Understanding Frequency and Pitch in Indian Classical Music: How They Define Swara

Many a time, the differentiation between various musical notes, or swara, in Indian classical music can be a bit overwhelming. If what differentiates a swara from another swara is not the frequency amplitude or pitch, then what exactly is it? My answer ultimately points towards a fixed reference point, specifically the tonic note, or Sā.

The Basics of Frequency and Pitch

Frequency is defined as the oscillation of a sound wave per second. It is a fundamental property of sound waves that determines the pitch of a note. On the other hand, pitch is the auditory perception of frequency. A steady sound of a particular frequency is perceived as a specific pitch and is reproducible and comparable with other sounds of steady frequency.

Frequency in Western Music vs. Indian Classical Music

In the standardized Western edoars, swaras or notes are named as C, D, E, F, G, A, and B. In this system, the musical notes repeat in an octave, and the reference point A3 is commonly set to 220 Hz, the third octave 'A' note. Thus, as the frequency increases, the pitch increases, and consequently, the note changes. This pattern is different from Indian classical music, where the reference point or tonic note is Sā, which is not fixed and can vary based on the vocalist.

The Role of Tonic Note in Indian Classical Music

Indian classical music uses the Sā Re Ga Ma Pa Dha Nī scale, where each note's relationship to Sā is based on a proportional difference in frequency. Due to the movable nature of the Sā note, different singers may require different starting frequencies to suit their vocal capacities. Therefore, the reference point is crucial to defining a swara.

Example Scenario: Movable Reference Point Sā

In a scenario where the Sā starts at 200 Hz, the corresponding swaras would be:

Re 222.22 Hz Ga 250 Hz Ma 266.66 Hz Pa 300 Hz Dha 333.32 Hz Nī 375 Hz Upper octave Sā 400 Hz

On the other hand, with a standard frequency where Sā 220 Hz, the swaras would be:

Re 244.44 Hz (B3) Ga 275 Hz (C4) Ma 293.33 Hz (D4) Pa 330 Hz (E4) Dha 366.65 Hz (F4) Nī 412.5 Hz (G4) Upper octave Sā 440 Hz (A4)

These examples illustrate how the Sā note, being the reference point, determines the unique sound of each swara.

Conclusion

In summary, the differentiation between swaras is primarily based on the fixed reference point or Sā. Once this reference point is set, the unique relationship between its frequency and the subsequent swaras can be defined. Therefore, frequency and pitch differentiate swaras from each other, given the presence of a definite reference point. This unique approach in Indian classical music reflects the flexibility and adaptability of the tradition in serving the vocal needs of its performers.