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“ SADJA-GRAMA ”SCHEME
INDIAN MUSICOLOGYREVISITED
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AS PER BHARATA Muni (200 B.C.),
SADJA-GRAMASCHEME IS THE
EARLIEST FORMAT INHERITED by Indian MusicologyDIRECTLY from the
SAMA VEDA
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EARLY MUSICIANS PERCEIVED ‘MUSIC’
TO CONSIST OF
ONLY ‘7’ TONEs(i.e. SRUTIs), namely …. ,
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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
M 4 R 3 G 2 P 4 D 3 N 2 S' 4
42
34
42
3
OCTAVE
THE SEVEN SRUTIsARE INDICATED IN DIFFERENT COLOURS
UPPERLIMIT
S S'
TONIC
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SADJA-GRAMA
M 4 R 3 G 2 P 4 D 3 N 2 S' 4
42
34
42
3
OCTAVE
THE SEVEN SRUTIs WERE DESCRIBEDAS “SHUDDHA” AS THEY WERE
DERIVED DIRECTLY FROM THE SAMA VEDA
UPPERLIMIT
S S'
TONIC
7
SADJA-GRAMA
M 4 R 3 G 2 P 4 D 3 N 2 S' 4
42
34
42
3
UPPERLIMIT
THE ‘SRUTIs’ CAME IN BOUQUETs OF‘2’ or ‘3’ or ‘4’
S S'R G M P D N
OCTAVE
TONIC
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SADJA-GRAMA
M 4 R 3 G 2 P 4 D 3 N 2 S' 4
42
34
4
UPPERLIMIT
(S’)22
(N) 1
8
(D) 1
6
(P) 13
(M) 9
(G) 5
(R) 3
(S) 0
THE “EDGE” OF A SRUTI-BOUQUET WERE TERMED AS “SWARA”
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OCTAVETONIC
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SADJA-GRAMA
M 4 R 3 G 2 P 4 D 3 N 2 S' 4
42
34
4
UPPERLIMITTONIC
(S’)22
(N) 1
8
(D) 1
6
(P) 13
(M) 9
(G) 5
(R) 3
(S) 0
DATTILA SCHOOL (200 B.C.) DESCRIBED THE UPPER EDGEAS THE ‘STHAANA’ FOR THE SWARA )
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OCTAVE
10
SADJA-GRAMA
M 4 R 3 G 2 P 4 D 3 N 2S' 4
23
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2
UPPERLIMIT
(S’)22
(N) 2
0
(D) 1
7
(P) 13
(M) 9
(G) 7
(R) 4
(S) 0
AS OPPOSED TO THIS,THE BHARATA SCHOOL (200 B.C.) DESCRIBED THE LOWER
EDGEAS THE ‘STHAANA’ FOR THE SWARA
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OCTAVETONIC
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SRUTISRUTI-RANGE
“SEAT” OF
THE SWARAFROM TO
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
SADJA-GRAMA SCHEME( A SIMPLIFIED REPRESENTATION OF DATTILA SCHOOL )
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SRUTISRUTI-RANGE
“SEAT” OF
THE SWARAFROM TO
SADJA (LOWER) 0.00 4.00 0.00
RISHABHA 4.00 7.00 4.00
GANDHARA 7.00 9.00 7.00
MADHYAMA 9.00 13.00 9.00
PANCHAMA 13.00 17.00 13.00
DHAIVATA 17.00 20.00 17.00
NISHADA 20.00 22.00 20.00
SADJA’ (UPPER) 22.00 26.00 22.00
SADJA-GRAMA SCHEME( A SIMPLIFIED REPRESENTATION OF BHARATA SCHOOL )
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this is the
‘TRADITIONAL VIEW’About
SADJA-GRAMA
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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’
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‘Sumerians’ the most ancient
Civilization as per Historians(approximately 4000 B.C.)
Worshipped NumbersFrom ‘5’ to ‘60’ (in steps of ‘5’)
as their ‘Pantheon of 12 gods’
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This Sumerian
‘Pantheon of 12 gods’
is also eventually reducible
To the numbers from
‘1’ to ’12’ !
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When Numbers
From ‘1’ to ‘12’
Are analyzed mathematically
Only ‘22’ Fractions
Can be formulated
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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)
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SERIAL FRACTION SRUTI VALUE
1/1 0.00
1 12/11 2.76
2 11/10 3.03
3 10/9 3.34
4 9/8 3.74
5 8/7 4.24
6 7/6 4.89
7 6/5 5.79
8 11/9 6.37
9 5/4 7.08
10 9/7 7.98
11 4/3 9.13
SERIAL FRACTION SRUTI VALUE
12 11/8 10.11
13 7/5 10.68
14 10/7 11.32
15 3/2 12.87
16 11/7 14.35
17 8/5 14.92
18 5/3 16.21
19 12/7 17.11
20 7/4 17.76
21 9/5 18.66
22 11/6 19.24
2/1 22.00
continued
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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)
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SERIAL FRACTIONSRUTI VALUE
Traditional
Sadja-grama
values
1/1 0.00 0.00
1 12/11 2.76 3.00
2 11/10 3.03
3 10/9 3.34
4 9/8 3.74
5 8/7 4.24
6 7/6 4.89 5.00
7 6/5 5.79
8 11/9 6.37
9 5/4 7.08
10 9/7 7.98
11 4/3 9.13 9.00
SERIAL FRACTIONSRUTI VALUE
Traditional
Sadja-grama
values
12 11/8 10.11
13 7/5 10.68
14 10/7 11.32
15 3/2 12.87 13.00
16 11/7 14.35
17 8/5 14.92
18 5/3 16.21 16.00
19 12/7 17.11
20 7/4 17.76 18.00
21 9/5 18.66
22 11/6 19.24
2/1 22.00 22.00
continued
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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”
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The first thought
That would appeal to a
‘Rational’ mind is that
It may be a mere
“CO-INCIDENCE”
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I researched furtherIn the realms of What is known as
‘Madhyama-grama’ and ‘Murchanas’To discover and establish
that Some “MASTER-HAND”must have conceptualized
this ‘DESIGN’
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I HOPEMY VIEWER IS WITH ME
ON THIS
VERY ‘SIGNIFICANT’ DEVELOPMENT ??
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I AM
TALKING ABOUT
BETWEEN TWO
TOTALLY UNRELATEDENTITIES ??
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THE ‘22 - FRACTIONS”BASED ON AN
ANCIENT CULTURE( AND DETERMINED BY USING CONTEMPORARY MATHEMATICS )
Vis-à-visANCIENT INDIAN ‘SHASTRAs’
OF MUSIC ??
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To know more detailsOn my relevant research work
on ‘Madhyama-grama’And ‘Murchanas’,
Please read my blogExclusively made for these subjects.
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• http://madhyamagrama.blogspot.com/ (Madhyama grama, ‘Blog’)
• http://www.esnips.com/web/Madhyama-gramaPresentationslides (‘Presentation’)
• http://murchanas.blogspot.com/ (Murchanas, ‘Blog’)• http://www.esnips.com/web/
MURCHANAsALLPRESENTATIONSLIDES (murchanas, ‘Presentation’)
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I have developed this themeFurther to discover that
A great treasure of“Ancient Music”
is remaining uncovered as yet
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Please peruseMy BOOK :
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MY BOOK
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Tele: 91 20 30441256Mobile: 9890266845, 9850121834
E-Mail: [email protected]
Web site: http://www.22sruti.comPOSTAL ADDRESS
A-7 / 103, FLORIDA ESTATE,KESHAV NAGAR, MUNDHWA,
PUNE-411036
CONTACT ME
