Varnams are scholarly compositions that elaborate melodies replete with raga bhava. The varnam not only establishes raga ranjaka combinations but also the vishesha sancharas, apurva prayogas, and datu prayogas. The varnam proves to be important for both kalpita and kalpana sangeetham. A student practices the varnam to: help with the artistic, polished and stylish singing of pieces, serve as models for kalpana swaras, strengthens laya, and helps with the rendering of gamakas over long syllables. The varnam consists of two parts: the purvangam and the uthrangam. The purvangam consists of the pallavi, anupallavi, and the mukthayi swaras. The uthrangam consists of the charana and charana swaras. Many of the older varnams have another section called the anubandham. The anubandham is to be sung after all the charana swaras have been completed. The anubandham links the charana back to the either an earlier line or back to the pallavi. Then the varnam is concluded with the pallavi line. In the Viriboni varnam there is an eight line anubandham that today is completely forgotten. There are two kinds of varnams: the tana varnam, and the pada varnam, also referred to as the chauka varnam. The tana varnam is identified by its tana-like rigidity, and its faster speed. Examples of the tana varnam include Eranapai in Thodi ragam, Chalamela in Natakurinji, Viriboni in Bhairavi, and many more.
The pada varnam, or chauka varnam are characterized with by its close resemblance to the Padam. Because of the pada varnam’s affinity to the padam, both in point in tempo and theme of the sahitya, these compositions are called pada varnams. A common misconception about the pada varnam is that they are characterized by the sahitya appearing all throughout the composition, namely in the mukthayi swaras, and the charana swaras. This is not true. There are many tana varnams that have sahityam all throughout the composition. For example the Vanajakshi varnam in Sahana composed by Subbarama Dikshitar is a tana varnam in ata thalam has sahityam all throughout the composition. This is just one example from many.
Today in the modern concert, the varnam is sung in the beginning of a concert. While for many purposes the varnam serves as a great ‘warm-up’ for the voice, many people seem to forget the immense scope the varnam has to offer. Many charanas of varnams serve to be amazing spots for improvisation. Varnams are completely filled with raga bhava, which will yield excellent scope for alapana. One does not have to sing a varnam as a main-piece in a concert but one must rid themselves of the stigma attached to the varnam, as the concert commencer.
The biggest problem facing the varnam in today’s modern concert is the fact that many varnams are losing many of their components. The Bhairavi ata thalam tana varnam, Viriboni, is one of the many. The magnum opus of Pachimiriyam Adi Appayya, this varnam is taught to all, and one of the most difficult varnams to master. Unfortunately, today a lot of the beauty has been forgotten. Today the varnam is sung as: pallavi, anupallavi, mukthayi swaram, charana, and three charana swaras. Two beautiful aspects of this varnam are missing. Fortunately, many publications have shown how compositions have changed over time. Sangeetha Sampradaya Pradarshini, written by Subbarama Dikshitar and published in 1904, shows the Viriboni in a different way. The varnam seems the same until the charana swaras. The publication shows the varnam with four charana swaras. This third swara is not sung today. The varnas lyrics today is sung as: viribONi ninnEkOri marulukonnadirA (pallavi) sarasUDau dakshiNa dvAraka sAmI sri rAjagOpAla dEva (anupallavi) cirunavu mOmuna (charana).
