SHADJA-adeenaama Stithi hi Proktaa

MUSIC-ASTROLOGY-AESTHETICS-TRADITIONS

TIME-HISTORY: KAALA-- DIMENSIONS ETC.
HAVE YOU EVER HEARD OF THE BIG BANG IT IS NOTHING BUT OUR OWN KUNDALINI CHAKRA BEING FIRST TIME ACTIVATED. MUSIC, ASTROLOGY AND PARANORMAL SCIENCES:-- A SERIES TRADITIONAL AND AESTHETIC ASPECTS OF INDIAN CLASSICAL MUSIC (HINDUSTANI AND CARNATIC) Music-lovers world over are well versed with phrases like Music is Divine, Music needs no language, Music sees no religious barriers, Music is universal, Music emanates Peace, Life etc, etc. I am making an attempt to go into the intricacies of the Traditional and Aesthetic aspects of Indian Classical Music & to give a detailed picture of the universal sound known as NAADA, Sound plays a very important role in human life especially in expressions. This is well expressed by the famous French researcher of Indian Classical Music, the great ALAIN DANIELOU in his book, A study of Indian Classical Music thus: - NASO-ASTHI PRATHYAYO LOKE, YAHA SHABDAANU GAMAD DATHE, ANUVIDDHAM, IVAGYAANAM SARVE SHABDENA BHAASATE. VAAGEVA VISHWAA BHUWANAANI JAGNYE, SABHURITHI VYAAHARATH BHOOMIMA SRUJAT VEDA SHABDEBHYA EVADOU NIRMAMA SA MAHESHWARAHA. [ In this universe there is no from of knowledge which is not perceived through sound. Knowledge is pierced through by sound, and thus, all that is created is but the result of sound] Prof. ALAIN DANIELOU also makes another emphatic comment on the importance of sound quoting a SLOKA from SANGEETA-BHAASYA: -- PASHUHU SHISHUR MRIGOW VAAPI NAADENA PARITUSHYATE, ATHO NAADASYA MAAHAATMYAM VYAAKHYAATUM KENA SHAKYATE, (Animals tamed or wild even children are charmed by sound. Who can describe its marvels). We, the music lovers of students of music, are often made to believe certain unacceptable statements of the traditional Pundits of music, owing to their legacies, traditions, schools of thought etc. I, being a violinist by profession, could not stop myself from analyzing the intricacies of sound in its three forms viz. NAADA, SWARA AND SRUTHI. Our ancient masters always talked about two varieties of sound:- A.AAHATHA which means STRUCK sound AND B. ANAAHATHA which means UNSTRUCK sound. They also believed in NAADA, the profound sound which covers all matters vibrating or NON-VIBRATING in space. Having spoken of SWARA, SHRUTI and NAADA, I would like to stress upon the need to understand that these three are always complementary and co-existent. SWARA in general means a musical note, which would have a definite number of oscillations, wave- length and amplitude. On the other hand, SHRUTI cannot be given a particular wavelength or amplitude just because it is very much micro in nature. But we can say that it would have only a particular oscillation and not a range of oscillations, Hence SHRUTI is an atomic sub-division of SWARA. While on the subject of SHRUTI and SWARA, let me make one thing absolutely clear: --. SWARA IS ALWAYS OSCILLATING. Hence it is unstable. SRUTHI IS NEVER OSCILLATING, it is very minute in nature and absolutely stable. Here we can say that, SHRUTI being the smallest division of SWARA, enables us to not only identify a particular note or SWARA, but also the duration of the struck note. There are twelve SWARAS and sixteen SWARASTHAANAS. SHRUTI is always considered at the mid-point of a SWARA and NAADA is such a SWARA, which is so complete in nature that it sustains for a very long duration, without being disturbed by any of the sub-tones and their sub-tones. Hence, NAADA draws maximum attention in music, especially, when the music is in a slow tempo or LAYA or rhythm. So, we can say that sound can be subdivided into non-musical notes, musical notes, intervals of notes, escalation and decaying of notes and last but not the least, the duration for which it remains struck. Within the 16 SWARA-STHAANAS of 12 SWARAS are 22 musical SHRUTIS. Out of these SHRUTIS, four SHRUTIS are each assigned for SHADJA, MADHYAMA and PANCHAMA, two each for GAANDHAARA and NISHAADA, three each for RISHABHA and DHAIVATA. This division of SHRUTIS is clearly described in the following SLOKA: -- CHATUSH, CHATUSH, CHATUSHCHAIVA, SHADJA, MADHYAMA, PANCHAMA, DWAI, DWAI, NISHAADA-GAANDHAARA, THRISRI RISHABHA-DHAIVATA PART SIX: THE NATURE OF SOUND SUKHINI SUKHANIDHAANAM DUKHITAANAAM VINODHAHA SHRAVANA HRUDAYA HARI MANMATHAS-VYAAGRADOOTAHA AATICHATURA SUGAMO VALLABHA KAAMININAAM JYATI JAYATI NAADAHPANCHAMASH-CHOPACHEDAHA "SOUND" {NAADA} is the treasure of happiness for the happy, the distraction of those who suffer, the winner of the hearts of healers, the first messenger of the God of Love. It is the clever and easily obtained beloved of passionate women. May it ever, ever be honored. It is the fifth approach to the Eternal Wisdom, the VEDA. (SANGEETA- BHAASHYA) Sound is said to be of two kinds: -- One a vibration of ether, the other a vibration of the AIR. The vibration of ether remains unperceived by the physical sense and is considered the principle underlying all manifestation, the basis of all substance. It corresponds to what PYTHAGORAS called the Music of the spheres and follows permanent numerical patterns that lie at the very root of the world's existence. This kind of vibration is not due to any physical shock, unlike audible sounds. It is therefore called ANAAHTA UNSTRUCK. The other kind of sound is an impermanent vibration in the air, an image of ether vibration of the same frequency. (YATPINDE-TADBRAHMANDE) It is audible and is always produced by a shock. It is therefore called AAHATA or Struck. The SANGEETA-MAKARANDA mentions the same. These two aspects are described in great detail in NAARADA-PURANA. Sound produced from ether is known as UNSTRUCK. In this UNSTRUCK sound, the Gods delight. The Yogis, the Great Spirits, projecting their minds by an effort of the mind into this UNSTRUCK sound, depart, attaining LIBERATION Struck sound is said to give pleasure, UNSTRUCK sound gives liberation. But this UNSTRUCK sound having no relation with human enjoyment does not interest ordinary men. Not all, audible vibrations are musical sounds. The sounds used in music are those, whose mutual relation form an image of the basic mathematical laws of the universe. Thus musical sounds reproduce the first creation of the primordial intellect. This creation is at the same time a rhythm and a thought. In correspondence with this, the main characteristic of musical sounds, is that, although they form simple physical relations, yet at the same time they convey ideas {they are expressions.} That is why the sound of music is called NAADA, intelligible sound, and is said to result from the union of physical breath with the fire of intellect. The syllable NAA means breath, DA the fire (of intellect). In musical sound three main elements are usually considered intensity, pitch and timbre. Intensity is the relative strength of the sound whether soft or vigorous. Pitch is defined by the interval of the number of vibrations (SHRUTIS) Timbre is the resonance of HARMONICS, which differentiates the sound of various instruments or voices. Timbers are classified into five main categories: -- Those of the struck sounds are produced by: 1.Nails (Strings) 2.Wind (Flutes) 3.Leather (Drums) 4.Metal (Percussion instruments) or 5 From the body (Voice) From 'sound' or NAADA, is evolved SHRUTI MICROTONE. MICROTONES adorn SWARA. SWARAS give shape to GEETA. SANGEETA is the finished product, a fit offering to the Gods. Such is the origin and function of Indian Music, says Prof. RANGARAMANUJA IYENGAAR, in his treatise on SANGEETA RTNAKARA. SANGEETAM, in turn, has an indefinable mysterious charm. It can please, captivate, intoxicate, and hypnotize. The nature and intensity of its appeal depend upon its texture, quality and definite objective. On one hand, SANGEETAM can titillate and stir the emotions, on the other, it can still the mind and irrigate it with a soothing, ethereal calm, so that it functions as a springboard for sublime contemplation touching various levels of consciousness. Thus music is the favorite of all celestial beings. What is SHRUTI By tradition, the flute is said to produce SWARAS of one, two, three and four SHRUTIS. BHARATHA MUNI'S NATYA-SHASTRA gives five more, to bring the total to nine. MATANGA says in his treatise, BRIHADDESHI: Only a sensitive ear can discern the minute pitch indicated by one SHRUTI. Those who understand SHRUTI believe that it is an audible sound of the lowest vibration adding to the individuality of a SWARA, says VISWAVAASU (This is very much debatable). Some who are skilled in elucidation of the nature of SHRUTI, state an octave harbors twenty two SHRUTIS. Others say that there are sixty-six SHRUTIS. Some are of the opinion that there are SHRUTIS as infinite as the sounds vibrating in the atmosphere (KOHALA). I am of the opinion that since we consider twelve SWARAS or musical notes, within an octave, then each of these SWARAS can have independent manifestations and hence there would be seven SHRUTIS for each, of which three SHRUTIS would precede and an equal number succeed. Thus, the fourth would be the SHRUTI for any note, (the internal relationship between the notes are not to be considered.) The curved lines in the VAKRA indicate SHRUTIS preceding and succeeding (in equal numbers) the main note or SWARA. SHRUTI is the finest tangible streak of musical sound heard by a very sensitive ear trained in melodic values. Musicians, world over have expressed their views on the complicated science of sound. Referring to the ancient texts and having to decipher many times the same verses, and every time arriving at a new meaning to those, none of the experts have been able to throw any light on the most important aspects of Indian classical music RAGA. Why I wish to suddenly jump to the subject of Raga, from that of SHRUTI, SWARA and NAADA It was an interesting exercise for me, when a music fanatic, once posed a query to me thus: If Ragas and their existence is eternal, then which could be taken as the first Raga in creation and why For many reasons, musicians wont touch such a sensitive subject, as it would generally put them on the Anvil of music-critics and fanatics, for any semblance of deviation from original beliefs. You pick up any ancient or modern text- book on music, you would always hear of " SAAMA-VEDA " being the very reason for the existence of music. Our ancients practiced HYMNS in musical tones or SWARAS; especially SAAMA-VEDA is given full credit for enlightening people with Divine Music. As history goes RIGVEDA has always been considered to be the beginning of VEDIC culture. Then followed YAJURVEDA SAAMA-VEDA and finally came ATHARVA-VEDA. When on the subject of Vedas and hymns, it is well known that the Vedas were chanted, by the masters and students in tandem and usually comprised of only three of the Musical notes or SWARAS. These were called UDAATTA, ANUDAATTA and SWARITA. Now, the biggest hassle for the masters of music has been to explain with some clarity, what are UDAATTA, ANUDAATTA and SWARITA. Whenever, we are speaking of Musical Notes or SWARAS, we must bear it in our mind that we are intentionally or unintentionally bringing the Octave or SAPTAKA {please observe the anomaly in the terms, here itself} into play. While the word Octave means a group of notes, which are eight in number, {Octave- eight} a SAPTAKA means a group of seven. Another expression used for an Octave is STHAAYI. This not necessarily seven or eight, but it is precisely 16 in number, where in SHUDDHA and VAKRA or VIKRUTA SWARAS are clubbed in an Octave. Later on, I would again clearly state, why the difference in the terms used for Octave, SAPTAKA and STHAAYI, is to be treated with greater care. Whenever, some student asks about the VEDIC hymns being sung monotonously in 3 notes only, the teacher is often unable to answer and hence the dilemma continues. There, haven't been sufficient attempts to suggest as to which of the seven notes are to be addressed by the names of UDAATTA, ANUDAATTA and SWARITA. If, for instance, you say that SHADJA or Sa is to be taken as SWARITA, then we can easily Re (RISHABHA or RI) as ANUDAATTA and GA or GAANDHAARA as UDAATTA. This being a sound oscillation, it has to begin from silence of sound reach its peak and slowly decay to reach its original dormant state. Here, I can state that instead of calling these two situations as a) Silence and b) SOUNDFUL, I would prefer to use the terms ANAAHTA and AAHATA, or simply the UNSTRUCK and STRUCK sound. So, if we closely observe the names depicting the SWARAS, Ri and Ga, we can make out a clear pattern and uniformity in the ascent and descent of the notes, in wave form. We also have to bear in mind that Sa or SHADJA, itself is a combination of a number of oscillation and hence we should not be misled by a single stroke or line, representing SHADJA {Shat-Janyam or that Janmam} which means, giving birth to six others. After taking due care and going through lots of practical analysis, I have come to this conclusion: -- SHADJA or SHADJAM is a combination or compression of 6 SWARAS or notes. {What is believed} Instead: Six SWARAS are born, as soon as SHADJA itself is struck. So, SHADJA plus six other SWARAS combine to give us the SAPTAKA. PART EIGHT: Let me demonstrate and substantiate my contention by taking you into the depths of sound. Whenever, any sound is emitted, by whatever method or means, we must know that such a sound has a definite dimension. Also, sound is audible for the same duration by people in and around the place from where the source of the sound is activated. Suppose, we hold that sound for a longer duration then, the first thing we will observe is that there are a number of other vibrations or to be precise sub-tonics or ANUSWARAS, which accompany the note Sa or SHADJA itself. Here, I would like to stress upon the necessity to know that for any emission of sound to be called a SWARA, it must be long enough in sustenance for it to be measured uniformly by one and all. Small beeps of sound or sharp and short spurt of sound (similar to the report of a gunshot) cannot be termed as SWARA or a musical note. Any sound when already in a struck state can be easily given a number of sub-divisions or intervals. {Which would always be odd in number}. These are known as SHRUTIS or subtonics of the SWARA. In case of SHADJA we can say that the fourth such sub-tone is to be called as pure or perfect SHADJA. The first three sub-divisions are in actuality the final three SHRUTIS of a note or SWARA which is definitely lesser and lower than SHADJA. (Lesser does not mean oscillations, but lower on the Octave. Hence, if the octave starts from Sa itself, then obviously the three preceding SHRUTIS belong to the lower Octave, than the one we are exploring). On the higher side, the other three (succeeding) are complementary to the preceding SHRUTIS and they belong to the same Octave as SHADJA itself. If you observe the diagram, it would be clear that there is always the possibility of subdivisions of SHRUTIS coming into existence on their own. Instead of taking the exact line/points as individual SHRUTIS, we can assume a number of SHRUTIS in the intervals between them. Coming back to the point of SHADJA giving birth to the other six notes, I must impress upon all musicians and students to understand the Cycle of fifths or harmonics as explained very beautifully by Prof. ALAIN DANIELOU. But, being a musician by profession, I wish to throw some more light on the silent subject of Ragas Evolution. I would like to bring in the following points for one and all to understand this great subject very clearly, with the help of charts and subsequent SLOKAS or hymns as well. But, before doing so, let me talk about the Cycle of fifths. In Indian classical music, we call these: -- VAADI and SAMVAADI. To begin with, i.e., if Sa, RE, GA, MA, PA, DHA, NI, being the seven, notes are to be continuously written in 3 or 4 Octaves then we can pair-up notes which are harmonic or synchronous to each other and complement each other. This is where a trained ear of a musician is of great help. For, a lay man, or a person without much musical acumen, cannot really identify interval relationship between notes, unless he is given audio-examples for each pair of such harmonic notes. So, if you arrange the seven notes in a linear scale, we can simply arrive at the following conclusions, which are duly substantiated with the charts and graphical analysis explained in the next few pages. From here on the decibel difference comes into play. So, our ancients had to lean on to the adjustment of such a minute difference arising out of VAADI-SAMVAADI relationship between notes. This they did by lowering the Octave level (refer; GRAAMA-MOORCHHANA). In the VEDIC times, there used to be three GRAAMAS or notes taken as the basic note for synchronous chanting of the Mantras. This was done, to facilitate the master and the pupil to chant evenly in voice. Although each individual may possess different pitch of voice, (deep throated/ set) for masculine and Bass oriented voices, the lower Octave MADHYAMA (SHUDDHA), for normal voices AADHAARA SHADJA, for (high/shrill) children and females, PANCHAMA are taken as basic notes or GRAAMA, thus facilitating everybody to chant Mantras in HARMONY. But, the GRAAMAAS in vogue were SHADJAM, GAANDHAARA and PANCHAMA-GRAAMAS. Each of these is called SWARITA notes. Now, if we draw three separate charts, we can conclude thus: -- If we consider any of three combinations of SWARITA, UDAATTA and ANUDAATTA they have the same ratio and relationships, i.e. PART NINE: [THE IMPORTANCE OF INTONATIONS IN SOUND, SHLOKA, SAAHITYA, SANGEETAM, STUTHI, STOTRAM AND FINALLY MANTRA] Consider any of three combinations of SWARITA, UDAATTA and ANUDAATTA have the same ratio and relationships, i.e. {refer: Raga MAARVA} SWARITA ANUDAATTA UDAATTA Notes Notes Notes Are in fact the same ratio-depicted by different names. Therefore, we can understand VEDIC mantras allowed people to chant from different SWARITA notes, so that, each person would be able to chant the mantras without having to adjust their respective pitches with that of the Master. This practice continued until the time, when vocal music was considered as the primordial form of music. Then came a time when, music became heavily dependent on instruments, especially, VEENA. It was considered to facilitate students of music to know about the placement of musical notes or SWARAS, judging by means of distance. This was primarily the reason for people to bring a different GRAAMA known as MADHYAMA GRAAMA instead of GAANDHAARA GRAAMA. The reason behind this major change was the fact, that musicians found it very difficult to recognize or identify those of the sub-harmonics, which were too shrill and out of audibility range of the musicians. As is clearly evident that every sub-tone or Harmonic note is brought to existence by the prime note on to the next Octave. So, if we have audibility range reaching four Octaves, then SHADJA of first Octave would generate PANCHAMA as the former' s Harmonic on the second Octave. This would lead to RISHABHA on the next Octave and then DHAIVATA, GAANDHAARA, NISHAADA and so on. But, the last sub-harmonic is the most important which is TEEVRA-MADHYAMA or PRATI-MADHYAMA, brought forth by the preceding NISHAADA. Since, SHADJA is Harmonic to SHUDDHA MADHYAMA on the audible lower Octaves, it was conveniently said that the last harmonic or Sub-harmonic has to be SHUDDHA or KOMALA MADHYAMA and hence the first Raga or full scale to be given real cognizance was taken as DHEERA-SHANAKAR-AABHARANAM or BILAAWAL. But, in reality the Raga that was created as a result of self-generation of Harmonics and Sub-Harmonics of SHADJA was MECHAAKALYANI or KALYAN or YAMAN, as it is today known. (This is always going to be debated).

PREDICTIONS FOR YOUR CHARTS-- BASED ON THE METHODS OD NAADI-NAVAAMSA AND ALSO ON THE VIBRATIONAL METHODS.
VIBRATIONS-NAADIAMSAS-FREQUENCIES-MANTRA SIDDHIS, YANTRAS.

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