What is Nada ?

Ahata Nada & Anhath Nada meaning in Indian Classical Music.

Ahata Nada. Sounds that are generated by a conscious effort are known as Ahata Nada. Singing, vocal notes, or animal sounds fall under this category

Anahata Nada. Sounds that occur naturally, without any definitive pattern or rhythm are called Anahata Nada. Nature sounds, ambient noises fall under this category. 

There are three main characteristics of this Nada: 

1.Pitch or Frequency

2.Intensity and loudness

3.Quality or Timber.

Pitch / Frequency

– Signifies whether Nada is high or low

The pitch of the sound-producing object depends upon the frequency (number of vibrations). The higher the frequency, the higher the pitch of the Nada, and the lower the frequency, the lower the pitch of the Nada. 

For example, the frequency of ‘Sa’ is 240, ‘Re’ is 270. therefore the frequency of ‘Re’ being higher than that of ‘Sa’ and the frequency of ‘Sa’ being lower than that of ‘Re’, the pitch of ‘Sa’ is lower than that of ‘Re.’ A Nada with a frequency of 60 to 4000 is possible for use in music.  

Intensity  signifies whether Nada is loud or weak

Intensity or Magnitude signifies whether a Nada is louder or weak and of greater or smaller amplitude. This characteristic is determined by the force used to obtain the Nada. 

When a string or surface of the Tabla is struck softly, the Nada would be heard over a smaller distance. However, if these are struck with greater force or a louder sound is produced from the throat, then the Nada would be heard over a greater distance. 

This is the intensity of Nada. Timbre – There are different mediums to produce Nada.

Timbre or Quality of Nada.

 

The different tonal quality produced through different mediums is called the timbre of a Nada. 

Through the timbre of Nada, it can be certain that a given Nada is obtained from a particular instrument of an individual. It is this difference of medium that gives the quality or timbre of Nada. 

What are Swaras (or Sur)

What are Swaras (or Sur) ?The word swara (meaning notes) is derived from the Sanskrit word ‘Svar’, which means sound. There are different forms of sound.But the sound which is soothing to ear and which is musical is known as swaras or sur.

Hindustani classical music has 7 major notes also known as Shudha Swaras.

Sur - Long name

Sa-Shadaj

Re-Rishabh

Ga-Gandhar

Ma-Madhyam

Pa-Pancham

Dha-Dhaivat

Ni-Nishad

Shudha Swaras

Sa and Pa swaras are called pure swaras (shudha swaras) and have a fixed position's are also known as Achal Swaras.

Vikrit Swaras – Komal and Teevra

Swaras other than Achal swaras can be sung half note above or below their original position. They are known as Vikrit Swaras.

Re ,Ga,Dh,Ni can sung half note below and are known as Komal Swaras. Ma is sung half note above it’s original note and is known as Teevra Ma.

Thus in total there are 12 swaras –  7 shudh and 5 Vikrit. Out of 5 Vikrit swaras, 4 are Komal and 1 is Teevra.. 

 

Logic behind 22 Shrutis

 Shruthi is a Sanskrit work,  Shruthi is  sound capable of hearing from the ear.,

1). Sound capable of being used in Music.

2). Sound which can be distinctly heard by the ear.

3). Sound which can be identified one from the other.

Pleasing sounds to the ear called "Swears"   and every sound which is not musical hurts the ear is called,"Apswara" or "notice"

The Logic behind 22 Shrutis (‘Shruti-Nirman Chakra’)

The ancient logic on how different musical notes are created in a Spartak is very insightful and relevant.

The fundamental notes in music are S and P and the Tanpura is tuned to these notes for the same reason.

Other than P, the next important note is M because, the upper S' becomes the P of it.

The natural ratio of the frequencies of S:P is 100:150, and of S:M is 100:133.33333. These are obtainable after an analysis of an extremely well-tuned Tanpura. In other words, from any musical note (taken as 100), the note at 133.33333 % is it's Madhyam, and the note at 150 % is it's Pancham.

Therefore, beginning from any Shadja, if we continue the S:P cycle ahead by adding 50 % to the frequency of the earlier note, we shall complete the cycle, coming back to S' and giving 12 positions or places.

Similarly, if we continue the S:M cycle ahead by adding 33.33333 % to the earlier note, we shall complete the cycle, coming back to S' giving 12 additional positions or places.

In total, 24 places or 24 musical notes are obtained. (Refer to following figure)

Figure shows 'Shruti Nirman Chakra'The clockwise cycle is Shadja:Pancham (S:P) and the anticlockwise cycle is Shadja:Madhyam (S:M).

Thus, we get 24 places or musical notes or shrutis at the natural ratios of S:P and S:M.

Out of these, S and P have been considered 'Achala' or immovable or fixed by our ancestors. Subtracting these 2 from 24, we get 22 Shrutis.