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INDIAN MUSICOLOGY

REVISITED

“ SADJA-GRAMA

SCHEME
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AS PER BHARATA Muni,
SADJA-GRAMA
SCHEME IS THE

EARLIEST FORMAT INHERITED


by us
DIRECTLY from the
SAMA VEDA
2
EARLY MUSICIANS
PERCEIVED ‘MUSIC’
TO CONSIST OF
ONLY ‘7’
TONEs (SWARAs),
namely …. ,
3
PRONOUNCED AS

SADJA = ‘S’ (Sa)


RISHABHA = ‘R’ (Ri)
GANDHARA = ‘G’ (Ga)
MADHYAMA = ‘M’ (Ma)
PANCHAMA = ‘P’ (Pa)
DHAIVATA = ‘D’ (Dha)
NISHADA = ‘N’ (Ni)

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SADJA-GRAMA
LOWER UPPER
LIMIT LIMIT
OCTAVE

S S'

R3 G2 M4 P4 D3 N2 S' 4

3 4
2 2
4 3
4

THESEVEN
SWARAS 5
ARE GIVEN IN
SADJA-GRAMA
LOWER UPPER
LIMIT LIMIT
OCTAVE

S R G M P D N S'

R3 G2 M4 P4 D3 N2 S' 4

3 4
2 2
4 3
4

EACH SWARA HAS UNIQUE SRUTI-CONTENT


A
AND THESE ARE NOT EQUAL
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SADJA-GRAMA
LOWER UPPER
LIMIT LIMIT
OCTAVE

(D) 16

(D) 18
(P) 13

(S’)22
(M) 9
(G) 5
(R) 3
(S) 0

R3 G2 M4 P4 D3 N2 S' 4

3 4
2 2
4 3
4
THESE ARE THE
“SEATs”
FOR EACH SWARA 7
SADJA-GRAMA
LOWER UPPER
LIMIT LIMIT
OCTAVE

S S'

R3 G2 M4 P4 D3 N2 S' 4

3 4
2 2
4 3
4

EACH SWARA HAS ‘LOWER’ and


‘UPPER’
LIMITS FOR IT’s SRUTI-CONTENT 8
SADJA-GRAMA SCHEME
(A SIMPLIFIED REPRESENTATION )

SWARA-RANGE “SEAT” OF
SWARA
FROM TO THE SWARA

SADJA (LOWER) -18.00 0.00 0.00


RISHABHA 0.00 3.00 3.00
GANDHARA 3.00 5.00 5.00
MADHYAMA 5.00 9.00 9.00
PANCHAMA 9.00 13.00 13.00
DHAIVATA 13.00 16.00 16.00
NISHADA 16.00 18.00 18.00
SADJA’ (UPPER) 18.00 22.00 22.00
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this is the
‘TRADITIONAL VIEW’
About
SADJA-GRAMA

10
What does
my research work
Reveal ?

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‘Ancients’ of the
WEST as well as the EAST
Worshipped Numbers
From ‘1’ to ‘12’
As ‘SACRED’

12
When Numbers
From ‘1’ to ‘12’
Are analyzed mathematically
Only ‘22’ fractions
Can be formulated

13
I had transformed these
22 fractions
into the Tonal domain
And assigned values
In an octave calibrated
Into 22 equal segments

(Please see the results In the tabular format)

14
continued

SERIAL FRACTION SRUTI SERIAL FRACTION SRUTI


VALUE VALUE

1/1 0.00 12 11/8 10.11


1 12/11 2.76 13 7/5 10.68
2 11/10 3.03 14 10/7 11.32
3 10/9 3.34 15 3/2 12.87
4 9/8 3.74 16 11/7 14.35
5 8/7 4.24 17 8/5 14.92
6 7/6 4.89 18 5/3 16.21
7 6/5 5.79 19 12/7 17.11
8 11/9 6.37 20 7/4 17.76
9 5/4 7.08 21 9/5 18.66
10 9/7 7.98 22 11/6 19.24
11 4/3 9.13 2/1 22.00 15
I found that the
‘sruti values’
Indicated in RED colour
Were very close to the
‘Traditional Sruti values’ of
The Sadja-grama format
(Please see the following table)

16
continued

Traditional Traditional
SRUTI SRUTI
SERIAL FRACTION Sadja-grama SERIAL FRACTION Sadja-grama
VALUE VALUE
values values

1/1 0.00 0.00 12 11/8 10.11


1 12/11 2.76 3.00 13 7/5 10.68
2 11/10 3.03 3.00 14 10/7 11.32
3 10/9 3.34 15 3/2 12.87 13.00
4 9/8 3.74 16 11/7 14.35
5 8/7 4.24 17 8/5 14.92
6 7/6 4.89 5.00 18 5/3 16.21 16.00
7 6/5 5.79 19 12/7 17.11
8 11/9 6.37 20 7/4 17.76 18.00
9 5/4 7.08 21 9/5 18.66
10 9/7 7.98 22 11/6 19.24
11 4/3 9.13 9.00 2/1 22.00 22.00
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I interpreted that the
‘Traditional Sruti values’
of Sadja-grama
Were the “ROUNDED - OFF”
Values of six tones
Belonging to the family of
“22 Fractions”

18
The first thought
That would appeal to a
‘Rational’ mind is that
It is a mere
“CO-INCIDENCE”

19
I researched further
In the realms of
What is known as
‘Madhyama-grama’ and ‘Murchanas’
To discover and get
Convinced that Some
“MASTER-HAND”
Had conceptualized this ‘DESIGN’

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I HOPE
MY VIEWER IS WITH ME
ON THIS
VERY ‘SIGNIFICANT’
DEVELOPMENT ??

21
I AM
TALKING ABOUT

BETWEEN TWO

TOTALLY UNRELATED
ENTITIES ??

22
THE ‘22 - FRACTIONS”
BASED ON AN
ANCIENT CULTURE
( AND DETERMINED BY USING
CONTEMPORARY MATHEMATICS )

Vis-à-vis
ANCIENT INDIAN ‘SHASTRAs’
OF MUSIC ??
23
To know more details
On my relevant research work
on ‘Madhyama-grama’
And ‘Murchanas’,
Please read my blog
Exclusively made for these subjects.

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CONTACT ME

Tele: 91 20 30441256
Mobile: 9890266845, 9850121834
E-Mail: snnambirajan@rediffmail.com,
nambi@22sruti.com
Web site: http://www.22sruti.com

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