twister wrote:
Aha. Here I came to a dead-end. Say, I've got the phrase: SgndP. What is it?
I am not sure I understand your question. What do you mean by
what is it 
? Is this a phrase in a raga? If so, the answer depends on the answer to the question what is the raga's arohana and avarohana?
If this is a phrase - then for a raga that includes ri in its arohana (say s r g p ....), and hence s-ga is a jump, this would almost never happen because
(i) because it involves consecutive jumps (s-g and g-n) - which are rare
and
(ii) it is in the same direction in terms of pitch i.e. ascent with a jump from sa-ga, and continued ascent with a jump from ga-ni (Now if ni is in lower octave it is not in the same direction and is somewhat better)
Now, I must state that there is no laid out official rule that consecutive-jumps are rare in carnatic music, and once in the same direction are even rarer to completely absent. This is just based on my observation. I could be wrong - but I think in general this is true.
Now if the raga skips ri (say its arohana is s g m p d n s), then s g n d - is only one jump (ga-ni which skips ma and pa) and after a jump you come back to da, and pa. This would probably occur in such a raga.
a) Is it a sample of jumps in a certain raga which structure is SgPdn? Then, it is possible to construct say 24 different 5-notes combinations and use them as a vocabulary, isn it?
b) Or, is it a special "zig-zag" raag in this case? So, please - this is very important for me to understand - say, how does sarali-varisai can be construced for such ragas? If the initial succession is (no matter) SgndP, then by breaking it up into triplets what should I get? Sgn-gnd-ndP-dPS-PSg, right?
Usually sarali varisas are done to the order of aro/avaro and not arbitrary phrases. But let us disregard that since what you are aiming at is to sort of construct a kalpanaswara passage from a base phrase like sgndp.
But basically - you need to take BOTH the arohana and avarohana together.
1. In your sgn gnd ndp dps psg - every transition must meet those rules.
2. If the resulting phrase has a lot of consecutive jumps (which it does e.g. as gn gn with g-n n-g g-n) you are once again going to be constructing something that doesnt reflect the melodic nature of the raga. This will result in a more "western" interpretation of the raga's aro/avaro as a scale - i.e. basically jumps are allowed at any time, at any numbers albeit ruled still by aesthetics (say harmonic relationship between the jumps).
In CM, the "order" of swaras as established by aro/avaro is mostly maintained. This basically means that consecutive jumps are rare (but not fully absent) compared to say WM. This is one of the reasons why a western music tune in major scale sounds so different from Sankarabharanam (of course gamakas are a huge differentiator as well).
Again this is just my observation - not an official rule. I elaborate on this in these two blog posts (2 parts of same topic):
http://sunson.wordpress.com/2007/08/19/ ... nd-scales/
http://sunson.wordpress.com/2007/08/31/ ... es-part-2/
Arun