User talk:Nandanji

This is about micro tones in Hindustani music. Here I am mentioning SWAR in place of TONE and SHRUTI in place of micro tone.

All Swaras are not of equal value. The number of Shrutis in each Swar is always different.

What is Shruti? One meaning is, it is the distance counted between two Swaras. These are micro tones which cannot be heard by ordinary ears. A studious and experienced classical singer says that “Ni” in Raga “Todi” is different from the same in Raga “Pooriya”, or “Ga” in Kalyan” is not the same as in Raga Bilawal. Though the Swar bears the same name, the rendering of that Swar depends on the form and structure of the Raga being sung. Though they belong to “Kafi” Thaat” Ga in Bhimpalasi is different from that of Bageshri. Ga in Bhimpalasi comes down from Pa and in Bageshri, it comes down from Dha. The value of Shruti based Komal Ga is heard differently in both Ragas.

What is the mystery that holds the secret of such variations?

When we say that the number of Shrutis of a particular Swar varies from one Raga to another, there is possibility that barring Sa and Pa, every Swar moves from its place. Sa and Pa are Achal (static) and all remaining Swaras move from their places for right impact.

Thinking this way, one cannot say that Re Ga Ma Dha Ni do not have just two forms, but many. Komal Re applied in Raga Todi and in Bhairav vary. The evening Ragas also have Komal Ra and Dha, but these Swaras look different,depending on Teevra Ma. They are not the same as in the morning Ragas. So evening Ragas are recognized with Re and Dha but the value of other Swaras is overshadowed by these two Komal Swaras. Then how can one say that a Saptak has twelve Swaras! They are not twelve, there are more and they cannot be counted. Scientifically one must mention Shrutis rather than Swaras in a Saptak.

Ponder over this.