Lesson – 4 Upper Sthayi Varisaigal

Upper Sthayi Varisaigal

Upper Sthayi Varisaigal is a higher octave sequence. Regular practice of these sequences leads to an increase in students’ vocal range. The first exercise is a basic one and the difficulty level gradually increases as you move forward. These are also to be practiced in 3 speeds.

Upper stayi Varisaigal is a term used in Carnatic music that refers to the higher registers of the vocal range. Learning Upper stayi Varisaigal can help you improve your vocal technique and expand your vocal range. There are many different exercises and techniques that you can use to learn Upper stayi Varisaigal. Each one will help you develop a better understanding of how to sing in these higher registers. So if you have an interest in learning more about Upper Stayi Varisaigal, be sure to check out this blog!

What is an upper stayi varisai?

The Upper stayi Varisaigal is a type of musical composition in Carnatic music. Fast and intricate rhythmic patterns characterize the upper stayi varisai. The singer’s vocal ability is frequently on display in this type of performance.

The word “varisai” comes from the Sanskrit word “varisa,” which means “pattern.” The upper stayi varisai is named after the uppermost register of the Carnatic music scale, also known as the “stayi.” The name of the composition indicates that it uses extensive use of this register. 

The singer often uses complex vocal techniques such as gamakas, kampitas, and sparshas. Percussion and melodic instruments play an essential role in this composition, providing the necessary support and accompaniment.

The Upper stayi Varisaigalis a highly challenging musical composition, requiring great skill and mastery of the voice. If you want to learn about Upper stayi varisai, you can try many different exercises and techniques. Some examples include practicing kampitas, focusing on breath control, and exploring different Gamaka techniques. With consistent practice and dedication, you can learn to sing Upper stayi varisai with ease and confidence.

There are two primary purposes of upper stayi varisai in Carnatic music. The first is to provide a foundation for gamaka (ornamental) passages. The second is to serve as an introduction to more complex ragas. Upper stayi varisai usually consists of four notes (sa, re, ga, ma), making it easy to learn and memorize.

What is the purpose of Upper stayi Varisai in Carnatic music?

The Upper stayi Varisaigal is an essential musical technique in the Carnatic musical tradition. This technique creates intricate intervallic patterns and adds ornamentation and expressiveness to melodies. By using Upper stayi Varisaigal, musicians can add depth and complexity to their compositions . In addition, Upper stayi Varisaigal will evoke certain moods or emotions in the listener. It will, in turn, create a powerful and evocative experience for those exposed to this technique. Overall, Upper stayi Varisaigal continues to play an essential role in developing this musical tradition.

There are two main ways to play an Upper stayi Varisaigal. The first is to start on the note you wish to improvise on and then move up or down the octave. The second way is to start on the root note of the upper octave (the note that starts on the second-highest string when playing Carnatic music on a violin). Then move up or down from there. 

How to play an upper stayi varisai in Carnatic music?

In Carnatic music, an Upper stayi Varisaigal, or melakarta, is a melodic scale. To play an upper stayi varisai effectively, you must be familiar with the various notes and phrasing techniques commonly used in this musical style.

One of the most important aspects of playing an Upper stayi Varisaigal is using the proper fingering technique. The thumb, first, and second fingers are used to play the notes as The, RI, and ga. The third finger is used to play the ma note, while the fourth finger is used for playing the pa note.

When playing an Upper stayi Varisaigal, it is also essential to master the various standard phrasing techniques in this musical style. These include mela vivadhana, ornaments such as kampita and mridanga vinyasa, and elements of gamaka such as janta, sancara, and guruttam.

If you have an interest in learning to play an upper stayi varisai and developing your skills as a Carnatic musician, consider enrolling in lessons with a qualified teacher. You can master this beautiful musical style and create captivating melodies that audiences will enjoy for years to come with practice and dedication!

What are the benefits of learning and playing an upper stayi varisai in Carnatic music?

I want to talk about the benefits of learning and playing an upper stayi varisai in Carnatic music. There are many benefits to this, but I will focus on three main ones.

• First, learning an upper stayi varisai helps you develop your musical skills. This particular type of varisai requires a great deal of precision and control, and as you learn it, you will develop these essential musical skills. These skills will be helpful not only in playing other Carnatic music but in any other type of music you might want to play in the future.
• Second, learning an upper stayi varisai can help improve your memory. This is because this type of varisai is quite complex, and as you learn it, you will need to remember a lot of different notes and phrasing techniques. By practicing regularly, you can help improve your memory and recall skills.
• Finally, playing an upper stayi varisai is simply enjoyable. This beautiful musical style is captivating and relaxing, and it can be a great way to escape from the stresses of daily life and enjoy the beauty of music. With practice and dedication, you can become a skilled upper stay.

Famous Carnatic musicians, who use this varisai in their performances in Carnatic music

Many famous Carnatic musicians use the upper stayi varisai in Carnatic music. Each of these musicians has their unique style and approach to using the upper stayi varisai in Carnatic music.

• M. S. Subbulakshmi was one of the first musicians to popularize the Upper stayi Varisaigal in Carnatic music. Her performances were characterized by a beautiful, flowing vocal style that used the upper stayi varisai to significant effect.
• T. N. Krishnan is another famous Carnatic musician who often utilized the upper stayi varisai in his performances. His playing was characterized by a mastery of the technical aspects of Carnatic music. He often includes complex improvisations in his performances.
• Balamuralikrishna is another well-known Carnatic musician who frequently used the upper stayi varisai. His style was unique in that he combined elements of both Carnatic and Hindustani music, which resulted in a truly unique sound.

Conclusion

If you have an interest in learning more about Upper Stayi Varisaigal, consult a professional Carnatic music institute. By studying with a professional instructor, you’ll get the most out of your vocal training and learn how to reach your full potential as a singer. So if you’re ready to take your singing skills to the next level, check out our selection of voice classes today!