Varnasagaram : 415 Tana, Pada, Cauka, Ragamalika and Daru Varnas/edited by T.K. Govinda Rao. Chennai, Ganamandir, 2006, xiv, 446 p., photos, ISBN 0-965-1871-5-2.

    Contents: Srimukham-Kanci Kamakoti Pithadhipati Sri Sri Jayendra Saraswati Svamiji. Preface: Varnasagaram by editor. 72 Mela chart. Phonetic chart. Bibliography and acknowledgement. Names of the composers of the Varnas. 1. Adi Tala Tana Varna-s. 2. Khanda Ata Tala Tana Varna-s. 3. Varnas in other Tala-s. 4. Pada and Cauka Varna. 5. Ragamalika Varnas. 6. Daru Varna-s. 7. Index: i. Alphabetical order in Roman script. ii. Alphabetical order in Devanagari script. 

    "The Purpose of this book: To present the authentic version of some of the Tanavarna-s in Adi, Khanda-Ata and other Talas, Pada and Cauka Varnas, Ragamalika and Daru Varna-s numbering 415 of various composers of post and pre-trinity period in national, international and regional scripts viz: Devanagari, Diacritical Roman, Kannada, Malayalam, Tamizh and Telugu scripts, to reach maximum number of people all over the world. Varna-s of contemporary composers like Tiger Varadacari, Gomatisankarayyar, Lalgudi Jayaraman, T.M. Tyagarajan, Tanjavur Sankarayyar, Dr. M. Balamuralikrshna, T.R. Subrahmanyam, R. Venugopal and also some of the youngsters like Citravina Ravikiran, Carumati Ramacandran are also included in this book.

    The Uniqueness of this book: i. A collection of 415 Varna-s in one volume is compiled and published for the first time with text in regional scripts such as Tamizh, Telugu, Kannada, Malayala, Devanagari and Roman diacritical scripts followed by SRGM notations in Roman scripts.

    ii. All the Varna-s are presented in a format revealing the Raga, Arohana, Avarohana, Mela, Tala etc. It has been indexed at the end of the book in alphabetical order in Devanagari and diacritical Roman scripts to enable quick spotting of the Varna-s sought.

    iii. About the notation: notation in our South Indian Classical music, however it seems to be perfect, one cannot understand the Ragabhava-the balance between the Ragabhava and its given Sahityabhava as expressed in the composition. In fact the singer's imagination while singing counts a lot in the final and finer presentation."

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