Continued from Part Twelve – Desi Samgita
Part thirteen (of 22 ) – Forms of Karnataka Sangita
The Journey
1.1. As you have seen from the articles posted so far that, over the centuries, the Music of India has passed through many significant milestones on the way to its full development. Though the several forms of Music generated over the long periods differ in their form, content and intent, they do in fact represent a continued progression of a hoary tradition, each inspiring its next format. The Music of India, just as its philosophies and branches of art-forms, follows the path of continuity blending in the changes, without compromising its fundamentals.
1.2. The journey of this rich and varied Musical tradition could symbolically said to have commenced from the Riks of the Sama Veda associated with conduct of Yajnas , which then was improved upon by the Shiksha branch of the Vedas (Vedanga). That was followed the pure and chaste form of Music Marga or Gandharva with its gentle appeal to the gods. Then came the Gana of the Natyashastra with its several song-forms to suit various sequences that occur during the course of a Drama.
2.1. Thereafter the somber and rather inflexible Marga gave place to a comparatively relaxed art-music – Desi – derived from different regions of the country, aiming to delight the hearts of men and women. The Desi in its wake established the concept of Raga which in due time revolutionized the theories and practices of Indian Music. And, Raga became the central and predominant melodic concept in Indian music. Over a period and with the proliferation of the Raga, the systems of classifying the various Ragas into groups (Mela) based on the technical traits of their scales (Svaras) came into vogue.
2.2. There arose various theories of characterizing the Ragas according to the mood or the season they seemed to represent, and the ideal time ( day , evening or night) to sing the Ragas. And, the Ragas even came to be personified, treating them as male or female, each endowed with its own individual traits and appearance. A large number of music-treatises were concerned primarily with the iconography of the Raga; and, were eager to connect the Raga with a deity or a season or a mood or even an environment.
2.3. Emmie Te Nijenhuis observes : For a full understanding of the development of musical forms in India one has to consider not only the technical elements of a composition, such as: its phrasal elements (Taala, Pada, Svara, Pata, Virudu and Tena), its main musical section (Dhatu) or its poetical metre, but also its general character, its subject matter and social environment . Unfortunately the Sanskrit texts do not contain information on some these aspects.
One has to therefore go behind the texts and try to understand their cultural and social background , fathom their inspirations as also motivations
3.1. Much before the theories and concepts of Raga were fully developed, one of the major forms of Desi Sangita that came to fore was the Prabandha, which in its myriad forms dominated the Music scene of India for more than about thousand years till the end of the seventeenth century. In between, the Persian influence remodeled the forms and the ways of singing classical Music in North India. The ancient Dhruva-pada (Dhrupad) a Desi form of Prabandha gave place to improvised lyrical Khyal and other popular modes of singing.
3.2. In the South India, the Prabandha which was getting rather rigid gave place, by about the end of seventeen century, to varieties of musical forms that were free flowing and not unduly constrained by rules of Grammar and meter. Though the form and the presentation of the songs took new shapes, they still retained, in one way or the other, the basic elements of the ancient Prabandha. This has helped to keep alive the ancient traditions.
4.1. By the second half of the 17th century the ancient Music that figured in Natyashastra was no longer in practice. The system of 17th century was closer to the one in present day. The texts of this period usually began with the traditional description of the scales (Svara) in terms of the 22 Srutis and associated Ragas.
4.2. The eighteenth century could be said the golden age of Karnataka Sangita. The period not merely gave birth to significant texts that re-defined Music theories (Lakshana) and practices (Lakshya) but also witnessed the flowering of various Music forms such as : Kirtana, Kriti, Daru, Varna , Padam , Javali, Thillana, Naamavali and so on. The most fortuitous occurrence or the heavenly blessing of this period was the sublime Music created by the Trinity of Karnataka Sangita who flourished around the same time. It is, fundamentally, their Music that has given form substance and identity to the Karnataka Sangita and all other related art-forms that are practiced today. We all owe those Great Masters a deep debt of gratitude.
Let’s try to gain brief familiarity with some of the art-music that branched out of the Prabandha. Among those forms, I reckon, Daru seems to be older. Let’s begin with Daru.
Daru
5.1. It is said; the Daru songs were derived from the ancient Dhruva songs (stage-songs) described in the thirty-second chapter of Bharatha’s Natyashastra.
During the times of the Nayaks of Tanjavuru the Yakshagana, Bhagavatamela Nataka and such other dance dramas were popular. And, Daru songs were widely employed in all these forms of dance dramas (geya-nataka). Some of the earliest Daru songs that have come down to us are from Vijayaraghava Nayaka’s Yakshagana Vipranarayana Charita (1633 – 1673).
Daru that is commonly used in Dance Dramas, is basically a story-song (Akhyana or a ballad) narrating an event. Therefore, lyrics (Sahitya) are an essential part of Daru song.
5.2. As regards their format, some Darus may have Pallavi, Anu-pallavi and Charanas; while some others may just have only the Pallavi and Charanas (i.e. without Anu-pallavi). All the Charanas may have the same Dhatu, the musical element. The Tempo (Laya) of a Daru is usually the Madhyama-kaala; but, some are also sung in Vilamba-kala to suit the dramatic event. As regards the Taala, the Chapu Taala is most favored in Geya Natakas (say, as in Nauka Charitram of Sri Tyagaraja). The other Taalas used were Adi and Jampa.
5.3. The music of Daru songs is usually simple with no elaborate improvisations such as Raga Sancharas or Sangathis. The Rakthi Ragas are mostly used to bring out the mood and emotion of the scene. The Saurastra Raga seems to have a favorite of the composers.
Classification of Darus
6.1. Darus have been classified into various types depending on their functions. For instance; Svagatha Daru is for a character musing aloud (sotto voce) or a soliloquy speaking to herself/himself softly, aside, rather in a private manner. Pralapa Daru is for sorrowing or wailing situations. Heccarika Daru is for heralding the entry of the King, alerting the assembled courtiers. Paada-vandana Daru is for respectfully approaching the deity in a temple, as also for retreating, step by step. And, Samvada Daru is for conversations in musical form between two main characters.
6.2. Jakkini Daru has an interesting format. It commenced with Jaati-Svaras (series of notes, sol-fa); and, the words (lyrics) were in the second section of the song. Jakkini was a popular form of Daru during the time of Nayaks. And, in due time, Jakkini Daru gave raise to Tillanas.
6.3. Some Darus (like Tendral Daru, Vennila Daru and Manmatha Daru) were love-songs portraying erotic moods (Sringara Rasa). Such Darus in lighter moods were the forerunners of the later Javali dance songs.
6.4. Sri Melatturu Venkatarama Shastry who was a senior contemporary of Sri Tyagaraja is said to have composed as many as twelve Dance Dramas (Bhagavatha Mela Nataka) employing the Daru-songs. And, the Kuchhipudi dance dramas also employ Daru-songs in their narratives.
6.5. Among the Trinity of Karnataka Music, Sri Tyagaraja in his Dance Drama ‘Nauka Charitram’ used Daru-songs. For instance; one of its Daru –song ‘Indu kemi’ set to Varali Raga in Chapa Taala is of Samvada Daru type. Here, two characters speak alternatively (Uttara – pratyuttara) through songs.
[Independent of the dance dramas, Sri Tyagaraja is said to have composed a Daru (Nee saathi) in Raga Sriranjani. But, its authorship is questioned.]
[And, none of Sri Tyagaraja’s disciples seem to have attempted a Daru.]
Sri Mutthuswamy Dikshitar has also composed a Daru in Sriranjani Raga ‘Na sari sati’ set to Rupaka Taala; and, it is in Telugu. It is one of Dikshitar’s rare compositions in Telugu. The Anuprasa (rhyming) is delightfully phrased in the terms valabu, solabu and kolabu etc. There is an allusion to an anecdote related to churning of the sea that gave forth Amrita (divine nectar) in the phrase: ’vasavadi amarulella Vamri svarupametti Vasudeva garvamanji’.
Among the later composers, Sri Harikesanallur Muthayya Bhagavatar who was musician in the court of Sri Krishnaraja Wodeyar, the Maharaja of Mysore, has composed four Daru Varnas, Two of which are in Telugu; and, the other two are in Kannada. They contain Jaatis, Svaras as well as Sahitya. Here, the first passage in Svaras is followed by Jaati, which then are followed by Sahitya.
Of these, the Daru-Varna in Kannada set to Khamas Raga and Chapu Taala (Mathe Malayadwaja pandya samjate matanga vadana guha) is very highly popular.
[The name of the Raga Khamas when sung repeatedly in succession sounds ‘Sukhama’].
[For more; Please see: Darus in Carnatic Music by Dr. Gowri Kuppuswami and Dr. M Hariharan; Published in ‘Shanmukha’, October 1986 (Vol.XII; No.4)]
**
Kirtana
7.1. Until about the beginning of the eighteenth century, Prabandha was the dominant form of Music. It also played an important role in the development of dance and dance-drama. Prabandha, essentially, is a tightly structured (Nibaddha Samgita) musical composition that is governed by a set of rules. Venkatamakhin in his landmark work Chaturdandi Prakasika (ca. 1635) describes Prabandha as a composition having specific characteristics; and, that which is well composed – ‘prabandhayeti Prabandha’. However, the definition was narrowed down to include only those compositions which are made up of Six Angas or elements (birudu, pada, tenaka, pāta and tāla) and Four Dhatus or sections (Udgrāha, Melāpaka, Dhruva and Abhoga).
The structure of a Prabandha, by its very nature, had to adhere to a prescribed format. In general, the emphasis appeared to be more on the text than on the musical content. The faithfulness to the form was, at times, carried to its limits. And, the Prabandha form, in due course, grew rather rigid.
And, Prabandha, naturally, had to give place to improvised, easier and innovative (manodharma samgita) forms of music having distinctive features of their own. Yet; it is the basic elements of Prabandha that provide guidelines even to the modern composers of classical music.
[Most of the medieval Prabandha-s eventually disappeared because of the stiffness of their musical construction. Yet; it should also be mentioned that Prabandha helped the Karnataka music, enormously, in ensuring continuity of its ancient tradition.]
7.2. With the steady decline of Prabandha and rise of regional languages, a range of musical compositions and rhythmic variations began to take place. Those with lighter and attractive musical content set in simpler words easy to understand gained popularity as Kirtana-s or Padas. And, those Prabandha-s composed in high literary style and loaded with religious themes passed into realm of religion.
7.3. As said; the Kirtana form of Music that began to flourish towards the end of fourteenth century was basically devotional Music aiming to invoke Bhakthi in the hearts of common folk. Its Sahitya (lyrics) clothed in simple music abounds in Bhakthi-bhava. It usually is a prayer or a Namavali (stringing together various names and epithets of the deity) or is a song ideally suited for group singing (Samuha-gana or Bhajana).
7.4. The Kirtanas do have musical sections such as Pallavi, Anu-pallavi and usually more than two Charanas. The entire Kirtana is usually set to one traditional and melodious Raga in simple Taala; and is rendered in Madhyama-kaala. In a Kirtana, Music per se is neither explored nor interpreted. Music, here, is but a charming, delightful vehicle to convey the devotional content of the song.
7.5. Among the Saint-poets and composers (Vak-geya-kara) who composed Kirtanas in soul-stirring music preaching devotion and submission to the Lord, the prominent were: Sri Sripadaraya (1403-1502), Tallapakkam Sri Annamacharya (1408 to 1503), Sri Vyasaraya (1447-1539), Sri Vadiraja (1480-1600) , Sri Purandaradasa (1484-1564) , Kshetrayya (or Kshetragna) (1600–1680), Bhadrachalam Ramadasu (1620-1688) and Sri Raghavendra Tirtha (1623- 1671) . However, the original tunes of many of their songs are lost to us.
Kriti
8.1. As said, Kirtana was the popular form of Music during 15-17th centuries. It was followed by the Kriti format which eventually stabilized and attained perfection by about the middle of the 18th century.
Kirtana and Kriti are often used as alternate or interchangeable terms. But, they are not the same; and, there are differences between the two. But, these two together form the major corpus of the main stream of Karnataka Sangita.
8.2. A Kriti is explained as that which is constructed (yat krtam tat kritih). It is primarily a pre-composed music (kalpitha Samgita), which aims to delineate the true nature of a Raga in all its vibrant colours. In Karnataka Samgita, a Kriti comprising Pallavi, Anu-pallavi and Charanas, honouring the disciplines of Grammar and Chhandas, and set to appropriate Taala is the most advanced form of musical composition.
8.3. If Kirtana evokes Bhakthi Rasa, Kriti aims at perfection of Gana-Rasa. Kriti depicts shades of various emotions and Rasa-s including Bhakthi. Kriti can express even sorrow-Karuna (e.g. Evari mata–kambhoji); wonder–Adbhuta (Enta muddo– Bindumalini); frustration or disgust – Jigupsa (Chedi buddhi – Adana); resignation or despair – Bibhatsa (Eti Janma – Varali). And, the expansion of such emotions is more complex, subtle and technically almost perfect.
8.4. The elaboration of a Kriti is complex for other reasons too. It might involve many Kaala-pramanas (tempos). And, quite often, a Kriti may be composed in rare or untested Ragas perhaps because the composer either strives to demonstrate his technical virtuosity or to match the subject and the text of the Kriti with a Raga of an equally aesthetic quality. Many times, a Kriti assigns the Raga greater importance than to its words. It might be trying to employ the Raga with its Gamakas to express the intent (bhava) of its Sahitya more effectively. Further, Kritis are also often structured in complex Taala patterns.
And, it is up to the genius of the performer to bring out the various facets of the Kriti as well as she/he could achieve. Therefore, a Kriti can effectively be rendered as a solo rather than as group-song (in contrast to the Kirtana).
9.1. Kriti is conceived as a well chiselled work of art; an ideal harmony of Mathu (words) and Dhatu (music-element). In an excellently well composed Kriti, the bhava of the words has to fuse with the bhava of the Raga, and the two have to become one. Therefore, the performer is not expected to meddle with it or deviate from the structure laid down by the composer. And yet; a Kriti provides ample scope to the performer to draw out her/his creative (Mano- dharma), innovative expressions in Raga and Laya. A gifted performer transforms a Kriti into his own inspired self-expression, investing it with his creative skill, well crafted Gamakas and Alamkaras.
9.2. Having said that let me also add there are varieties of Kritis. There is no prescribed number of sections or prescribed the length to define a Kriti. Some are short as in the case of some of Sri Dikshitar’s Kritis where the Anu-pallavi and Charanam are fused into one Samasti-charanam. Sri Tyagaraja, on the other hand, at times, adds extra Charanams. At the same time, in some of his Kritis the last two lines of the Charanam are rendered just like the Anu-pallavi.
9.3. Kritis are set in different speeds, Ragas, Taalas, lengths and levels of proficiency. Some Kritis allow scope for elaboration while others are crisp. Some are scholarly, while some others just project sweet melody with simple words of devotion (Madhura Bhakthi).
9.4. While the Kritis in Karnataka Sangita are generally rendered in Madhyama Kaala, some of Sri Dikshitar’s Kritis commence in Vilamba Kaala, but, brisk and enlivening passages are built into the Kriti towards the end. Similarly in the case of Kritis of Shyama Shastry a performer can do justice only if she/he grasps the delicacy of Gamakas of his Ragas and renders in slow, contemplative tempo.
9.5. It is also said; A Kriti can also be sung with or without Sangathi or Niraval or Svara Kalpana. Because, it is said, a Kriti should essentially be beautiful by itself; and, should sound sweet even without elaborations and ornamentation (nirabharana saundarya).
10.1. One of Sri Tyagaraja’s significant contributions to Karnataka music is the perfection of Kriti format, which was, at that time, evolving out of the shadows of the older Prabandha and its immediate predecessor Kirtana or Pada. Amazingly, Sri Tyagaraja as also Sri Dikshitar and Shyama Shastry, independent of each other, all contributed to the development of Kriti form, although they did not seem to have met or corresponded.
[Prior to the time of Sri Tyagaraja (say, 17th century) composers of great reputation such as Muthu Tandavar and Margadarsi Sesha Ayyangar had experimented with the Kriti format. And, it was the celebrated Trinity of Karnataka Samgita that, later, perfected it. ]
10.2. Sri Tyagaraja in his song Sogasuga mridanga talamu (in Raga Sri Ranjani) provides an outline of how a Kriti should be, in its form and in its content. In this song, he says that a Kriti should be couched in words ( nija vākkulatō ) conveying the pure spirit of the Upanishads (nigama siro-arthamu) ; should have correctness of musical notes (swara śhuddhamutō) of the ragas in which they are set; should have pleasant (sokkajeya ) rhythm that is enjoyable (Sogasuga mridanga talamu ); should be marked by beauties of alliterations and successive increases and decreases of notes and syllables , as also pauses (Yati Visrama) ; it’s literary expressions should nurture cultivation of true devotion (Sadbhakti ) and dispassion (virati ); and, it should be adorned with grace and simplicity embodying all the nine (nava) Rasas or aesthetic moods.
10.3. In number of his other songs; he explains how Music is indeed the expression of the primordial Nada; how music originates in mind and body; and, how music should be presented. According to him, enjoying music is Sukhanubhava – a tranquil delight.
Sangathi
11.1. One of the innovations of Sri Tyagaraja to improve the aesthetic beauty of Kriti –rendering was the Sangathi. A Sangathi (lit. putting together) is essentially a set of variations on the shades of a theme, gradually unfolding the melodic (Raga) potential of a phrase (Sahitya) in combination with Svaras. Some say that Sri Tyagaraja adopted Sangathi-rendering from dance-music where variations are done for Abhinaya and for bringing out the different shades and interpretations of the basic emotion (Bhava).
11.2. In any case, this was an outstanding contribution to the advancement of the Kriti format in particular and to the musical performances in general. Sangathi elaboration in Madhyama Kala, in the opening of a Pallavi, has enormously enriched the aesthetic beauty of Raga-bhava during Kriti-presentation in a concert. With that, a Kriti is no longer static; but, it is a vibrant, living entity like language that is wielded with skill and dexterity. Sangathi passages also mark the virtuosity of the performer. Some of Sri Tyagaraja masterpieces open with a cascade of Sangathis (E.g. Chakkani raja margamu; Rama ni samana; O Rangashayi; and Naa Jivadhara.)
11.3. Though the Sangathi was fundamentally a feature of Tyagaraja-Kritis, its practice (Sarasa-sangathi sandharbhamu, as Tyagaraja calls it) has now spread to the presentation of Kritis of Dikshitar, Shyama Shastry and other composers, though they belong to a different style. Similarly, Madhyama kaala that goes with the Sangathi has come to be the principal tempo of Karnataka Samgita [though some of Dikshitar-kritis, in Vainika style, are in slow tempo (Vilamba Kala)].
11.4. Sangathi and Neraval (sahitya vinyasa) – where the Sahitya and its melody is spread out in various ways while keeping intact the original structure of the Pallavi or Charanam – together with Kalpana Svaras, provide depth and expansiveness to Karnataka Samgita. And, Tyagaraja-kritis, in particular, provide ample scope not only for elaboration on various phases and aspects of Raga (manodharma-samgita), but also for improvising fascinating sequences of Sangathi-s, Neraval and Kalpana –Svaras.
Raga Taana and Pallavi
12.1. Raga Taana Pallavi is regarded the most mature form of presentation in Karnataka Sangita. Raga here stands for Alapana or elaboration, the Anibaddha Sangita. It is the Music that is not fettered by words, meters or Taala. Its excellence is limited only by performer’s virtuosity. The performer after a slow contemplative phases delves into the depths of the Raga explores its various dimensions through his creative endower; and, ends on a high note.
12.2. After the Alapana the performer takes up Taana (comparable to Jor –Jhala in Hindustani Dhrupad and instrumental music). This involves boundless play on meaning-less syllables such as ta, na, nom, tum or tanam, etc. Taana is unique in the sense that with the rise in tempo, the performer improvises and builds into the melody various patterns of rhythms, without, however, the element of Taala. The Veena players invariably perform Taana; and, it is most delightful.
12.3. The third part is Pallavi, which is Nibaddha, structured by words, sections and Taala. Here the percussion player join in and do enjoy a greater role. The Pallavi ends in a series of kalpanaswaras.
Varna
[The Varna or Varnam that we are about to discuss is different from the technical term Varna (special note sequences that indicate different kinds of Svara- movements) we talked about earlier. The Varna or Varnam in the following paragraphs refers to a class of musical composition in Karnataka Sangita.]
13.1. Varnam is a short, crisp and tightly knit music-piece that aims to encapsulate the main features and requirements of a Raga. These are finely crafted exquisite works of art. The creation of a Varna calls for delicate craftsmanship, thorough knowledge of the Raga, its sanchara (movements) in various Kaala (tempos) , grasp over Taala and an overall sense of beauty and balance.
13.2. Varnams have been composed, since about eighteenth century, in all the major Ragas and most of the minor Ragas, in all the principal Taalas. Many Masters of Karnataka Sangita have composed Varnas. The prominent among them are: Pachchimiriyam Adiyappayya, Sonti Venkatsubbayya, Shyama Shastri, Swati Tirunal Maharaja, Patnam Subrahmanya Iyer, Ramnad Srinivasa Iyengar and Mysore Vasudevacharya.
[Varna is unique to Karnataka Sangita. The Hindustani Music does not seem to have its counterpart.]
13.3. Varna lays out the Grammar of a Raga. That is to say, it specifies the features and rules regarding the movement of the Raga (raga-sanchara), its scale, how each note of the Raga should be stressed and so on. A Varnam is therefore a fundamental form in Karnataka Sangita. It needs to be practiced well both by the learner and the experienced performer.
14.1. A Varnam is structured in two Angas (sections) : The Purvanga ( first section) comprises Pallavi, Anu-pallavi, Mukhayi Svara; and The Uttaranga ( the latter section) comprises a Charana that acts as a refrain for the latter part of the Varnam and Charana-svaras (Chittasvara) that are alternated with the Charanam. Each section of a Varnam elaborates an aspect of the Raga (raga-svarupa).
14.2. A Varna does include Sahitya (lyrics); but, its role is secondary, merely supporting the music-content of the Varnam. It provides the Lakshya and Laksana of a Raga. The focus of a Varnam is on the Raga, its individual Svaras and Svara phases of various lengths and speeds. It is said; Varnam does not need the distraction of Sahitya.
14.3. The movement of a Varnam is strictly controlled; and, it’s rendering demands discipline. Its focus is on the Graha Svara (initial note of the Raga), the Gamakas, the Sanchara (movement) of the Raga according to the prescribed format.
14.4. The Pallavi of a Varna starts on the lower end of the scale stressing on the most important Svara (Jiva Svara) in the opening phase of the Pallavi. The Anu-pallavi deals with the higher end of the scale . And, the Mukhayi Svara and Chittasvara – consist of meandering (Sanchari) chains of Svaras that explore both the upper and lower reaches of the Raga.
14.5. The rendering of a Varna employs all the three tempos. The first Charana Svara is rendered in Vilamba kaala (slow tempo) and each Jiva Svara must be highlighted. After which, the rest is sung in Madhyama kaala (half-time). Some musicians insert their own kalpanaswara passages. In the third Charana Svara, the Svaras are short and made into groups (avartanam) of four. Thus, in Charana, there are two or three Svaras of one avartanam, one Svara of two avartanam-s and finally one Svara of four avartanam-s.
15.1. As said earlier, practicing Varna is much required for the student as also for the experienced performer. For students, the Varnams that are taught at the intermediary level are useful for learning the Svaras of various Ragas, singing in multiple speeds rapidly; as well as learning the appropriate Gamakas. Advanced students are taught Varnas in multiple Ragas or Taalas. They introduce the student to the proper combinations of Svaras for each Raga and inculcate discipline that is needed for singing.
Varna- rendering also helps to develop voice culture and in learning to maintain proper pitch and control over rhythm. The instrumentalists too can gain control over playing -techniques.
Among the early Adi Taala Varnams a student usually learns are: Ninnukori in Raga Mohana by Ramnad Sreenivasa Iyengar; Samininne in Shankara bharanam by Veenai Kuppaiyer; Evvari Bodhana in Abhogi by Patnam Subramania Iyer; and many others. In the later stages all student do learn to sing the celebrated Viriboni, in Bhairavi, set to Ata Taala by Pacchimirium Sri Adiyappayya.
15.2. In the concerts, a Varnam is most often the first or the second piece to be rendered. Though some consider it as a warm-up exercise, the correct rendering of Varna requires complete knowledge of the Raga.
16.1. Varnams are of three sorts: Daru Varnam, Pada Varnam and Taana Varnam. . The theme of these Varnams is usually Bhakthi (devotion) or Sringara (love).
We just spoke about Daru Varnam in the previous paragraphs of this article. Daru Varnams are special type of Varnams in whose Mukthayi Svaras; there are first the Svara passages, followed by the jatis which are then followed by the Sahitya.
16.2. Pada Varnam (Ata Varnam): As its name indicates there it has a greater element of Sahitya (Pada or words). Pada Varnams with elaborate Sahitya are difficult to grasp especially when set to difficult Ragas and Taala. But, Pada Varnams are in greater use in Bharatanatyam. Because, it’s Sahitya, expressions and Svaras in moderately slow pace is said to be suitable for choreography.
16.3. Taana Varnam: This does not have Sahitya for Svaras. It usually is of fast tempo (Druta and Tisra Gati). It is the sort of Varna that is meant as pure music, without the intervention of words. It therefore has fewer words than the Pada Varna. The difficult Taana Varnams are commonly chosen for rending in the concerts;and, they provide the base for Mano-dharma-samgita. The artists enjoy greater elaborations of Taana Varnams studded with Kalpana-svaras to enhance to beauty of the Raga.
[ For more on Varnam ; please do read the Doctoral Research Paper : Study of varnas in dual forms music and dance by Dr. Rajashree R Warrier]
Gitam, Svarajati and Jatisvaram
17.1. Just as the Varnam, the Gita and Svarajati have rhythm matching each syllable of the Sahitya to one Svara.
17.2. Gitam is the simplest type of composition. Taught to beginners of music, the Gitam is very simple in structure with an easy and melodious flow of music set in simple Taala.
17.3. Svarajatiis are learnt after a course in Gitams. More complicated than the Gitams, the Svarajati prepares the student for the Varnams. . It consists of three sections, called Pallavi, Anu-pallavi and Charanam. Svarajati does not offer much scope for elaboration of neraval etc since it is in a tight knit form. It bound by rules. Its Svara patterns are aligned with Sahitya in a graded manner. It was the genius of Shyama Shastry that endowed Svarajati with Raga bhava.
17.4. Jatisvaras are similar to the Svarajati in musical structure. However, – Jatisvaram-has no sahitya or meaningful words. The piece is sung with sol-fa syllables. its rhythmical excellence and the jati pattern used in it are its strength. . This is a musical form belonging to the realm of dance music. In some Jatisvarams, the Pallavi and Anu-pallavi are sung to Jatis and the Charanas are sung to a mixture of Svaras and jatis. There are also Ragamalika Jatisvarams.]
Pada or Padam
[Pada hereunder does not merely refer to ’word’; but, it also refers to a type of song that was prevalent during 17th-18th century.]
18.1.The Padams are quite similar to the Uparupaka-s of the type Srigadita and Durmllika or Durmilita. The main characters of a Padam invariably are the Nayaka (hero), Nayika (heroine) and the Sakhi (friend/maid). The Padams narrate the emotional states of the Nayika and the Nayaka while they are separated or while enjoying the company of each other.
In the Srigadita, the Nayaki is separated; and, she recounts her Lover’s actions, virtues or his indifference to her friend/maid. The separation of the Nayaka and the Nayaki is classified as Vipralamba -Srngara. In Durmllika, the Sakhi either carries the message to the Nayaka or enables the two Lovers to meet.
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Some Padams are, however, in praise of a deity. In many, Srngara is depicted as Madhura-Bhakti.
Thus, the Padams, the musical monologues, provide scope for display of varied delicate shades of Srngara and other Rasas , through Nayaka-Nayaki-Bhavas.
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Pada or Padam were sung during Dance as they offered scope for subtle expressions through face and gestures (Abhinaya). During the times of Nayaks of Tanjavuru, Dance and Dance related music were popular because of their sweet music and aesthetic appeal. Most of the poets, musicians and Natyacharyas attached to the King’s Court were engaged in scripting songs and composing music for dance related music-forms such as Pada, Jakkini, Javali, Chintamani, Perani etc than with the art-music. Almost all forms of dance related compositions that are in vogue today are derived from this period. Its form has remained almost unchanged.
18.2. Most of the Padams were composed in regional languages, majority of them in Telugu and some in Tamil. The theme of a Padam would usually be Madhura Bhakthi devotion colored with tender love or suggestive romance. Theoretically, this sort of Bhakthi tinged with Srngara was projected in its two aspects: Antar-Srngara, the unseen sublime relation between the Universal Soul (Paramatma) and the Individual Soul (Jivatma) that is guided by the Guru, the spiritual mentor; and, the Bahir-Srngara was the explicit romantic relation between the Hero (Nayaka) and the Leading Lady (Nayika) that is aided and abetted by the Lady’s maid (Sakhi). Though all the nine Rasas (Nava-Rasa) were portrayed in a Padam, the Srinagar (erotic or romantic love) was the dominant Rasa and the theme.
[The terms Pada and Kirtana seem to be used synonymously in this period .And, later the compositions with Sringara content came to be known as Pada; and, those with element of Bhakthi as Kirtana.]
19.1. The music of the Padam is generally slow-moving, arousing with an appeal to ones delicate sensibilities. The natural flow of music goes along with tender and evocative words of the song. The Padam aims to blend the music, the words and Abhinaya the dance expressions into a harmonious and very enjoyable art-experience.
19.2. The Padam, when sung, presents an epitome of the Raga in which it is composed. Ragas specially noted for evoking typical rasa bhava are commonly employed in Padam. They usually are the mellow and serene Ragas such as: Anandabhairavi, Sahana, Nilambari, Ahiri, Ghanta, Mukhari, Huseni, Surati, Sourashtram and Punnagavarali.
19.3. The Taala of a Padam is rather subdued, not intruding into the mood or the bhava of the song. The Sangathi too are gentle and elaborate; and, not vigorous or energetic.
A Padam also has the sections: Pallavi, Anu-pallavi and Charana.
20.1. The earliest Padams were composed by Jayadeva Kavi (12th Century) in Sanskrit and in Telugu by Kshetrayya (16th Century).
Kshetrayya or Kshetragna seems to have been a great devotee of Gopala (Krishna), the presiding deity of his village. Thus, he adopted the Ankita-mudra, Muvva Gopala, for his compositions.
The Padams of Kshetrayya composed in beautiful lyrics set to rare Ragas, describe intense longing of the Nayaki for the Lord; and varied emotions sorrow on separation. Many of his Padams begin with the Anupallavi, followed by the Pallavi.
Kshetrayya’s compositions include Padams, such as : Ramarama (Bhairavi); Gaddari (Kalyani); Yemandu namma (Kedaragowla); and Kontegadu (Surati) , among others. Kshetrayya used only Rakthi-Ragas like: Anandabhairavi, Sahana, Nilambari, Ahiri, Ghanta, Mukhari, Huseni, Surati, Sourashtram and Punnagavarali.
The striking feature of his Padams is that he uses very few words to describe a situation; thus allowing scope for elaboration of emotions through Abhinaya in unhurried lilting gaits, to the accompaniment pleasing music. Kshetragnya’s Padams are , therefore, popular in both music and dance.
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20.2. Some of the poets in the Maratha Court at Tanjavuru like Giriraja Kavi were also noted Padam composers. He is said to have composed many Sringara Padas employing Desi Ragas like Brindavani. He was followed by Vasudeva Kavi, Soma Kavi and Rama Bharathi.
The Maratha kings themselves (Thulaja I, Ekoji II, Sarabhoji II and Shahaji) are said to have composed several Padas, musical operas, Kuravanji’s, Daru, Yakshagana Natakas etc.
Javali
21.1. Javalis belong to the genre of light classical music. Sung both in concerts and dance items. The Javalis are popular because of the attractive melodies in which they are composed.
[According to Dr. Jyothi Mohan:
The term Javali is said to have come from the Kannada word “Javada” which means “lewd poetry”. Javali is a musical composition often sung towards the end of a Carnatic classical concert. It is pronounced both as “Javali” and Javadi in Kannada. The Marathi word “Jhawali” means a gesture of eyes in the language of ‘love’.
According to some scholars, the structure, the contents and the technique of the Sringara Padams of Annamacharya (14th Century) closely resemble those of a Javali of the modern times.
It is only from the time of Dharmapuri Subbarayar (which is about the latter half of the 19th Century) that javali began to exist as a definite form, which has continued till today. Other well-known javali composers are Thiruppanandal Pattabhirammayya, Tatchur Singrachari, Patnam Subramanya Iyer, and Poochi Srinivasa Iyengar.]
In Javalis also, the Nayaka, Nayika and the Sakhi figure in the theme; but, the mood is slightly playful and most times, it is meant to entertain, as its Sahitya is colloquial and earthly. In contrast to the Padams, which portray divine love, Javalis are rather sensuous in concept and display . Unlike in Padam, there is no symbolism here. The Srngara portrayed in Javali is overt. It is meant to titillate the patron.
21.2. They are basically dance-songs set in Madhyama kaala with attractive tunes and crisp Taala. Lighter Desi Ragas like Paraz, Kapi, Khamas, Behag, Jhinjhoti, Tilang, etc that are simple and melodious are used in Javalis. They are not burdened with technical complexities as alapanai, neraval or kalpana-swaras; and, in a concert they are sung towards the end as a way of relaxation.
[ For more on Javalis, please do click here for a learned article .]
Tillana
22.1. Tillana, again, is a dance oriented song format. It makes use of Mrudanga Jathis in Pallavi and Anu-pallavi. The emphasis is on brisk rhythm, lively movement and not on Sahitya or Manodharma. Percussions have greater role to play in Tillana. It is said; the life of a Tillana is in its rhythm (Laya). The composers played around music-sounds such as tha, thai, theem, thakadhimi, or kitathakatharikitathom, quite generously.
22.2. The Jathis are articulated throughout the piece. The Charanam has usually epithets (Birudu) saluting the deity or the patron. It is tight knit composition that is rendered in just the way it is composed. Tillana exude with joy, celebration or exuberance; and, it is not meant for other Rasa such as sorrow etc.
22.3. The Tillana corresponds to Tarana of Hindustani music. It is a favorite of Veena players. In a concert Tillanas are sung towards the end, before the Mangalam (benediction), just to make up the variety.
Form
23.1. The forms of song-formats in Indian Music, right from Sama-gaana to the present-day, are truly countless, as we have seen from this and the earlier posts in the Series. As Dr. Ramanathan observes; form is actually a codification of various musical aspects that has been abstracted from Musical structures and prescriptions as given in the texts.
23.2. To repeat; though the several forms of Music generated over the long periods differ in their form, content and intent, they do in fact represent a continued progression of a hoary tradition, each inspiring its next format. The Music of India, just as its philosophies and branches of art-forms, follows the path of continuity blending in the changes, without compromising its fundamentals
23.3. That is to say the Forms in Karnataka Sangita are the representations or the expressions of theoretical principles that governed each stage of its evolution over the centuries. The Forms and formats change to suit their adopted environment; but, the principles behind them remain true and lasting.
In the next two parts, lets briefly take a look at the various Lakshana Granthas (from Dattilam to Chaturdandi prakashika) that have defined, guided and protected Karnataka Sangita.
Next
Lakshana Granthas-1
Sources and References
- 1. Darus in Carnatic Music by Dr. Gowri Kuppuswami and Dr. M Hariharan; Published in ‘Shanmukha’, October 1986 (Vol.XII; No.4)
- The charisma of composers BY T.M. Krishna http://www.thehindu.com/todays-paper/tp-features/tp-sundaymagazine/the-charisma-of-composers/article1138945.ece
- Form in Music by Prof. Dr. N. Ramanathan
- 4. Carnatic Classical Music – Centre for Cultural Resources http://ccrtindia.gov.in/carnaticclassicalmusic.php
- Carnatic music http://en.wikipedia.org/wiki/Carnatic_music
- https://shodhganga.inflibnet.ac.in/bitstream/10603/143855/4/04_preface.pdf
- All pictures are taken from the Internet. I gratefully acknowledge the sources.
sreenivasarao's blogs 
iphone 4S kopen
September 18, 2012 at 6:48 am
I’ve found youre article on my iPhone 4 Kopen and i wanna say thanks for it! It’s a nice www you have over here! I’ll visit it more in the future! Thanks, Frank
sreenivasaraos
September 18, 2012 at 4:05 pm
Dear kopen ,thank you for the appreciation.The post , because of its very nature, has many Sanskrit terms . I trust you did not have much difficulty in following the subject. Please check other blogs too. Regards
sreenivasaraos
September 18, 2012 at 4:07 pm
thank you.Regards
sreenivasaraos
September 22, 2012 at 6:49 pm
Dear libreria online , Thank you for the visit . As I mentioned , I am not very familiar with the technical aspects. I welcome help and guidence. Regards
Saddha
November 27, 2013 at 1:33 am
Thank you for quite a detailed article in the Brahmanical Sama Veda. However, Krishna in The Bhagwad Gita was not talking about the Brahmanical Sama Veda when he said, “amongst Vedas I am The Sama Veda”.
The Bhagwad Gita clearly does not mean that the tunes/melodies of the Sama are the most important!
As the Gita says in chapter 2 “Buddhau Saranam Anvicche!”
There is another Sama Vedas — aka Dhamma Vedas, this was revealed by Lord Buddha! This is known as the Nikayas or Tripitika — unfortunately preserved by every nation except India.
Krishna when he said he was the Sama Veda meant “to be in tune”– to be in tune with what? The Dharma!
Who tune themselves with the Dharma? Buddhists since only they have the Dharma Chakra! Lord Buddha uses the word “Sama” several times in various Suttas to describe tuning in accordance with The Dharma,
Thanissaro Bhikku states:
Dissonant and harmonious (visama and sama): Throughout ancient cultures, the terminology of music was used to describe the moral quality of people and acts. Discordant intervals or poorly-tuned musical instruments were metaphors for evil; harmonious intervals and well-tuned instruments were metaphors for good. In Pali, the term sama — “even” — describes an instrument tuned on-pitch. AN 6.55 contains a famous passage where the Buddha reminds Sona Kolivisa — who had been over-exerting himself in the practice — that a lute sounds appealing only if the strings are neither too taut nor too lax, but “evenly” tuned.
Lord Buddha describes this tuning to the Dharma process in MN 41 PTS: M i 285 MLS ii 379 Saleyyaka Sutta: (Brahmans) of Sala translated from the Pali byThanissaro Bhikkhu
“Householders, it’s by reason of un-Dhamma conduct, dissonant [1] (visama) conduct that some beings here, with the break-up of the body, after death, reappear in the plane of deprivation, the bad destination, the lower realms, in hell. It’s by reason of Dhamma conduct, harmonious [1] (Sama) conduct that some beings here, with the break-up of the body, after death, reappear in the good destinations, in the heavenly world.”
The true Sama Vedas is not knowledge of musical notes, it is knowledge and living in tune with the universe through the Dharma Chakra.
sreenivasaraos
November 27, 2013 at 2:50 am
Thank you Dear Saddha for your detailed explanation.
I am grateful.
Regards
sreenivasaraos
March 20, 2015 at 8:28 am
sreenivas: thanks to you . now i know what is sama veda. i belong to yajur(yajus shakha) but my wife was born a sama vedi. so the first time i heard chants in musical form was during my wedding, and after 45 years i read your blog to understand the origin of sama veda
rgds, girdhar
sreenivasaraos
March 20, 2015 at 8:28 am
dear shri gopal,
thank you for the comments. i am glad you could relate to it.
the later portion of the blog, i fear, became rather technical.
regards
sreenivasaraos
March 20, 2015 at 8:29 am
that was a wonderful blog. i have to read it again & assimilate a lot of things. just loved it. pranaams to you. you are great !
sreenivasaraos
March 20, 2015 at 8:29 am
sir, i posted a short blog on colors and music. may see if time permits.
http://dmrsekhar.sulekha.com/blog/post/2008/09/svetomusica.htm
dmr sekhar
sreenivasaraos
March 20, 2015 at 8:30 am
dear shri sekhar,
thank you for your detailed response. i greatly appreciate the gesture.
i understand, in sound → color synesthesia, individuals experience colors in response to tones or other aspects of sounds. a lot of that subject is highly technical, and i do not pretend i understand all of that. i am posting a few words from the little i know and from what i read.
the theory of synchronizing music with colors is highly interesting. there have been theories in that regard even from the time of pythagoras. in the subsequent centuries others too followed it . there has, of course, been plenty of debate around the issue. edwin d. babbitt, scientist who has done work in that field confirms (in his the principles of light and color) the correspondence of the color and musical scales:
“as c is at the bottom of the musical scale and made with the coarsest waves of air, so is red at the bottom of the chromatic scale and made with the coarsest waves of luminous ether. as the musical note b [the seventh note of the scale] requires 45 vibrations of air every time the note c at the lower end of the scale requires 24, or but little over half as many, so does extreme violet require about 300 trillions of vibrations of ether in a second, while extreme red requires only about 450 trillions, which also are but little more than half as many. when one musical octave is finished another one commences and progresses with just twice as many vibrations as were used in the first octave, and so the same notes are repeated on a finer scale. in the same way when the scale of colors visible to the ordinary eye is completed in the violet, another octave of finer invisible colors, with just twice as many vibrations, will commence and progress on precisely the same law.”
the theosophists too, especially madam blavatsky, putforward theories relating colors to the seven types of constitution of man and the seven states of matter. (please check- it is in the same page).she was primarily trying to relate the aura in and around the human body to their colors.
you made a mention, also, of ragas and colors. the indian music made attempts to translate the emotional appeal of a raga into visual representations. that gave rise to schools of paintings called ragamala, in which each raga was personified by color, mood, a verse describing a story of a hero and heroine (nayaka and nayika). the colors, substance and the mood of the ragamala paintings were determined not by the individual notes that go to construct the scale of a raga, but by the overall mood , bhava and context of the raga.
in the traditional indian morphology, the colors of the deities represent and convey their attributes. for instance, the highest divinities with sublime attributes (gunas) are sky blue signifying their true infinite nature; shiva, the ascetic the supreme yogi is gauranga the colorless- without any attributes; hanuman and ganesh are red like the blood full of energy, vitality and life; and kali’s black does not signify absence of color but is the sum and culmination of all colors and energies in the universe.
coming back to your subject, you might be interested to check the site that talks of people who “see” music, or sounds. the article says it is another common form of synesthesia, to have colors associated with specific tones, so that listening to music becomes a more intense and complex experience. with your scientific training and background, i am sure you would be in a better position to appreciate it.
i am told there are musicians in hollywood who find that letters and numbers represent colours, rainbows of textures, rainbows of moods and feelings too.
there have been attempts in the other direction too,of translating individual colours into music with the aid of compute r graphics.
i understand there are schools that help the aspirants’ to hone their synesthesia condition.
much study needed to understand this phenomenon.
thank you for introducing me to a fascinating subject.
regards
sreenivasaraos
March 20, 2015 at 8:32 am
whether by intent, or by research or by serendipity, the twelve basic swaras have been discovered time and again by civilisations across the world. Some however have discovered additional quarter tones, and have developed different forms of scales- with upto 31 tones in a scale. The Vedic form of M G R S D- S N D P G (Nidhana or diminishing order- also a convergent order) was converted to the more flexible ascending sequence leading to progressive flexibility as decadence set in…
some civilisations have 5 tonal octaves, some have more. all have to go through till the chromatic notes are (re-)discovered, independently. civilisation has been here longer, and degraded and then revamped. music has always been on the ascendancy!
I liked reading your post- will be keeping note of this!
regards
PP
Plasticpoet
sreenivasaraos
March 20, 2015 at 8:32 am
Your article is mind blowing for person like me.
Hats off to you
Do you know me? Or my music?
Am I in your city? What is you phone number and address?
Sablu
sreenivasaraos
March 20, 2015 at 8:33 am
Dear Shri Sablu, Yes, as you said, it might very likely be by chance you bumped into this old blog while you were lost in the ‘Recent Comments’ page. Thank you. Since you consider it ‘mindboggling’ for a person like you, I reckon you would be interested in a few other articles I wrote on music. The ones that quickly come to my mind are: The state of music in the Ramayana; Sri Mutthuswami Dikshitar and Hindustani music; the Music of Sri Mutthuswami Dikshitar; and the music of Shri SRajam (a great musician scholar and a creative artist; he was the uncle of our Shri VS Gopal who writes and sings delightfully on Sulekha).You may like to click on the links.
As regards the several things you mentioned in your comment as also in your note, well… I usally live in Cincinnati –OH; and Bangalore is the location with reference to which I check news updates etc. I am now visiting India; may be here for another couple of months.
I am truly not surprised if you have not noticed me on Sulekha during all these four years. The reasons are many and they are quite simple: I am not very active on Sulekha; I did not participate in any of the tag –games; I have also not contested in the ongoing EYC series; most of the friends who kept in touch with me have since migrated out of Sulekha; now, I do not know many; I have not written or commented much; not many read what I write and, what I have posted is truly not readable (many have groaned about the length). A bright star on the Sulekha horizon once referred to me as ‘the guy who writes about the dead who do not contradict’. I consider that sums me up pretty well and almost aptly. The reasons for not knowing me, you see, are quite many. They are all valid; and without prejudice. It’s OK.
Sablu…Yes, I have, of course, seen the name many times spoken with affection, warmth and regard. I am aware; Sablu is popular and is among the elite here. That is great. And, about why I have not checked into Sablu music: I usually log into Sulekha late in the night when most have done with the computer and gone to bed. I said ‘most’ because, the one who keeps company with me is a little boy of just over three; and he delights in running round the house, up and down the stairs, jumping and turning somersaults when no one disturbs him. During those silent hours I prefer to just read or write than turning on music. I normally spend no more than ninety minutes a day on Sulekha.
Now that I will be here where I am surrounded by sound all the time, I will surely check into your link with pleasure and listen to that with delight.
Thank you for the comment and the Note.
Warm Regards
sreenivasaraos
March 20, 2015 at 8:33 am
Thank you so much Sir,
I’m highly honored by your kind words and great response. I will love to read thousands blogs of yours in music which made me so glad today to go through your precious blog. Boss such thing is gold and silver even I invest lakhs I will not get such relevant info.
Does not matter you listen to my music as per your convenience and leisure.So you are actually in OH. Oh I’m so sorry I thought you are Bangalore based. Please do welcome here.
And please do write more music blogs like you wrote on samveda. i will go through one by one as you also mentioned some links in your comment.
Kudos to your great knowledge and I touch your feet.
regards
SM
sreenivasaraos
March 20, 2015 at 8:34 am
Hi,Thank you for posting. If you dont mind can I make a suggestion. The equivalent names for shadja, Rishabha, Gandhara etc are not C , Db, D , Eb etc.. its == Pi, m2, M2, m3(A2), M3, P4, A4(Dim5), P5, m6(A5), M6, m7, M7 ,8ve( Higher Shadja)P = PerfectA = AugmentedDim= DiminishedM = Majorm = MinorWhen sung:Ascending and DescendingDo, Di, Re , Ri, Ma, Fa, Fi, Sol, Si, La, Li , Ti, Do — Do, Ti, Te, La, Le, So, Se, Fa, Mi,Me, Re, Ra, Do
GODWIN
sreenivasaraos
March 20, 2015 at 8:34 am
Dear Godwin, Thank you for breathing fresh life into an old and a forgotten blog. Thank you also for the corrections suggested. I shall try to edit the blog. But, the problem is that in the present state of Sulekha editing a blog is a risky proposition. I shall wait for a while // Para// Btw, I noticed in the scholarly essay “Samaveda und Gandharva” included in the book “Ritual, State, and History in South Asia: Essays in Honour of J.C. Heesterman “(page 146) it is mentioned that “Madhyama = F28; Gandhara = E; Rsabha = D; Sadja= C; Dhaivata = A; Nishadha = H; and, Panchama = G” . Please let me have your views before I try to edit the blog-post.// Para// Here is the link to the article “Samaveda und Gandharva”http://books.google.com/books?
Priya
February 19, 2018 at 11:34 am
I am trying to learn how to sing samaveda.I have read your blog. I did not understand how to chant as per the numbers. what is the sound of ka and ra appearing on the letters. I know KY and RV chanting.can you help me with SV chanting
sreenivasaraos
February 19, 2018 at 4:01 pm
Dear Priya,
Wow… It is great to see you trying to chant.
But, Maa, it is not easy; and, definitely you cannot get it right unless you are trained and guided by a teacher. It has to be a face-to-face exercise; and has to be practiced diligently, over a period.
By the way, the indications on the top of the letters are numerals (from one to seven) to suggest their note-delineations (Sama vikara).
[According to Samvidhana Brahmana and Arsheya Brahmana, Sama-Gana employed seven Swaras (notes): 1. Prathama; 2. Dvitiya; 3. Tritiya; 4. Chaturtha; 5. Panchama or Mandra (low); 6. Shasta or Krusts (high); and, Antya or Atiswara (very high)]
For instance; please follow the text along with the chanting of the verse 594 of Sama Veda Samhita- (Listen to pundits chanting in streaming audio.)
at https://sanskrit.safire.com/SamaVeda.html
The numbers on top are note delineations. and , where it is written within brackets as Dve or Tri , it means that the words have to repeated two or three times .
Follow the text as you listen carefully.
*
You may also enjoy listening to some passages from Sama Veda Samhita kauthuma shakha at https://www.youtube.com/watch?v=TBNEizCsor0
Some parts the chanting are taken from the text at
https://sanskritdocuments.org/doc_veda/sv-kauthuma.html?lang=iast
You may be able to recognize the following verses ; as also Gayatri mantra at 6.44of the tape
text at 1:42 indraya soma suShutaH pari sravApAmIvA bhavatu rakShasA saha . mA te rasasya matsata dvayAvino draviNasvanta iha santvindavaH .. 561
2:14 saM te payA.Nsi samu yantu vAjAH saM vR^iShNyAnyabhimAtiShAhaH . ApyAyamAno amR^itAya soma divi shravA.NsyuttamAni dhiShva .. 603
3:57 yasho mA dyAvApR^ithivI yasho mendrabR^ihaspatI . yasho bhagasya vindatu yasho mA pratimuchyatAm . yashasvyA3syAH sa.N sado.ahaM pravaditA syAm .. 611
R^itasya jihvA pavate madhu priyaM vaktA patirdhiyo asyA adAbhyaH . dadhAti putraH pitrorapIchyA3M nAma tR^itIyamadhi rochanaM divaH mA tvA mUrA aviShyavo mopahasvAna A dabhan . mA kIM brahmadviShaM vanaH .. 732
pavamAna ruchAruchA devo devebhyaH sutaH . vishvA vasUnyA visha .. 905 ubhayataH pavamAnasya rashmayo dhruvasya sataH pari yanti ketavaH . adI pavitre adhi mR^ijyate hariH sattA ni yonau kalasheShu sIdati ..
If you are seriously interested , please secure the guidance of a learned teacher.
Please keep talking
Cheers