Tana Varna of Arabhi:
Ar: S R2 M1 P D2 S
Av: S N3 D2 P M1 G3 R2 S
By: Smt Ganga Ramachandran
Musical features of the Varna [\cited{swarasindhu} with thanks]
The Varna has the following musical characteristics:
* It is an elaborate composition which fully explores the raga in which it is composed, and serves to illustrate the standard phrases occurring in that raga as well as the exceptions and special phrases. Hence while learning a raga, it is important to learn Varnas in that raga.
* The composition also weaves intricate rhythmic patterns and illustrates the use of swara groups of 3,4,5, etc.
* The solfa passages in a Tanavarna are excellent illustrations of how to develop kalpana swaras (extempore rendering of the raga in solfa).
* The sahitya (song text) of the tana varna is typically sparse, requiring long vowel extensions during vocal rendition
* Despite the advanced nature of the Varna composition, swaras of fractional duration are avoided. The absence of trills and excessive melodic ornamentation gives the Varna a weighty and majestic feel.
The Varna consists of two parts:
a. The first part (Purvanga) comprises Pallavi, Anupallavi, and Muktayi swara
b. The second part (Uttaranga) comprises one Charana and several Ettugade swara passages
The first and the second part are approximately of equal length. They complement and balance each other.The Charana is usually one avarta (Tala cycle) long, and complements and completes the sahitya of the pallavi and anupallavi
Purvanga Uttaranga
* Pallavi * Charana
* Anupallavi * Ettugade Swara 1
* Muktayi swara * Ettugade Swara 2
Rendition of the Varna is in the following sequence:
* The Purvanga is rendered first, and concluded with the repetition of the Pallavi.
* Then the Uttaranga is rendered starting with the Charana and then each Ettugade Swara by turn. At the end of each Ettugade swara passage, the Charana is repeated.
* The varna is concluded after rendering the Charana after the last Ettugade swara.
* The Pallavi is not visited again
The Ettugade swaras are progressively elaborate, with the first one being only one avarta long and using a profusion of elongated notes. Usually the second last Ettugade Swara is composed of "sarvalaghu" swaras, i.e. all swaras having the same duration (usually four swaras per tala beat). The last Ettugade swara builds a crescendo and is also the longest musical passage. It gives a crowning conclusion to the Varna.
There used to be a practice of having a tailpiece to the Varna called the Anubandham, in order to bring the composition to a more comprehensive conclusion. But with the time rendering of Anubandham fell into disuse, and now this part of the composition is practically abandoned and forgotten.
The above overview of the musical characteristics would give an impression that the Varna is a musical composition of a high order and only very accomplished composers would be adept at composing a Varna. This is indeed so.
However, this form of music is essentially for musical training. There is no scope for improvisation and expression of the artist's own creativity. Also, the composer's thoughts can't find free flow in this form. For this reason, even the great composers have delighted in composing Kritis (the main concert form of Carnatic Music) rather than Varnas. As a result, only a few hundred Varnas exist, whereas there are thousands of Kritis.
This is not a hindrance, since mastering about 30 to 40 Varnas is considered to be a good enough musical foundation even for advanced musicians.
Tana Varna and Pada Varna
The comparison between the two types of Varnas may be summarised as follows:
* In Tana Varna, the Pallavi and Anupallavi have sahitya, whereas Muktayi swara is sung in solfa. In Pada Varna, even the Muktayi swara has sahitya
* The Ettugade swaras have Sahitya in Pada Varnas, but none in Tana Varnas (sung solfa)
* The Sahitya in Tanavarna is sparse, requiring extensive vowel elongations during vocal rendition. The Sahitya of the Pada Varna on the other hand is more expressive and full.
* The Tana Varna is rendered in two or three speeds, whereas the Pada Varna is rendered at a single appropriate speed.
Benefits of practising Tana Varnas
The Sadhana or regular musical practice of even seasoned artists almost invariably includes rendering Tana Varnas, since this brings about good results in voice training and instrument play. Some of the many benefits of practising Tana Varnas are mentioned here:
* "The practice of varnas considerably helps one in the artistic, polished, and stylish rendering of pieces". This quotation from Prof. P. Sambamoorthy's outstanding book 'South Indian Music - Part 3' summarises in one sentence the utility of practicing Varnas.
* The Varna is an excellent illustration for the raga in which it is composed.
* The extension of vowels typical of the text of the varna gives a good training to vocalists to sing smoothly with an open throat, and improves lung power and breathing technique. Similarly it helps instrumentalists to refine the blowing, bowing or plucking technique depending on the instrument.
* Improves dexterity of voice, and fingering in case of instrument play
* Improves grasping of rhythm (Laya Gnana). An exercise for this is to render the Varna in different speeds, like two, three, and four aksharakalas per tala beat.
* By studying the solfa passages, very useful hints can be gathered about rendering swara improvisations in the raga.
* By singing the entire varna in akara (vocalising the sound 'a'), one improves the ability to develop alapana in the raga.
* There is a special technique of rendering the varna using the tana syllables "a", "nam", "ta" instead of the sahitya, which improves the ability to render tanam during Ragam Tanam Pallavi in concerts.
