Fundamental of Ancient Indian Music and Dance

SR No.: 001535
Original Sutra Author: N/A
Author: Sureshchandra Benarji
Publisher: L D Indology Ahmedabad
Publication Year: 1976
Total Pages: 130
Language: English
Classification: Book_English, Art, & Music
File Size: 7 MB

Page 30

Vocal Music
21
eighteenth. Lastly, nişāda of two śrutis should be placed on the second from the twenty-first.
In the calaviņā, the seven notes are to be brought to three strings which, in the dhruvaviņā, are situated immediately before their own places. Then, in comparison with the dhruvaviņā, the svaras in the calaviņā will be one śruti lower. By a combination of two śrutis, GA and NI of calaviņā enters RI and DHA respectively in dhruvaviņā. RI and DHA of the former enter into SA and PA of the latter. SA, MA, PA of the former enter into NI, GA, MA respectively of the latter. When the śrutis of the calavīņā are combined with those of the dhruvavīņā; their number can be clearly ascertained. There should not be further lowering of the śrutis as that would detract from their charm We have noticed above that the svaras have been lowered. This lowering (or, rending higher) of svara is technically called sāraņā 1 It is noteworthy that, in the above cases, four sāraṇās only have been recommended; this is because the constituent śrutis of a svara has the maximum number of four. It may be noted that the Śrutis are equal to one another.
That which arises immediately after śruti, is charming, has resonance, and itself causes delight to the mind of the listener is called svara. The Śrutis give rise to the seven svaras called Şadja Rşabha, Gāndhāra, Madhyama, Pañcama, Dhaivata and Nişāda represented respectively by SA, RI, GA, MA, PA, DHA and NI. The seven svaras in order have been taken respectively from the peacock, Cātaka bird, goat, Krauñca bird, cuckoo, frog and elephant.
Śrutis are said to be of five classes (jāti), viz. Diptā (brilliant), Ayatā (wide), Karuņā (pathetic), Mędu (soft) and madhyā (medium). These exist in svaras in the following manner. Sadja contains all the above classes excepting Karuņā. Rsabha has three excluding dipta and āyatā. Gāndhāra contains 1 Another meaning of Saranā has been laid down in connection with
instrumental music