Saptha Swaras are the seven swaras, or notes, in Carnatic music lessons. These seven basic notes create the backbone of classical Indian music. Each note has a unique sound and flavor, and understanding their properties is essential for creating beautiful melodies. These notes, when sung correctly, can produce a mesmerizing effect on the listener.
The saptha swara scale consists of seven notes: Shadjam, Rishabham, Gandharam, Madhyamam, Panchamam, Dhaivatham, and Nishadham. Each note has a unique sound and flavor that contributes to the overall beauty of Carnatic music.
As we mentioned before, saptha swaras are the foundation of Carnatic music. Understanding their properties is essential for creating beautiful melodies. Each note has a unique sound to create a certain mood or feeling in a piece of music. For example, the note shadjam creates an energetic or lively mood, while the note rishabham can create a more soothing or peaceful atmosphere.
Once you have a basic understanding of the saptha swaras, you can begin experimenting with different combinations of notes to create your unique melodies. There are endless possibilities for creating saptha swara-based compositions, so don’t be afraid to experiment and explore! This article will discuss the saptha swaras in detail and learn how to sing them correctly.
Origin Of Saptha Swaras
There is no clear-cut evidence about the origin of saptha swaras. They are thought to have evolved through time rather than being the work of a single person or civilisation. The Sama Veda, one of Hinduism’s earliest holy books, makes the first mention of swaras. There are the “seven tones of the scale,” according to the Sama Veda. In Bharata Muni’s Natya Shastra, a treatise on performing arts, they were also mentioned.
Purandara Dasa, a Carnatic music composer, further refined the saptha swaras. He created the first swaras scale, consisting of the seven notes: Sa, Ri, Ga, Ma, Pa, Dha, and Ni. Purandara Dasa is also responsible for popularizing this swaras in Carnatic music. He composed many songs and exercises that helped musicians learn how to use saptha swaras in their music.
The sound of animals and birds has given rise to swaras. Shadja, pronounced Sa, is thought to have come from the peacock’s call. At the same time, Rishabha, which is Ri, is believed to have originated from the sound of a bull. Gandhara, which is Ga, is believed to have originated from the sound of a goat, while Madhyama, which is Ma, is believed to have originated from the sound of a Heron. Panchama, which is Pa, is believed to have originated from the sound of a cuckoo, while Dhaivata, which is Dha, is believed to have originated from a horse. Nishada, which is Ni, is believed to have originated from the sound of an elephant.
7 Saptha Swaras
Shadja (SA)
Shadja is the first saptha swaras in classical music. The extended form of Sa is Shadja. Shadja has no specific pitch but is set to be the scale’s tonic. All the other swaras are based on Shadja. It is a svara of all twelve notes in that it can take on any pitch.
Rishabha (RI)
Rishabha is the second swaras. Risabha and Rishabh are two more names for this swara. The extended form of Re is Rishaba. It is a semitone above Shadja. Rishabha has a calming and relaxing effect.
Gandhara (GA)
Gandhara is the third waras. Gandhar is another name for this swara. The extended form of Ga is Gandhara. It is a whole tone below Shadja. Gandhara has a soothing effect and creates compositions that are calming and peaceful.
Madhyama (MA)
Madhyama is the fourt swaras. Madhyam is another name for this swara. The extended form of Ma is Madhyama. It is a semitone below Rishabha. Madhyama has a pleasing effect and it creates compositions that are joyful.
Panchama (PA)
Panchama is the fifth swaras. Pancham is another name for this swara. The extended form of Pa is Panchama. It is a whole tone below Rishabha. Panchama has a tranquilizing effect, and it creates compositions that are relaxing and peaceful.
Dhavita (DHA)
Dhaivata is the sixth swaras. The extended form of Dha is Dhaivat. It is a semitone below Gandhara. Dhaivata has a stimulating effect, and it creates compositions that are energizing and vibrant.
Nishada (NI)
Nishada is the seventh swaras. Nisada or Nishad are other names for this swara. Shorthand for “Ni” is “Nishada.” It is a whole tone below Gandhara. Nishada has a stimulating effect, and it creates compositions that are lively and exciting.
How To Sing Saptha Swaras Correctly?
Different people may have different opinions on the best way to sing saptha swaras correctly. However, here are some tips that may help:
- 1. Make sure you are familiar with the notes and their respective octaves before you start singing saptha swaras.
- 2. Practice the notes regularly to train your voice to reach them accurately and without strain.
- 3. When singing swaras, always aim for a clean and clear sound without excessive vibrato or ornamentation.
- 4. Be mindful of your breathing and ensure that you breathe correctly throughout each note.
- 5. Listen to recordings of other singers who have skills in singing swaras and imitate their techniques.
- 6. Music training from a young age will be an advantage when trying to sing swaras correctly.
- 7. With regular practice and guidance from a skilled teacher, it is possible to sing swaras perfectly.
By following these tips, you should be able to sing saptha swaras correctly in no time! Do you have any other tips for singing swaras? Please share with us in the comments section below.
| Swaras Name | Solfa letters | Pronounced as |
| Shadjam | S | Sa |
| Rishabham | R | Ri |
| Gandharam | G | Ga |
| Madhyamam | M | Ma |
| Panchamam | P | Pa |
| Dhaivatham | D | Da |
| Nishadam | N | Ni |
In our ancient Tamil music the Saptha swaras are called as Sa- Kural, Ri- Uzhai, Ga- Kaikilai, Ma- Thutham, Pa- Ili, Da- Vilari, Ni- Tharam.
In the European music as follows: Sa- Doh, Ri- Ray, Ga- Me, Ma- Fa, Pa- Soh, Da- Lah, Ni- Si, or Te.
Of the above sever swaras, the first and the fifth swaras (Sa- Pa) are fixed notes. They are called Prakrithi Swaras. Remaining five swaras (Ri- Ga- Ma- Da- Ni) consists of two varieties lower and higher in other words Komal and Theevra. They are called Vikrithi Swaras. By the varieties in Vikrithi swaras, and with the two constant notes in Prakrithi Swaras, we have in all 10+2 = 12 notes (Sruthis or swaras) as follows.
| Swaras Name | Komal or Theevra | Equivalent in European Music |
| Shadjam | S | C |
| Suddha Rishabham | R1- Ko | D- Flat |
| Chathu Sruthi Rishabham or Suddha Gandharam | R2- THEE | D |
| Sadharana Gandharam or Shat Sruthi Rishabham | G1- Ko | E- Flat |
| Anthara Gandharam | G2- THEE | E |
| Suddha Madhyamam | M1- Ko | F |
| Prathi Madhyamam | M2- THEE | F- Sharp |
| Panchamam | P | G |
| Suddha Dhaivatham | D1- Ko | A-Flat |
| Chathu Sruthi Dhaivatham or Suddha Nishadam | D2- THEE | A |
| Kaisiki Nishadam or Shat Sruthi Dhaivatham | N1- Ko | B-Flat |
| Kakali Nishadam | N2- THEE | B |
| Chathu Sruthi Rishabham & Suddha Gandharam | Same Note | |
| Sadharana Gandharam & Shat Sruthi Rishabham | Same Note | |
| Chathu Sruthi Dhaivathamam & Suddha Nishadam | Same Note | |
| Kaisiki Nishadam & Shat Sruthi Dhaivathamam | Same Note |
The numbers 1 and 2 which are given near the Solfa letters indicates the Komal and Teevra swaras.
The names of the two swaras having the same note shown above will not appear together in any Raga.
With the inclusion of the four swaras Suddha Gandharam and Shat Sruthi Rishabham, Suddha Nishadham and Shat Sruthi Dhaivathamam, the total number of Swaras amounts to 16.
RAGA: Raga is the combination of appropriate swaras in the Arohana and Avarohana.
Arohana – The ascending order of the swaras.
Avarohana – The descending order of the swaras
STHAYIS
There are five sthayis (Octaves) namely 1. Anumandra sthayi, 2. Mandra shtayi, 3. Madhya sthayi, 4. Thara sthayi, 5. Athi Thara sthayi.
- Anumandra sthayi – Two dots below the swara – S
- Mandra sthayi – One dot below the swara – S
- Madhya sthayi – Swara without dot – S
- Thara sthayi – One dot above the swara – S
- Ath Thara sthayi – Two dots above the swara – S
THE COMMON SYMBOLS USED IN CARNATIC MUSIC
, … Indicates one Akshara Kala.
,, or ; … Indicates two Akshara Kala.
| … Indicates the splitting of the laghu and dhrutham.
|| … Indicates the ending of Thala Avartham
– … If this symbol comes near the swaras, it will indicate splitting the group of swaras. If the same symbol appears along with the sahithyas it indicate the continuation.
NOTE:
The swaras are used in capital letters and one akshara kala for each swaras. Commas (,) are used with the swaras for additional akshara kalas. Example:
S or , – One akshara kala
S , – Two akshara Kalas
S , , – Three akshara Kalas
S , , , – Four akshara Kalas,
Conclusion
Although saptha swaras are just seven notes, they hold great power when used correctly in music. If you are interested in learning more about this ancient system or want to consult with a professional music institute on how to use sapta swaras in your compositions.
Also read our other lessons
Lesson 6 – Saptha Thala Alankaras
