Understanding Shruti

What is Shruti? 
In Indian classical music, the term Shruti refers to the smallest gradation of sound that the human ear can detect and differentiate. Originating from the Sanskrit word “श्रु” (śru), meaning “to hear,” shruti is not just a musical note but an auditory phenomenon—a sensation of sound that lies between the fundamental notes (swaras). While Western music is built on semitones, Indian music recognizes a greater range of microtones, which are theoretically divided into 22 shrutis per octave. 

Shruti in Practice 
The idea of shruti underpins the flexibility and subtlety of Indian classical music, allowing artists to convey nuanced emotions that resonate deeply with listeners. Although Indian music primarily uses seven main notes (swaras), each note is associated with a spectrum of microtonal variations, creating unique expressions and enabling a dynamic dialogue between melody and mood. 

Microtonal Adjustments: Artists often adjust shrutis within the context of different ragas, enhancing certain frequencies to convey specific emotional qualities. 

Enhanced Expressiveness: The use of shruti variations enables a deeper emotional and spiritual engagement, as the listener perceives not just the primary note but also its finer nuances. 

The Importance of Shruti in Tuning and Performance 
Shruti plays a critical role in the tuning of Indian instruments and vocal music. Unlike Western music, which uses a standard tuning system, Indian musicians often tune their instruments and voices based on the raga they are performing. This can vary between performances, as musicians adapt to the emotional and atmospheric qualities they wish to evoke. 

Darbari Kanada

✔ Thaat: Asāvari

✔ Jati: Vakra–Sampūrṇa (primarily descent-oriented)

AROH:         .n  S   R   g   R   S  ,  M   P   d   n   R.   S. 

AVROH:       S.   d   n   P   M   P   g   M   R   S 

PAKAD  :     g   M    R   S ,   .d    .n    S    R    S   

TIME  OF  PLAYING :   Late night    

✔ Vadi: Re

✔ Samvadi: Pa

✔ Ang: Kanada-ang + Durbār-ang

✔ Key signature phrases:

• S d~ n~ p M P

• M g~~ R S

• n S R g~ R S

✔ Core identity:

• Heavy andolan on komal g, d, n

• Gamak-oriented poorvanga

• Deep, grave night rāga

• Descent-dominant (avaroha-pradhān)

• Vakra movement always

• Phrases more important than scale

• No straight ascent

    

SLOW  COMPOSITION in Teena Taal (16 Beats) starting at 12th beat  STHAI:  

          3                             X                          2                              0 PP  |  gM  RS  .nS   R-SR  |  g    g    g    gM  |  R    SS    .nS    RS  |  .d    .n    .P .M.M | .P   .d.d    .n    S  |  R    R    R    RP  |  gM   RS   .nS   RS  |  .d    .n   .P MM  |  P    PP    MP    nP  |  g    g    g    gM  |  R    SS    .nS    RS  |   .d    .n    .P  

ANTARA:    

       3                        X                          2                              0 MM | P   dd    n    S. |  R.   R.   R.   R.P.| g.M.  R.S.  nS.  R.S.| .d    .n    .P MM | P   PP   MP  nP |  g     g     g     gM |  R     SS    .nS    RS | .d    .n    .P  TODE:  Will start at SUM (X – 1st beat) and merge into SUM after a Tihai (Triplet). Tihai has been shaded X 1. SRgg   RgMM  gMPP  MPdd | Pdnn  dnS.S.  S.ndP  MgRS | gMRS  .d.nSR   g   gMRS | .d.nSR   g   gMRS  .d.nSR | X  2. MgRM  gRMg  .nSRg  ndPn | dPnd  PdnS.  M.g.r.M.  g.R.M.g. | R.S.nS.  S.ndP  MgRS  .d.nSR |  g   .d.nSR   g   .d.nSR | X 

Raga Darbari Kanada is derived from Ashawari Scale. Raga Darbari Kanadas’ Jathi is Sampoorna - Shadawa. Its ascent is NS , RG , RS , MP , D , NS and its descent is S , D , N , P , MP , G , MRS. It used al the seven notes in ascent and used six notes in descent. 

Raga Darbari Kanada catch notes are G , RR , S , D , NS , R , S. Raga Darbari Kanada vadi note is “R” and its samavadi note is “P”. Raga Darbari Kanada is poorrangavadi raga because its vadi note “R” is first part in the octave. Raga Darbari Kanada is singing at the mid night (3^rd quarter of night).

Purvanga (or Purvang) and Uttaranga (or Uttarang)

 In Hindustani classical music, the terms Purvanga (or Purvang) and Uttaranga (or Uttarang) refer to the lower and upper halves of the octave (saptak) respectively, and not to specific sections or stages of a khyal performance.

Definitions

• Purvanga (Purvang):
  This denotes the lower tetrachord of the octave, comprising the notes Sa, Re, Ga, and Ma (S R G M).
• Uttaranga (Uttarang):
  This denotes the upper tetrachord, comprising the notes Pa, Dha, Ni, and the upper Sa (P D N S′).

Relevance to Khyal and Raagas

Although these terms do not describe formal parts of a khyal, they are essential for understanding raag structure, melodic emphasis, and time theory:

• Raag Classification:
  Raagas are often classified as Purvanga-vadi or Uttaranga-vadi, depending on whether the vadi (dominant note) lies in the lower or upper half of the octave.
• Melodic Development:
  In a khyal performance, melodic elaboration—such as alap, bol-alap, taans, and sargams—tends to emphasize the register (Purvanga or Uttaranga) that is central to the raag’s identity.
• Time Theory of Raagas:
  This classification is closely linked to the traditional samay siddhant (time theory) of raagas.
• Purvanga-vadi raagas are generally performed during the first half of the day or night (approximately 12 p.m. to 12 a.m.).
• Uttaranga-vadi raagas are typically performed during the second half (approximately 12 a.m. to 12 p.m.).

While a standard khyal performance consists of compositional sections such as sthayi and antara, and is presented in vilambit (slow) and drut (fast) tempos, the terms Purvanga and Uttaranga specifically describe the melodic regions of the octave emphasized within that structure, rather than the performance form itself

Thaats (Hindustani Musical Scales)

 Thaats were created by a musicologist name Vishnu Narayan Bhatkhande (1860-1936) and his first ideas were inspired by the Mela System of Carnatic Music from South India.

Here are the 10 Thaats and some Ragas which belong to it.

1). Bilawal (Ionian mode): S R G M P D N S (no komal swar)

• Morning: Raag Alhaiya Bilawal, Raag Bilawal
• Evening: Raag Durga
• Night: Raag Bihag, Raag Hamsadhwani

2). Kalyan (Lydian mode): S R G M' P D N S (M' Teevra)

• Afternoon: Raag Shudh Sarang
• Evening: Raag Bhopali, Raag Meru Bihag, Raag Yaman
• Night: Raag Kedar 

3). Khamaj (Mixolydian mode): S R G M P D n S (n komal)

• Evening: Raag Desh, Raag Khamaj
• Night: Raag Gorakh Kalyan, Raag Champakali, Raag Jog, Raag Rageshree, Raag Saraswati, Raag Tilak Kamod

4). Bhairav (double harmonic): S r G M P d N S (rd-komal)

• Morning: Raag Ahir Bhairav, Raag Bairag, Raag Bhairav, Raag Jogiya, Raag Nat Bhairav, Raag Ramkali  

5). Kafi (Dorian mode): S R g M P D n S (gn Komal)

• Morning: Raag Asavari, Raag Jaunpuri
• Afternoon: Bhimpalasi
• Evening: Raag Kafi, Raag Patdeep
• Night: Raag Bageshree, Raag Chandrakauns, Raag Pilu, Raag Shivranjini

6). Asavari (Aeolian mode):  S R g M P d n - (gdn - komal)

• Morning Raag Asavari, Raag Jaunpuri
• Night: Raag Adana, Raag Darbari

7). Bhairavi (Phrygian mode): S r g M P d n S (rgdn- komal)

• Morning: Raag Bhairavi, Raag Komal Rishabh Asavari
• Night: Raag Malkauns

8). Poorvi - S r G M' P d N S (r M'd)  - rd - komal / M' Teevra)

• Dawn: Raag Lalit
• Afternoon: Raag Poorvi
• Evening: Raag Puriya Dhanashree 

9). Marwa - (Lydian b2) :  G M' P D N S (M' Teevra)

• Dawn: Raag Bhatiyar, Raag Sohini
• Evening: Raag Puriya Kalyan

10). Todi - S r g M' P d N S (rgM'd)

• Morning: Gujari Todi
• Afternoon: Raag Madhuvanti, Raag Multan

shrutis

The detailed study of the controversy regarding equality and in equality of shrutis in ancient, medieval and modern periods

Ancients who lived between the 4th century and 12th century believed that the interval between two shrutis was equal. This theory is called the Saman shruti antar. This was scientifically incorrect as science at that time was not developed. 

The medievals who were Lochana, Ahobala,Sri Nivas and Vyankathamukhi used the veena to locate the swaras. Because of this slightly advanced system of locating swaras on the stretched wire of veena, they realized that the interval between two shrutis is not equal.

 Therefore they did not accept the Saman Shruti antar of ancient writers like Bharata and Sarangadeva. Lochana, Ahobala and Srinivas lived between 15thC and 18th centuries and due to their advanced knowledge of shrutis , they found the interval between shrutis changed. 

Pandit Bhathkande the chief writer among moderns, lived in the 19th century. Thaats were created by a musicologist name Vishnu Narayan Bhatkhande (1860-1936) and his first ideas were inspired by the Mela System. During his time science had developed much and with the help of Acoustics or the science of sound , he discovered that the interval between shrutis was basically unequal and went further than the medievals and stated that even the location of komal Ri, komal Dha and Teewra Ma of medievals were wrong and placed the shudda swaras on the first shruti. His theory was correct as he used the modern major Diatonic scale or the Bilawal That as the proper shudda swar saptak.

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. 

 

Rasa Theory

Rasa Theory and Indian Music

Rasa – The Aesthetic Essence

What is Rasa?

Rasa is a Sanskrit word meaning “essence” or “taste.” In the arts, including music, it refers to the emotional flavor or feeling that a performance aims to evoke in the audience. The concept of rasa originates in ancient Indian dramaturgy, particularly in the Natya Shastra by sage Bharata, which describes rasa as the core emotion an artist seeks to communicate.

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The Nine Rasas and Their Musical Expression

Bharata’s Natya Shastra identifies nine primary rasas, each representing a fundamental human emotion:

• Shringara – Love, beauty

• Hasya – Laughter, joy

• Karuna – Compassion, sorrow

• Raudra – Anger

• Veera – Courage, heroism

• Bhayanaka – Fear

• Bibhatsa – Disgust

• Adbhuta – Wonder, amazement

• Shanta – Peace

In Indian classical music, each raga is designed to embody one or more of these emotions. Musicians aim to evoke the rasa that aligns with the raga’s mood, creating a deep emotional connection with listeners.

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Rasa in Performance and Perception

Achieving rasa in music is a nuanced process. A skilled musician goes beyond technical mastery to evoke the essence of a raga, often described as “bringing a raga to life.” The audience is drawn into the raga’s intended mood and emotion.

• Role of the Listener: Rasa is subjective; each listener’s emotional and cultural background shapes their experience.

• Improvisation and Depth: Musicians use improvisation to explore shades of emotion, meaning the same raga can evoke different rasas in different performances.

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The Interplay of Shruti, Raga, and Rasa

Shruti and Raga

Shruti refers to microtonal nuances in pitch. These subtle variations allow musicians to explore the emotional depth of a raga, enhancing its rasa. For example, slightly raising or lowering a note can intensify the raga’s emotional impact.

Raga as a Conduit for Rasa

Ragas serve as frameworks for expressing emotions. Specific ragas are linked to particular times of day, seasons, and moods, highlighting the importance of rasa in Indian music.

Transforming Emotions

By combining shruti and raga, musicians can guide listeners through multiple emotional states in a single performance, shifting seamlessly between rasas through skillful modulation and improvisation.

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Philosophical and Spiritual Dimensions

Indian classical music is often more than art—it is a spiritual practice. Shruti, raga, and rasa play a central role in this journey:

• Shruti and Inner Harmony: Sensitivity to subtle differences in sound fosters mindfulness and awareness.

• Raga as a Spiritual Pathway: Each raga offers a journey through the human experience, providing freedom for improvisation while following its structure.

• Rasa and Emotional Purification: Experiencing rasa allows musicians and listeners to confront, express, and transcend emotions, moving toward inner peace (shanta rasa).

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The Eternal Dance of Shruti, Raga, and Rasa

In Indian classical music, shruti, raga, and rasa are living elements that interact to create a deeply expressive and emotional experience.

• Shruti adds subtlety and precision.

• Raga provides structure and melody.

• Rasa evokes profound emotion.

Together, they form the essence of Indian classical music, inviting listeners on a journey of sound, spirit, and emotional transformation that transcends time and place.

St Anthony,

 Pray to Saint. Anthony

Pray to St. Anthony!! 

O gentle and loving St Anthony, 

you whose heart was ever full of human sympathy, whispers our prayer into the ears of the Infant Jesus, who loved to linger in your arms. 

One word from you and our prayer will be granted. O, speak but that word and the gratitude of our heart will ever be yours!

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