abhyasagana 1 tel

Index §ñ ¶pÁ±µAlµ±µ l¸¶ª - Csû¹ï¶ª S¸¶m - (1)§ñ ¶pÁ±µAlµ±µ l¸¶ª - Csû¹ï¶ª S¸¶m - (1)§ñ ¶pÁ±µAlµ±µ l¸¶ª - Csû¹ï¶ª S¸¶m - (1)§ñ ¶pÁ±µAlµ±µ l¸¶ª - Csû¹ï¶ª S¸¶m - (1) Version

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The set of exercises given under the general title of Abhyasa Gana part (1) have the following sub-divisions:

1. Sarala Varase: Learning the basic rendering of the seven notes in the arohana and avarohana

2. Hechchusthayi Varase: Exercise to gradually reach the panchama in the Tara Sthayi

3. Mandra Sthayi Varase: Exercise to gradually reach the panchama in the Mandra Sthayi

4. Janti Varase: Exercise for rendition of double notes

5. Datu Varase: Exercise for rendition of swaras crossing over one or more intermediate notes

6. Sapta Tala Alankara: Exercise for familiarisation with the seven basic talas.

The above exercises were developed by the saint Purandara Dasa (1494 – 1564), who is called the Pitamaha (Father) of Carnatic Music.

These exercises have firmly established themselves as the standard for introducing the uninitiated pupil into Carnatic Music. The names of these

exercises in Kannada have been retained. It needs approx. 25 hours of class to cover this (6 months with 30-min classes twice a week)

The Abhyasa Gana is rendered in the raga Mayamalavagaula. This is a very apt choice of raga due to the following reasons:

1. This is the only sampurna raga that contains four pairs of neighbouring notes, namely: sa-ri, ga-ma, pa-da, and ni-sa. Rendering this raga therefore

gives control over the smallest difference of pitch between notes.

2. In addition, the raga also contains neighbouring notes with intervals of 2 semitones (ma-pa), and 3 semitones (ri-ga and da-ni)

3. The raga contains swaras of the lower (komal) variety (e.g. ri, da), as well as the higher (tivra) variety (e.g. ga and ni).

4. The raga is symmetric in its first half (sa ri ga ma) and the second half (pa da ni sa) with respect to the pitch relationship between the notes.

In instruments such as the violin, this gives similar fingering on the first and second string.

5. The raga has few restrictions and lends itself to variations in rendering, e.g. plain, graced, gliding, repeated notes, and usage of various gamakas.

6. The intervals sa-ga, sa-ma, etc. can be transposed to all other notes (e.g. ri-ma, ri-pa, etc.). The exercises can thus be designed as repeating patterns.

7. The raga has antara gandhara, which gives it a steady and pleasing effect.

Swarasindhu AbhyasaGana_1-Mayamalavagaula-Purandaradasa-vers.1.0- of 20

8. The first few Geetas are in raga Malahari, derived from Mayamalavagaula. Geetas are continuation of Abhyasa Gana after finishing part 1

9. It is an auspicious raga. Singing this raga, especially early in the morning improves concentration and sharpens the mind.

All the exercises are practised in at least three speeds:

1. Prathama Kala: one swara per tala count, except for Janti and Datu Varase, where two swaras are rendered per tala count

2. Dvitiya Kala: two swaras per tala count, except for Janti and Datu Varase, where four swaras are rendered per tala count

3. Tritiya Kala: four swaras per tala count, except for Janti and Datu Varase, where eight swaras are rendered per tala count

The above description is valid for Hrasva swaras (short notes). Deergha swaras (elongated notes) would of course depend on the elongation.

In Tritiya kala, if the exercise ends at half the tala cycle, then the exercise is to be repeated so that it ends at the completion of the cycle next time.

Note: The speed of rendition increases further in the order of 2n. However, the higher speeds are normally not part of the beginner's exercise.

More advanced exercises:

1. After the pupil has progressed well in the practice of the Abhyasa Gana in the raga Mayamalavagaula, the execises may be rendered in other sampurna

ragas such as Shankarabharana, Kalyani, Todi, Harikambodi, and Kharaharapriya. With the first three, all the twelve swara positions are covered.

2. For vocal training, the exercises - especially Janti and Datu Varase - are sung vocalising the sounds 'aa', 'ee', 'oo', and 'mm'.

3. To gain a better control on the laya, the exercises can be rendered with a mix of kalas, such as the entire exercise completes within a whole number

of tala cycles. Janti and Datu Varases as well as the Alankaras that comprise ten avartas in Prathama Kala, can be rendered as follows:

1st row in Prathama Kala => 1 Avarta

2nd and 3rd row in Dvitiya => 1 Avarta

4th, 5th, 6th, and 7th row in Tritiya => 1 Avarta

8th and 9th row in Dvitiya => 1 Avarta

10th row in Prathama => 1 Avarta

Thus completing the exercise in 5 avartas instead of 10.

4. Apart from above, there are several exercises by which one can gain a more precise control over the rendition of swaras. A few of these are

given under the title "Swarabhyasa" at the end.

5. The above advanced exercises are to be practised by the pupil at the appropriate stage as guided by the teacher.


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lµ Sµ ¶¢À Sµ ¶p ¶¢À lµ ¶p lµ ¶¢À ¶p ¶¢À lµ ¶p ¶¢À Sµ

¶p ±¼ Sµ ±¼ ¶¢À Sµ ¶p ¶¢À ¶p Sµ ¶¢À Sµ ¶p ¶¢À Sµ ±¼

¶¢À ¶ª ±¼ ¶ª Sµ ±¼ ¶¢À Sµ ¶¢À ±¼ Sµ ±¼ ¶¢À Sµ ±¼ ¶ª


6. ¶ª¶på h¸yµ CvAO¸±µ6. ¶ª¶på h¸yµ CvAO¸±µ6. ¶ª¶på h¸yµ CvAO¸±µ6. ¶ª¶på h¸yµ CvAO¸±µ

1 The seven talas included in Abhyasa Gana Part 1 are the most basic talas to be first introduced to the pupil

2 The 'signature' of each tala is expressed in terms of 'anga' and 'jati'.

3 The angas are parts of the tala. The tala is built by joining all the angas or parts together in a defined sequence.

4 The angas used in these basic seven talas comprise "Laghu", "Druta", and "Anudruta". (Other advanced angas are 'Guru', 'Pluta', and 'Kakapada')

The palm gestures for counting the above angas are as follows:

Laghu: A pat with the palm of the hand (one count), followed by continuation of the count with fingers, starting with the little finger.

Druta: A pat and a wave of the palm, constituting two counts

Anudruta: A pat of the palm constituting one count (half a Druta)

The written symbols for the angas are as follows:

Laghu: A vertical line 'I' followed bya number indicating the count (3,4,5, or 7), for example I5

Druta: A circle as shown: O

Anudruta: A half circle as shown: U

5 The jati defines the number of counts in the laghu part. The following jatis are used in the basic seven talas:

Trishra jati: Having three counts in the Laghu part (I3)

Chaturashra jati: Having four counts in the Laghu part (I4)

Khanda jati: Having five counts in the Laghu part (I5)

Mishra jati: Having seven counts in the Laghu part (I7)

The fifth jati is called Sankirna jati, comprising nine counts in the Laghu part. But this is not used in the seven basic talas of Sapta Tala Alankara

6 While practising vocal music, the Sapta Tala Alankaras should be sung at an even pace, synchronised to the appropriate palm gestures

for the tala. For instrumental practice, the tala count is maintained using suitable hands-free techniques as shown by the teacher

7 The alankaras should be practised in three speeds, as with the preceding exercises

8 The chaturashra jati triputa tala (commonly known as "adi" tala) is not included in the basic seven talas, since all preceding exercises are already

set to this tala, and the pupil would be familiar with it by now.


1. VµhµÀ±µ¶¥ñ Y¹i lûµÀñ¶¢ h¸yµA1. VµhµÀ±µ¶¥ñ Y¹i lûµÀñ¶¢ h¸yµA1. VµhµÀ±µ¶¥ñ Y¹i lûµÀñ¶¢ h¸yµA1. VµhµÀ±µ¶¥ñ Y¹i lûµÀñ¶¢ h¸yµA 2. VµhµÀ±µ¶¥ñ Y¹i ¶¢Àeµï h¸yµA2. VµhµÀ±µ¶¥ñ Y¹i ¶¢Àeµï h¸yµA2. VµhµÀ±µ¶¥ñ Y¹i ¶¢Àeµï h¸yµA2. VµhµÀ±µ¶¥ñ Y¹i ¶¢Àeµï h¸yµA

CASµ :CASµ :CASµ :CASµ : I4 O2 I4 I4 CASµ :CASµ :CASµ :CASµ : I4 O2 I4

C°µ±µO¸v :C°µ±µO¸v :C°µ±µO¸v :C°µ±µO¸v : 4 + 2 + 4 + 4 =14 C°µ±µO¸v :C°µ±µO¸v :C°µ±µO¸v :C°µ±µO¸v : 4 + 2 + 4 =10

I4 O2 I4 I4 I4 O2 I4

¶ª ±¼ Sµ ¶¢À Sµ ±¼ ¶ª ±¼ Sµ ±¼ ¶ª ±¼ Sµ ¶¢À ¶ª ±¼ Sµ ±¼ ¶ª ±¼ ¶ª ±¼ Sµ ¶¢À

±¼ Sµ ¶¢À ¶p ¶¢À Sµ ±¼ Sµ ¶¢À Sµ ±¼ Sµ ¶¢À ¶p ±¼ Sµ ¶¢À Sµ ±¼ Sµ ±¼ Sµ ¶¢À ¶p

Sµ ¶¢À ¶p lµ ¶p ¶¢À Sµ ¶¢À ¶p ¶¢À Sµ ¶¢À ¶p lµ Sµ ¶¢À ¶p ¶¢À Sµ ¶¢À Sµ ¶¢À ¶p lµ

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¶p lµ n ¶ª> n lµ ¶p lµ n lµ ¶p lµ n ¶ª> ¶p lµ n lµ ¶p lµ ¶p lµ n ¶ª>

¶ª> n lµ ¶p lµ n ¶ª> n lµ n ¶ª> n lµ ¶p ¶ª> n lµ n ¶ª> n ¶ª> n lµ ¶p

n lµ ¶p ¶¢À ¶p lµ n lµ ¶p lµ n lµ ¶p ¶¢À n lµ ¶p lµ n lµ n lµ ¶p ¶¢À

lµ ¶p ¶¢À Sµ ¶¢À ¶p lµ ¶p ¶¢À ¶p lµ ¶p ¶¢À Sµ lµ ¶p ¶¢À ¶p lµ ¶p lµ ¶p ¶¢À Sµ

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¶¢À Sµ ±¼ ¶ª ±¼ Sµ ¶¢À Sµ ±¼ Sµ ¶¢À Sµ ±¼ ¶ª ¶¢À Sµ ±¼ Sµ ¶¢À Sµ ¶¢À Sµ ±¼ ¶ª


3. VµhµÀ±µ¶¥ñ Y¹i ±µÃ¶pOµ h¸yµA3. VµhµÀ±µ¶¥ñ Y¹i ±µÃ¶pOµ h¸yµA3. VµhµÀ±µ¶¥ñ Y¹i ±µÃ¶pOµ h¸yµA3. VµhµÀ±µ¶¥ñ Y¹i ±µÃ¶pOµ h¸yµA 4. £À¶¥ñ Y¹i ¶±bAÈp h¸yµA4. £À¶¥ñ Y¹i ¶±bAÈp h¸yµA4. £À¶¥ñ Y¹i ¶±bAÈp h¸yµA4. £À¶¥ñ Y¹i ¶±bAÈp h¸yµA 5. iñ¶¥ñ Y¹i iñ¶pÁd h¸yµA5. iñ¶¥ñ Y¹i iñ¶pÁd h¸yµA5. iñ¶¥ñ Y¹i iñ¶pÁd h¸yµA5. iñ¶¥ñ Y¹i iñ¶pÁd h¸yµA

CASµ :CASµ :CASµ :CASµ : O2 I4 CASµ :CASµ :CASµ :CASµ : I7 U1 O2CASµ :CASµ :CASµ :CASµ : I3 O2 O2

C°µ±µO¸v :C°µ±µO¸v :C°µ±µO¸v :C°µ±µO¸v : 2 + 4 = 6 C°µ±µO¸v :C°µ±µO¸v :C°µ±µO¸v :C°µ±µO¸v : 7 + 1 + 2 = 10 C°µ±µO¸v :C°µ±µO¸v :C°µ±µO¸v :C°µ±µO¸v : 3 + 2 + 2 = 7

O2 I4 I7 U1 O2 I3 O2 O2

¶ª ±¼ ¶ª ±¼ Sµ ¶¢À ¶ª ±¼ Sµ ¶ª ±¼ ¶ª ±¼ Sµ ¶¢Ã ¶ª ±¼ Sµ ¶ª ±¼ Sµ ¶¢À

±¼ Sµ ±¼ Sµ ¶¢À ¶p ±¼ Sµ ¶¢À ±¼ Sµ ±¼ Sµ ¶¢À q¸ ±¼ Sµ ¶¢À ±¼ Sµ ¶¢À ¶p

Sµ ¶¢À Sµ ¶¢À ¶p lµ Sµ ¶¢À ¶p Sµ ¶¢À Sµ ¶¢À ¶p l¸ Sµ ¶¢À ¶p Sµ ¶¢À ¶p lµ

¶¢À ¶p ¶¢À ¶p lµ n ¶¢À ¶p lµ ¶¢À ¶p ¶¢À ¶p lµ o ¶¢À ¶p lµ ¶¢À ¶p lµ n

¶p lµ ¶p lµ n ¶ª> ¶p lµ n ¶p lµ ¶p lµ n «¸> ¶p lµ n ¶p lµ n ¶ª>

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n lµ n lµ ¶p ¶¢À n lµ ¶p n lµ n lµ ¶p ¶¢Ã n lµ ¶p n lµ ¶p ¶¢À

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¶¢À Sµ ¶¢À Sµ ±¼ ¶ª ¶¢À Sµ ±¼ ¶¢À Sµ ¶¢À Sµ ±¼ «¸ ¶¢À Sµ ±¼ ¶¢À Sµ ±¼ ¶ª


6. PAfµ Y¹i Cd h¸yµA6. PAfµ Y¹i Cd h¸yµA6. PAfµ Y¹i Cd h¸yµA6. PAfµ Y¹i Cd h¸yµA 7. VµhµÀ±µ¶¥ñ Y¹i JOµ h¸yµA7. VµhµÀ±µ¶¥ñ Y¹i JOµ h¸yµA7. VµhµÀ±µ¶¥ñ Y¹i JOµ h¸yµA7. VµhµÀ±µ¶¥ñ Y¹i JOµ h¸yµA

CASµ :CASµ :CASµ :CASµ : I5 I5 O2 O2CASµ :CASµ :CASµ :CASµ : I4

C°µ±µO¸v :C°µ±µO¸v :C°µ±µO¸v :C°µ±µO¸v : 5 + 5 + 2 + 2 = 14 C°µ±µO¸v :C°µ±µO¸v :C°µ±µO¸v :C°µ±µO¸v : 4

I5 I5 O2 O2 I4

¶ª ±¿ S¸ «¸ ±¼ S¸ ¶¢Ã ¶¢Ã ¶ª ±¼ Sµ ¶¢À

±¼ S¸ ¶¢Ã ±¿ Sµ ¶¢Ã q¸ q¸ ±¼ Sµ ¶¢À ¶p

Sµ ¶¢Ã q¸ S¸ ¶¢À q¸ l¸ l¸ Sµ ¶¢À ¶p lµ

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¶p l¸ o q¸ lµ o «¸> «¸> ¶p lµ n ¶ª>

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n l¸ q¸ o lµ q¸ ¶¢Ã ¶¢Ã n lµ ¶p ¶¢À

lµ q¸ ¶¢Ã l¸ ¶p ¶¢Ã S¸ S¸ lµ ¶p ¶¢À Sµ

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7. ¶ªö±¸sû¹ï¶ª7. ¶ªö±¸sû¹ï¶ª7. ¶ªö±¸sû¹ï¶ª7. ¶ªö±¸sû¹ï¶ª

1 Clear rendering, with each note at its precise place is most important. Speed may be gradually increased to the extent possible without losing precision

2 There is no adherence to any Tala cycle. A steady and intuitive laya/rhythm has to be maintained.

3 Short notes can be rendered more rapidly, and long notes elongated further as compared to the notation given below, but a steady laya is required

4 To be practised initially in Mayamalavagaula. Can be practised later in Harikamboji, Kharaharapriya, Todi, and Kalyani

5 For voice training, the exercises should be additionally practised in Akara, Ikara, Ukara, and Mkara (i.e., vocalising 'aa', 'ee', 'oo', and 'mm' )

6 These exercises are to be practised by the pupil at the appropriate stage as guided by the teacher.

1. ¶ªö±µY¹ß¶m Csû¹ï¶ª1. ¶ªö±µY¹ß¶m Csû¹ï¶ª1. ¶ªö±µY¹ß¶m Csû¹ï¶ª1. ¶ªö±µY¹ß¶m Csû¹ï¶ª

This exercise helps to build a congnition of the relationship of the various notes to Sa.

[1] ¶ª±¿ ¶ª±¼S¸ ¶ª±¼Sµ¶¢Ã ¶ª±¼Sµ¶¢Àq¸ ¶ª±¼Sµ¶¢À¶pl¸ ¶ª±¼Sµ¶¢À¶plµo ¶ª±¼Sµ¶¢À¶plµn«¸>

¶ª>o ¶ª>nl¸ ¶ª>nlµq¸ ¶ª>nlµ¶p¶¢Ã ¶ª>nlµ¶p¶¢ÀS¸ ¶ª>nlµ¶p¶¢ÀSµ±¿ ¶ª>nlµ¶p¶¢ÀSµ±¼«¸

[2] «¸ ¶ª±¼«¸ ¶ª±¼Sµ«¸ ¶ª±¼Sµ¶¢À«¸ ¶ª±¼Sµ¶¢À¶p«¸ ¶ª±¼Sµ¶¢À¶plµ«¸ ¶ª±¼Sµ¶¢À¶plµn«¸ ¶ª±¼Sµ¶¢À¶plµn«¸>

«¸> ¶ª>n«¸> ¶ª>nlµ«¸> ¶ª>nlµ¶p«¸> ¶ª>nlµ¶p¶¢À«¸> ¶ª>nlµ¶p¶¢ÀSµ«¸> ¶ª>nlµ¶p¶¢ÀSµ±¼«¸> ¶ª>nlµ¶p¶¢ÀSµ±¼«¸

2. ¶¥Àñi ¶ªö±¸sû¹ï¶ª2. ¶¥Àñi ¶ªö±¸sû¹ï¶ª2. ¶¥Àñi ¶ªö±¸sû¹ï¶ª2. ¶¥Àñi ¶ªö±¸sû¹ï¶ª

This exercise trains to jump precisely between the invariant srutis sa, pa. In instrumental practice, the exercise may be extended to two octaves or more

[1] «¸¶ª¶ª q¸¶p¶p «¸>¶ª>¶ª> «¸> ; «¸>¶ª>¶ª> q¸¶p¶p «¸¶ª¶ª «¸ ;

[2] «¸¶ª¶ª ¶ª¶ªq¸ ¶ª¶ªq¸ ¶ª¶p«¸> «¸>¶ª>¶ª> ¶ª>¶ª>q¸ ¶ª>¶ª>q¸ «¸>¶p«¸


3. ¶ªö±µ ¶ªA¶ªÖ±µg Csû¹ï¶ª3. ¶ªö±µ ¶ªA¶ªÖ±µg Csû¹ï¶ª3. ¶ªö±µ ¶ªA¶ªÖ±µg Csû¹ï¶ª3. ¶ªö±µ ¶ªA¶ªÖ±µg Csû¹ï¶ª

These exercises helps to render swaras in a crisp and well intonated manner. Improves precision of fingering when playing an instrument.

Each pattern may be repeated many more times than indicated, for practice. E.g. sars sa sars sa sars sa ...

[1] «¸_±¼_¶ª_ «¸ ±¿_Sµ_±¼_ ±¿ S¸_¶¢À_Sµ_ S¸ ¶¢Ã_¶p_¶¢À_ ¶¢Ã q¸_lµ_¶p_ q¸ l¸_n_lµ_ l¸ o_¶ª>_n_ o «¸>_±¼>_¶ª>_ «¸>

«¸>_±¼>_¶ª>_ «¸> o_¶ª>_n_ o l¸_n_lµ_ l¸ q¸_lµ_¶p_ q¸ ¶¢Ã_¶p_¶¢À_ ¶¢Ã S¸_¶¢À_Sµ_ S¸ ±¿_Sµ_±¼_ ±¿ «¸_±¼_¶ª_ «¸

[2] «¸_±¼_¶ª_«¸_ _±¼_¶ª_«¸_ _±¼_¶ª_ «¸ ±¿_Sµ_±¼_±¿_ _Sµ_±¼_±¿_ _Sµ_±¼_ ±¿ S¸_¶¢À_Sµ_S¸_ _¶¢À_Sµ_S¸_ _¶¢À_Sµ_ S¸ ¶¢Ã_¶p_¶¢À_¶¢Ã_ _¶p_¶¢À_¶¢Ã_ _¶p_¶¢À_ ¶¢Ã

q¸_lµ_¶p_q¸_ _lµ_¶p_q¸_ _lµ_¶p_ q¸ l¸_n_lµ_l¸_ _n_lµ_l¸_ _n_lµ_ l¸ o_¶ª>_n_o_ _¶ª>_n_o_ _¶ª>_n_ o «¸>_±¼>_¶ª>_«¸>_ _±¼>_¶ª>_«¸>_ _±¼>¶ª>_ «¸>

«¸>_±¼>_¶ª>_«¸>_ _±¼>_¶ª>_«¸>_ _±¼>¶ª>_ «¸> o_¶ª>_n_o_ _¶ª>_n_o_ _¶ª>_n_ o l¸_n_lµ_l¸_ _n_lµ_l¸_ _n_lµ_ l¸ q¸_lµ_¶p_q¸_ _lµ_¶p_q¸_ _lµ_¶p_ q¸

¶¢Ã_¶p_¶¢À_¶¢Ã_ _¶p_¶¢À_¶¢Ã_ _¶p_¶¢À_ ¶¢Ã S¸_¶¢À_Sµ_S¸_ _¶¢À_Sµ_S¸_ _¶¢À_Sµ_ S¸ ±¿_Sµ_±¼_±¿_ _Sµ_±¼_±¿_ _Sµ_±¼_ ±¿ «¸_±¼_¶ª_«¸_ _±¼_¶ª_«¸_ _±¼_¶ª_ «¸

[3] ¶ª±¼ Sµ_±¼_±¼_¶ª_ ¶ª ±¼Sµ ¶¢À_Sµ_Sµ_±¼_ ±¼ Sµ¶¢À ¶p_¶¢À_¶¢À_Sµ_ Sµ ¶¢À¶p lµ_¶p_¶p_¶¢À_ ¶¢À

¶plµ n_lµ_lµ_¶p_ ¶p lµn ¶ª>_n_n_lµ_ lµ n¶ª> ±¼>_¶ª>_¶ª>_n_ n ¶ª>±¼> Sµ>_±¼>_±¼>_¶ª>_ ¶ª>

¶ª>±¼> Sµ>_±¼>_±¼>_¶ª>_ ¶ª> n¶ª> ±¼>_¶ª>_¶ª>_n_ n lµn ¶ª>_n_n_lµ_ lµ ¶plµ n_lµ_lµ_¶p_ ¶p

¶¢À¶p lµ_¶p_¶p_¶¢À_ ¶¢À Sµ¶¢À ¶p_¶¢À_¶¢À_Sµ_ Sµ ±¼Sµ ¶¢À_Sµ_Sµ_±¼_ ±¼ ¶ª±¼ Sµ_±¼_±¼_¶ª_ ¶ª

[4] ¶ª±¼Sµ ¶¢À_Sµ_Sµ_±¼_±¼_¶ª_ ¶ª ±¼Sµ¶¢À ¶p_¶¢À_¶¢À_Sµ_Sµ_±¼_ ±¼ Sµ¶¢À¶p lµ_¶p_¶p_¶¢À_¶¢À_Sµ_ Sµ ¶¢À¶plµ n_lµ_lµ_¶p_¶p_¶¢À_ ¶¢À

¶plµn ¶ª>_n_n_lµ_lµ_¶p_ ¶p lµn¶ª> ±¼>_¶ª>_¶ª>_n_n_lµ_ lµ n¶ª>±¼> Sµ>_±¼>_±¼>_¶ª>_¶ª>_n_ n ¶ª>±¼>Sµ> ¶¢À>_Sµ>_Sµ>_±¼>_¶ª>_ ¶ª>

¶ª>±¼>Sµ> ¶¢À>_Sµ>_Sµ>_±¼>_¶ª>_ ¶ª> n¶ª>±¼> Sµ>_±¼>_±¼>_¶ª>_¶ª>_n_ n lµn¶ª> ±¼>_¶ª>_¶ª>_n_n_lµ_ lµ ¶plµn ¶ª>_n_n_lµ_lµ_¶p_ ¶p

¶¢À¶plµ n_lµ_lµ_¶p_¶p_¶¢À_ ¶¢À Sµ¶¢À¶p lµ_¶p_¶p_¶¢À_¶¢À_Sµ_ Sµ ±¼Sµ¶¢À ¶p_¶¢À_¶¢À_Sµ_Sµ_±¼_ ±¼ ¶ª±¼Sµ ¶¢À_Sµ_Sµ_±¼_±¼_¶ª_ ¶ª

[5] ¶ª±¼ Sµ ¶¢À_Sµ_Sµ_±¼_ ±¼ Sµ_±¼_±¼_¶ª_ ¶ª ±¼Sµ ¶¢À ¶p_¶¢À_¶¢À_Sµ_ Sµ ¶¢À_Sµ_Sµ_±¼_ ±¼ Sµ¶¢À ¶p lµ_¶p_¶p_¶¢À_ ¶¢À ¶p_¶¢À_¶¢À_Sµ_ Sµ ¶¢À¶p lµ n_lµ_lµ_¶p_ ¶p lµ_¶p_¶p_¶¢À_ ¶¢À

¶plµ n ¶ª>n_n_lµ_ lµ n_lµ_lµ_¶p_ ¶p lµn ¶ª> ±¼>_¶ª>_¶ª>_n_ n ¶ª>_n_n_lµ_ lµ n¶ª> ±¼> Sµ>_±¼>_±¼>_¶ª>_ ¶ª> ±¼>_¶ª>_¶ª>_n_ n ¶ª>±¼> Sµ> ¶¢À>_Sµ>_Sµ>_ ±¼> Sµ>_±¼>_±¼>_¶ª>_ ¶ª>

¶ª>±¼> Sµ> ¶¢À>_Sµ>_Sµ>_ ±¼> Sµ>_±¼>_±¼>_¶ª>_ ¶ª> n¶ª> ±¼> Sµ>_±¼>_±¼>_¶ª>_ ¶ª> ±¼>_¶ª>_¶ª>_n_ n lµn ¶ª> ±¼>_¶ª>_¶ª>_n_ n ¶ª>_n_n_lµ_ lµ ¶plµ n ¶ª>n_n_lµ_ lµ n_lµ_lµ_¶p_ ¶p

¶¢À¶p lµ n_lµ_lµ_¶p_ ¶p lµ_¶p_¶p_¶¢À_ ¶¢À Sµ¶¢À ¶p lµ_¶p_¶p_¶¢À_ ¶¢À ¶p_¶¢À_¶¢À_Sµ_ Sµ ±¼Sµ ¶¢À ¶p_¶¢À_¶¢À_Sµ_ Sµ ¶¢À_Sµ_Sµ_±¼_ ±¼ ¶ª±¼ Sµ ¶¢À_Sµ_Sµ_±¼_ ±¼ Sµ_±¼_±¼_¶ª_ ¶ª


abhyasagana 1 tel

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