Today’s discussion centres on shruti. Human beings hear countless nada (sounds), yet the natural capacity of the human ear can distinguish only twenty-two extremely subtle tonal differences. These are known as shruti.
In simple terms:
- Shruti is the smallest audible distinction in pitch perceptible to the human ear.
- The difference between two adjacent shrutis is extremely subtle; without careful listening, it is difficult for an ordinary listener to perceive the distinction.
- In Indian classical music there is a traditional saying:
“Without shruti, raga music cannot exist.”
This is because the delicate distinctions between notes—the subtle differences between pure (shuddha) and flattened or altered tones (komal/tivra)—are fundamentally rooted in shruti.
Table of Contents
The Importance of Shruti
- Shruti forms the foundation of swara (musical notes). The seven principal notes—Sa, Re, Ga, Ma, Pa, Dha, Ni—are themselves derived from subtle divisions within these shrutis.
- In Hindustani classical music, shruti is often described as “the life-force of a note.”
- At the elementary stage of musical learning, an in-depth study of shruti is not strictly necessary. Nevertheless, the names of the shrutis are strikingly poetic and often fascinating for music enthusiasts.
The Twenty-Two Shrutis
In Indian classical music, shruti refers to the subtle tonal units that the human ear can distinguish individually. According to ancient musicological texts, there are twenty-two shrutis in total. These shrutis later form the basis for the different musical notes.
Each shruti possesses a distinctive name and an associated tonal character or emotional quality.
Below is a list of the twenty-two shrutis with brief descriptions:
- Tīvrā — a sharp and radiant tonal quality, evoking strength and brilliance.
- Kumudvatī — soft and tranquil, like the delicate bloom of the kumud flower.
- Mandā — gentle, calm, and subdued in character.
- Chandovatī — rhythmic and balanced, bringing movement and symmetry to music.
- Dayāvatī — compassionate and tender in emotional tone.
- Rañjanī — a tone that delights and colours the listener’s mind.
- Raktikā — vibrant and emotionally expressive.
- Raudrī — fierce and energetic, conveying powerful intensity.
- Krodhī — charged with tension and dramatic force.
- Vajrikā — firm and resonant, strong like thunder.
- Prasāriṇī — expansive, spreading the sound outward with breadth.
- Prīti — filled with affection, joy, and aesthetic sweetness.
- Mārjanī — clear and refined, lending polish to the melody.
- Kṣitī — stable and grounded, symbolising depth and steadiness.
- Raktā — rich in colour and deep emotional resonance.
- Sandīpanī — stimulating and invigorating in tone.
- Ālāpanī — soft and expansive, suited to the opening exploration of a melody.
- Madantī — lively and spirited, conveying exuberance.
- Rohiṇī — bright and captivating, drawing the listener’s attention.
- Ramyā — pleasing, graceful, and melodious.
- Ugrā — sharp and intense, expressing forceful energy.
- Kṣobhinī (or Kṣottinī) — stirring and agitating, capable of arousing deep emotional movement.
From Shruti to Raga
The subtle distinctions among these twenty-two shrutis form the basis of the Indian system of musical notes. From them are derived the twelve principal swaras, and from the countless arrangements of these swaras emerge ragas—the very soul of Indian music.
Distribution of the Twenty-Two Shrutis Among the Seven Notes
In Indian classical music, the twenty-two shrutis are distributed among the seven principal notes (saptaswara). The table below illustrates how these subtle tonal divisions are allocated.
| Note (Swara) | Number of Shrutis | Names of the Shrutis |
|---|---|---|
| Shadja (Sa) | 4 | Tīvrā, Kumudvatī, Mandā, Chandovatī |
| Rishabh (Re) | 3 | Dayāvatī, Rañjanī, Raktikā |
| Gandhar (Ga) | 2 | Raudrī, Krodhī |
| Madhyam (Ma) | 4 | Vajrikā, Prasāriṇī, Prīti, Mārjanī |
| Pancham (Pa) | 4 | Kṣitī, Raktā, Sandīpanī, Ālāpanī |
| Dhaivat (Dha) | 3 | Madantī, Rohiṇī, Ramyā |
| Nishad (Ni) | 2 | Ugrā, Kṣottinī |
Explanation
- The total of twenty-two shrutis is distributed across the seven principal notes.
- The pure (shuddha) and altered (komal or tivra) forms of notes arise from these subtle differences in shruti placement.
- For instance, the komal forms of Re, Ga, Dha, and Ni, as well as the tivra form of Ma, result from slight shifts within these shruti intervals.
- For this reason, musicians often say:
“Shruti is the life of a raga.”
Examples of Shruti Usage in Ragas
| Note | Number of Shrutis | Shruti Variants | Practical Examples in Ragas |
|---|---|---|---|
| Shadja (Sa) | 4 | Tīvrā, Kumudvatī, Mandā, Chandovatī | Sa usually functions as the tonic foundation. Its subtle nuances can be perceived differently in ragas such as Bhupali, Yaman, and Bhairav. |
| Rishabh (Re) | 3 | Dayāvatī, Rañjanī, Raktikā | In Raga Bhairav, a deeply resonant komal Re is used, while Darbari Kanada employs a particularly delicate treatment of Re. |
| Gandhar (Ga) | 2 | Raudrī, Krodhī | Bhupali uses a shuddha Ga, while Bhairavi employs komal Ga. The beauty of Raga Bageshree greatly depends on the expressive pull of its komal Ga. |
| Madhyam (Ma) | 4 | Vajrikā, Prasāriṇī, Prīti, Mārjanī | Yaman features tivra Ma, Bhupali uses shuddha Ma, and Bhairavi often expresses a more grave character through Ma. |
| Pancham (Pa) | 4 | Kṣitī, Raktā, Sandīpanī, Ālāpanī | Bhupali includes the natural Pa, while Malkauns omits Pa entirely, significantly altering the raga’s character. |
| Dhaivat (Dha) | 3 | Madantī, Rohiṇī, Ramyā | Bhairavi uses komal Dha, Bhupali employs shuddha Dha, and Multani features a distinctive treatment of Dha. |
| Nishad (Ni) | 2 | Ugrā, Kṣottinī | Bhupali uses shuddha Ni, Bhairavi uses komal Ni, and Bageshree expresses deep emotion through its komal Ni. |
Together, these subtle tonal gradations of shruti shape the expressive possibilities of the swaras, and through their countless combinations emerge the rich and intricate world of ragas.
The Use of the Twenty-Two Shrutis within Ragas
The following table illustrates how the twenty-two shrutis relate to particular notes (swaras) and how their subtle tonal variations are perceived in different ragas.
| No. | Name of Shruti | Associated Note | Example of Usage in Ragas |
|---|---|---|---|
| 1 | Tīvrā | Shadja (Sa) | Bhupali, Yaman – a strong and bright tonal form of Sa |
| 2 | Kumudvatī | Shadja (Sa) | Darbari Kanada – a subtly lower nuance of Sa |
| 3 | Mandā | Shadja (Sa) | Bhairav – a grave and dignified character of Sa |
| 4 | Chandovatī | Shadja (Sa) | Bageshree – a gentle, expressive pull in Sa |
| 5 | Dayāvatī | Rishabh (Re) | Bhairav – the deeply resonant komal Rishabh |
| 6 | Rañjanī | Rishabh (Re) | Bilaskhani Todi – delicate use of Rishabh |
| 7 | Raktikā | Rishabh (Re) | Darbari Kanada – characteristic tension and glide in Re |
| 8 | Raudrī | Gandhar (Ga) | Bhairavi – the flattened komal Gandhar |
| 9 | Krodhī | Gandhar (Ga) | Bhupali – the pure shuddha Gandhar |
| 10 | Vajrikā | Madhyam (Ma) | Yaman – the sharpened tivra Madhyam |
| 11 | Prasāriṇī | Madhyam (Ma) | Bhupali – the natural shuddha Madhyam |
| 12 | Prīti | Madhyam (Ma) | Bhairav – expressive tension of Ma with komal Dha |
| 13 | Mārjanī | Madhyam (Ma) | Multani – a distinctive nuance of Madhyam |
| 14 | Kṣitī | Pancham (Pa) | Bhupali – the natural Pancham |
| 15 | Raktā | Pancham (Pa) | Kafi – Pancham used with a rich expressive flavour |
| 16 | Sandīpanī | Pancham (Pa) | Yaman – a bright, luminous use of Pa |
| 17 | Ālāpanī | Pancham (Pa) | Todi – an emotionally expressive Pancham |
| 18 | Madantī | Dhaivat (Dha) | Bhairav – the flattened komal Dhaivat |
| 19 | Rohiṇī | Dhaivat (Dha) | Bhupali – the pure shuddha Dhaivat |
| 20 | Ramyā | Dhaivat (Dha) | Multani – a radiant form of Dhaivat |
| 21 | Ugrā | Nishad (Ni) | Bhairavi – the flattened komal Nishad |
| 22 | Kṣottinī | Nishad (Ni) | Bhupali, Yaman – the pure shuddha Nishad |
Additional Technical Notes
Detailed information about the frequencies of the shrutis and how specific notes correspond to particular shruti positions can be found in the Wikipedia article “Shruti (music)”.
If you would like to hear the shrutis individually, there is an excellent online resource available. You may explore the interactive tool at: http://www.22shruti.com
There you can experiment with and listen to all twenty-two shrutis yourself.
One technical point is worth remembering:
A change in loudness (decibel level) does not alter the shruti. A sound produced at the same frequency but at a higher or lower volume will still belong to the same shruti.
See also: