SHRUTI DARPAN

Ancient Indian Music With special reference to

Establishment of Shruties on Flute

By

Avinash Patwardhan

email-avipatwardhan@gmail.com

website- ww.avinashiflutes.com

PrologueThe book presents original research work on the

fundamental aspect of Shruti-Swara arrangement in

Indian classical music by using FLUTE as a medium.

22 Shruti flutes were constructed in one Saptak

(Octave) as against on 12. The different Murchana

Flutes as mentioned by Bharat were also

constructed.

This is the most innovative work in the history of

Indian Classical Music in the last 2000 years after

Bharatmuni.

P.V.C. conduit pipes were used to facilitate easy construction of flutes. The principles of Physics were applied in the fabrication of flutes.The experimental data of Shruti positions in pipe on Y-axis versus major frequency on X-axis was plotted.An equation of 10th degree Polynomial with a correlation coefficient of 99.9974%. Was obtained

The mathematical behavior

The 'Shruti Darpan' flute fabricated with 22 + holes is to actually listen to the 22 different sounds useful in music one higher than the other in one Saptak (Octave).

The material used for the flute is 22 mm. diameter P.V.C. pipe.

The Shadja Grama Flute with "Sa" as the first note with 311.17 Hz frequency is constructed then by reducing 1 Sarana. Likewise 4 Sarana Flutes were constructed and the merging notes Ga, Ni, Re, Dha, Sa, Ma, Pa of 2,3 and 4 Shruti values were proved beyond doubt subjectively and objectively.

SHRUTI DARPAN•The Sanskrit word "Shruti" means what is heard and "Darpan" means the mirror.•The word "Shruti" has an established Specific meaning only given to "Vedas" and moreover Indian classical music has its root in Samveda. •All other mythological classics such as Ramanayana, Mahabharat, Puranas & Suktas are known as smruti granthas.•There is a reason to believe that the Indian classical music is as old as the civilization.

•Bharatmuni's Natyashastra has attained the popularity as the first written text on music.•All other writers after Bharatmuni such as Sarangdeo, ShriNivaSa, Narada, Ahobala, Venkatmakhi and many more up to pandit V, N. Bhatkhande & Palsukar have also accepted Bharatmuni to be the first known writer on music. •Pt. V. N. Bhatkhande wrote many books on music in Sanskrit, Hindi and Marathi. In his books he has elaborately explained the views of ancient writers period wise. •He has found the notation system to write different ragas and made it very easy for the aspirants of classical music to note down the compositions (Bandish)

•The very idea struck about the writing of this treatise was from the contradiction regarding the controversy of Shruti- Swara arrangement.•The first thing before me was to develop a sound technique for the making of tuned flutes. •The portrait of Lord Krishna is incomplete if the flute is not present there. •After going through the above mentioned controversial aspects in music, I selected the Bharatmuni's Natyashastra as reference work to start the process of making the flutes.

•I got the inspiration to proceed further in tuned flute construction and to establish the 22 Shruti positions. •The flute available in the market today is English tuned. The musical shop owners say specifically that we do not take guarantee of the instrument being in tune or not. •The International scale starts with ` C' as the first note with frequency as 261.63 Hertz. •All these difficulties put forth by the tiny instrument, really made me to think about the scientific method of producing the flutes.

The fundamental thought•From ancient times the conventional flute is made of bamboo.•No two bamboos exactly identical.•Hence the P.V.C. conduit pipes are used to make the flutes.•Bharatmuni was first given the names to seven notes with respective Shruti values. •He advises to perform the only experiment of Sarana Chatushtai to establish the Shruties of the Shadjagrama and explains it on two identical Veenas.

•The controversy from last 2000 years is about this fundamental aspect of existence of Shruties. •All musicologists till today have used the stringed instruments for The practical applications for the Sarana experiment but could not prove objectively the existence of Shruties.•This inspired author to construct the 22+ holed Shruti Darpan flute as a reference flute. For fixing the dimension of Shruti a new experimental methodology was developed.

•The Sarana Chatushtai experiment is proved with the respective merging notes as asked by Bharatmuni at the end of the respective Saranas.The Pramana Shruti distance wise remains the same for at least 4 Shruti values. When the concept of Shadjagrama was once established, then the various Murchana flutes were produced which showed different combinations.

All about a Flute•Natyashastra by Bharat Muni is the complete work on drama. •Flute is the only instrument on which if the first note is changed a different combination or murchana is available. •For this the first note is either lowered in pitch or is increased. •The different combinations matching with today's Ragas in the Shadjagrama flute are made.

•Flutes base on the gramas mentioned by Bharatmuni were constructed.•This unbelievably matches with today's ragas but with different names. •The Shruti Darpan flute was proved fruitful as against proving the same thing on the stringed instruments.

Pt. V.N. Bhatkhande In this book 'Hindustani Sangeet Paddhati' in Marathi Vol.2. refused the existence of Shruties as explained by the ancient writers Bharatmuni and Sarangdeo for the want of subjective and objective proof of it.

Need of Research

Comparision of Bharatmuni & Bhatkhande’s views

1

Bharatmuni Bhatkhande

1.The Shruti value in one Saptak (Octave) is same or not, it is not clearly mentioned about the magnitude of Shruties anywhere.

Twenty-two Shruties - are unequal and are treated as imaginary used by the ancients for beautification.

2.The Shadjagrama configuration is given as 4-3-2-4-4-3-2. For respective notes Sa, Re, Ga, Ma,Pa, Dha & Ni

The pure notes of the Saptak (Octave) are kept intact as 4-3-2-4-4-3-2 but with a different concept.

Bharatmuni Bhatkhande3 The Shadjagrama is 4-7-9-13-17-20-22 representing the seven pure notes.

The Shadjagrama is with 1-5-8-10-14-18-22.

4. The pure notes of Shadjagrama can be named as Kafi (kanakangi) as per today's norms.

The pure notes are named as Bilawal as per present norms.

Bharatmuni Bhatkhande5. The one Shruti difference in Pancham note of Shadjagrama & Madhyamgrama is termed as Pramana Shruti.

Rejects the Shruti concept, for want of subjective and objective proof not given by Ancients.

6. The lowering of SHADJAGRAMA notes by Pramana Shruti in every Sarana is explained to perform Sarana- Chatushtai experiment

No experimental methodology is given to prove his placing of Shruties succeeding the notes.

Bharatmuni Bhatkhande7. Sarana-Chatushtai is performed on two similar Veenas to establish 22 Shruti positions in Shadjagrama.

Criticizes the experiment for want of assumptions of Shadjagrama notes as no Shruti values aregiven to respective notes

8. Shruties are kept before the Swara

Shruties are kept after the Swaras, but no reason whatsoever is sited to alter the ancient configuration of Bharatmuni.

9. Vikrut notes are only Antar (difference) Gandhar and kakli Nishad

Vikrut notes along with seven pure are komal Re, Ga, Tivra Ma komal Dha and Ni, but accepts that at the time of Bharatmuni all these notes indifferent Murchanas were visible.

From last 20 years author is working on FLUTES in all the forms to establish Shadja Grama, Madhyam Grama by proving the 'Sarana Chatushtai' experiment on flute as mentioned by Bharatmuni in chapter No.28 and 30 in the work 'Natyashastra' and Sarangdeo's 'Sangeet Ratnakar'.

Author proved, both by theory & experiments, that Bharatmuni was right and Pt. Bhatkhande was wrong.Shadja Grama, Madhyam Grama, Murchanas, Vikrut Swaras etc. etc. can be established on the instrument flute.

Diagrammatic representation

•The diagrammatic representation will be helpful to understand the construction easily.•When the ranges of 22 Shruties were fixed on a one meter long pipe of 22 mm internal diameter & 25 mm outer diameter as per the experimental methodology explained earlier, the Shruti Darpan flute for Madhya Saptak (Octave) was designed.

7-Diagrammatic representation

•After establishing the 22 positions of Shruties in the Saptak (Octave) along with the ranges of every Shruti at holes and at free cuts of the pipe, the note D# sounds at 502 mm from the closed end of the pipe with frequency 311.17 Hertz. •Tables 7.1 to 7.9 gives Shruti values in various gramas. •Only three tables are reproduced here

Table 7.1-Shadjagrama Murchana in present context

Present Name Murchana SA RE GA MA PA DHA NI SA RE GA MA PA DHA NI

KAFI-1 SA-UTTARAMANDRA 4 3 2 4 4 3 2 4 7 9 13 17 20 22

BHAIRAVI-1 RE-ABHIRUDGATA 3 2 4 4 3 2 4 4 6 10 14 17 19 23

KALYAN-1 GA-ASHWAKRANTA 2 4 4 3 2 4 3 4 8 12 15 17 21 24

KHAMAJ-1 MA-MATSARIKRITA 4 4 3 2 4 3 2 4 8 11 13 17 20 22

ASAVARI PA-SHUDHASHADJA 4 3 2 4 3 2 4 4 7 9 13 16 18 22

BHAIRAVI-TODI DHA-UTTARAYATA 3 2 4 3 2 4 4 4 6 10 13 15 19 23

BILAWAL-1 NI-RAJANI 2 4 3 2 4 4 3 4 8 11 13 17 21 24

Table 7.3-Shadjagrama Shuddha GandharPresent Name

Murchana SA RE G

A MA PA DHA NI SA RE GA MA PA DHA NI

KHAMAJ-2 SA 4 3 4 2 4 3 2 4 7 11 13 17 20 22ASAVARI-2 RE 3 4 2 4 3 2 4 4 8 10 14 17 19 23BHAIRAVITODI-1 GA 4 2 4 H 2 4 3 4 6 10 13 15 19 22

BILAWAL-2 MA 2 4 3 4 4 3 4 4 8 11 13 17 20 24MADHYAMGRAM PA 4 3 2 4 3 4 2 4 7 9 13 16 20 22

BHAIRAVI-2 DHA 3 2 4 3 4 2 4 4 6 10 13 17 19 23KLAYAN-2 NI 2 4 3 4 2 4 3 4 8 11 15 17 21 24

Table 7.9-GandhargramaPresent Name

Murchana SA R

EGA

MA PA DH

A NI SA

RE

GA

MA

PA

DHA NI

BHAIRAVI-5 SA 3 2 4 3 3 3 3 4 6 1

0 13 16 19 23

BILAWAL-5 RE 2 4 3 3 3 4 3 4 8 11 14 1

7 21 24

KAFI-5 GA 4 3 3 3 4 3 2 4 7 10 13 1

7 20 22

ASAVARI-5 MA 3 3 3 4 3 2 4 4 7 10 14 1

7 19 23

KHAMAJ-5 PA 3 3 4 3 2 4 3 4 7 11 14 1

6 20 23

KHAMAJ-6 DHA 3 4 3 2 4 3 3 4 8 11 13 1

7 20 23

ASAVARI-6 NI 4 3 2 4 3 3 3 4 7 9 13 16 19 22

Behavior of a string & wind musical instruments

•Sitar with a length of 34" is studied for generating the north Indian classical music notes.•Frequency of a free vibrating string to be set at 311.17 Hz doubles at half the distance i.e. 17." •The Shruti principle of Bharatmuni tells about 22 tiny positions in this range.

•The construction of instruments like flute or Veena is not explained by Bharatmuni nor has he given any numerical specifications about the positions of sounding of notes in the Shadjagrama. •The different lengths of the strings might have different Shruti values butwhen once set for one length remains constant for that length. •In case of pipe the lengths differ but when the 22 Shruti ranges are once established it remains constant irrespective of the diameter of the pipe.

The following diagram explains the experiment with 4 Saranas.

Sarana-Chatushtai experiment on two similar sitars

Table 9.1-Comparative display of old & new scales

SHRUTI NO

BHARATMUNI

SRINIVASA

BHATKHANDE

DIATONIC OLD

EQ.TEMPERED

SA 240 240 240 240 240 RE KOM 256 259 254 256 254. RE 264 270 270 270 269. GA K 284 288 288 284 285 GA 301 301 301. 300 301MA 320 320 320 320 320.MA T 338 344. 338 338. 339PA 360 360 360 360 359DHA K 384 377 381 384 380 DHA 397 405 405 400. 403 NI 426 432 432 430 427NI KAK 451 452 451 450 453SA 480 480 480 480 480

Knit-India Shruti DarpaN Flutes

Flute design information on Saptak (Octave) wise sample data

SHRUTI LENTH IN

mm

FREQUENCY IN

HERTZ

SHRUTI LENGTH

FREQUENCY IN HZ

SHRUTI LENGTH in

mm

BHARATMUNI’S

MANDRA MANDRA MADHYA MADHYA TAR SHRUTI SCALE

SAPTAK(Octave) FREQUENCY

1060 155.5 484 311 196 6221024 160.49 466 320.98 187 640988 165.846 448 331.692 178 663.384952 171.551 430 343.102 169 686.204916 177.67 412 355.353 160 710.706880 184.256 394 368.513 151 737.026853 189.507 380.5 379.015 144.25 758.03

Curve Fit –Air column

Curve Fit – Strings

Curve Fit results

a=2245.332472 ,b=-25.29054, c=0.222437, d=-0.0014001863e=5.9783674 x10-6,, f=-1.69944605 x 10-8, ,G=3.1911094 x 10-11 ,h=-3.8938684 x10-14 ,

i=2.962449 x 10-17, , J=2.36844199 x 10-20

10th Degree Polynomial Fit Co-relation Coefficient=0.999974

Polynomial Equation is Y=a+bx+cx2+dx3 ……

Conclusions• This book is the first to give theoretical

and practical scientific construction methodology for flute in detail.

• The Shruti Swara arrangement is resolved subjectively and objectively. This is the most ancient concept of Bharatmuni.

• Author has established the 22 Shruti positions of Bharatmuni by performing the Sarana experiment on Flute and Sitar respectively.

• The flutes for 56 murchanas as per Bharatmuni's writings are available with author.

• The existence of Shruties with respect to modern unit of frequencies is proved by plotting the graph between 66 values in three Saptak (Octave) for Shruties in mm vs. Frequency in Hz.

• The smooth curve was plotted with 10th degree Polynomial least square fit and the `Shruti equation' was established for Pipe and String. This mathematically proves the ancient concept of Shruties in the present context.

• Nobody since last 2000 years have performed the Sarana Chatushtai experiment on Flute nor Bharatmuni has explained it on flute

Epilogue

• This book “Shruti Darpan“ was published on

29th November 2014 as a printed book.

• Author was aware that the contents of the

book are highly technical and can be

appreciated only by music teachers and

musicians.

• It was suggested that an E-book edition should be prepared and uploaded on Web for wider circulation amongst the students doing research on Indian classical music.

• Minor changes in the format of the text material were necessary. • A glossary of terms is added. • Author has, tried to explain Shruti demonstration on flute to prove how Bharat Muni’s Natyashastra is scientific and relevant even in present era.•If few students of music find this book inspiring, my efforts will be more than fulfilled.

Author in workshop

Flutes made by Author

Frequency Meter cum Tuner

Natya Shastra of Bharat Muni, Chapter 30

Acknowledgement• I cannot find words to express my gratitude to my mother late Malini Patwardhan. • I acknowledge the support of my wife Sau Dr.Suchitra Patwardhan and my sons chi Gandhar and chi Alap. They extended the practical help in flute playing and forced me to print this book "Shruti-Darpan".

•I am indebted to Prof Dr. Rajgopalan and Prof Dr. A.S. Nene for helping me to write the research paper. •I want to thank again all those well wishers and friends without whom the book would have been a mission impossible.

For Detailed information, procure Soft or Hard Copy of the book

Shruti DarpaNAt

www.Bookganga.com

Dedicated to my dear mama

Baba Amte