Introducing Yourself to Indian Classical Music 7-Seven Notes: the Saptaswaras or Saptak and What Lies in Between
The names of the seven notes (or swaras) that form the basis of Indian music are commonly known. We know them as Sa, Ri (or Re), Ga, Ma, Pa, Dha, Ni, Sa
The syllables are not the full names of the notes. They are shortened versions
Their full names are as follows:
Sa=Shadja
Ri (or Re) =Rishabha
Ga=Gandhara
Ma=Madhyama
Pa=Panchama
Dha=Dhaivata
Ni=Nishadha
The shortened syllabic names (Sa, Ri, Ga etc) of the notes or swaras are sometimes called “solfège syllables” or “solfa syllables.”
The seven basic notes are referred to as the saptaswaras (seven notes) or collectively as the saptak in the Northern Hindustani system.
The notes are categorised in increasing order of pitch.
We say there are seven notes and not eight, because Sa repeats itself at the end of the scale. Sa’s frequency at the end of the scale is exactly double that of the fist Sa at the beginning of the scale.
When the frequency of any note is exactly doubled,the same tone is heard, except that this sounds higher.
The interval between the original note and the higher note is called an Octave.
When the frequency of any note is exactly halved we hear it as lower. The interval between these two notes is also called an octave.
In Indian music, a range of three octaves is generally used.
In Carnatic music, the three octaves are called the Mandra, Madhya and Tara Sthayi, referring to the lower, middle and higher octaves respectively. The tara sthayi is sometimes also referred to as the melsthayi.
In Hindustani music the three different octaves are called the Mandra, Madhya and Tar Saptak.
Sthayi (in the south) and Saptak (in the north) refer to the octave.
The octave one is most comfortable singing in is the middle octave, or Madhya sthayi or Madhya saptak.
Most competent musicians are expected to reach the swara Pa in the higher and lower octaves. There are some who can traverse the entire range of notes in all three octaves and go even beyond them.
There are various ways of depicting the notes in the various octaves, if writing them down. Sometimes the notes in the higher octave are depicted with a dot on top and notes in the lower octave are depicted with a dot at the bottom. However, one does not always follow notation in Indian music, and we often just have to learn by listening. Notation can provide only a mere skeletal framework.
Each note, except Sa and Pa, has more than one position or variety. Sa and Pa are constant and are sometimes referred to as prakriti swaras. There is more than one type of Re, Ga, Ma, Dha and Ni.
[Note, some musicians will dispute that Sa and Pa are fixed, as their "fixing" is a later development. For the most part, however, one deals with the varieties of the other notes]
you really have a knack of making things simple and understandable. even for a gnyana suniyam like me.
don’t call yourself names…
it IS easy and understandable, nothing to do with me!
I second Ummon. It is always a pleasure to read your posts on classical music.
Aside, I just got hold of Lalgudi Jayaraman’s Sringaram (in mp3 format) ystd. Like to have them?
thanks and yes!
Hope you like the stuff I sent
Hey Uttara, so good to see you back.
I didn’t know what Sa, Re, G, Ma, Pa, Dha, Ni stood for… Thanks!
thanks, its nice to be missed! what abt the bit on octaves, did you understand that?
Yes. You made it simple!
To use a cliche – you learn something new everyday! Nice post – you should write a book – start collating all your posts.
thanks. who will publish it, though?
You could try Bharathiya Vidya Bhavan…and if I ever come across any publishers I’ll be sure to pass the info. your way.
have you heard this one?
have you heard this one?
I have now. Nice!
Vedanth Bharadwaj and Bindhumalini – Chaakar Raakho Ji & Kannan Leelaigal
Good to see you back and to read this series of posts. It’s moving along nicely in fine jargon-free form and presented with clarity!
Vidya, jargon has always been a problem for me-especially as I do not have a scientific bent of mind. So am v glad to read your comment.
I am printing all of these and collating them to read. When I meet you next kindly autograph it, okay?
Chox, not much use printing the first few, they need listening if anything
and my autograph was in the post!
i come here and want to read/listen in peace but something or the other takes me away – so thought i’d read while commuting. my phone net connection is not good enough.
right now is an awesome time – its rained and there is a fabulous breeze – perfect. but of course there are at least 3 urgent things to be done
chox, never mind, I know you’re busy. and you can print some of them…haven’t put clips on this one for example.
And my lil one reaches the higher Ga with great ease much to my huge surprise!
Which one-the first or the second?! They’re both wonders.
She shd be able to reach Pa too and beyond without much difficulty-little ones have flexible voices! It shdn’t be falsetto or strained, but open-her teacher will be able to show her that.
2nd. as you rightly said her voice is indeed flexible.
plus she loves her teacher. offers her water as soon as she enters and makes cards for her