ShrutiShruti-Veena: Manifestation of Bharat’s Gram and ChatuhSarana
The subject fundamentally expounded by Bharat is Natya (theatre). There is no knowledge, skill or art that is not employed by it. Na tachchutam na sa vidya vidya na sa nyaso na sa kala N a Sa yogo na tatkarm yannatyeδsminna y annatyeδsminna drishyate Hence music too has been discussed as a part of this natya. Maharishi Bharat has categorised music into ten elements: Shruti, Swar, Gram, Murchhana, Vritti, Sthan, Varna, Alankar, Dhatu and Jati. Here we shall discuss Shruti, Swar, Gram and see how they can be determined. The seven swar-s mentioned by Bharat are Shadja, Shadja, Rishabh, Rishabh, Gandhar , Madhyam, Madhyam, Panchan, Dhaivat Panchan, Dhaivat , and Nishad and Nishad . Shadjascha rishabhashchaiva gandharo madhyamstatha Panchamodhaiwatashchaiv Panchamodhaiwatash chaiv saptamashcha nishadavan In the nomenclature thus obtained, he has indicated by calling Nishad the Nishad the seventh that the notes follow the order from Shadja. Shadja. From Shadja to Tar Shadja there are twenty two Shruti-s Shruti-s in the order, three, two, four, three, two, four. Tisro dwei cha chatasrascha chatasrastisra eva cha Dwei chatasrashcha shadjakhye grame shrutinidarshanam shrutinidarshanam These Shruti-s Shruti-s are smaller fragments of sound which can be called micro-tones. The collection of these sounds is called Gram. The Shruti-s Shruti-s in gram move down the scale, i.e., four Shruti four Shruti-s -s of Shadja of Shadja lie between Shadja and Nishad and Nishad , the two of Nishad of Nishad between between Nishad and Nishad and Dhaivat Dhaivat . This is in contrast to order of the swara-s moving from Shadja to Nishad ; in other words gram is awarohi (descending).
●
Rishabh Gandhar adhyam
S 22
○ ○ ●
R 19
○
●
G 17
Pancham
○ ○ ○ ●
M 13
Dhaivat
ishad Shadja
○ ○ ○ ● ○ ○ ● ○ ● ○ ○ ○ ● P 9
D 6
N 4
S* 0
On the number of Shruti-s, Shruti-s, Bharat has determined the inter-relationship between notes. He ordains that on considering any note in the gram as sonant the note nine or thirteen Shruti-s Shruti-s away would act as consonant and the one distanced two or twenty Shruti-s Shruti -s away would act as dissonant to it; the rest would be assonant to it. Yayoshcha nava trayodashakam parasparatah shrutyantare tavanyonyasamvadinou Yatha shdja-panchamou, rishabh-dhaivatou, gandhar-nishadou, shadja-madhyamviti shadjagrame Hence notes situated nine or thirteen Shruti-s Shruti-s away are mutually consonant, e.g. in Shadja-gram, Shadja-gram, notes ShadjaShadja- Pancham, Pancham, Rishabh Rishabh- Dhaivat Dhaivat and Gandhar - Nishad Nishad are consonant to each other. The institution of consonant and dissonant is very important. The two notes that on simultaneous production give forth pleasant or desirable sound are consonant; the two which create harsh or unpleasant sound are dissonant to each other. The Swara-s of Bharat
In the modern times, scholars have endeavoured to uncover the notes used in Bharat Gram. Influenced by Sharangdev, some have assumed the 22 Shruti-s Shruti-s to be equidistant. If we start with this premise, the value of a Shruti can calculated to be 22√2 or twenty times the root of 2. In the decimal calculation it comes to 1.032. The value thus of bi2 3 microtone would be (1.032) of the tri-microtone (1.032) and the tetra-microtone, (1.032)4. If with the above calculation we prepare a scale, the notes obtained create 1 discord . So much so, that the melodic affinity or consonance of ShadjaShadja - Madhyam, Madhyam, ShadjaShadja- Pancham Pancham too get destroyed. The law of consonance is so universal that it is 2 found in the music of aborigines and even in animal-music . Hence hypothesis of equidistant Shruti-s Shruti-s is not valid. The western scholars of music have tried to interpret Indian scale by approximating tetra-microtone to major tone (9/8) guruswar , tri-microtone to minor tone (10/9) laghuswar and laghuswar and di-microtone to semitone semit one (15/16) ardhaswar It can be assumed that with advent of civilization, the music-scholars of those times might have realised the ShadjaShadja - Madhyam Madhyam and ShadjaShadja- Pancham Pancham consonance. In keeping with the universal law of consonance the places of Madhyam of Madhyam and Pancham in Bharat gram get fixed. The Gandhar - Madhyam Madhyam and Nishad -Shadja interval too is tetramicrotonic. Thus their value is 9/8. On reducing 9/8 from Madhyam (fixed at 4/3) we obtain the interval of Gandhar from Shadja to be 4/3 x 8/9 = 32/27. Similarly on reducing Shadja by 9/8 we get interval of Nishad from Nishad from Shadja to be 2 x 8/9 = 16/9. On the principle of consonance we can obtain value of Gandhar , Madhyam, Madhyam, Pancham and Nishad and Nishad in in Bharat gram on basis of present practice. Two notes of the gram can be fixed through principle of dissonance. Bharat points that notes with interval of two or twenty are dissonant as are Rishabh Rishabh-Gandhar and Dhaivat - Nishad Nishad . Like consonance this too is backed by universal experience. That Bharat pointed out dissonance not only proximate notes but in notes situated twenty Shruti-s Shruti-s apart in Madhya-Tar in Madhya-Tar and and Madhya Madhya Mandra. Mandra. Helmholtz has established scientifically that the maximum dissonance occurs when the interval between them is 16/15. It can thus be assumed that the value of
Bharat’s di-microtonic dissonant interval is 16/15. Reducing 16/15 from Gandhar 32/27, we get 10/9 as value of Rishabh of Rishabh and the same from Nishad from Nishad 16/9, 16/9, 3/5 is obtained as value of Dhaivat Dhaivat .
So, on the basis of consonance and dissonance we obtain the notes in Bharat’s gram. S 1
3Mtonal 2Mtonal 4Mtonal 4Mtonal 3Mtonal 2Mtonal 4Mtonal R G M P D N S 10/9 32/27 4/3 3/2 5/3 16/9 2 10/9 16/15 9/8 9/8 10/9 16/15 9/8
Bharat did not start with Shruti as the unit of musical scale. (It was to recreate the lost Bharat gram that we used reverse logic here). With notes as fundamental, he determines Shruti-s Shruti-s from them. He dictates that taking two similar Veena-s Veena-s they should be tuned together in Shadja. Shadja. He says, Dwe Veene tulyapramantantryupavadanadand tulyapramantantryupavadanadand murchhane Shadja gramashritekaryaye gramashritekaryaye He clearly ordains that for Sarana two absolutely similar Veena should be taken that have same kind of strings, the Shadja gramic saptak is tuned in unison, the plectrums for strumming them should be similar and murchhana for both should be same. Bharat prefers a single hand for this t his process. He says, Etesham cha swaranam tantrivadanadandendriyaveyigunyadupajayate
nyunadhikatwam
Let a single person do the Sarana, Sarana, for a slight difference in string, plectrum or sense gives rise to unwanted increase or decrease in notes. Of the two Veena-s Veena-s used the standard or reference one is called Achal called Achal or or fixed Veena. Veena. The other is known as Chal or Chal or changeable Veena. Veena. Tayorekatarasyam madhyamgramikim kritwa panchamasyapkarshe shrutim First Descension
Lower the Pancham of ChalVeena so that it is in consonance with Rishabh of of ChalVeena AchalVeena. AchalVeena. The difference between the original and changed Pancham of ChalVeena is the first or PramanaShruti or PramanaShruti.. In the next step, the remaining strings of ChalVeena are lowered as much as Pancham as Pancham was lowered. Tameva pancham vashat Shadja gramashritekuryat Now all notes of ChalVeena of ChalVeena are one Shruti lower than AchalVeena than AchalVeena.. Second Descension
Once again, lower Gandhar lower Gandhar and and Nishad Nishad of of ChalVeena ChalVeena to match Rishabh match Rishabh and Dhaivat and Dhaivat of of AchalVeena. AchalVeena. Punarapi tadvadevapkarshad tadvadevapkarshad gandharnishadavantavitarasyam gandharnishadavantavitarasyam Dhaivatarshabhou pravishatah pravishatah (dwi) shrutyadhikatvat Next the remaining notes are to be lowered in proportion to Shadja gramik scale. After the second Sarana, Sarana , all notes of ChalVeena are two Shruti-s Shruti-s lower than the reference AchalVeena. AchalVeena. It would be meet to point out that some scholars get disoriented by the phrase tadvat It tadvat It has been used as an adverb in keeping with spirit of Maharishi Panini’s sutra, “ten tulyam kriya chedvatih" . Bharat does not mean that each time the lowering begins with Pancham with Pancham when he uses “tadvat”. Third Descension
Lower the Rishabh the Rishabh and Dhaivat and Dhaivat enough enough to tune absolutely with Shadja and Pancham and Pancham of AchalVeena. AchalVeena. Punastadvadevapkarshad dhaivatarshabhavitarasyam pancham shadjou pravishatah (tri) shrutyadhikatvat Lower the other notes to tune in Shadja gramik scale. Now every note in the ChalVeena is lower than corresponding ones in AchalVeena in AchalVeena by three Shruti-s. Shruti-s. Fourth Descension
The MadhyamPancha The MadhyamPancham m and Shadja of ChalVeena of ChalVeena should be lowered now to tune with Gandhar , Madhyam and Nishad and Nishad of of of AchalVeena AchalVeena respectively. Tadvutpunarapakrishtayam Tadvutpunarapakrishtayam cha tasyam panchamamadhyashadja itarayam Madhyamagandhar Madhyamagandhar nishadavantah pravekshyantih chatuh shrutyadhikatvat On tuning the remaining notes proportionate to Shadja gramik scale, we shall obtain a scale four Shruti four Shruti-s -s lower than the standard one on AchalVeena on AchalVeena..
Value of the Shruti -s -s
By Sarana or lowering of the notes in manner described above, the value of Shruti-s Shruti-s can be mathematically expressed as: Shruti -s of the first Sarana or descension: 81/80 ≈ 5 Savart Shruti -s of the second Sarana
or descension: 256/243 ≈ 23Savart
Shruti -s of the third Sarana or descension: 25/24 ≈ 18 Savart Shruti -s of the fourth Sarana or descension: 81/80 ≈ 5 Savart The value 81/80 is called coma, 256/243 limma and 25/24 is called semitone. According to this analysis the following may be derived: 1. Chtauh Shrutik Shrutik swar = comma+ limma+ semitone+ comma
≈ 81/80x 256/243x25/24x81/80 256/243x25/24x81/80 ≈ 5 + 23+ 18 + 5 = 51 Savart 2. Tri Shrutik Shrutik swar = comma+ limma+ semitone
≈ 81/80x 256/243x25/24 ≈ 5 + 23+ 18 = 46 Savart 3. Dwi Shrutik Shrutik swar = comma+ limma
≈ 81/80x 256/243 ≈ 5 + 23 = 28 Savart In this manner through process of Sarana on two similar Veena-s, Veena-s, we are able to determine the twenty two Shruti-s, Shruti-s, but the earlier notes on ChalVeena vanish after each descension. Hence it is not possible to know all the twenty two Shruti-s Shruti-s at the same time. This drawback of the process kept irking me and inspired me to create an instrument on which we would we able to produce all the Shruti-s Shruti-s together and understand their interrelationship by listening to them simultaneously. Thus, experimenting in various ways I could finally find an instrument on which this would be possible. I modified the north Indian RudraVeena so that it could produce all twenty two Shruti-s Shruti-s simultaneously. I wish to describe it so that all desirous of listening l istening to them Shruti-s. may create an instrument and hear Bharat’s Shruti-s. I first describe how I determined the Shadja gram of Bharat and carrying out the four descensions of Sarana of Sarana heard the twenty two Shruti-s. Shruti-s.
Before venturing forth for Sarana as described by Bharat, it is essential to obtain his Shadja gram. It has been stated earlier that this is founded upon the ShadjaShadja- Pancham Pancham union; hence, I started with this premise. I selected two Sitar -s -s of equal build with open Jawari. As all practising artistes know that unless the jawari is well done it is difficult, if not impossible, to tune any instrument. I tuned the Baj strings of both Sitar s in unison with each other. Normally these strings are tuned in Mandra Madhyam Mandra Madhyam,, but for the sake of determination of Shadja gram I assumed the Mandra Madhyam of the unfettered or free string to be Shadja. Shadja. So under the temporary arrangement, consider that the free strings produce Shadja. Shadja. Before proceeding further I once again ascertained that the two strings are in perfect accord. Then, in one of the Sitar -s -s I tuned the Pancham fret with the free string of the other. The fret we normally consider to be Madhya Shadja would become the Pancham fret, but is necessary nec essary to see whether it is in place of Pancham Pancham in relation to the free chord of the first Sitar . For an astute artiste it is not difficult to set the Pancham fret while listening to the free chord of the other Sitar . Now on the basis of this Pancham the fret of the first Sitar is Sitar is set to Pancham to Pancham.. Now Shadja and Pancham and Pancham of the two Sitar -s -s sound the same. Shadja and Madhyam and Madhyam We shall play the free string of the first Sitar presumed as Shadja and fix the fret of Madhyam in the second Sitar on its basis. Playing the second Sitar with corrected Madhyam, Madhyam, we shall set the Madhyam fret on the first Sitar as well. Thus we obtain, and Madhyam on both Sitar -s. -s. ShadjaPancham and Madhyam Nishad Playing this corrected Madhyam fret on the first Sitar we temporarily assume it to be Shadja. Shadja. On the basis of Madhyam-incarnated Madhyam-incarnated Shadja playing on the first we determined the Madhyam the Madhyam to Shadja on the second Sitar , playing the two notes as if they were actual Shadja – Madhyam. Madhyam. On the basis of corrected Madhyam fret on the second Sitar we corrected the fret on the first Sitar as Sitar as well. Thus on assuming Madhyam assuming Madhyam to be Shadja the Madhyam we obtained was actually Bharat’s Nishad which is situated nine Shruti-s Shruti -s away from Madhyam from Madhyam and five Shruti-s Shruti-s from Pancham from Pancham.. Gandhar Once again we assume the Nishad the Nishad fret fret on the first Sitar to Sitar to be Shadja and determine the place of Madhyam of Madhyam in the descending order on the second Sitar . When we fix the Madhyam fret on the second Sitar in Sitar in descending order to Nishad -incarnated -incarnated Shadja on the first, we resolve the Gandhar of Bharat. On the basis of Madhyam of Madhyam established on second the fret of the first also suitably positioned. Before proceeding any further is necessary to check the two instruments. It is quite common for string instruments to get out of tune after being played for some time. So the two Sitar -s -s should once again be brought in tune, confirming that no fret is out of tune.
Dhaivat Through the above process, so far Shadja, Shadja, Gandhar , Madhyam, Madhyam, Pancham and Nishad have been obtained; we have to obtain Dhaivat and Dhaivat and Rishabh Rishabh.. For this we shall have to seek recourse to Shadja, Shadja, ShadjaShadja- Pancham Pancham consonance and Shadja-antar Shadja-antar consonance. All astute artistes are conversant with the fact that while strumming the mandra-Shadja mandra-Shadja on Tambura or atimandra-Shadja atimandra-Shadja on Sitar , one can distinctly hear the Gandhar , situated seven Shruti-s Shruti-s away from Shadja. Shadja. As the note arises out of sympathetic vibration, it is called Swayambhoo (self-evolved) Gandhar . This Swaymbhoo Gandhar lies Gandhar lies at the core of Shadja of Shadja-antar -antar consonance. Due to its fixed and pleasant interaction, The Gandhar or Shadja-antar Shadja-antar consonance is universally acclaimed. It is said that through this Tumbru Rishi was the first to see Dhaivat see Dhaivat . Hence, the Shadja-antar Shadja-antar consonance shall be used in resolving Dhaivat resolving Dhaivat . We can use this in two ways. First is to consider Madhyam consider Madhyam to be Shadja and find Swaymbhoo Gandhar that shall be Dhaivat . Else we can determine the true Gandhar with actual Shadja and then considering Gandhar as Gandhar as Shadja, Shadja, we resolve its Madhyam that shall become Dhaivat become Dhaivat . Both methods yield the same note, the difference lying in the method of resolution alone. So, I preferred the first fir st and playing the Madhyam the Madhyam fret of the first Sitar repeatedly, Sitar repeatedly, obtained the Gandhar on the second and fixed the Dhaivat fret on it. One can obtain Gandhar on Gandhar on the second Sitar on Sitar on the basis of thus resolved Dhaivat resolved Dhaivat on on the first. Now, we have Bharat’s Dhaivat on Dhaivat on both the Sitar -s. -s. Rishabh It is not much of a problem to obtain Rishabh now. Playing Dhaivat on the first Sitar repeatedly, assuming it to be Shadja, Shadja, Madhyam is determined in descending order on the second Sitar . With Dhaivat With Dhaivat -incarnate -incarnate Shadja, Shadja, the Madhyam the Madhyam obtained in descending order is Bharat’s Rishabh. Rishabh. In accordance with Rishabh with Rishabh obtained on the second, the first -s are Sitar too is matched with Rishabh fret in position. In this manner the two Sitar -s now tuned in accordance with Bharat’s Shadja gram. That both the Sitar -s are properly tuned in Bharat’s Shadja gram should be confirmed before proceeding further. Careful evaluation on two counts expounded by Bharat would ease the process. Bharat ordains that interval between Shadja and Rishabh and Rishabh is of 3 Shruti-s, Shruti-s, between Rishabh and Gandhar 2 Shruti-s, Shruti-s, 4 Shruti-s Shruti-s between Gandhar and Madhyam, Madhyam, 4 between Madhyam and Pancham, Pancham, 3 between Pancham and Dhaivat , 2 Shruti-s Shruti-s between Dhaivat between Dhaivat and and Nishad Nishad and and 4 between Nishad and Nishad and TarShadja. TarShadja. Secondly, ShadjaShadja- Pancham Pancham consonance is at interval of 13 Shruti-s, Shruti-s, ShadjaShadja- Madhyam Madhyam consonance at 9 Shruti-s Shruti-s and Shadja-antar Shadja-antar consonance at interval of 7 Shruti-s. Shruti-s. Now, the ShadjaShadja- Pancham Pancham and ShadjaShadja- Madhyam Madhyam we obtained are at intervals of 13 and 9 shruti-s respectively. Applying ShadjaShadja- Madhyam Madhyam consonance to Madhyam to Madhyam-incarnate-incarnateShadja, Shadja, the Nishad we Nishad we obtained is at an interval of 9 shruti-s from Madhyam. Madhyam. Interval between TarShadja and Madhyam is 13 shruti-s, hence it is evident that interval between obtained Nishad and TarShadja being 4 shruti-s as given by Bharat, our process has retained mathematical integrity. Examining from various possible angles, one can conclude that the Nishad the Nishad above above is of Bharat gram.
In the descending order the interval between Shadja and Madhyam and Madhyam is of 13 shruti-s. To wit, the interval between ShadjaShadja - Pancham Pancham in the ascending order is the interval between ShadjaShadja- Madhyam Madhyam in the descending order. Similarly in the descending order Nishad order Nishad is is 13 shruti-s from Gandhar and Gandhar and this Gandhar is 5 shruti-s beyond primary Shadja and 4 shruti-s prior to Madhyam to Madhyam.. In this way too is it is situated as given by Bharat. Bharat. After this we considered Madhyam considered Madhyam to be Shadja and obtained Dhaivat obtained Dhaivat through through ShadjaShadjaantar consonance. This consonance occurring at interval of 7 shruti-s, the Dhaivat obtained was situated 7 shruti-s beyond Madhyam beyond Madhyam.. Thus its interval from Madhyam from Madhyam is 7, from Pancham from Pancham 3 and from Nishad from Nishad is is 2 shruti-s, which was what Bharat decreed. Rishabh obtained through Dhaivat -incarnate -incarnate Shadja is spaced at 13 shruti-s from Dhaivat , like Nishad above is from Gandhar . The interval of this Rishabh, Rishabh, from primary Shadja is 3 and from Gandhar is Gandhar is of 2 shruti-s. It is evident that there lies an interval of 13 shruti-s between ShadjaShadja- Pancham, Pancham, Rishabh Rishabh Dhaivat , Gandhar - Nishad and Nishad and between Madhyam between Madhyam to TarShadja. TarShadja. There can be no doubt that the two Sitar -s tuned through above process carry Bharat’s Shadja gram. I have demonstrated this on Sitar to many leading instrumentalists, artistes and scholars of the country and they have agreed with my hypothesis. A Sitar tuned in this manner can be played and it is interesting to observe the difference between modern chatuh-shrutik Rishabh chatuh-shrutik Rishabh and Bharat’s tri -shrutik Rishabh; Rishabh; how panchshrutik Gandhar sounds different from shashth-shrutik Gandhar and which notes in a particular Raga sound more natural and obvious obvious than others. Chatuh Sarana
After establishing the notes of Bharat’s Shadja gram in the manner described above, I modified the North Indian RudraVeena and carrying out the chatuh-Sarana chatuh- Sarana established the Shadja gram as well as twenty two shruti-s on this instrument. The author then gives a detailed description by which Rudra Veena is modified into Shruti Veena and demonstrates how instead of two Sitars the strings on this single instrument are capable of establishing first Bharat’s Shadja gram and then obtains a ll 22 shruti-s. This part is not being given here lest it seem a repetition to less keen readers.
By Dr. Lalmani Misra
1 G.H. Ranande, Hindustani
Music.
p.34
2 Lalit Kishor Singh, “Sangeet ka Vikas” in Janvani Comma Limma
