The 7
Solfa Syllables:
Carnatic
|
Western
|
Hindustani
|
Sa
|
Do
|
Sa
|
Ri
|
Re
|
Re
|
Ga
|
Mi
|
Ga
|
Ma
|
Fa
|
Ma
|
Pa
|
So
|
Pa
|
Dha
|
La
|
Dha
|
Ni
|
Ti
|
Ni
|
Names and equivalents of the 12 basic notes of Indian music:
Carnatic
|
Western
|
Hindustani
|
Full
Name
|
Short
forms
|
Alt1
|
Interval
|
Cents2
|
Note3
|
Full
Name
|
Short
forms
|
1
|
Shadjam
|
Sa
|
S
|
|
P1
|
0
|
C
|
Shadj
|
S
|
S
|
2
|
Suddha
Rishabham
|
Ri1
|
R1
|
|
m2
|
100
|
Db
|
Komal
Rishab
|
kR
|
R1
|
3
|
Chatusruthi
Rishabham
|
Ri2
|
R2
|
|
M2
|
200
|
D
|
Suddh
Rishab
|
R
|
R2
|
Suddha
Gantharam4
|
Ga1
|
G1
|
G0
|
Ebb
|
4
|
Shatsruthi
Rishabham4
|
Ri3
|
R3
|
|
m3
|
300
|
D#
|
Komal
Gandhar
|
kG
|
G1
|
Saadarana
Gantharam
|
Ga2
|
G2
|
G1
|
Eb
|
5
|
Antara
Gantharam
|
Ga3
|
G3
|
G2
|
M3
|
400
|
E
|
Suddh
Gandhar
|
G
|
G2
|
6
|
Suddha
Madhyamam
|
Ma1
|
M1
|
|
P4
|
500
|
F
|
Suddh
Madhyam
|
M
|
M1
|
7
|
Prati
Madhyamam
|
Ma2
|
M2
|
|
+4
|
600
|
F#
|
Tivra
Madhyam
|
tM
|
M2
|
8
|
Panchamam
|
Pa
|
P
|
|
P5
|
700
|
G
|
Pancham
|
P
|
P
|
9
|
Suddha
Dhaivatham
|
Da1
|
D1
|
|
m6
|
800
|
Ab
|
Komal
Dhaivat
|
kD
|
D1
|
10
|
Chatusruthi
Dhaivatham
|
Da2
|
D2
|
|
M6
|
900
|
A
|
Suddh
Dhaivat
|
D
|
D2
|
Suddha
Nishadham4
|
Ni1
|
N1
|
N0
|
Bbb
|
11
|
Shatsruthi
Dhaivatham4
|
Da3
|
D3
|
|
m7
|
1000
|
A#
|
Komal
Nishad
|
kN
|
N1
|
Kaisiki
Nishadham
|
Ni2
|
N2
|
N1
|
Bb
|
12
|
Kaakali
Nishadham
|
Ni3
|
N3
|
N2
|
M7
|
1100
|
B
|
Suddh
Nishad
|
N
|
N2
|
1 Instead of
labeling the 3 Ga-s and the 3 Ni-s using {1,2,3}, some authors have
used {0,1,2} instead. This alternate numbering scheme also makes
comparison to the Western and Hindustani notes easier. Both conventions
are present in the literature, sometimes causing unnecessary confusion
to novices! Note also that in this alternate scheme, all "vivadhi
notes" are labeled by 0 or 3, and all notes labeled with a 0 or 3 are
vivadhi.
2 Western Equal Temperament
tuning.
3 Note names if and
only if "C" is chosen as the tonic. If another note, say F#, is chosen
as the tonic, then this column would have to be modified. The point is
that the Indian notes correspond to the intervals - P1, m2, M2 , ...,
M7 - rather than to absolute pitches/frequencies. The artist can choose
Sa/the tonic to be any frequency he or she desires at the beginning of
a
performance.
4 Vivadhi notes.
These are are not new intervals/swarasthanams, but are enharmonic to 4
other "normal" notes. Ie, out of the sixteen Carnatic notes listed,
there are only twelve unique intervals.
Some points to keep
in mind:
- Ignoring the vivadhi notes, the 12 notes of the 3 systems are
similar. Except for the tonic and the fifth, there are two versions of
each of the other swarams.
- The nomenclature of Carnatic and Hindustani music is different.
For example, Suddha Ri in Carnatic music is different from the Suddh Re
of Hindustani music. There are other examples too in the table above.
- The "Suddh" scale of Hindustani music - rag Bilawal - is
analogous to the major scale of Western music. Carnatic students
however are taught a different scale first when they start music
lessons - ragam Maayamaalavagaulai: S R1 G3 M1 P D1 N3 S.