I am making an attempt to go into the intricacies of the traditional and aesthetic aspects of Indian classical music and to give a detailed picture of the universal sound known as “Naada.” “Sound” plays a very important role in human life especially in expressions. It is well expressed by the famous French researcher of Indian classical music, the great Alain Danielou in his book, “A study of Indian classical music,” thus:
Music lovers the world over are well versed with phrases like, “Music is Divine”, “Music needs no language”, “Music sees no religious barriers”, “Music is universal”, “Music emanates peace”, “life”, etc.
“Naso-Aasti Pratyayo Loke, Yaha Shabdaanu Gamaddate, Anuviddham iva, Gnyaanam Sarvaiy Shabdena Bhaasate. Vaageva Viswaa Bhuvanaani Jagnye, Sabhooriti Vyaaharata Bhoomima Srujat Veda Shabdebhya Evaadou Nirmama Sa- Maheshwaraah”
“In this universe there is no from of knowledge which is not perceived through sound. Knowledge is pierced through by sound, and thus, all that is created is but the result of sound.”
Prof. Alain Danielou also makes another emphatic comment on the importance of sound quoting a Sloka from Sangeeta-Bhashya:–
“Pashuhu shishur-mrigouvaapi Naadena paritushyate, Atou Naadasya Maahaatmayam Vyaakhyaatum kena shakyate?’
(Animals, tamed or wild – even children are charmed by sound; who can describe its marvels?)
We, the music lovers or students of music, are often made to believe certain unacceptable justifications given by the traditional ‘Pundits’ of music, owing to their legacies, traditions, schools of thought etc. I, being a violinist by profession, could not stop myself from analyzing the intricacies of sound in its three forms viz, Naada, Swara and Sruti.
Our ancient masters always talked about two varieties of sound:
a. Aahata – which means struck sound or agitated vibration
b. Anaahata – which means un-struck sound or un-agitated vibration
They also believed in ‘Naada’, the profound sound which covers all matters vibrating or non-vibrating in space. Having spoken of Swara, Sruthi and Naada, I would like to stress upon the need to understand that these three are always complementary and co-existent. Swara in general means a musical note which would have a definite number of oscillations, wave length and amplitude. On the other hand, Sruthi cannot be given a particular wavelength or amplitude just for the reason it is very much micro in nature. But we can say that it would have only a particular oscillation and not a range of oscillations, hence Sruthi is an atomic sub-division of Swara.
While on the subject of Sruthi and Swara, let me make one thing absolutely clear:
“Swara is always oscillatory. Hence it is unstable. Sruti is never oscillatory, it is very minute in nature and absolutely stable. Here we can say that, Sruthi being the smallest division of Swara enables us to not only identify a particular note or Swara, but also the duration of the struck note. There are twelve Swaras and sixteen Swarasthaanas. Sruthi is always considered at the mid-point of a Swara and Naada is such a Swara. It is so complete in nature that it sustains for a very long duration, without being desorbed by any of the sub-tones and their sub-tones. Hence, “Naada” draws maximum attention in music, especially when the music is in a slow tempo or laya or rhythm.
So, we can say that sound can be subdivided into non-musical notes, musical notes, intervals of notes, escalation and decaying of notes and last but not the least, the duration for which it remains struck.
Within the 16 Swara-sthaanas of 12 Swaras are 22 musical Sruthis. Out of these Sruthis, four Sruthis are each assigned for Shadja, Madhyama and Panchama, two each for Gaandhaara and Nishaada, three each for Rishabha and Dhaivata. This division of Sruits is clearly described in the following Sloka:
“Chatush, chatush, chatushchaiva,, Shadja, Madhyama, Panchama,
dwai, dwai, Nishaada-gaandhaarou, thrisri Rishabha-Dhaivatashcha”
Which means, Shadja (SA), Madhyama (MA) and Panchama (PA) have Four Intervals each and two intervals each for Gaandhaara(GA) and Nishaada (NI) and three intervals each for Rishabha (RI or Re) and Dhaivata ( DHA).
more articles by Jagan Ramamoorthy
- Microtones,Microtonal music-Healing powers & Influence on Human Consciousness and DNA-An Eastern perspective
- 72 scales called Melakarrtaas–A rare gift to the music world
- Raagas and the way Stalwarts handle these.. South/North Indian classical Music
- Improvisation in Indian music– “ManoDharma”
- The Nature of Sound- “Naada”
- Introduction to my style of music and my personal profile
- The Divine Sound- “Naada” Or “Pure Tone”
