Fundamentals of Hindustani Music: Nada, Swara, Shruti, Saptak and Notation
This domain tests the basic vocabulary the rest of the paper depends on - nada, swara, shruti, saptak - plus the ability to write and read a short phrase in the Bhatkhande notation system. Expect one-line definitions and one notation exercise.
Nada and shruti
- Nada is sound. Ahata nada is produced (voice, string, air); anahata is the unstruck sound of philosophy. Only nada with steady pitch and pleasing timbre is treated as musical.
- Shruti is the smallest interval the ear can distinguish. Bharata's Natyashastra divides the saptak into 22 shrutis; modern practice works with 12 semitones.
Swara
- 7 shuddha: Sa Re Ga Ma Pa Dha Ni. 4 komal: Re, Ga, Dha, Ni. 1 tivra: Ma. Total 12.
- Sa and Pa are achala (fixed) and never take komal or tivra forms.
Saptak
Three registers - mandra, madhya, taar - anchored on the tonic Sa, which is chosen by the performer, not fixed by rule.
Notation (Bhatkhande system)
- Shuddha swaras are plain capitals (S R G M P D N); komal swaras are underlined; tivra Ma carries a vertical bar above.
- A dot below a swara means mandra saptak, a dot above means taar.
- Sam is marked X, khali 0, other talis numbered; vertical lines show vibhag divisions.
- Ornaments: meend (arc between notes), kan (grace note), murki (cluster).
Worked example. Notate the opening of Yaman: Sa Re Ga tivra-Ma Pa. Answer: S R G M̄ P, with no dots because it sits in madhya saptak. Reasoning: Yaman takes tivra Ma and all other shuddha swaras, so nothing is underlined and the bar over M is the only mark required.
Traps. Underlining Ma (there is no komal Ma in current practice); answering 12 shrutis when the question specifically asks for the Natyashastra count of 22; putting the taar dot beside the note instead of above it; listing aroha/avaroha marks under swara definition rather than under raga notation.