Music - An interplay between note, pitch, and rhythm

In music, a note (swara) is a sound with a specific pitch and duration. Pitch refers to the perceived frequency of a sound, determining how high or low it is. A scale is a series of notes arranged in ascending or descending order of pitch, forming the basis of musical composition. The interplay between these elements creates melody and harmony. Together, they shape the tonal structure of music, enabling musicians to convey different emotions and atmospheres.

Swara - A tonal note

In Karnātic music, a scale normally comprises seven swaras and hence is called 'Sapta-Swara' system. The seven swaras with their notations in a scale are:

1. Shadjam (Sa or S or s)
2. Rishabha (Ri or R or r)
3. Gandhāra (Ga or G or g)
4. Madhyama (Ma or M or m)
5. Panchama (Pa or P or p)
6. Dhaivata (Da or D or d)
7. Nishāda (Ni or N or n)

The swaras 'Sa' and 'Pa' have no variations and remain constant within a scale. Hence, they are called 'prakrti-swaras' or 'achala-swars'. All other five swaras have different variations and hence are called 'vikrthi-swaras' or 'chala-swaras. We shall learn about their variations in the next section.

Sthāyi - Scale positioned in a specific pitch

A scale positioned in a specific pitch is called Sthāyi. It is a sequence of musical notes ordered by pitch. As an example, notes Sa, Ri, Ga, Ma, Pa, Da, Ni and S in ascending order form a single Sthāyi. They are fundamental elements in music theory, serving as the building blocks for melodies and harmonies. They provide a framework within which musicians can create and interpret music. Sthāyis are characterized by specific patterns of intervals (the distance between two notes) and can vary in type and complexity. They represent the various pitch ranges in which notes can be sung. The primary types of Sthāyis in Karnātic music are:

• Madhya Sthāyi (Middle scale): This is the scale in the middle pitch, encompassing the notes around the middle Sa. Madhya Sthāyi is the most commonly used scale in Karnātic music, providing a balanced and comfortable pitch range for vocalists and instrumentalists. Notation Example: Sa (s), Ri (r), Ga (g) in Madhya Sthāyi are notated with no dots or lines (e.g., s, r, g).
• Mandara Sthāyi (Lower scale):This refers to the scale in the lower pitch, which includes the notes below the middle Sa (Shadjam). Mandara Sthāyi is used to conveying depth and gravity in the music. Notes in this register are typically softer and more resonant. Notation Example: s, r, g in Mandara Sthāyi are notated with dots below the letters (e.g. s, r, g). It is also depicted by indicating the first lower shardja by 'ș', and others normal symbols that follow (e.g. n, d, p) are implied to belong to lower scale.
• Tāra Sthāyi (Upper scale):This refers to the scale in the upper pitch, which includes the notes above the middle Sa. This register is used to bring brightness and intensity to the music. Notes in Tara Sthāyi are typically sung with more energy and power. Notation Example: Sa, Ri, Ga in Tara Sthāyi are notated with dots above the letters (e.g. S, R, G). It is also depicted by indicating the first higher shardja by 'ś' ('s' with a dot above), and others normal symbols that follow (e.g. r, g, m) are implied to belong to higher scale.

Additionally, there are extensions to these main Sthāyis. 'Anumandara Sthāyi' is sung in sub lower scale and 'Ati Tāra Sthāyi' is sung in super upper scale.

Tāla - the rhythm

A swara can be sung for a duration of one beat. When swara is sung for the duration of two beats, it becomes long. Tāla refers to the rhythmic framework that underpins a musical composition. It is a cycle of beats that provides a structure for the rhythm. The Tāla system in Karnātic music involves intricate patterns and cycles that are integral to the performance and composition of music.

Sa-Pa-Sa

Traditionaly, at the beginning of every music practice session, it is customary to sing:

Sa-Pa-Sa-Pa-Sa-Pa-Sa

As you can observe, this comprises only 'prakrti-swaras' i.e constants from all the three Sthāyis. This allows the student to stabilize and ground the voice to a specific base pitch.