Svara

• svaryate iti svaraḥ (स्वर्यते इति स्वरः, does breathing, shines, makes sound),
• svayam rājate iti svaraḥ (स्वयं राजते इति स्वरः, appears on its own) and
• sva rañjayati iti svaraḥ (स्व रञ्जयति इति स्वरः, that which colours itself in terms of appealing sound).

The Kannada word svara and Tamil alphabet or letter suram do not represent a sound, but rather more generally the place of articulation (PoA) (பிறப்பிடம்), where one generates a sound, and the sounds made there can vary in pitch.

The word is found in the Vedic literature, particularly the Samaveda, where it means accent and tone, or a musical note, depending on the context. The discussion there focusses on three accent pitch or levels: svarita (sounded, circumflex normal), udatta (high, raised) and anudatta (low, not raised). However, scholars question whether the singing of hymns and chants were always limited to three tones during the Vedic era.{{cite journal | last=Rowell | first=Lewis | title=A Siksa for the Twiceborn | journal=Asian Music | publisher=University of Texas Press | volume=9 | issue=1 | year=1977 | pages=72–94 | doi=10.2307/833818 | jstor=833818 }}

In the general sense svara means tone, and applies to chanting and singing. The basic svaras of Vedic chanting are udatta, anudatta and svarita. Vedic music has madhyama or ma as principal note so that tonal movement is possible towards lower and higher pitches, thus ma is taken for granted as fixed in any tonal music (madhyama avilopi, मध्यम अविलोपी).

One-svara Vedic singing is called ārcika chanting, e.g. in chanting the following texts on one note:

• aum aum aum / om om om
• hari om tatsat
• shivoham shivoham
• raam raam raam raam
• raadhe raadhe
• siyaa-raam siyaa-raam

or the like. Two-svara Vedic singing is called gāthika chanting, e.g. in chanting the following text on two notes:

The musical octave is said to have evolved from the elaborate and elongated chants of the Samaveda, based on these basic svaras.Naradiya Siksha 1.2.1 Siksha is the subject that deals with phonetics and pronunciation. Naradiya Siksha elaborates the nature of svaras, both Vedic chants and the octave.

{{Blockquote|

तत्र स्वराः –

षड्‍जश्‍च ऋषभश्‍चैव गान्धारो मध्यमस्तथा ।

पञ्‍चमो धैवतश्‍चैव सप्तमोऽथ निषादवान् ॥२१॥

| नत्य शास्त्र | २८.२१ |

tatra svarāḥ –

ṣaḍ‍jaś‍ca ṛṣabhaś‍caiva gāndhāro madhyamastathā ।

pañ‍camo dhaivataś‍caiva saptamo'tha niṣādavān ॥21॥

Natya Shastra – 28.21Sanskrit: [http://sanskritdocuments.org/doc_z_misc_major_works/natya28.html?lang=sa Natyasastra Chapter 28], नाट्यशास्त्रम् अध्याय २८, ॥ २१॥{{Sfn|Te Nijenhuis|1974|pp=21–25}}}}

This text contains the modern names:

{{Blockquote|

[Here are the] swaras -

Shadaj, Rishabha, Gandhara, Madhyama,

Panchama, Dhaivata, [and seventh] Nishada.

}}

These seven svaras are shared by both major raga systems of Indian classical music, that is the North Indian (Hindustani) and South Indian (Carnatic).{{Sfn|Randel|2003|pp=814-815}}

Sapta svara, also called sapta swara or sapta sur, refers to the seven distinct notes of the octave or the seven successive svaras of a saptak. The sapta svara can be collectively referred to as the sargam (which is an acronym of the consonants of the first four svaras). Sargam is the Indian equivalent to solfège, a technique for the teaching of sight-singing. As in Western moveable-Do solfège, the svara Sa is the tonic of a piece or scale.{{Sfn|Randel|2003|pp=814-815}} The seven svaras of the saptak are the fundamentals of heptatonic scales or melakarta ragas and thaats in Carnatic and Hindustani classical music.

The seven svaras are śaḍja (षड्ज), r̥ṣabha (ऋषभ), gāndhāra (गान्धार), madhyama (मध्यम), pañcama (पञ्चम), dhaivata (धैवत) and niṣāda (निषाद).{{cite web | url=https://brainly.in/question/4916824 | title=[Answered] What is the full form of SA,RA,GA,MA,PA,DHA,NI,SA - Brainly.in | date=28 July 2018 }} The svaras of the sargam are often learnt in abbreviated form: sā, ri (Carnatic) or re (Hindustani), ga, ma, pa, dha, ni.{{Sfn|Randel|2003|pp=814-815}} Of these, the first svara that is "sa", and the fifth svara that is "pa", are considered anchors (achal svaras) that are unalterable, while the remaining have flavours ({{lang|hi-Latn|komal}} and {{lang|hi-Latn|tivra}} svaras) that differs between the two major systems.{{Sfn|Randel|2003|pp=814-815}}

:षड्जादयः स्वराः न भवन्ति

:आकारादयः एव स्वराः

:Shadaj aadayah svaraah na bhavanti

:aakar aadayah eva svaraah

}}

i.e. Shadaj, Rishabh, Gandhar, ... (and their utterance) are not the real svaras but their pronunciation in the form of aa-kar, i-kaar, u-kaar ... are the real form of the svaras.

It is said that Shadaj is the basic svara from which all the other 6 svaras are produced. When we break the word Shadaj then we get, Shad- And -Ja. Shad is 6 and ja is 'giving birth' in Indian languages. So basically the translation is :

षड् - 6, ज -जन्म . Therefore, it collectively means giving birth to the other 6 notes of the music.

The absolute frequencies for all svaras are variable, and are determined relative to the saptak or octave. E.g. given Sa 240 Hz, Re 270 Hz, Ga 288 Hz, Ma 320 Hz, Pa 360 Hz, Dha 405 Hz, and Ni 432 Hz, then the Sa after the Ni of 432 Hz has a frequency of 480 Hz i.e. double that of the lower octave Sa, and similarly all the other 6 svaras. Considering the Sa of the Madhya Saptak then frequencies of the other svaras will be,

Sa Re Ga Ma Pa Dha Ni

Mandra Saptak: 120 Hz, 135 Hz, 144 Hz, 160 Hz, 180 Hz, 202.5 Hz, 216 Hz.}

Madhya Saptak: 240 Hz, 270 Hz, 288 Hz, 320 Hz, 360 Hz, 405 Hz, 432 Hz.}

Taara Saptak: 480 Hz, 540 Hz, 576 Hz, 640 Hz, 720 Hz, 810 Hz, 864 Hz.}

All the other svaras except Shadaj (Sa) and Pancham (Pa) can be {{lang|hi-Latn|komal}} or {{lang|hi-Latn|tivra}} svaras but Sa and Pa are always shuddha svaras. And hence svaras Sa and Pa are called achal svaras, since these svaras don't move from their original position. Svaras Ra, Ga, Ma, Dha, Ni are called chal svaras, since these svaras move from their original position.

Sa, Re, Ga, Ma, Pa, Dha, Ni - Shuddha Svaras

Re, Ga, Dha, Ni - Komal Svaras

Ma - {{lang|hi-Latn|Tivra}} Svaras

Talking about Shrutis of these Sapta Svaras,

Sa, Ma and Pa have four Shrutis, respectively

Re and Dha have three Shrutis, respectively

Ga and Ni have two Shrutis, respectively

And these all Shrutis add up to 22 Shrutis in total.

The svara differs slightly from the śruti concept in Indian music. Both the svara and the śruti are but the sounds of music. According to the music scholars of the distant past, the śruti is generally understood as a microtone besides veda and an ear. In the context of advanced music, a śruti is the smallest gradation of pitch that a human ear can detect and a singer or instrument can produce. There are 22 śruti or microtones in a saptaka of Hindustani music but Carnatic music assumes 24 śruti. A svara is a selected pitch from 22 śrutis, using several of such svaras a musician constructs scales, melodies and ragas. In the presence of a drone-sound of perfectly tuned Tanpuras, an ideal svara sounds sweet and appealing to human ear but particularly some 10 śrutis of the saptaka sound out of pitch (besuraa) when compared to the very drone. A tuneful and pleasing tone of the svara is located at a fixed interval but there is no fixed interval defined for two consecutive śrutis anywhere that can safely and scientifically be used throughout with respect to a perfect drone sound.

The ancient Sanskrit text Natya Shastra by Bharata identifies and discusses twenty two shruti and seven shuddha and two vikrita svara.{{cite book|author=Ellen Koskoff|title=The Concise Garland Encyclopedia of World Music, Volume 2|url=https://books.google.com/books?id=hzIt6ZL5lY0C&pg=PA936 |year=2013| publisher=Routledge| isbn=978-1-136-09602-0|page=936}} The Natya Shastra mentions that in Shadaj graama, the svara pairs saa-ma and saa-pa are samvaadi svaras (consonant pair) and are located at the interval of 9 and 13 shruti respectively. Similarly, svara pairs re-dha and ga-ni are samvaadi svara too. Without giving any example of 'a standard measure' or 'equal interval' between two successive shrutis, Bharata declared that saa, ma or pa shall have an interval of 4 shrutis measured from the pitch of the preceding svara, re or dha shall have an interval of 3 shrutis measured from the pitch of the preceding svara and ga or ni shall have an interval of 2 shrutis measured from the pitch of the preceding svara respectively. The following quote explains it all:{{blockquote|

:चतुश्चतुश्चतुश्चैव षड्जमध्यमपञ्चमाः

:द्वे द्वे निषादगान्धारौ त्रिस्त्री ऋषभधैवतौ

:Chatush chatush chatush chaiva Shadaj madhyama panchamaah.''

:Dve dve nishaada gaandhaarau tristrii rishabha dhaivatau.

}}

Bharata also makes some unscientific and unacceptable observations ignoring practically proven truths like samvaad (samvaada/ संवाद) or consonance of ma-ni, re-dha, re-pa and ga-ni as each of these svara pairs do not have equal number of shrutis to establish samvaad. In reality, the above-mentioned pairs DO create samvaad or consonances which Bharata did not recognize for unknown reasons. None of the musicologists give in writing the 'practical basis' or technique of ascertaining the ideal tonal gap between the note pairs like saa-re, re-ga, ga-ma, ma-pa, pa-dha, dha-ni, ni-saa* (taar saa) until Sangeet Paarijat of Ahobal (c. 1650). The svara studies in ancient Sanskrit texts include the musical gamut and its tuning, categories of melodic models and the raga compositions.{{Sfn|Rowell|2015|pp=145-159}}

Perhaps the greats like Bharata, Sage Matanga and Shaarnga-deva did not know the secret of tuneful tones (up to acceptable level of normal human ear, on the basis of taanpuraa drone) for they do not mention use of drone sound for any of the musical purposes. Most of the practicing musicians knew very well that all the tuneful tones of seven notes could be discovered with the help of the theory of samvaad, in which saa-saa* (*means upper octave), saa-ma and saa-pa play the most crucial role.

The basic mode of reference in the Hindustani system is that which is equivalent to the Western Ionian mode or major scale (called Bilaval thaat in Hindustani music, Sankarabharanam in Carnatic). In the Carnatic system however, the beginner exercises are sung in the raga Mayamalavagowla, which corresponds to the Western Double harmonic scale. The reason for this being the symmetry of the scale, with the first half mirroring the second half, and the existence of all the important inrervals (half, whole and double note). This is something that is absent in the major scale, which only consists of half and whole notes. In any seven-tone mode (starting with S), R, G, D, and N can be natural ({{lang|hi-Latn|shuddha}}, lit. 'pure') or flat ({{lang|hi-Latn|komal}}, 'soft') but never sharp, and the M can be natural or sharp ({{lang|hi-Latn|teevra}}) but never flat, making twelve notes as in the Western chromatic scale. If a svara is not natural ({{lang|hi-Latn|shuddha}}), a line below a letter indicates that it is flat ({{lang|hi-Latn|komal}}) and an acute accent above indicates that it is sharp ({{lang|hi-Latn|tīvra}}, 'intense'). Sa and Pa are immovable (once Sa is selected), forming a just perfect fifth.

In some notation systems, the distinction is made with capital and lowercase letters. When abbreviating these tones, the form of the note which is relatively lower in pitch always uses a lowercase letter, while the form which is higher in pitch uses an uppercase letter. So {{lang|hi-Latn|komal}} Re/Ri uses the letter r and {{lang|hi-Latn|shuddha}} Re/Ri, the letter R, but {{lang|hi-Latn|shuddha}} Ma uses m because it has a raised form - {{lang|hi-Latn|teevra}} Ma - which uses the letter M. Sa and Pa are always abbreviated as S and P, respectively, since they cannot be altered.

As you can see above, Catuśruti Ṛṣabham and Śuddha Gāndhāram share the same pitch (3rd key/position). Hence if C is chosen as Ṣaḍjam, D would be both Catuśruti R̥ṣabham and Śuddha Gāndhāram. Hence they will not occur in same rāgam together. Similarly for the two svaras each at pitch positions 4, 10 and 11.Gaanaamrutha Varna Maalikaa by A.S. Panchaabakesa Iyer

{{Quote box

| quote =

Through svara, Īśvara [God] is realized.

| source = —A proverb among Indian musicians
Translator: Guy Beck{{cite book|author=Guy L. Beck|title=Sacred Sound: Experiencing Music in World Religions |url=https://books.google.com/books?id=t-IeHbqAfSsC&pg=PA126 |year=2006|publisher=Wilfrid Laurier University Press|isbn=978-0-88920-421-8|page=126}}

| bgcolor = #FFE0BB

| align = right

}}

• Each svara is associated with the sound produced by a particular animal or a bird, like,
• Sa is said to be sourced from the cry of a peacock,
• Ri is said to be sourced from the lowing of a bull,
• Ga is said to be sourced from the bleating of a goat,
• Ma is said to be sourced from call of the heron,
• Pa is said to be sourced from call of the cuckoo,
• Dha is said to be sourced from the neighing of the horse,
• Ni is said to be sourced from the trumpeting of the elephant.

So each svara is said to be sourced from the sound produced by an animal or a bird.{{Cite web|url=https://www.dollsofindia.com/library/raga_ragini/|title = The Raga Ragini System of Indian Classical Music|date = 15 March 2007}}

• Each svara is also associated with a classical planet:
• Sa – Mercury,
• Re – Mars,
• Ga – Sun,
• Ma – Moon,
• Pa - Saturn,
• Dha – Jupiter,
• Ni - Venus.
• Each svara is also associated with a colour:
• Sa – Green,
• Re – Red,
• Ga – Golden,
• Ma – White,
• Pa - Blue or Black,
• Dha – Yellow,
• Ni - Multi coloured.
• Each svara is also associated with the 7 Chakras in the body:
• Sa - Muladhara
• Re - Svadisthana
• Ga - Manipura
• Ma - Anahata
• Pa - Vishuddhi
• Dha - Ajna
• Ni - Sahasrara

• Hindustani classical music
• Indian classical dance
• Carnatic music
• Ancient Tamil music
• Gamak
• Raga

{{Hindustani Classical Music page end}}

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