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Sargam (from SA-RE-GA-MA), a technique for the teaching of sight-singing, is the Hindustani or North Indian equivalent to the western solfege. Sargam is practiced against a drone and the emphasis is not on the scale but on the intervals, thus it may be considered just intonation. The same notes are also used in South Indian Carnatic music.
Traditionally, Indian musicians have just seven swaras/notes with short names: sa, re, ga, ma, pa, dha, ni, which they collectively refer to as saptank or saptaka. This is one of the reasons why swara is considered a symbolic expression for the number seven.
These ragas have all seven swaras (notes) in their scales (only one of each swara, Sa, Re, Ga, Ma, Pa, Dha, Ni), following strict ascending and descending scales and are sung in all octaves. Example of melakartha ragas are: Shankarabharanam, Kalyani, Natabhairavi, Chala Nattai, Harikambhoji, Kharaharapriya, Mayamalavagowla, and Chakravakam.
In traditional Indian music, musical notes are called svaras and commonly represented using the seven notes, Sa, Re, Ga, Ma, Pa, Dha and Ni. Writing notes on a staff
Sa, Re, Ga, Ma, Pa, Dha, Ni - Shuddha Svaras Re, Ga, Dha, Ni - Komal Svaras Ma - Tivra Svaras Shadaj holds a unique and indispensable position in Indian classical music. It is the only svara that cannot be omitted (varjit) in any raga, making it essential to both the saptak (scale) and the structure of every raga.
Consequently, the Sa after the Ni of 432 Hz has a frequency of 480 Hz i.e. double the Lower saptak Sa, as do all 6 other svaras. Considering the Sa of the Madhya Saptak, the frequencies of the other svaras would be, Sa Re Ga Ma Pa Dha Ni Mandra Saptak: 120 Hz, 135 Hz, 144 Hz, 160 Hz, 180 Hz, 202.5 Hz, 216 Hz.}
Therefore, it collectively means giving birth to the other 6 notes of the music. So the svara Re is formed from Shadja. The frequency of Rishabha is 270 Hz. The frequencies of the seven svaras are also given below: Sa 240 Hz, Re 270 Hz, Ga 300 Hz, Ma 320 Hz, Pa 360 Hz, Dha 400 Hz, and Ni 450 Hz, Sa 480 Hz (Taar Saptak) ..... (and so on).
These two notes are known as achala swar ('fixed notes'). Each of the other five notes, Re, Ga, ma, Dha and Ni, can take a 'regular' (shuddha) pitch, which is equivalent to its pitch in a standard major scale (thus, shuddha Re, the second degree of the scale, is a whole-step higher than Sa), or an altered pitch, either a half-step above or half ...