====================================
| |##|
|##| | |##|
|##| |##| | |
|##| |##| |
|##| |##| |##| |
| |Ra|
|Ru| | |Mi|
|Da| |Du| | |
|##| |Gi| |
|##| |##| |Ni| |
| |__|
|__| | |__|
|__| |__| | |
| |
| |
| |
|
| Sa | Ri | Gu | Ma | Pa | Di | Nu |
| |
Ga | | |
| Na | |
|____|____|____|____|____|____|____|
Figure 2: Swaras for
one kattai reference pitch
The
numbering used above allows one to easily locate the swaras on
fretted string instruments (veena,
mandolin etc.). One simply counts up the frets till the desired
swara is reached.
For example, if a Sa is played on a particular fret, to get a Prati
Madhyamam, one simply moves up 6 frets on the same
string (moving six steps from 1 results in 7, the number denoting the Prati Madhyamam). The
Ra-Ri-Ru notation exists chiefly for convenience and is not used very
widely. In conformance with that practice, this document will point out
when the notation is being used. In the absence of such an indication, Ra should be taken
to imply not Suddha Rishabam but a generic Rishabam. The following keyboard diagrams
show the locations of the swaras for one kattai and four and a half kattai
reference pitch using the ra-ri-ru notation. A similar indication can
be easily made up for fretted string instruments simply by using the
swara sthana table and counting up the frets starting from Sa
|