Swara
Swara originates from Nada, the fundamental musical sound. The whole subject of music has it's foundation on Nada. Nada gives rise to Sruties which in turn gives rise to Swaras and then to Ragas.
In the case of humans the nada emanating from the chest is called Mandra, that from the throat is called Madhya, and that from the head is called Tara.
Nada has two divisions:
- Ahata: The nada produced by the conscious effort of man. The word Ahata means struck. It can be heard by the ordinary human ear and gives pleasure to the mind.
- Anahata: The nada heard without the conscious effort of man. Anahata means unstruck. It is audible only to yogis and it is the music of nature. This nada is not rich in aesthetic variety and so it does not give pleasure to the mind.
From the point view of the timbre of the sound produced, Ahata nada is classified into:
1.Sariraja : Nada produced by the human voice. Eg: Vocal music
2.Nakhaja : Nada produced from plucked instruments. Eg: Veena
3.Dhanurja : Nada produced by bowed instruments. Eg: Violin
4.Vayuja : Nada produced from wind instruments. Eg: Flute
5.Charmaja : Nada produced from skin covered instruments. Eg: Mridangam
6.Lohaja : Nada produced from metallic instruments. Eg: Cymbal
Based upon the source of origin, Nada is divided into:
1.Prani Sambhava (Chethana Nada) : Nada emanating from an animate source. Eg: Vocal music.
2.Aprani Sambhava (Achethana Nada) : Nada emanating from an inanimate source. Eg: Instruments
3.Ubhaya Sambhava (Misra Nada) : Nada produced by blowing air into an inanimate object like the flute.
Causation of Nada
According to Sarangadeva and other writers on musicology, the nada is caused when the Atma desiring to speak or sing stirs the mind, the mind strikes the fire abiding in the body, the fire strikes the wind, the wind abiding in the Brahma Grandhi, rising along the upward path, manifests the sound successively on the navel, heart, throat, head, and the mouth. The nada is thus produced by the union of Prana(wind) and Anala(fire). In ancient times Nadopasana (worship of nada) was considered as an easy way to attain moksha (eternal bliss). In the word Nada, ‘Na’ denots Prana and ‘da’ denotes fire. This is referred in Saint Tyagaraja’s krities ‘ Mokshamu galada’ set to Saramati raga and in‘Shobillu saptaswara’ set to jaganmohani raga.He explains the origin of Nada ie, Nada starts from the nabhi(navel),travels through hridaya (heart), kanda (neck), murtha (vocal chords) and transforms into swaras which come out through the mouth.
According to Sarangadeva and other writers on musicology, the nada is caused when the Atma desiring to speak or sing stirs the mind, the mind strikes the fire abiding in the body, the fire strikes the wind, the wind abiding in the Brahma Grandhi, rising along the upward path, manifests the sound successively on the navel, heart, throat, head, and the mouth. The nada is thus produced by the union of Prana(wind) and Anala(fire). In ancient times Nadopasana (worship of nada) was considered as an easy way to attain moksha (eternal bliss). In the word Nada, ‘Na’ denots Prana and ‘da’ denotes fire. This is referred in Saint Tyagaraja’s krities ‘ Mokshamu galada’ set to Saramati raga and in‘Shobillu saptaswara’ set to jaganmohani raga.He explains the origin of Nada ie, Nada starts from the nabhi(navel),travels through hridaya (heart), kanda (neck), murtha (vocal chords) and transforms into swaras which come out through the mouth.
Sruthi
Srutis or microtones are minute musical sound units that constitute the structure of seven tones,the saptha swaras .Swaras combine in different ways to form the melodic structure called Raga .The melodic effect of swaras are formed by the srutis. In that sense srutis can be said as the micro tonal variations of the melodic structure called raga which is the foundation of Indian classical music.
The swaras Rishaba , Gandhara , Madhyama , Dhaivata and Nishada each can take four values of srutis. For example the four srutis of Rishaba are Ekasruti Rishabha , Dvisruti Rishabha , Tisruti Rishabha and Chatursruti Rishbha. Therefore the number of sruthis for these five swaras ( ri, ga, ma , da , ni ) is 20. Shadja and Panchama don't have any sruti varieties, making the total number of srutis as 22. The difference between two nearby srutis of a swara is called Sruti interval.
There are many definitions for the word sruti , according to various authors. Sruti is the smallest audible difference of a pitch. Sruti is a sound of minute pitch which can be distinguished by a refined and trained ear. In ancient Tamil music srutis were called Alakus and 22 srutis were refered to as 22 Alakus in Chilapathikaram.
Srutis or microtones are minute musical sound units that constitute the structure of seven tones,the saptha swaras .Swaras combine in different ways to form the melodic structure called Raga .The melodic effect of swaras are formed by the srutis. In that sense srutis can be said as the micro tonal variations of the melodic structure called raga which is the foundation of Indian classical music.
The swaras Rishaba , Gandhara , Madhyama , Dhaivata and Nishada each can take four values of srutis. For example the four srutis of Rishaba are Ekasruti Rishabha , Dvisruti Rishabha , Tisruti Rishabha and Chatursruti Rishbha. Therefore the number of sruthis for these five swaras ( ri, ga, ma , da , ni ) is 20. Shadja and Panchama don't have any sruti varieties, making the total number of srutis as 22. The difference between two nearby srutis of a swara is called Sruti interval.
There are many definitions for the word sruti , according to various authors. Sruti is the smallest audible difference of a pitch. Sruti is a sound of minute pitch which can be distinguished by a refined and trained ear. In ancient Tamil music srutis were called Alakus and 22 srutis were refered to as 22 Alakus in Chilapathikaram.
Swara
The word svara (Sanskrit: स्वर) is derived from the root svr which means "to sound". To be precise, the svara is defined in the Sanskrit nirukta system as:
The word svara (Sanskrit: स्वर) is derived from the root svr which means "to sound". To be precise, the svara is defined in the Sanskrit nirukta system as:
- svaryate iti svarah (स्वर्यते इति स्वरः, does breathing, shines, makes sound),
- svayam raajate iti svarah (स्वयं राजते इति स्वरः, appears on its own) and
- sva ranjayati iti svarah (स्व रञ्जयति इति स्वरः, that which colors itself in terms of appealing sound).
Saptha swaras
The foundation of all music systems is the Saptaswaras (seven notes), just as there are seven days in a week or seven colors in a rainbow. The names of these seven notes and its syllables for them in Indian and Western music are as given below.
The foundation of all music systems is the Saptaswaras (seven notes), just as there are seven days in a week or seven colors in a rainbow. The names of these seven notes and its syllables for them in Indian and Western music are as given below.
The swaras Shadja and Panchama remain constant. They take only one value for each. They are Avikritha swaras or Achala swaras (fixed notes). The remaining five Chala swaras have its own varieties.
Suddha swaras also referred to as Prakriti swaras, have the prefix, Suddha.The Vikrita swaras have the prefixes like Chatussruthi, Shatsruthi, Sadharana, Antara etc. The term suddha swara in South Indian Music refers to the lowest pitched or the earliest variety of each note of the ascending scale. In North Indian Music, the term Suddha refers to each of the notes of the Sankarabharanam scale (Bilaval of Hindusthani Music).
Suddha scale means a scale of all suddha swaras. In South Indian Music, it is ‘Kanakangi’, the first Melakartha in the scheme of 72 melas.
Dwadasa Swarasthanas:
The five swaras other than ‘Sa’ and ‘Pa’, that allow two basic variations in sruthi are:
Rishabham: Suddha Ri, Chatussruthi Ri
Gandharam: Sadharana Ga, Antara Ga
Madhyamam: Suddha Ma, Prati Ma
Daivatam: Suddha Da, Chatussruthi Da
Nishadam: Kaisiki Ni, Kakali Ni
This way we get 12 basic swarasthanas, known as ‘Dwadasa Swarasthanas’
(2 Achala + 5*2Chala=12).
Shodasa Swarasthanas or Suddha Vikrita Sthanas:
Infact, Rishabham, Gandharam, Daivatam and Nishadam allow three variations each rather than two. But the sruthi of one of these variations coincides with the sruthi of some variations of the adjacent swarams.
Suddha swaras also referred to as Prakriti swaras, have the prefix, Suddha.The Vikrita swaras have the prefixes like Chatussruthi, Shatsruthi, Sadharana, Antara etc. The term suddha swara in South Indian Music refers to the lowest pitched or the earliest variety of each note of the ascending scale. In North Indian Music, the term Suddha refers to each of the notes of the Sankarabharanam scale (Bilaval of Hindusthani Music).
Suddha scale means a scale of all suddha swaras. In South Indian Music, it is ‘Kanakangi’, the first Melakartha in the scheme of 72 melas.
Dwadasa Swarasthanas:
The five swaras other than ‘Sa’ and ‘Pa’, that allow two basic variations in sruthi are:
Rishabham: Suddha Ri, Chatussruthi Ri
Gandharam: Sadharana Ga, Antara Ga
Madhyamam: Suddha Ma, Prati Ma
Daivatam: Suddha Da, Chatussruthi Da
Nishadam: Kaisiki Ni, Kakali Ni
This way we get 12 basic swarasthanas, known as ‘Dwadasa Swarasthanas’
(2 Achala + 5*2Chala=12).
Shodasa Swarasthanas or Suddha Vikrita Sthanas:
Infact, Rishabham, Gandharam, Daivatam and Nishadam allow three variations each rather than two. But the sruthi of one of these variations coincides with the sruthi of some variations of the adjacent swarams.
This way we get four additional swarasthanas, however aligning with existing 12, hence 16 Swarasthanas.
Positions:
Shodasa (16) Suddha Vikrita Swarantargatha Sthanas with their names and symbols are given:
Vadi : Sonant note is the note of primary importance. In most cases it is also the note most frequently struck. Thus, it helps in evoking the Rasa to its fullest, acting like a beacon to show the path. It is also called the life note. Different notes determined as Vadi notes can express different emotions at various times of the day and night. A Vadi note is often addressed as the king.
Samvadi : Subsonant note. This is the second most important note of a Raga and is the second most frequently struck note in its melodic expansion. In most cases the Vadi and Samvadi notes are a fourth or fifth apart. It is often addressed as a wazir.
Anuvadi : Assonant note. The notes in a Raga that are neither Vadi or Samvadi are called its Anuvadi notes. They are often addressed as companion or attendant notes.
Vivadi : Dissonant note. It is a note which should not be used in a Raga. As an exception however, it is used by skillful musicians in an implied form in order to enhance the beauty of the Raga. Vivadi notes are often addressed as enemy notes.
So the analogy goes that the musical kingdom comprises the King (Vadi note) accompanied by his wazir (Samvadi note) with his attendants (Anuvadi notes.) Naturally he has to watch out for the enemy (Vivadi) notes. Just as a king enhances his prestige by over-throwing and over powering his enemies, in the same manner the prestige of a musician is enhanced by dexterous use of the Vivadi note in the melodic expansion of the Raga.
Grahaswara : A note on which a raga commences is called grahaswara.
Eg; Tarastayi Shadja and Gandhara in Shankarabharana raga ( Chalamela – Ata tala varnam )
Gandhara in Kalyani raga ( Nidhichala sukhama )
Amsa swara : The note which brings out in bold relief the melodic entity of the raga ; this is a strong note and a resting note for the raga and one can weave round it an alapana. This is also a jeeva swara or raga chayaswara for the raga.Jeeva Swara is in effect the life of the raga. In Sanskrit word Jeeva means life. Two Jeeva swaras are , one primary and the other secondary; Vaadi swara is the primary anchor, while Samvaadhi swara is the secondary anchor. So the raga is focussed around these two. Dirgatva is the feature of an amsa swara. All the amsa swara are jeeva swara ; but the converse need not necessarily be true. A raga may have two or more amsa swaras. All amsa swaras are ipso facto Nyasa swaras.
Nyasa swara : The note on which a phrase in a raga can validly end.