Swaras - Part III

To write musical notations , there are a number of symbols and nomenclature for each of the 16 Swaras of Carnatic music. The format of a Kriti or Keerthana contains these details which make it easy to render Swara in its designated Swarasthana. Along with, of course, the Gamakas , Anuswaras and other Swara ornamental elements ,are to be mastered for rendering Raga and Kriti or Keerthana with Raga’s full glory.

Nomenclature of 16 Swaras are given Below:

1. Shadjam ………………………….S

2 Sudda Rishabam…………………….Ra………….R1

3 Chatusruthi Rishabam ………………Ri………….R2

4 Shatsruthi Rishabam ………………Ru ……...…..R3

5 Sudda Gandaram……………………Ga…………….G1

6 Sadarana Gandaram…………………Gi ………….. G2

7 Anthara Gandaram…………………..Gu……………G3

8 Sudda Madyamam…………………..Ma…………..M1

9 Prathi Madyamam…………………...Mi…………..M2

10 Panchamam…………………………..P

11 Sudda Daivatham……………………Da…………..D1

12 Chatusruthi Daivatham………………Di…………. ..D2

13 Shatsruthi Daivatham ……………….Du……...……D3

14 Sudda Nishadam…………………….Na……………N1

15 Kasiki Nishadam…………………….Ni…………….N2

16 Kakali Nishadam…………………….Nu……………N3

By using systematic combination of the above Swaras , 72 Melas are obtained with the following conditions:

1) The seven Swaras must be present in Arohanam and Avarohanam.

2) The sequence of Swaras in Arohanam and Avarohanam should be in ascending and descending order respectively.

3) Each Swara should occur in the same variety in both Arohanam and Avarohanam.

4) The two Swaras sounding in the same Swarasthanam should not find place in one Ragam.

Swara Part II

SWARA PART II

Carnatic Music Ragas is based on an important formula called “ 72 Melakartha Scheme”. A Mela is the combination 7 Swaras taken in order , S R G M P D N both in Arohanam [Ascending order] and Avarohanam [Descending order], using one Swara out of two [already available the posting on Swaras. There can be 32 combination arrived at.

But there, still remains scope for more of such combinations, if both varieties of the Swaras , except S and P, are used.

The rule of 72 Melakartha recommends not to use both varieties of Swaras except S and P ,which are having no variations.

Finding solution for this :

the Swara Chatusruthi Rishabam is assigned another name, Sudda Gandaram,

Sadarana Gandaram is assigned another name, Shatsruthi Rishabam,

Chatusruthi Daivatham is assigned another name , Sudda Nishadam, and

Kaisika Nishadam is assigned another name Shatsruthi Daivatham.

In other words, the Swara Chatusruthi Rishabam and Sudda Gandaram will sound the same Swarasthana.

Sadarana Gandaram and Shatsruthi Rishabam will sound in the same Swarasthana.

Chatusruthi Daivatham and Sudda Nishadam will sound in the same Swarasthana.

Kaisika Nishadam and Shatsruthi Daivatham will sound in the same Swrasthana.

Now, there are a total of 16 Swaras sounding in the place of 12 Swarasthanas.

The Swaras , Sudda Gandaram, Shatsruthi Rishabam, Sudda Nishadam and Shatsruthi Daivatham are called Vivadi Swaras.

Normally these Swaras are played or sung without Gamakas.

It is to be noted that the Swaras Chatusruthi Rishabam and Sudda Gandaram will not find place in a Sampoorna Ragam,

Similarly, Shatsruthi Rishabam and Sadarana Gandaram will not find place in a Sampoorna Ragam,

Chatusruthi Rishabum and Sudda Nishadam will not find place in a Sampoorna Ragam, and

Shatsruthi Daivatham and Kaishiki Nishadam will not find place in a Sampoorna Ragam,

Sampoorna Ragam is one in which 7 Swaras are there, taken in order both in Arohanam and Avarohanam.

The Swaras can now be summarized as follows:

Shadjam 1 No

Rishabam 3 Nos

Gandaramm 3 Nos

Madyamam 2 Nos

Panchamam 1 No

Daivatham 3 Nos

Nishadam 3 Nos.

Now the Swara Chart assumes different style:

1. Shadjam

2. Suddha Rishabam

3. Chathusruthi Rishabam…&… 4 Sudda Gandaram.. at the same Swarasthanam

5 Sadarana Gandaran …&…6 Shatsruthi Rishabam.. at the same Swarasthanam

7. Anthara Gandaram

8. Suddha Madyamam

9 Prathi Madyamam

10 Panchamam

11 Suddha Daivatham

12 Chatusruthi Daivatham…& 13. Suddha Nishadam.. at the Swarasthanam

14. Kaisiki Nishadam……& 15. Shatsruthi Daivatham.. at the same Swarasthanam

16. Kakali Nishadam.

By using one Swara, viz, S R G M P D N, from the above list , 72 combinations can be arrived at ,still satisfying the requirement of “ 72 Mela kartha” scheme.

For the self- learners , this theory may appear a bit complicated.

Each of the combination so arrived is called a Mela Kartha and is the basis of the entire Raga System in Carnatic Music.

Swara

The Sound or Dhvani which gives pleasure upon hearing is called SWARA. As is evident, the sound is nothing but the vibration of the air column and is measured in vibrations per second called frequency. Listening to these varieties of sound in succession gracefully played, will be sweet to hear and gives pleasure.

The names of seven Swaras, called Sapthaswaras is given below.

1. Shadjam
2. Rishabam
3. Gandaram
4. Madyamam
5.Panchamam
6. Daivatham
7. Nishadam

It is to be understood that the Swara Rishabam will be sounding a little higher in pitch level than Shadjam, Gandaram will be sounding a little higher in pitch level than Rishabam and so on…

The Swaram Shadjam [called higher Shadjam]will be sounding next to Nishadam will be of twice the frequency of first Shadjam .Beyond higher octave Shadjam again there are Sapthaswaras having twice the frequency of their corresponding Swaras already discussed.

Combining these Swaras gracefully in succession gives beautiful Sound pattern which can be termed as Melody.

Each of these Swaras are denoted by Symbols and pronounced as follows:

Swaram----------Symbol---------- Pronounced as

Shadjam-------------- S --------------------Sa
Rishabam-------------R-------------------- Ri
Gandaram------------G--------------------Ga
Madyamam----------M-------------------- Ma
Panchamam----------P---------------------Pa
Daivatham-----------D--------------------Dha
Nishadam------------N---------------------Ni


The Seven Swaras discussed in the first paragraph is called Madhya Sthayi Swaras. The Swaras above [ ie higher in their pitch level] Madya Sthayi is called Thara Sthayi and the Swaras below[ ie lower in their pitch level] is called Mandhara Sthayi.

The Musical pieces use these three Sthayis to make good melody.

Going a little deeper in the subject may help you understand the Swaras better.

Swaras Shadjam and Panchamam are single Swaras whereas the other Swaras viz. Rishabam, Gandaram, Madyamam, Daivatham and Nishadam are having varieties. Here variety means, each Swara will sound in two frequencies yet called with the same name.

To explain further- Each of the five Swaras will sound at lower pitch called Komala Swaras and at higher pitch called Thivra Swara. Hence, the Sthayi with 7 Basic Swaras will have 12 Swarasthanas in an octave.

The following table will explain this in detail:

Swaram--------Komala variety-------------Thivra variety

Sadjam----------No variety
Rishabam--------Sudda Rishaba---------- Chatusruthi Rishabam
Gandaram-------Sadarana Gandaram---Anthara Gandaram
Madyamam------Sudda Madyamam------Prathi Madyamam
Panchamam------No variety
Daivatham-------Sudda Daivatham------Chathusruthi Daivatham
Nishadam--------Kaisika Nishadam-------Kakali Nishadam

The above Swarasthanas can well be understood by looking at the fret board of Veena starting from Shadja Swara on the open first string from left to right representing Madyasthayi and Tharasthayi.

There are further expansion of Swaras and sruthis and their embellishment which will be discussed latter.

It is interesting to note from the krithis of Sri Thyagarajas ‘ Nada thanumanisum” that the saptaswaras have emanated from Lord Shiva’s 5 faces-Sathiyojatham,Vaamadevam,Agoram,Thatpurusham and Eesanam.

Poorvacharyas have compared the Saptaswaras to the sounds of birds and animals which is shown below-

Sadjam-------------The sound produced by peacock
Rishabam----------The lowing of cow
Gandharam--------The bleat of the goat
Madhyamam------The cry of heron
Panchamam-------The note sounded by Kokila
Dhaivatham-------The neigh of horse
Nishadham--------The yelling of elephant

The swaras are not merely sounds but they are being considered by musicians as ‘Swara Devathas’ and worshipped.

Sri Thyagaraja expresses the above in the krithi ‘ Sobillu saptaswara sundararula bajimpavay manasa’ in jaganmohini ragam.

By continuously listening to concerts one can acquire the Swara Gyana.

Swara Gyana is the capacity to identify the pitch of the Swaras with respect to Shadjam, which is Aadara Shadjam.

This could also be acquired by listening to the recordings of Music lessons repeatedly.

This Swara knowledge is very much essential to identify Ragas.