhyama). Such practice would definitely afford the required Voice culture, while rendering Niravals followed by Kalpana swaras, without encountering any difficulty.

The earlier publication "Ganamrutha Bodhint" contains the elementary lessons in Karnatic Music. This publication being the next one consists Sangeetha sastras, 23 Thana Varnas in Adi Tala, 12 Ata tala Varnmas, 5 Pada Varnas and one Dharu Varna, and the Arohana and Avarohan and for 250 janya ragas. In order to learn these varnas easily, each count of the tala is appropriately fitted with 4 swaras which required space and with hyphens between each group of swaras to easily understand the method of singing their combinations.

Moreover the pictures of several departed Mahavidwans who had been very popular in the field of Karnatic Music and dedicated their life for its cause, are printed at the foot of each Varna with a view to keep them constantly in our memory and get their blessings, since they are considered as our Gurus.

My heartful thanks are due to Sangeetha Kalanidhies Music Subramania lyer, Sri Semmangudi Sreenivasa lyer, Sri Mudikondan Venkatrama lyer and professor, Sri P. Sambamurthy, in honouring me by writing prefaces to this publication. I also sincerely thank Sri N. S. Chidambaram in setting the Tamil Sahithya for the Dharu Varnam tuned by me.