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Music has continuous history from the Vedic times. In the vedic period music was associated with sacrificial rituals. If we look at the hymns of the Rgveda, the most ancient of the vedas, we find that there are three different sounds used in reciting the Rcas and they are named as Udatta, Anudatta and Svarita. The higher is Udatta and the lower is Amudatta. So the first stage of the usage of musical sound is the 'Arcikagayana'? The second stage is 'Gathika' and the third stage is 'Samika'. The Samaveda is the earliest song-book. The duty of the Samasingers was to sing the Rks in the Rgveda. So the Samagas must have been familiar with the Svarasastra or the theory of musical notes. The RK in the Rgveda was the 'Yoni' of the Samans, becaus the Samans were the musical rendering of the RKs. Thus Samagayana is a very ancient art. The Aitareya Brahmana gives the anecdote of the wedding of RK and SAMA. When words were united with musical notes, Sama was produced. In other words

- 3 when a RK is set to the tunes of music it is called Sama. music. There were one thousand schools of the Samavedic "Samavedasya Aila Sahasrabhedah bhavanti". But 8 among these thousand schools only three schools have survived, namely, (1) Kauthuma (2) Ranayaniya and (3) Jaiminiya. Abhinavagupta says that the Gandharva Veda presents the first phase of development of music from the Saman. This Gandharva-veda is supposed to be an Upaveda of the Samaveda. The text of this Gandharva-veda is not available now. But it is mentioned in the later Tantrika treatise as a text on music consisting of 36 thousand Granthas and dealt with the basic principles of playing upon various musical instruments, 10 of combination of Svaras etc. After the vedic period the vocal music was developed during the period of the Brahmanas. Besides vocal music, there is a parallel development of instrumental music. In the vedas we find all the three classes of instruments. This instrumental music was also performed in the vedic rituals like Asvamedha. In the Taittiriya Brahmana (13.1.5.1 and 13.4.3.3) there is a reference to a singer who sings to the accompaniment of a lute (Vina). The original word is Vinagatni. Jaiminiya Brahmana mentions a lute with a hundred strings 'Satatantri'. The term 'Ganaka' occurs in Taittiriya Brahmana (3.4.10). Sayanacarya, the commentator, has explained this term as "Sruti-jatisvaramandaladiku salah Ganakah". Ganaka is one who has specialized in the knowledge of Sruti, Jati and

Svaramandala.Pancavinsa Brahmana refers to the three pitches Mandra (low), Taratara (higher) and Taratama (highest). The term 'Mandra' is found also in the Taittiriya Brahmana (3.4.6). It is laid down that the morning chant should be sung in the 'Mandra' note. The 'Madhyandin Savana' or the midday chant should be sung in the Madhyama note and the 'Trtiya Savana' or the evening chant should be sung in the 'Uccasvara' 11 From this we can conclude that some sort of a science of musical notes must have been prevalent in those ancient times. Although there is some discussion about the distinction between the high and the low pitch or the Mandra and the Madhya Svaras in the Brahmanas and the Srauta Sutras, we find more elaborate explanation of the musical notes in the Pratisakhyas and the Siksagranthas. An extensive 12 scientific discussion of the nature of musical notes is found in the various Pratisakhyas and Siksas. Most of the Pratisakhyas belong to a period prior to that of Panini (400 B.C.). Siksas also are equally ancient. Suklayajurveda Prati sakhya refers to seven notes beginning with Udatta. In the Yajnyavalkya Siksa which is related to the Yajurveda 13 we find a clear reference to the seven notes. "It has been mentioned in the RK Pritisakhya that there are seven notes in each octave and three octaves at twice the pitch of the corresponding fundamental note and that the very seven notes of one octave are repeated in the others (provided the pitches of the successive octaves are exactly

-5 double at every step.) "14 Besides the seven notes, the Yajnyavalkya Siksa has told us that these seven notes are similar to the three vedic notes, 'Ucca' etc. The seven notes in Gandharvaveda Vedic notes Nisada, Gandhara Risabha, Dhaivata Sadja, Madhyama and Pancama Udatta Anudatta Svarita. Panini siksa also refers to the same statement. Siksa 15 From this it will be clear that some time before the Siksas, the seven notes were known to the musicologists. Though Yajnyavalkya Siksa gives us guidance about the seven notes, there is no reference to the 'Svaramandala'. The Naradi siksa has discussed the Svaramandala. The seven notes, the three gramas, twenty-one murcchanas and forty-nine tanas are called the 'Svaramandala'. Dr. K.C.Pandey thinks that Narada was a predecessor of Bharata and says that in the concluding line of the Ch. XXXII, harata admits that the Gandharva is based upon what is said on the subject by Narada. 16 Besides the term 'Svaramandala', the important terms such as 'Svarasaptaka', 'Grama', 'Tana' and 'Murcchana' occur in the Naradi Siksa. 1-17 It is interesting to observe the relation between the 'Sadjadi' seven svaras of the Gandharva Veda and the seven svaras of the Samagas. The seven svaras in the Samasinging 18 are given in the Naradi Siksa. Among the seven Sama-svaras,

Atisvarya is the extreme low svara and Krsta is the extreme high svara. The Narada Purana also has given the names of the seven svaras used in the Samasinging. Krsta, Prathama, Dvitiya, fritiya,Caturtha, Mandra (or pancama) and Atisvara (or Atisvarya). 19 We do not know when the Saman came to be sung in Seven Svaras. Dr. V. Raghavan has stated that "In more than one context the words Arcika, Gathika and Samika are used in referring to Svaras, intervals of one, two and three, from which we may assume that to begin with, the Saman was sung to three or four notes; the next svara came to be simply called the other svara, svarantara."20 Narada in his siksa has equated the seven notes of the Samagas with the secular notes on the venu (lute-a susira instrument). The 'Prathama' svara of the Samagas is the 'Madhyama' on the lute, the 'Dvitiya' is the 'Gandhara,' the 'Trtiya' is the 'Risabha; the 'Caturtha' is the 'Sadja', the 'Pancana' is the Dhaivata, the 'Sastha' is the 'Nisada' 21 and the 'Saptama' of the Samagas is the Pancama on the lute. The table will be as follows : The notes of the Samages Krsta Prathama Dvitiya Trtiya Caturtha The notes on a lute Pancama Madhyama Gandhara Risabha Sadja

-7The notes of the Samagas The notes on a lute Pancama (Mandra) Dhaivata Sastha (Atisvara) Saptama Nisada Pancama The sequence of the 'Dhaivata' and the Nisada is changed in the discussion of the Naradi Siksa. Narada Purana (1.50.50-60) has quoted exactly the verses from the Naradi Siksa. From this it is clear that this Saptaka is not in a regular order (Arohi - Sa, ai, Ga, Ma, Pa, Dha, Ni) but in a descending series (Pa, Ma, Ga, Ri, Sa, Ni, Dha, Pa). In the great epice like Ramayana and Mahabharata and in the Puranas like Markandeya, Vayu and Visnudharmottara, we get ample material on the Gandharva or Marga music. Most of the historians are of the opinion that the compilation of the great epic Ramayana began before 400 B.C. and that of the Mahabharata from 300 to 200 B.C. Ramayana was sung by the two sons of Rama in the Marga style in the seven modes of melody called Jatis. In the Balakanda canto 4, Valmiki says that the poem is meant for both recitation and singing to the accompaniment of lute (Ram.1-4-8). Here we get reference to Murcchanas, Sthanas (Ram. 1.4.10), Srutis (Ram. 1.4.27) and the classical modes of singing (Marga) (Ram. 1.4.36). 22 After the knowledge of seven notes, scales were formed from them. Thus after the 'Svarasaptaka' the next

8. important constituent of the 'Svaramandala' is the Grama. The relation of one note to another is expressed by the ratio of their vibrations. This ratio is technically called the 'interval' between the two notes and is expressed by the number of Srutis between the two notes. Srutis are fixed notes with the smallest possible intervals. These interval fractions are approximately in the proportion of 4, 3, 2. Therefore the whole interval between the first note and its octave is 4 + 3 + 2 + 4 +4 + 3 + 2 or 22 Srutis. +3 The series of notes with these intervals was known as the Grama. In short a Grama is a particular arrangement of the Srutis. 23 The earliest specific reference to the Gramas is found in Bharata's Natya sastra. Bharata does not give a definition of Grama. A regular definition of it is to be found in Sarahgadeva's Sangita Ratnakara (13 th cen. A.D.) which came about thousand years later. 24 Grama is the collection of svaras which forms the basis for Murcchanas etc. The commentator Kallinath explains 'Murcchanadi' as Murcchana, Krama, Tana, Varna, Alankara, Jati etc. The old Indian music before the time of Bharata (4 th Century A.D.) recognised three gramas Sadja Grama, Madhyama Grama and the Gandhara Grama. Naradi Siksa refers to these three gramas. When the 'Svarasaptaka' begins with the Sadja it is called 'Sadjagrama'. In the Madhyama grama it starts with the madhyama svara and if it begins with the Gandhara

it is called the Gandhara grama. According to Narada the 25 Gandhara grama is used only in heaven. By the time of Bharata the Gandhara grama went out of vogue. Consequently the two gramas viz. the Sadja grama and Madhyama grama are practised in the Svarasastra. Bharata gives particulars of 26 two of the three gramas, the Sadja Grama and the Madhyama Grama. The Gandhara Grama is not mentioned until the Sangita Ratnakara. They are really fundamental scales starting from the notes Sa, Ma and Ga respectively. The Vayu Purana (Uttarakhanda, 24.38 - 41), the Skanda Purana (Nagarakhanda, 254, 61), the Brahmanda Purana (Madhyabhaga, Upodghata, 61.31 34) and the Vismudharmottara Purana (third Khanda Ch. 18) - all these Puranas have admitted the three gramas. The intervals between successive notes are of three kinds : Catuhsruti, Trisruti and Dvisruti. The three kinds 27 of intervals can be demonstrated on the flute. The formation of the Sadja Grama and the Madhyama Grama is fairly clear. The Sruti values of the Sadja Grama are as follows s Sa Ri Ga Ma Pa Dha 4 3 2 4 3 2 The Sruti values of the Madhyama Grama are as follows: Ma Pa 3 Dha 2 Ni sa Ri 3 2 Ga

- 10 Thus the difference between the Madhyama Grama and the Sadja Grama lies in the Sharpened fourth; the fourth in the first case consisting of nine Srutis and later in eleven srutis. According to Sangita Ratnakara (I. 4.4-5) the Sruti values of the Gandhara grama are Ga Ma Pa Dha N 1 sa Ri 3 3 3 3 4 2 The Gandhara grama was inconvenient to sing and is said to have been discontinued. The third constituent of the Svaramandala is 'Murcchana.' After fixing the three gramas, the Murcchanas were formed by placing their main notes Sa, Ma and Ga successively in the position of each of the other notes. Thus for each grama, there were formed seven Murcchanas. Thus the combination of ascendant and descendant series of the seven notes were called Murcchanas. 28 Natya sastra has referred to the seven Murcchanas of the Sadjagrama and the seven of the Madhyama grama. According to Bharata the Sadjagrama - Murcchanas are uttarmandra, Rajani, Uttarayata Suddha-Sadja, Katsarikrta, Asvakranta and Matsarikrta, Abhirudgata. The Murcchanas of the Madhyama-grama are Sauviri, Harinasva, Kalopanta, Suddha-Madhya, Margi, Pauravi and Hrsyaka. 29 The 'Svarasaptaka' of the Murcchanas of these

- 11 two gramas (as given by the Natyasastra - 28.29-32) will be as follows The 'Svarasaptaka' of the Sadja-grama-Murcchanas Uttaramandra Sa Ri Ga Ma Pa Dha Ni Rajani Ni Sa Ri Ga Ma Pa Dha Uttarayata Dha Ni Sa Ri Ga Ma Pa Suddhasadja Pa Dha Ni Sa Ri Ga Ma Matsarikrta Ma Pa Dha Ni Sa Ri Ga Asvakranta Ga Ma Pa Dha Ni Sa Ri Abhirudgata Ri Ga Ma Pa Dha Ni Sa. The 'Svarasaptaka' of the Madhyama-grama Murcchanas 1 Sauviri Ma Pa Dha Ni Sa Ri Ga Harinasva Ga Ma Pa Dha Ni Si Ri Kalopanta Ri Ga Ma Pa Dha Ni Sa Suddhamadhyama sa Ri Ga Ma Pa Dha Ni Margi Ni sa Ri Ga Ma Pa Dha Pauravi Dha Ni Sa Ri Ga Ma Pa Arsyaka Pa Dha Ni sa Ri Ga Ma The Svarasaptaka of the Uttaramandra Murcchana of the Sadjagrama is the Suddha or pure Svarasaptaka of the Sadjagrama. Rajani Murcchana starts from the Nisada that means Nisada becomes the Sadja in this octave. In the Uttarayata Murcchana Dhaivata becomes the Sadja and so on. The fourth constituent of the Svaramandala is the 'Tana' (from the root 'tan' to stretch, spread). 30

- 12 Bishan Svarup has defined "Tana' as 'Tana is used to expand a raga, and consists of a certain number of notes put in different order. One stretch from 'Sa' to 'Sa' and one or more turns have to be taken which produce Vakra notes and make the tune itself more or less Vakra. This is effected by introducing what is called a 'Tana' The repetition of the notes that heightens the melodiousness is generally done through the tanas. According to the Naradi Siksa there were 49 Tanastwenty of Madhyama grama, fourteen of Sadja grama and fifteen of Gandhara grama. Narada Purana (1. 50-31) has quoted the statement of the Naradi Siksa. Vayu Purana (Uttarardha, 24.36) and the Visnudharmottara (Third Khanda, Adhyaya 18) also have accepted the 49 Tanas. Visnudharmottara has given the names of these 40 Tanas. Natyasastra referred to the 84 Tanas 49 Satsvara tanas and 35 pancasvara tanas. - 32 Thus the seven notes, three gramas, twenty one Murcchanas and the forty nine tanas form the 'Svaramandala' of the ancient Indian music. The Rhythm or keeping time, known as Tala is also an important thing in Indian Music. The melodious pieces should follow each other at regular and appropriate intervals of time. Instruments like Tabla, Mrdanga, Pakhavaj etc. are used for the 'tala' accompaniment in Indian Music and they enhance the beauty of Music.

-> 13. 33 For embelishment, Alankaras and Varnas are introduced which are the necessary attributes of good music. Varna means production of notes in a particular order, pitch or with a particular grouping. Sometimes the notes go up or down in the scale, sometimes they are same and are equal in pitch or the various notes come together and thus they constitute the four Varnas. Alankaras depend on Varnas. Varnas are used to make up the Alajkaras. Varnas embellishing the notes of a song seem to enhance its power of evoking sentiment. 34