CONCEPTUAL

OVERVIEW

Contemporary music (of the West & the East) Is limited to the design of “12 Tones”

However, Contemporary Indian Carnatic music traditions Claim that there are Many more ‘tones’ in actual use, duly integrated with their ‘Ragas’

but….. , These are NOT ‘defined’, ‘quantified’ & ‘adopted’ on a sound musicological basis

Great ‘seers’ of medieval India indicated the existence of

‘22 TONEs’
In Music

But …. , Not much evidence was adduced in support of their Contentions.

My research work in pursuit of this ideal had been somewhat Fruitful. I had narrated the details, in my Book :

MY

BOOK

A

BRIEF SUMMARY Of My “FINDINGs”

OUR “ANCIENT MUSIC” WAS FOUNDED ON 22 ‘Simple Fractions’

These

22

‘Simple

Fractions’

were derived from the Natural Numbers between ‘1’ and ‘12’

The “Ancients” worshipped

These Natural Numbers between ‘1’ and ‘12’ as “Gods”
(for some unknown reasons)

‘Sumerians’
known

the earliest civilization ( 4000 B.C. )

worshipped Their gods/ goddesses as 5, 10, 15, 20, 25, 30, 35, 40, 45, 50, 55, and 60
(For details use my link: http://sumeriangods.blogspot.com/ )

I

have established that these are eventually reducible to The numbers from ‘1’ to ‘12’ only

Therefore, there must be something very “ SPECIAL ” about these Numbers between ‘1’ and ‘12’ !

The

“Ancients” shunned

The Numbers between ‘13’ and ‘18’ As “Devil’s

Domain”

The

“Ancients” glorified

The as

Number

‘22’

“INFINITY”

(i.e. SUM of all things Created by GOD)

I, therefore, Confined my ‘Examination’ To the numbers Between ‘1’ and ‘12’ And SHUNNED Numbers between ’13’ and ’18’

I discovered that Only “22” fractions Can be formulated Mathematically Between ‘1’ and ‘12’

ONLY

These are the 22 ‘Simple Fractions’

‘mathematically
between

feasible’

‘1’ and ‘12’

When these 22 mathematical Fractions are converted as ‘tones’ in the

22 Pitch (Sruti) Octave,
they acquire the following tonal values !
(please see next slide)

FRACTIONs

TONAL VALUEs

FRACTIONs
(CONTINUED)

TONAL VALUEs

(in 22-pitch scale)

(in 22-pitch scale)

1/1 12/11 11/10 10/9 9/8 8/7 7/6 6/5 11/9 5/4 9/7 4/3

0.00 2.76 3.03 3.34 3.74 4.24 4.89 5.79 6.37 7.08 7.98 9.13

11/8 7/5 10/7 3/2 11/7 8/5 5/3 12/7 7/4 9/5 11/6 2/1

10.11 10.68 11.32 12.87 14.35 14.92 16.21 17.11 17.76 18.66 19.24 22.00

I discovered

that

‘six
( out are

fractions’
“22 Fractions” ) the

of These

“seeded” into ‘Sadja-grama’
musical scheme (see of

(the

earliest

India)

in

‘rounded-off’

forms, like this ! next slide)

Sadja-GRAMA

TONEs

(“Rounded-off” values)

Nearest members of the Family of ‘22- FRACTIONS’

Sadja (Tonic) Rishabha Gandhara Madhyama Panchama Dhaivata Nishada

0.00 2.76 4.89 9.13 12.87 16.21 17.76 22.00

1/1 12/11 7/6 4/3 3/2 5/3 7/4 2/1

3.00 5.00 9.00 13.00 16.00 18.00

Sadja octave‫׳‬

It could be a ‘trivial’ coincidence !
Therefore, I decided to extend My study to cover The other Ancient Musicological formats, known as

“MADHYAMA-GRAMA” and “MURCHANAs”.

‘Five’ more Fractions Were found “seeded” in Madhyama-grama in their ‘rounded-off’ forms, like this !
(see next slide)

Madhyama-GRAMA TONEs Nearest members of the (“Rounded-off” values) Family of ‘22- FRACTIONS’

Sadja (Tonic) Rishabha Gandhara Madhyama Panchama Dhaivata Nishada

0.00 3.74 5.79 10.11 12.87 17.11 18.66 22.00

1/1 9/8 6/5 11/8 3/2 12/7 9/5 2/1

4.00 6.00 10.00 13.00 17.00 19.00

Sadja octave‫׳‬

The Remaining 11 Fractions Were “seeded” in the ‘Murchanas’
(see next slide)

Sadja-grama MURCHANAs Rishabha-3 = 10/9 Rishabha-5 = 8/7 Gandhara-2 =11/9 Gandhara-3 = 5/4 Gandhara-4 = 9/7 Madhyama-3 = 7/5 Madhyama-4 Dhaivata-2 Nishada-4 = 10/7 = 8/5 = 11/6

Madhyama-grama MURCHANAs Rishabha-2 Dhaivata-1 = 11/10 = 11/7

This

is

a very

“QUEER
As

PHENOMENON”

my calculations are based On modern mathematics And their relevance is getting related to Some data contained in Indian Musicological records of

200 B.C.

vintage !

Let

us

look

from another angle!

What is so “SPECIAL” About finding some 22 Fractions In the early forms of Music ?

Please note that this Family of “22-Fractions” Are the “SIMPLEST FRACTIONS” From the mathematical view point

This “simplicity” conforms to the famous doctrine of The ancient Philosopher-musician

Pythagoras

of

Samos

PYTHAGORAS’s

DOCTRINE

“ Harmonization should not be Enforced : It should be

picked out from Nature,
as the mathematics whole integers ” of

PYTHAGORAS’s

DOCTRINE
be

“ Numerosity Should Governed by

strict arithmetical economy
In music ”

PYTHAGORAS’s

DOCTRINE

“ Number and ratio Should be expressed

MOST
In

elementally
music ”

AS

OPPOSED

TO THIS

DOCTRINE,

CONTEMPORARY MUSIC CONSISTS OF “COMPLEX” FRACTIONs !

PYTHAGORAS

STATED

THAT:

“ COMPLEX FRACTIONs PRODUCE

DISCORD ”

‘clanging of metals’ ‘roar of a jet engine’ Are few examples of “COMPLEX FRACTIONS” And consequent ‘Discord’ Contained in sound

EXAMPLEs of CONTEMPORARY MUSIC
“TEEVRA MADHYAM” “KAKALI NISHADA” “ Ab” (HINDUSTANI MUSIC) - 45 / 32 (CARNATIC MUSIC) - 243 / 128

(WESTERN ‘ET’ MUSIC)

- 1571527 / 990000

HOW IS THE MUSIC FOUNDED ON THESE ‘SIMPLEST FRACTIONS’ DIFFERENT
From contemporary Music ?

FOUNDED ON THESE ‘22 SIMPLE FRACTIONS’ Generate HARMONY,
As they are picked out From NATURE

MUSIC

The OF

‘RESOURCE - BASE’
22 TONEs IS MUSIC

LARGER

IN TERMS OF NUMBER OF TONEs AND THEIR ‘CONSONANCE - RICHNESS’

However….., To feel its true experience, the following TWO ‘canons’’ Should be strictly observed

FIRSTLY,
While melodic phrases, Intervals between successive Notes should also be strictly maintained as composing

“simple - FRACTIONS”

THESE

ARE THE PERMISSIVE SEQUENCES BETWEEN THE “22- Fractions”

R1 R2 S R3 R4 R5 R6 G1 G2 G3 G4 M1 M2 M3 M4 P D1 D2 D3 N1 N2 N3 N4 S‫׳‬

INTERVALS

INVOLVING

“LEAPS”

BEYOND SUCCESSIVE NOTEs ARE ALSO PERMISSIBLE, ONLY WHEN THESE ARE COFIGURED AS

“SIMPLE

FRACTIONs”

I

HAVE

ALSO

PREPARED

A SIMILAR

“ LEAP - NOTEs NETWORK ”
GIVING

ALL SUCH COMBINATIONS
(Please see two examples in the following slides)

R1– SWARAs: NETWORK

M1

N1 N1 D2

N2 S N3 R1 G1

M1 P M3

D2

N2 S G1 M1 P

P

D3

D3

N3

M3

N4

N4

R2- SWARAs

NETWORK

M1

D2

N1

D1

N1

N2 P D3 N3 S R2 G1 G2

M1 P M2 M3

D2

N2 S G1 M1 P

D3

N3 R2 N4 M2

M3

N4

SECONDLY, We presently experience “Consonance” existing between ‘Sadja’, ‘Panchama’ and ‘Sadja (octave)’ ONLY By activating a Drone As the sruti base.

A totally new concept Of “ASSONACE” would be Perceived within this Family of 22- Fractions

‘Spectral

ASSONANCE’

exists in certain ‘TRIADs’ of these 22-FRACTIONS. This should be observed with PRECISION
(please see next slides)

“ASSONANCE” WITHIN ‘22- FRACTIONs
SACRED NUMBERS

12 11 10 9 8 7

S’ N4 S’ N3 S’ N2

N1 D1 D3 P D2 M3

P M2 M4 G4 M1 R6

M1 G2 G3 R4 R5 S

G1 R2 R3 S S

R1 S S

S

LEGEND
S
SADJA RISHABHA GANDHARA MADHYAMA

P D N S’

PANCHAMA DHAIVATA NISHADA SADJA (OCTAVE)

THERE ARE PLENTY OF SUCH ASSONANT ‘TRIADs’

R G M

“ASSONANCE” WITHIN ‘22- FRACTIONs
SACRED NUMBERS

12 11 10 9 8 7

S’ N4 S’ N3 S’ N2

N1 D1 D3 P D2 M3

P M2 M4 G4 M1 R6

M1 G2 G3 R4 R5 S

G1 R2 R3 S S

R1 S S

S

This Renders

‘PHENOMENON’ the whole system

“ ASSONANCE - RICH ”

These ‘22-FRACTIONs’ project incredible “MYSTICISM” ( A HINDU Point of View! )

Please observe : The Family is seated in the Holy “PRANAVA” Form !
(next slide)

S S S S S S R5 R6 M1 M3 D2 N2 S’ S’ N3 S’ S’ P D3 N4 S’ S’ G4 M4 D1 N1 R4 G3 M2 P R3 G2 M1 R2 G1 R1

Ancient sages of India believed that the Human body
Resembles the three musical And they contain octaves

22 ‘satvic’ nodes In each Octave
(i.e. Centers that Promote Spiritual Harmony and Peace of mind !)

These music of

‘satvic 22

nodes’ by

are the

energized ONLY

‘simple fractions’

On the contrary, listening to music with heavy “DISCORD” content, might activate only our ‘rajasic’ / ‘tamasic’ nadis ( i.e. “Indulgence needs” of our body ) and cause incalculable “harm” in the long run !!

based on other tones

THEREFORE, LOOK FORWARD TO GREATER PARTICIPATION FROM THE SOCIETY OF MUSIC LOVERS IN SPREADING ‘AWARENESS’ ABOUT THIS UNIQUE DISCOVERY

I,

I

have developed this theme Further to discover that A great treasure of “Ancient Music” is remaining uncovered as yet

Please peruse My BOOK :

MY

BOOK

CONTACT

ME

Tele: 91 20 30441256 Mobile: 9890266845, 9850121834 E-Mail: snnambirajan@rediffmail.com Web site: http://www.22sruti.com POSTAL ADDRESS A-7 / 103, FLORIDA ESTATE, KESHAV NAGAR, MUNDHWA, PUNE-411036

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