The Seven Swaras of Carnatic Classical Music

The Seven Swaras of Carnatic Classical Music: Carnatic music, an intricate form of Indian classical music originating from the southern region of India, is a sophisticated musical framework that inspires profound emotions in its listeners. A cornerstone of this complex structure is the seven ‘Swaras’ or notes, each carrying its unique character and color. This article will delve into these seven Swaras of Carnatic classical music and explore their profound significance.

 

The Seven Swaras of Carnatic Classical Music

 

The Seven Swaras of Carnatic Classical Music

Before diving into the Swaras, it is essential to understand the structure of a ‘Raga’ in Carnatic music. A Raga is a melodic construct defined by a set of rules for generating melodies. The Raga is built upon a framework of Swaras that create a specific mood or ambiance, thus driving the essence of the melody. The Swaras are the seven basic notes of the Indian classical music system, represented by ‘Sa’, ‘Ri’, ‘Ga’, ‘Ma’, ‘Pa’, ‘Da’, and ‘Ni’.

  1. ‘Sa’ or Shadjam:

‘Sa’ is the base or the fundamental note from which the other notes are derived. It acts as the starting point for any musical composition and the anchor for all the other notes. In Indian classical music, ‘Sa’ is equivalent to ‘Do’ in Western music and is considered the tonic of the scale. The Shadjam remains constant and unalterable, providing a reference point in the melodic structure.

  1. ‘Ri’ or Rishabham:

The second note, ‘Ri’ or Rishabham, holds two variants, also known as ‘Vikriti Swaras’. These two forms are ‘Suddha Rishabham’ (equivalent to a minor second in Western music) and ‘Chatushruti Rishabham’ (a major second). The choice between these variants depends on the specific requirements of the Raga being performed.

  1. ‘Ga’ or Gandharam:

The Gandharam, denoted as ‘Ga’, also has two forms: ‘Sadharana Gandharam’ and ‘Antara Gandharam’. These variations align closely with the minor and major third notes in Western music, respectively. The Gandharam is a critical note that adds color and a distinctive character to a Raga.

  1. ‘Ma’ or Madhyamam:

The fourth note, ‘Ma’ or Madhyamam, carries two forms: ‘Suddha Madhyamam’ and ‘Prati Madhyamam’. These variants correspond to the perfect fourth and the augmented fourth (or tritone) in Western music. The type of Madhyamam used heavily influences the character and mood of the Raga.

  1. ‘Pa’ or Panchamam:

The fifth Swara, ‘Pa’ or Panchamam, corresponds to the perfect fifth in the Western scale and is considered a constant note like ‘Sa’. It is a pivotal point in the scale, serving as a bridge between the lower (purvanga) and the upper (uttaranga) halves of the octave.

  1. ‘Da’ or Dhaivatam:

‘Da’ or Dhaivatam, the sixth Swara, has two forms: ‘Suddha Dhaivatam’ and ‘Chatushruti Dhaivatam’. The Suddha Dhaivatam corresponds to the minor sixth, and the Chatushruti Dhaivatam corresponds to the major sixth in Western music. The choice between these two is dictated by the specific Raga rules.

  1. ‘Ni’ or Nishadam:

The seventh and the last note is ‘Ni’ or Nishadam. It too has two forms, ‘Suddha Nishadam’ and ‘Kaisiki Nishadam’, equivalent to the minor seventh and major seventh of Western music. The Nishadam provides the final step before the octave’s completion, leading back to the tonic note, ‘Sa’.

These seven Swaras are not just separate, isolated entities but are interlinked in a deep, fundamental manner. When played in a sequence, they create a ‘Sargam’ (sequence of notes) that forms the backbone of any Carnatic music composition.

However, Carnatic music is not merely about playing a series of notes. The Gamakas – a set of ornamentations or embellishments – contribute significantly to the overall aesthetic and emotional value of a performance. Gamakas involve oscillations, deflections, and nuances around the main Swaras, and each Raga has characteristic Gamakas that define its unique sound.

 

Trinity of Indian Carnatic Classical Music [ ভারতীয় কার্নাটিক শাস্ত্রীয় সঙ্গীতের ত্রিমূর্তি

 

Understanding and mastering the seven Swaras requires intensive training and an inherent understanding of the microtonal subtleties of Indian classical music. This exploration is not merely an academic or artistic pursuit but a spiritual journey towards the inner self. Carnatic music and its system of Swaras have long been seen as a path towards attaining a higher state of consciousness.

The seven Swaras of Carnatic music serve as a perfect testament to the complex and intricate nature of this art form. Each Swara is not just a note but a universe of sound within itself. Together, they form the sonic palette that defines the diverse and rich landscape of Carnatic music. They are the building blocks that, when organized by the rules of a particular Raga, create a melodious whole that can convey a wide range of human emotions.

 

Indian Classical Music, Hindustani & Carnatic [ ভারতীয় শাস্ত্রীয় সঙ্গীত, হিন্দুস্থানি ও কার্নাটিক ]

 

The seven Swaras represent the soul of Carnatic classical music, embodying its intricate essence and limitless emotional depth. Just as a painter uses a palette of colors to create stunning visual art, a Carnatic musician uses the seven Swaras to paint vivid soundscapes that echo in the hearts of the listeners. This incredibly dynamic system of music, despite being centuries old, continues to be a vital part of the Indian cultural and spiritual landscape, inviting listeners into a realm of profound emotional and spiritual exploration.

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