WO2017125945A2 - Gamaka box notational system - Google Patents

Gamaka box notational system Download PDF

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Publication number
WO2017125945A2
WO2017125945A2 PCT/IN2017/000014 IN2017000014W WO2017125945A2 WO 2017125945 A2 WO2017125945 A2 WO 2017125945A2 IN 2017000014 W IN2017000014 W IN 2017000014W WO 2017125945 A2 WO2017125945 A2 WO 2017125945A2
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WIPO (PCT)
Prior art keywords
note
gamaka
notes
swara
raga
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PCT/IN2017/000014
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French (fr)
Inventor
Vinayakam RAMESH
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Vinayakam RAMESH
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Publication of WO2017125945A2 publication Critical patent/WO2017125945A2/en

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    • GPHYSICS
    • G10MUSICAL INSTRUMENTS; ACOUSTICS
    • G10GREPRESENTATION OF MUSIC; RECORDING MUSIC IN NOTATION FORM; ACCESSORIES FOR MUSIC OR MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR, e.g. SUPPORTS
    • G10G1/00Means for the representation of music
    • GPHYSICS
    • G09EDUCATION; CRYPTOGRAPHY; DISPLAY; ADVERTISING; SEALS
    • G09BEDUCATIONAL OR DEMONSTRATION APPLIANCES; APPLIANCES FOR TEACHING, OR COMMUNICATING WITH, THE BLIND, DEAF OR MUTE; MODELS; PLANETARIA; GLOBES; MAPS; DIAGRAMS
    • G09B15/00Teaching music
    • G09B15/02Boards or like means for providing an indication of notes

Definitions

  • the present invention relates in general to music notation system and a method for teaching music.
  • Music is an art form that uses organized sounds of definite pitches structured over time. Its main elements are melody, time and harmony.
  • a scale is made of a set of fixed-pitch notes, ascending (Arohanam) and descending
  • Gamaka Box is designed for easy practical use from the student to the researcher, it is a pedagogic and a research tooi.
  • the system of Gamaka Box Notation consists of four main features
  • Gamaka box consists of three horizontal lines and two perpendicular lines
  • Notation Line comes underneath the GB consisting of notes/swaras which are pitch degrees, time, beats and articulations. "The line written underneath the GB consisting of notes/swaras is already itself a notation showing pitch degrees, time, beats and articulations.” Note: Notation Line' in this article denotes any system that gives the time, beat, pitch contextGB notates the Gamakas of the notes supplied by any notational system.
  • the lines of GB are dynamic - they would denote the corresponding PN, UN and LN of successive notes/swaras written below.the GB. That is, The note written below the GB functions like a key to the notes of the GB box's lines and spaces on the time axis, which is left to right.
  • GB Symbols are characters that are piaced inside and outside the GB in relation to the swaras written on the time axis underneath.
  • PN Principal note
  • the middle line of the GB represents the PN.
  • the top line and the bottom line represent the Upper Note (UN) and the Lower Note(LN) to the PN respectively.
  • the Upper note and the Lower note would vary according to the constituent swaras, the Arohanam - Avarohanam, of different ragas.
  • the UN to S is G here and not R as it was in
  • the PN is P, but in different ragas, Todi and Mohanam.
  • Varja Ragas which omit one or more notes, and are symmetrical (made of the same notes both ascending and descending), they would take the constituent notes that lie above and below the PN, in order.
  • VarjaRagas which omit one or more notes ascending and omits different note/s and/ or includes one or more notes descending, or vice versa
  • the sum total of the notes in the raga will be the constituent notes. Therefore, for any given PN, they would take the constituent notes that lie above and below the PN, in order.
  • a Foreign note is a note not lined up in the ArohanamAvarohanam, and /or which is not part of the parent Raga but used legitimately in a special phrase of a raga. It may occur overtly as the N2 in Bilahari or discreetly as R2 in Todi 16
  • D 2 lies in the space between Di and N 2 .
  • Sindhu Bhairavi has both Ri and R2 and 2 and N 3 . Therefore the bottom line is N2 the lowest of N's and N3 lies in the space. Likewise, the top line is R 2 the highest of the R's and Ri lies in between.
  • the GB symbols are characters that give specific, clear and unique performance directions, describing the movement of notes in order to realize a particular sound, when read in conjunction with the GB and the Notation Line.
  • a horizontal line indicates the sustain of a note as aligned in the GB.
  • the sustain symbol can occur at various positions in GB examples.
  • Vibrato is a 'self oscillating gamaka, which moves within its own range, without involving other swaras.
  • Vibrato there are two varieties of Vibrato namely
  • Vibrato symbol When the Vibrato symbol is right on the line, it denotes a shake or oscillation within the note's own ambit. In cases where it is slightly above or below, even while touching a line, it would mean a slight increment or decrement of the pitch to which it is aligned.
  • Vibratos can also occur for any note in any other part of the GB.
  • Vibratos should be written at the point of incidence, aligned to the beats, in the example below, the beginning two beats have no Vibrato and the vibrato happens in the last two. Therefore in the examples below, the straight plain note is left alone. Only the vibrato is notated.
  • This Gamaka indicates the quick upward movement/glide from one note to another. They appear at various points in the GB.
  • This Gamaka indicates the quick movement downwards between the swara connected by the symbol: They appear at various points in GB.
  • the Short Quick Glide Up ' /' is used to denote micro tones/ sruti-s, frequencies Jess or more than pitch degrees (swarasthanas).
  • the Short Quick Glide Down ' ' is used to denote micro tones/ sruti-s, frequencies, less or more than pitch degrees (swarasthanas).
  • a down glide that starts from a microtone (snrti) just more than the pitch degree to which it reaches.
  • Vibratos would mean unspecified number of oscillations ad lib 5 .
  • the difference between these two symbols can be recognized by the extremely narrow zigzag unique vibrato symbol and the relatively broad Short Quick Glide symbols.
  • Short quick glide oscillations can be differentiated from vibratos which have a worm like form, as below. o
  • This Gamaka symbol is to doubly hasten a quick glide.
  • Arrow head is written on the line of a Quick Glide up or down re emphasizing the direction but to indicate super speed.
  • Two such arrow heads may be used together to indicate if any glide is to be performed at a blinding speed.
  • the vertical line ⁇ ' is an alternate symbol to indicate a blinding glides up or down in certain circumstances. As the GB and its symbols have to be read from left to right, it is impossible to interpret the Vertical Line from right or left, if it stands alone. Therefore, it should always precede or succeed another symbol. Though interchangeable with the Quick Glide with arrows, it has its own effect and uses.
  • the Struck Glide up symbol ' i""' denotes rather than a mere accent the 'striking' of, a low note before moving quickly up. It is normally used for the second of a pair of a same swara called the 'Jantai'.
  • the Gamaka is called Spuritham. However it can also be used on a single swara, not only on the second of a pair.
  • KALYANI Sustain and Struck Glide up can come together preceding and succeeding each other.
  • the struck glide reaches the note from an indeterminate pitch, a microtone, just below the note, not from the LN .
  • the symbol ' ⁇ ' denotes a strike rather than a mere accent of an upper note and a quick glide down. It is normally used for the second of a pair of a same swara called the 'Jantaf.
  • the Gamaka is called Prathyagatham. However it can also be used on a single swara.
  • the Spuritham and Prathyagatham are not confined only to the neighbor notes but also occur involving any note below or above.
  • This Gamaka indicates the slow upward movement/glide from one swara to another.
  • This Gamaka indicates the slow movement downwards between the swara connected by the symbol. They appear at various points in GB.
  • the glide moves from the Space note S, through to P, and in the second, the glide is from D to S without stopping at N.
  • This Gamaka is a variant of Slow glide Up that has to be used in certain circumstances.
  • This Gamaka is a variant of Slow Glide Down. Falling Slow Glide Down goes down relatively quickly and reach slowly while the Slow Glide Down goes down slowly and reaches the lower note relatively quickly.
  • (B) is of only one movement a single flow gamaka, though made of the same notes.
  • the Dot is used within the GB is to express the following:
  • the Dot ' .' would also indicate an articulation, the sound of the peculiar style of south Indian music of tapering the end of the last glide of a Gamaka. Tapering here would mean either a sliding off at a micro tone (an indeterminate pitch) before reaching the note the Gamaka approaches, or in some cases to stop at the very moment when it reaches the pitch.
  • the Dot here is an articulation and not a rest and clearly aligned to the symbol.
  • the Dot should be read in combination with the sustain and is not a staccato. Both theDot and the Sustain are aligned to the 1 st beat denoting an initial miniscule delay ad lib before the sustain. The sustain continues to the second beat as there is no rest indicated.
  • Dot Only a Dot can mean a break in the continuity of a gamaka even though Gamaka symbols may be 'disjointed', In the following example, there is no break between the 'disjointed' slow and fast glides for G as there are no dots in between. However there is a break at the end of the fast glide as there is a Dot.
  • the symbol ' is used to indicate two different articulation- Accent and Weight (Emphasis).
  • the > sign can also be placed at a particular beat in the notation for a swara, not necessarily at the very beginning.
  • the 1 > ' sign can be placed to indicate an Accent, in course of a sustained note as below.
  • the accent is the fourth beat of the four beat long sustain of S.
  • the sustain is understood here even without the symbol but if needed, it may be added.
  • the accent is on the second beat for the S at its octave.
  • vocal music it will be quite difficult to execute this. It would usually be performed, due to the nature of voice wherein the pitch tends to lower naturally before it reaches the intended pitch with an approach from below.
  • This on the other hand has a gamaka without accent in the first beat and has an accent in its position in the second.
  • this Gamaka is a symbol that denotes a very quick upward flash with an 'accent' at the end of the flash to an unvoiced pitch.
  • An unvoiced pitch is apitch at which the sound is stopped suddenly- i.e. that which goes without voice.Though there is an inherent rest at the end of the flick it is also possible to write an intended stop with an additional Dot '.'
  • a delayed sustain and a flick A delayed sustain and a flick.
  • the Flick can also come in combination with other symbols mostly occurring at the end of a swara..
  • This Gamaka is a combination of Slow Glide, Quick Glides and Slow Glides and is a unique Gamaka in south Indian Music:
  • the Crua ' ' is a Short Quick Glide Up and a Short Quick Glide Down, occurring together. This denotes an extremely quick flash of a four note turn consisting of the upper note, the PN, the lower note and the PN. The alignment of the symbols would indicate the relative high or low pitches to be performed.
  • the top glide very quick and short starts from a proper pitch degree, the note above PN here, and very quickly moves to the next glide staring from just below the PN.
  • Scoop is a gamaka which would express a single flight of movement with a small pickup, mostly from an indeterminate pitch.
  • the bottom line is R and the space is S.
  • theGamaka falls to S from R, the Bottom Space Note and rises to G, the PN. No Indicative note is necessary.
  • the Gamaka employs only one note ⁇ ', which lies beyond 'P', the upper space. It is therefore indicated.
  • Leger lines are the extra horizontal lines to be used with symbols to denote notes, in the spaces above, below and inside the G6.
  • Leger line should normally be used for the lower of the two.
  • S is the highest note, placed in space, D the lowest and N in between, clearly positioned, with leger lines and with indicative notes for all.
  • G is the lowest note, placed in space, N the highest and D in between, clearly positioned, with leger lines and with indicative notes for all.
  • Courtesy notes are Indicative Notes for facilitating quick easy identification of notes if it borders on ambiguity. They are used to dispel any doubt.
  • the first indication should appear left most first, and the second one second, and so on.
  • the 'G' is to be performed only with a slight increment in the frequency not amounting to the pitch of tween and is foreign to the Kalyani raga.
  • the adjacent swaras are semi tones R x and S used in this Raga Saveri.
  • the Gamaka sustains in S and rises a wee bit not up to i but less.
  • Leger Line -Indicative Notes outside GB This would mean that every time a note is above GB is employed a leger line should accompan the indication.
  • Indicative notes can be either notes of the raga or a note not diatonic to the raga.
  • Indicative notes and notation notes have to be in different planes, that is, in different vertical positions.
  • Leger lines are different from 'Sustain' lines though they look alike. The difference can be spotted by the following.
  • Lege Lines are touched in the middle by Gamaka symbols and never at ail at the snds.
  • a sustain symbol can be identified even by 'disjointed' symbol continuing from the end of the line, it is not necessary that they should touch but alignment will be unmistakably to the ends.
  • the first MG is slow while the second is fast with a rest.
  • the slow and fast glides can be combined in as many combinations as is necessary.
  • An oscillation is a number of, to and fro movements, between pitches. It may be ei
  • the oscillation might taper involving micro tones less than the pitch degree, like
  • the raga is Shankarabhranam.
  • the top line is G 3 and the leger line in the space indicated G 2 proper. This is the- way a mandolin player might perform using the actual pitch degree G 2 but not showing it, to give an illusion of only the color of G2, and not G2.
  • the pitch employed in the oscillation is slightly less, when approached from below (flatter) and slightly more when approached from above (sharper) than pitch degree.
  • the Gamaka employs a pitch approximately around G 2 .
  • ALYANI jhe raga isKalyani and the M 2 is the top line. MiJies between G 3 and M 2 . The Mi will not sound in this at all. The gamaka is still anchored in 6 and does not lean to any anyaswara/foreign note.
  • the '-' and '+' may be used to indicate flatter or sharper pitches, if more specifics are intended.
  • Quarter notes can be specifically denoted + and - signs. This is used with an Indicative swara, indicating if it is sharper or flatter to its normal pitch degree. Though thisis so they are called by the swarasthana names compounding the problem of the practice to call three different things in the same fashion
  • Quarter Tones that lie between semi tones are part and parcel of Indian music.
  • Gamaka symbols that are short and not connecting or indicating Swarasthanas denote Quarter tones. They occur particularly in the spaces within GB.
  • Quarter tones are 'sharper* or 'flatter' depending on the alignment of the symbol to a swarasthana or pitch degree. It should be noted that they are however expressed in swarasthana nomenclature. While GB notation can show them here is no separate way to express them except by explanations and demonstration.
  • the quarter tone employed in the above example will be flatter than R the PN as the Gamaka is aligned just below the middle line.
  • M is for 2 beats and the implication is the first beat has ( 3 ⁇ 4 . and the second MG (two notes per beat).
  • the time axis is from left to right.
  • the notation line clearly indicates the pitch time relationship stating which note is to be performed when and for. how long. This will correspond to the tempo, that is speed of the piece and the tala or number of beats.
  • Absence of a symbol in ttie GB for a note written below also denotes a definite indication that the swara has to be played at its own place. Any number of symbols may be attributed to a swara but they should be properly aligned indicating clearly the rhythmic implication.
  • Example 2 The width of the second glide is narrower - to be performed quicker than the first. Additionally, the Dot indicates that the last glide shouldn't really reach G or that G should never be sustained.
  • the third and fourth beat has gamakas.
  • the Gamaka in the first beat will be faster as there are two movements to one beat.
  • the second beat will be slower as there is only one movement to that one beat.
  • the essential difference between the spaces in the GB and outside (above & below) GB is (a) The outer spaces always denote the notes of the Raga and not the foreign notes/anyaswaras that lie between the notes of the scale.
  • the Gamaka notation would depend on the subjective perception as the same Gamaka may be interpreted differently by different people.
  • a Gamaka can be expressed in different swara expressions by different people.
  • the component notes of a Gamaka can expressed by naming the component notes separately or by attributing them to one note.
  • GB recognizes this phenomena and treats a note on its own terms.
  • a Gamaka " S , p” might have a 'N" as an anuswarato S . it can be perceived recognized or interpreted as S , p, or S NP, with the N perceived as inherent to S as in the first instance or as a separate entity in the second, It would therefore expressed or spelt or pronounced while singing. With both expressions quite acceptable, to reflect the way it is expressed the notation N should either be left outor written with brackets, in the notation below to show that 'N' though inherent in S it is being pronounced or perceived as a separate entity.
  • the notation below GB expresses the perceived swaras as S , ⁇ ,. please note that the P too has the upper S in its ambit yet is expressed only as P.
  • N does not affect the GB notation and therefore is bracketed. If written without brackets then N would be Principal Note at that point, leading to confusion as where the Quick Glide from S is reaching, for, if the PN is N at that point, the bottom line would then become D.
  • the glide is for P (to D) with the D pronounced at the very end of the glide, after it reaches D.
  • the swara expression would be as if the intra sub division of P and D is P,D (triplet) or P milD, with the D pronounced at the last moment of the glide.
  • a Gamaka is one Composite Event made up of many notes. A swara transcription of a Gamaka would however yield only a notation of separate events.
  • Gamaka Symbols can be transcribed back to swarasthana notation.
  • Gamaka symbols are but the depiction of the movements between notes and also the micro tones as applicable. Realizing the swara notation from the symbols serves many a purpose like checking the accuracy, understanding the components and clarifying the rhythmic implications of the Gamaka symbols.
  • D might refer to:
  • N2D2 2D2 A Gamaka infected N 2 expressed as N2D2 2D2, where the D 2 stands for not the pitch degree D2 but a micro tone which is closer to N 2 .
  • N taking one beat and S sustained for 3 beats. Therefore the transcription would be NS , , ,
  • N and S takes one beat each, to be transcribed as N S.
  • the transcription being SRS, and GRG.In the case where there is a sustain in the beginning, it would precede the glides in the GB as below and would be transcribed as S.RS and G.RG respectively.
  • the second aspect is that GB symbols will have its own rhythmic sub-divisions (intra rhythmic), independent of, but aligned to the notation written below.
  • the third aspect belongs to the musician, his interpretation and subjective decision, that would be applied in the Vibrato, Dot preceding the sustain or any pause that might be notated.
  • the notation line expresses that the M (swarasthana) is to be played for 1 beat and nothing more
  • the gamaka symbol expresses the rhythmic sub-divisions and the notes or pitches involved in the gamaka.
  • the symbols give clearly, the rhythmic aspects of the swara.
  • the Inter note rhythmic aspect is in the notation line and the intra Gamaka rhythmic aspect is expressed in the GB layer.
  • the invention provides notation for 'Gamakas' an unique element associated with Indian music and also in other world music like Persian Egyptian Japanese Chinese i.e. oscillation of notes are also included in the notation system as per this invention which is novel and unknown in prior art.
  • the notation system can be represented visually to the singerperformer/student.
  • the notation system is applicable for usage as printed document digital document or combination thereof without limiting the contents of the invention to the user / singer.
  • the invention relates to a method of representing gamaka notation system for Indian music comprising swaras, taalas and ragas, the said method using a grid box corresponding to musical notations representative of pitch and time duration of the swara along a horizontally extended time axis providing a grid box (1) display correspondingly along the axis to a standard musical notations and above the said musical notations, applying selected gamaka note symbols within on, outside and around the gamaka grid box to indicate the gamaka notes to be sounded in selected time intervals corresponding to musical notations underneath, each of the gamaka note being visually representative of a predetermined selected gamaka note quality in accordance with a predetermined gamaka note quality protocol and for a predetermined duration of the musical notation correspondingly to the swara underneath the said
  • the invention in another aspect, relates to Gamka tone quality is representative of oscillation of notes to be sounded.
  • the invention in another aspect, relates to the gamaka grid box is arranged as rectangular matrix like structure having a plurality of vertical columns (4), and a set of three parallel horizontal lines forming two rows.
  • the invention relates to space within each of said column of the grid box is , representative of atleast one or more gamaka tone quality from a predetermined gamaka tone quality protocol.
  • the invention relates to horizontal length of each column of grid box is representative of time intervals referred as a beat in the music.
  • each vertical column representing a beat has an terminating right hand side vertical line referred as beat bar line, which is represented as a single vertical line (2).
  • the invention relates to plurality of vertical columns collectively representing a groupings of beat referred as a taala cycle, has a terminating right hand ide vertical lin referred as taala bar line which is represented as a set of plurality (double) of vertical lines (3).
  • the invention relates to the horizontal length of the columns encompassing each gamaka note symbols along the gamaka grid box is equal to the horizontal length along the axis of its corresponding musical notation underneath.
  • the invention relates to the top horizontal line of the gamaka grid box corresponds to upper note of the swara (UN), the bottom horizontal line corresponds to lower note of the swara (LN), and the middle horizontal line corresponds to principal note of the swara (PN) (of a specific raga on the basis of arohanam - avarohanam of the said raga).
  • each gamaka note symbol may comprise using one or more geometric shapes, each geometry representing a particular gamaka tone qualify in accordance with a predetermined gamaka tone quality protocol.
  • the invention relates to the graphical gamaka note symbol is marked on the grid box, within a column corresponding to the musical swara note imprinted below when the note is intended to be held for one beat.
  • the invention relates to the graphical gamaka note symbol is marked on the grid box, along a number of columns of the grid box, when a musical swara note is intended to be held for more than one beat.
  • the invention relates to most of the gamaka note symbols are read from left to right along the horizontal axis of grid box.
  • the invention relates to some of the gamaka note symbols may be read from left towards right along the horizontal axis of the grid box. In another aspect, the invention relates to some of gamaka note symbols may be read from right to left along the horizontal axis of the grid box.
  • the invention relates to the said grid box may be a digital display.
  • the invention relates to the grid box may be a printed display.
  • the invention relates to the space immediately above the top horizontal line, represents a next upper note to the principal note (PN) of the corresponding swara (of a specific raga on the basis of arohanam - avarohanam of the said raga).
  • PN principal note
  • the invention relates to the space immediately below the bottom horizontal line represents a next lower note to the principal note (PN) of the corresponding swara (of a specific raga on the basis of arohanam - avarohanam of the said raga).
  • PN principal note
  • the invention relates to the space above the top horizontal line may include musical note in text to represent a higher note which is beyond the next upper note to the principal note (PN) of the corresponding swara (of a specific raga on the basis of arohanam - avarohanam of the said raga).
  • PN principal note
  • the invention relates to the space below the bottom horizontal line may include musical note in text to represent a lower note which is lesser than the next lower note to the principal note (PN) of the swara (of a specific raga on the basis of arohanam - avarohanam of the said raga).
  • PN principal note
  • the invention relates to more than one note is to be imprinted in the said space a Leger line indicates a pitch which pitch is not same as swara pitch.
  • the invention relates to the space encompassed within the horizontal lines represent any of the notes lying within upper note of swara (UN), lower note of swara (LN) and principal note of swara (PN) (of a specific raga on the basis of arohanam - avarohanam of the said raga).
  • the invention relates to the gamaka note symbol is aligned and justified with respect to corresponding swara underneath at the point of incidence, whereby gamaka note symbol affect only the corresponding musical note to which it is actually aligned.
  • the invention relates to the grid box is empty if there is no gamaka corresponding to the swara underneath.

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Description

TITLE
GAMAKA BOXNOTATIONAL SYSTEM
FIELD OF INVENTION
The present invention relates in general to music notation system and a method for teaching music.
BACKGROUND OF INVENTION
Music is an art form that uses organized sounds of definite pitches structured over time. Its main elements are melody, time and harmony.
Melody !A U ique recognizable tune.
Time :Quantified by beats.
Harmony :Simultaneous sounding of more than one note used in an
organized way.
Indian Music, the North Indian Hindustani and the South Indian Carnatic are highly evolved systems of music. They are melodic in nature. The use of harmony is next to minimum.
On the other hand, Western music is a highly evolved harmonic music system.
Both these systems use the seven note scale of "Sa Re Ga Ma Pa Dha Ni Sa", out of which Sa and Pa are fixed. The other five notes have two different pitches making it twelve notes.
However, while Western music employs the fixed pitches, only as they are, Indian music additionally employs Gamakas, very unique and exclusive to itself.
What Is Gamaka?
The oscillations of notes including bending, curving or moving with graces of other notes are called Gamakas. They are the life and soul of Indian music.
Scale
A scale is made of a set of fixed-pitch notes, ascending (Arohanam) and descending
(Avarohanam), performed invariably in their original positions.
Raga
Raga-s are formed when fixed-pitch scales are performed with gamakas. Thus, Indian Music is made of melodically intricate Gamaka laden Ragas. Notation
Indian music has been handed over through the ages by the lip-ear route only. The disciples learnt directly from the masters. While Western Music developed side by side, notation system to record, communicate, perform and recreate music, Indian music traditionally did not believe in notation for music per se.
Evolution of Notations of Gamaka's -Efforts made so far
A skeletal notational system for Indian music came into vogue about a hundred and fifty years back (before which there was practically none). However, there is no definitive notation for the most important aspect of the music -the Gamaka, thanks to the inadequacies of the seven note representation to indicate these complicated oscillations.
Aware of this lacuna the great music scholar Subbarama Dikhshathar, the grand nephew of Muthuswami Dikhshathar, one of the Trinity of Carnatic music, devised symbols to notate and represent Gamakas on paper. This system of notation was influenced by the Western Staff Notation and its symbols.
In his Sangeetha Sampradhaya Pradarshini,(1904) he has a list of symbols to denote the fifteen Gamakas (Pancha-Dasa Gamakas) as classified by him. Some of the symbols were from the western music but to denote some other musical meaning.
Thereafter, many great musicians and legends like Ranga ranianuja Aiyangar, T.Viswanathan, Lalgudi Jayaraman, Karaikudi Subramaniam Dr.Mallikarjuna Sharma and others who were aware of this vacuum devised their own methods to notate gamakas using symbols to facilitate gamaka singing. However these have not found their way into practical use as they are complex in nature and difficult to adapt.
Also, the perception of the musicians and the musicologists that Gamakas are inexpressible through notation and that the same can only be assimilated through the ear contributed to the lack of to scientific approach to the problem. Therefore, Indian Notation has never represented the true music as performed. OBJECT OF INVENTION
Need for Gamaka Notations in Indian Music
Just as in the Western music tradition Indian music styles have been changing over a period of a thousands of years. To study, practice and perform different styles of different periods there has to be an advanced system of notation that represents the music along with the oral tradition. This way the styles could be preserved with less distortion. While the west has an advanced system that evolved side by side making it possible to play Bach in the Baroque style and Beethoven in the Romantic; there is no such system in India.
We do not have authentic notation of any sort, not even the basic of say Thyagaraja (written by himself) or any immediate shishya of his. The music has passed on for centuries only through the aural route with no notation to rely on. This obviously means that the music that we sing today has to be most certainly different from what was sung two hundred years ago, either distorted or enhanced - but definitely changed. It also means that the music literature that we have is only oral literature.
For any student of Indian music the Gamakas are quite complicated to imbibe. Only through rote and aural tradition has it been handed over to us.
The problem of not having a notational system has confined this great music to Indian sub continent. The north Indians hardly attempt to sing the south Indian ragas, the south Indian way and vice versa. Therefore the Hindustani and carnatic systems are almost confined to north and south respectively.
Without a system of proper notation there is no way to methodically codify Indian music which precludies any one to come forward to learn and play Indian music even if they are interested. And this includes the people in West.
Students in India being the product of the culture have it in their genes. However just as a language has to have a script a musical system too needs such a script without which all the problems of a language languishing without a script would befall Indian music.
Therefore Gamakas should be notated for understanding, recording, representing, reproducing performing and analyzing defining, analyzing, studying, learning, teaching, chronicling and preserving different styles of music and recording changes in and capturing the evolution and development of ragas. BRIEF DESCRIPTION OF INVENTION
Gamaka Box is designed for easy practical use from the student to the researcher, it is a pedagogic and a research tooi.
It is a framework and a template which can be enriched further as time goes by. It consists of lines denoting definite pitches and symbols that capture the movement of the Gamakas, as they are performed.
Many new symbols have been invented along with the Gamaka Box while, some of the old symbols which were very vague assumes definite and clear meaning here as it is used with the Gamaka Box.
DESCRIPTION OF INVENTION
The system of Gamaka Box Notation consists of four main features
1. The Gamaka Box
2. The notation placed under it to give the pitch and time context
3. Symbols placed inside and outside of Gamaka Box attributed to notes
4. Lyrics
1. Gamaka box (GB) consists of three horizontal lines and two perpendicular lines
Figure imgf000005_0001
2. Notation Line comes underneath the GB consisting of notes/swaras which are pitch degrees, time, beats and articulations. "The line written underneath the GB consisting of notes/swaras is already itself a notation showing pitch degrees, time, beats and articulations." Note: Notation Line' in this article denotes any system that gives the time, beat, pitch contextGB notates the Gamakas of the notes supplied by any notational system.
Gamaka Box is placed over one note/swara
Figure imgf000006_0001
or on many notes/swaras
Figure imgf000006_0003
The lines of GB are dynamic - they would denote the corresponding PN, UN and LN of successive notes/swaras written below.the GB. That is, The note written below the GB functions like a key to the notes of the GB box's lines and spaces on the time axis, which is left to right.
Time axis
Figure imgf000006_0002
The horizontal space in the GB for every note equals the space for the same in the notation.
3. GB Symbols are characters that are piaced inside and outside the GB in relation to the swaras written on the time axis underneath.
Some GB symbols:
Quick Glide Up /
Quick Glide Down
Sustain .
Vibrato /vwv
Symbols and Gamaka box
Figure imgf000007_0001
Gamaka box, notation and svmols
Example
Figure imgf000007_0002
4. Lyrics placed in context of the swaras
Example
Figure imgf000008_0001
Irrespective of the language or system of the Notation Line, (whether It is staff notation or any other) and irrespective of whether or not there are lyrics, if the three line GB is appended to that notation line with the symbols in context of the notes, time and articulation then it would then be the notational system of GB.
Ex. with staff etc.
Note : All explanations in this manual is given with the Standard Indian Notational system.
Features of Gamaka Box.
Gamaka Box
Gamaka Box
Figure imgf000008_0002
O Space for Notation with dotted line
Principal note (PN) is the note written below the Gamaka Box, it is the one which is to be performed. It is the note to which the Gamaka is attributed. The can be performed as the pitch degree with or without solmization or lyric."
Figure imgf000009_0001
S The PN in the notation line
Lines of GB
The middle line of the GB represents the PN. The top line and the bottom line represent the Upper Note (UN) and the Lower Note(LN) to the PN respectively.
UPPER NOTE (UN) PRINCIPAL NOTE (PN)
Figure imgf000009_0002
LOWER NOTE (LN)
The Upper note and the Lower note would vary according to the constituent swaras, the Arohanam - Avarohanam, of different ragas.
The following example is in the raga 'Mayamalavagowlai'. It has all the seven notes and is made of S R1 G3 M1 PD1 N3 ascending and descending.
The note written below the GB is "S". Therefore, the note of the middle line, would be "S", the Principal Note(PN). The top line would then be "R" the Upper Note (UN) and bottom line "N" , and Lower Note (LN) to the PN, respectively.
Figure imgf000009_0003
For the Raga Mohanam which has S R2 G3 P D2 S ascending and descending, the UN and LN to S would be:
Figure imgf000010_0001
Notice that the LN is D in this case, and not N as in
Mayamalavagoulai.
In case of the raga Hindolam the ascending and descending notes of which is S G2 M1 D1 N2 S, the UN and LN to S would be:
Figure imgf000010_0002
The UN to S is G here and not R as it was in
Mayamalavagoulai.
Notes in Spaces outside GB.
The next upper note to the PN lies in the space above the top line. Similarly the next lower note to the PN lies in the space below the bottom line. This will be in accordance to the total Arohanam - Avarohanam, the constituent notes of the Raga. 1
In both the following examples the PN is P, but in different ragas, Todi and Mohanam.
The notes represented by the spaces are therefore different based on the constituent notes of the ragas. Todi has all the seven notes, S R G M P D N and Mohanam has only five S R G P D .
Notes in spaces outside GB for P in Todi
Figure imgf000011_0001
the PN, in Todi
Notes in spaces outside GB for P in Mohanam.
Figure imgf000011_0002
Go to chapter .„.. for different types of raga of different Arohanam avarohanam Further High and low Notes.
Further high/low notes are indicated by writing the notes in a smaller font which are involved in the Gamaka Box symbol. These are Indicative Notes.
Example:
Figure imgf000012_0001
M
Therefore for any given PN there would be five constituent notes of the concerned raga lined up in the GB; The three lines and the two spaces outside GB. These are called Raga-Note Positions.
Raga Shankarabharanam: Arohanam : S R2 G3 Mi P ¾ N3 S
Avarohanam: S N3 D2 P Mi G3 2 S
Figure imgf000012_0002
With the PN taking the middle line the top line and the space above it and the bottom line and the space below it, would take, in order, the upper two notes and the lower two notes to the PN, respectively.
The notes they take would be based on the type of Ragas, classified by their Arohanam Avarohanam, the ascending and descending notes that constitute the scale. For Sa purnaRag s which have all the seven notes both ascending and descending , they would take the constituent notes that lie above and below the PN, in order.
ShankaraBharanam
Arohanam : S R2 G3 Mi P D2 N3 S*
Avarohqnom: S N3 D2 P Mi G3 R2 S
D G S
Figure imgf000013_0001
For Varja Ragas, which omit one or more notes, and are symmetrical (made of the same notes both ascending and descending), they would take the constituent notes that lie above and below the PN, in order.The Raga Note Positions too omit such notes.
Mohanam : S R2 G3 P D2 S
S D2 P G3 R2 S
Figure imgf000014_0001
Hindolam : S G2 IvU Dx N2 S
Figure imgf000014_0002
Figure imgf000014_0003
For VarjaRagas, which omit one or more notes ascending and omits different note/s and/ or includes one or more notes descending, or vice versa, the sum total of the notes in the ragawill be the constituent notes. Therefore, for any given PN, they would take the constituent notes that lie above and below the PN, in order.
Malahari: Da S
Figure imgf000014_0004
In this Raga "G" appears only in the Avarohanam. I.e. in the descending scale. However, "G" will feature in the Raga Note Positions. G
Figure imgf000015_0001
Bilahari :SR2G PD2S
Figure imgf000015_0002
Garudadhvani: S R2 G M 1 P D2 N3 S
SD2PG3R2S
Figure imgf000016_0001
For Vafrra(zigzag) Ragas which has skips and turns the zigzag movements are ignored. The sum total of the notes involved in both ascending and descending scale would be the constituent notes. Therefore, for any given PN they would take the constituent notes that lie above and below the PN, in order.
Kamas : S Mj, G3 Mj N2 D N2 P D2 N2 S
Figure imgf000016_0002
Here the swaras of the Raga Note Positions would be all the seven S R G M P D S.
Figure imgf000016_0003
G N P
P R N ReethiGowlai : S G2 R2 G2 M2 N2N2 S*
S N2 D2 M G2 M2 P M2 G2 R2 S
Here too the Raga Note Positions take the seven notes involved S R G M P D N S
Figure imgf000017_0001
For Ragas-likeKambfto//' which use a foreign note which is not arraigned in the ArohanamAvarohanam, for the purpose of the above mentioned lines and spaces,- Raga Note Positions- the foreign1 note (not diatonic to the Raga in question) shall not be considered as part of the constituent notes. However, when employed in a phrase, as a Raga Note, which it can be, it will appear in the notation line below taking the middle line of GB as PN.
Figure imgf000017_0002
A Foreign note is a note not lined up in the ArohanamAvarohanam, and /or which is not part of the parent Raga but used legitimately in a special phrase of a raga. It may occur overtly as the N2 in Bilahari or discreetly as R2 in Todi 16
Figure imgf000018_0001
When Kl3 which is the foreign note is the PN, then N2, the raga note would lie in the space between the middle line and the bottom line.
Notes of the same nomenclature.
Notes of the same nomenclature will never take adjacent Raga note positions in the GB
Raga Bhairavi, though a sampurana raga, ascends with D2 descends with Dx instead. Both are constituent notes of the raga as they are incorporated in the Arohanamand Avarohanam.
Bhairavi: N2 S
Figure imgf000018_0002
Even though bath D are raga notes, the adjacent positions shall not take notes of the same swara name under any circumstance.
Figure imgf000018_0003
1
D
Wrong. This is never allowed. Adjacent positions shall take only the next notes of the raga with different nomenclature.
When Di appears as PN, D2 lies in the space between Di and N2.
Figure imgf000019_0001
i
D
When D2 appears as PN, Di lies in the space between D2 and P.
Figure imgf000019_0002
2
D
If the two Raga notes of the same name is above any other PN, then the higher of the two would take the Top Raga Note Positions Viz. either the top line or the Space above it, as applicable; if below the PN, the lower of the two will either take the bottom line or the Space, below it as applicable.
2
Figure imgf000020_0001
G
P
- - With P as PN, D2 the higher of the two varieties of raga notes of Bhairavi taking the Top Line; Di the lower of the two lies in the space between P and D2
2
D'
Figure imgf000020_0002
R
M
* " * " With as PN, D2 the higher of the two varieties of raga notes of Bhairavi naturally takes the Space above Top Line. As Da the lower of the two, technically lies between P and D2, both Di and D2 lies in the same space. Therefore, in every such instance when the space is used in a Gamaka, it is imperative that it is indicated as Di or D2 to make it absolutely clear.
This equally applies to Ragas like SindhuBhairavi and Seriogwhich employ varieties of notes in the same nomenclature either arraigned in the scales or as foreign notes.
To sum up, the two cardinal rules to be followed are:
1. The Raga Note positions are always based on all the constituent notes of a Raga, in sequence
2. No adjacent positions (of the five positions) would take notes of the same name, even if they are constituent notes of a raga. Space within of GB
With the three lines of the taking the notes of the Arohanam and Avarohanam, the notes of the Raga, the spaces within GB would take
(a ) any interlying note/s between the constituent raga notes.
Figure imgf000021_0001
Figure imgf000021_0002
Figure imgf000022_0001
Figure imgf000022_0002
MOHANAM
Notes, lying in the spaces within GB, for P in raga Mohanam
(b) And the micro tones 3between such interlying notes.
Micro Tones is used as an equivalent of Sruti.
Figure imgf000023_0001
(c) micro tones between the semitones4 that constitute the Raga scale
Ail Interlying
Semi microtones
Tones
Figure imgf000023_0002
M, GOULA
*The distance between all twelve adjacent notes are called semi-tones. Two semi-tones make one tone. Micro tones, in the spaces within GB, in Raga Mayamalava Goulai. For the principal note S the spaces have only micro tones.
(d) e ert the constituent notes, in Bhashanga ragas (ragas that employ foreign notes).
Ragas like SindhuBhairavi have varieties of swaras/notes in the same nomenclature arraigned in the Arohanam Avarohanam. In these cases the interlying notes in the space within GB, could also be the constituent notes of the raga for a particular PN. The top line of GB, in these cases, takes the highest of the notes of the same name and the bottom line takes the lowest of same name.
Ra
\
Ri
Hz
SindhuBhairavi
Sindhu Bhairavi has both Ri and R2 and 2 and N3. Therefore the bottom line is N2 the lowest of N's and N3 lies in the space. Likewise, the top line is R2 the highest of the R's and Ri lies in between.
At no time would the lines and the outside spaces above and below take the same Swara/note name. The line will never take
N3the note ith the same name
as the PN, even
Figure imgf000025_0001
Smdhu Bhairavi
Therefore, the rule that the only lines of GB and the outer spaces take the notes of the raga is exempted here, to meet the demands of ragas (Bhashanga ragas) that use varieties of notes in the same nomenclature.
Notes with no symbols in GB:
A note with no symbol in the GB has to be performed in its position, the pitch degree or the sthana with no Gamaka, as per the length written below.
Figure imgf000025_0002
P for 1 beat to be performed at its sthana the pitch degree.
Figure imgf000026_0001
.— £ - . / p for 4 beats to be performed at its sthana the pitch degree.
Gamaka symbols and alignment!
Gamaka symbols are to be aligned and justified to the note it is intended for, clearly at the point of incidence. Gamaka symbols affect only the note to which it is aligned.
No gamaka for S gamaka for M
Figure imgf000026_0002
IV!
ka
Figure imgf000026_0003
First two ^ _ s \ ,
beats have
no gamaka
Introduction to various Gamaka symbols :
Gamaka Symbols
The GB symbols are characters that give specific, clear and unique performance directions, describing the movement of notes in order to realize a particular sound, when read in conjunction with the GB and the Notation Line.
1. Sustain' '
A horizontal line indicates the sustain of a note as aligned in the GB.
Kalyani
Figure imgf000027_0001
M the sustain symbol can occur at various positions in GB examples.
Figure imgf000027_0002
Note :
Though, a Principal Note with no symbol in the GB would mean that it has to be performed without any Gamaka or any articulation as a sustained note, for the length as in the notation line, there would be many an instance that would require the sustain symbol to be used especially when another symbol precedes or succeeds a long Principle Note.
Figure imgf000028_0001
Vibrato IKamoitham
Vibrato is a 'self oscillating gamaka, which moves within its own range, without involving other swaras.
there are two varieties of Vibrato namely
Slow vibrato f
Fast vibrato MM
(a) Slow Vibrato on the line without touching any other riote
Figure imgf000028_0002
R
to on the line without touching any other note
Figure imgf000028_0003
R When the Vibrato symbol is right on the line, it denotes a shake or oscillation within the note's own ambit. In cases where it is slightly above or below, even while touching a line, it would mean a slight increment or decrement of the pitch to which it is aligned.
Figure imgf000029_0001
Examples of Vibrato
Vibratos can also occur for any note in any other part of the GB.
Figure imgf000029_0002
ABHQGI
Other instances of Vibrato
(a) Above the note starting on the note
Figure imgf000029_0003
(b) Beiow the note starting on the note
Figure imgf000030_0001
(c) Above the note starting from above from an indeterminate pitch (a micro tone).
Figure imgf000030_0002
Vibratos in Long Notes
Vibratos should be written at the point of incidence, aligned to the beats, in the example below, the beginning two beats have no Vibrato and the vibrato happens in the last two. Therefore in the examples below, the straight plain note is left alone. Only the vibrato is notated.
Figure imgf000030_0003
R t I However, as an option, the above two can also be notated with a sustain symbol for the first two beats, for clarity, like in the following examples.
Figure imgf000031_0001
R J , R
When a note begins with a vibrato, slow or fast, and is followed by a sustain in its position, it is imperative that the vibrato be followed by a straight line to indicate that it is performed without vibrato.
Figure imgf000031_0002
When vibrato sustains throughout the length of the note, writing the symbol in the beginning would suffice.
Figure imgf000031_0003
G > ^ N , , , A slow vibrato with lower touch
Figure imgf000032_0001
A vibrato distinctly starting from the note below
Figure imgf000032_0002
A vibrato distinctly starting from the note above
Figure imgf000032_0003
Vibrato using sustain and short glide up
Figure imgf000032_0004
Quick Glides Uaru)
Quick Glide Up
This Gamaka indicates the quick upward movement/glide from one note to another. They appear at various points in the GB.
Figure imgf000033_0001
_s
Quick Glide Down
This Gamaka indicates the quick movement downwards between the swara connected by the symbol: They appear at various points in GB.
Figure imgf000033_0002
IVI
Quick Glides passing through lines.
Quick glides passing through the lines of GB would mean that the note moves without stopping at the line that is passes.
Figure imgf000034_0001
S 6
HAtvlSAOHWAMf A13H06I
In the first example, P passes through without stopping at N, which is the bottom line, while, M goes through directly to R in the second.
Quick glides come in various length and position in GB. They can come in pairs and also come in combinations.
Many Slow Glides forming oscillations will occur together to express a single Gamaka.
Figure imgf000034_0002
?BHARMIAM
Quick glides Combinations
Figure imgf000035_0001
ALYANI
Figure imgf000035_0002
M M P
KALYANI S'BHA ANA S'BHARAN SAVER! S'BH AMAM
Figure imgf000035_0003
.J.
BH RMAM' K LY NI KALYAHI Ai NI
Figure imgf000035_0004
.,
ftEGADA- Quick glides combination with Sustain
Figure imgf000036_0001
BEGADA KA BHOJf BEGADA BEGADA SAVERI
Short Quick Glide
The Short Quick Glide Up ' /' is used to denote micro tones/ sruti-s, frequencies Jess or more than pitch degrees (swarasthanas).
1. An up glide that starts from a microtone (sruti) just less than the pitch degree to which it reaches.
Figure imgf000036_0002
s ,
ΜΤέδϋΪΑΐ 2. An up glide that starts from a pitch degree, ending in just more than the pitch it comes from.
Figure imgf000037_0001
R AVERI"
The Short Quick Glide Down ' ' is used to denote micro tones/ sruti-s, frequencies, less or more than pitch degrees (swarasthanas).
1. A down glide that starts from a microtone (snrti) just more than the pitch degree to which it reaches.
Figure imgf000037_0002
R ,
.M.GOULAI
2. A down glide that starts from a pitch degree, ending in just less than the pitch it comes from.
Figure imgf000037_0003
s
K LYAN" ί Short Quick Glides combinations will be used for oscillations between such frequencies.
Figure imgf000038_0001
R
Short Quick Glides are different from Vibratos as the number of oscillations are specified in context to the beats and the oscillations are of larger frequencies.
Vibratos on the other hand, would mean unspecified number of oscillations ad lib5. The difference between these two symbols can be recognized by the extremely narrow zigzag unique vibrato symbol and the relatively broad Short Quick Glide symbols.
Short quick glide oscillations can be differentiated from vibratos which have a worm like form, as below. o
Figure imgf000038_0002
Figure imgf000038_0003
D ABHOGI
Double Quick Glides wit arrow heads
This Gamaka symbol is to doubly hasten a quick glide. Arrow head is written on the line of a Quick Glide up or down re emphasizing the direction but to indicate super speed.
'At the performer's liberty.
Figure imgf000039_0001
~ΊΌΟΓ~ SAHA A
Two such arrow heads may be used together to indicate if any glide is to be performed at a blinding speed.
Figure imgf000039_0002
SAVERl
The Vertical Glide' I '
The vertical line Ί' is an alternate symbol to indicate a blinding glides up or down in certain circumstances. As the GB and its symbols have to be read from left to right, it is impossible to interpret the Vertical Line from right or left, if it stands alone. Therefore, it should always precede or succeed another symbol. Though interchangeable with the Quick Glide with arrows, it has its own effect and uses.
In the example here where it succeeds and also precedes another Gamaka, it is clear that it is a very fast downward glide.
Figure imgf000040_0001
D , G R G
SAVER!'" ""ΤθΒΓ" KALYANI " *TOD7"
Struck Glide Up (Spuritham) :
The Struck Glide up symbol ' i""' denotes rather than a mere accent the 'striking' of, a low note before moving quickly up. It is normally used for the second of a pair of a same swara called the 'Jantai'. The Gamaka is called Spuritham. However it can also be used on a single swara, not only on the second of a pair.
Figure imgf000040_0002
_ _ _G G R
aiyani
This can also be used in other positions of the GB and also in combinations with other
Figure imgf000040_0003
_
KALYANI Sustain and Struck Glide up can come together preceding and succeeding each other. In this example the struck glide reaches the note from an indeterminate pitch, a microtone, just below the note, not from the LN .
Figure imgf000041_0003
Figure imgf000041_0001
Struck Glide down iPrathvaaatharn) :
The symbol ' ^ ' denotes a strike rather than a mere accent of an upper note and a quick glide down. It is normally used for the second of a pair of a same swara called the 'Jantaf. The Gamaka is called Prathyagatham. However it can also be used on a single swara.
Figure imgf000041_0002
6 (3
' — ** ' ~ R
Kalyani Ka!yani
This can also be used in other positions of the GB and also in combinations
Figure imgf000042_0001
M
KALYANI
The Spuritham and Prathyagatham are not confined only to the neighbor notes but also occur involving any note below or above.
Sruck Glides employing notes in the outside spaces.
Figure imgf000042_0002
Slow Glide UP ' J '( JaruV
This Gamaka indicates the slow upward movement/glide from one swara to another.
Figure imgf000042_0003
D
araharapriya S Bharanam
Slow Glide Down (Jaru>
This Gamaka indicates the slow movement downwards between the swara connected by the symbol. They appear at various points in GB.
Figure imgf000043_0001
Saveri Saveri Slow Glides passing through lines.
Slow glides passing through the lines of GB would mean that the note moves without stopping at any line that is passes.
Figure imgf000043_0002
..P.:.... „
Saveri alyani
In the first above, the glide moves from the Space note S, through to P, and in the second, the glide is from D to S without stopping at N.
Examples
Figure imgf000043_0003
m
Slow Glides with sustain
Figure imgf000044_0001
. .GOULAI
Rising Slow Glides
Figure imgf000044_0002
This Gamaka is a variant of Slow glide Up that has to be used in certain circumstances.
Figure imgf000044_0003
SAVE!I"
For example, it is preferable to use this variant in combination with Slow Glide Down
Figure imgf000044_0004
SAVER!
Rather than
Figure imgf000045_0001
M
SAVE I
This is not only because the latter is comfortable to the eye but also because of the nature of sound which is aptly depicted.
Rising Slow Glide Up expresses a take- off relatively quickly and reach slowly, while the Slow Glide Up takes off slowly and reaches the higher note relatively quickly.
Figure imgf000045_0002
D
Kalyani
These Rising Slow Glide Up and falling Slow Glide Down are a cross between fast and slow glides and there is the fine difference quite discernible.
Figure imgf000045_0003
Combinations of various Slow Glides
Figure imgf000046_0001
D M
Figure imgf000046_0002
M D
SAVER! SAVERI
Figure imgf000046_0003
Falling Slow Glides Down ' \ '
This Gamaka is a variant of Slow Glide Down. Falling Slow Glide Down goes down relatively quickly and reach slowly while the Slow Glide Down goes down slowly and reaches the lower note relatively quickly.
For example, it is preferable to use this variant, as in the combination with Slow Glide Up
Figure imgf000047_0001
Figure imgf000047_0002
KAMBHOJl
for the same reasons explained earlier.
This symbol invariably used to succeed a glide up rather than alone.
Figure imgf000047_0003
, R t
KAMBHOJl KAMBHOJl KAMBHOJl Looping slow glides.
Many Slow Glides forming oscillations will occur together to express a single Gamaka. These slow oscillations are written not staright as
Figure imgf000048_0001
But with a loop as follows
Figure imgf000048_0002
This is to express the particular 'nuance' of the gamaka, replicating the gestures inherent in carnatic musical 'feel2' an exception is made to the general rule that the gamaka symbols shall be written over a time axis from left to right.
The reversing lines forming a loop before proceeding to the next oscillation should not be taken as going back in time as that would make it impossible to perform.
Figure imgf000048_0003
R M , M _
KALYANI S/BHARA AM
2 The feel is the way the Gamaka is perceived and executed ; sort of re iteration at the loops,that is difficult to explain in words but certainly musically applicable and discernable, Therefore it is looped instead of writing them straight.
Figure imgf000049_0001
BEGADA
Cascading Curves
This symbol expresses one single Gamaka which has two movements in the same direction. The two curves though joined will be distinct from each other.TheGamaka involves three notes.
Figure imgf000049_0002
0
SAVERI
In the above example, there are two successive slow glides between SN and ND in the same direction. Even though the curves and glides may look smaller in the spaces they denote proper pitch degree.
Note that in these semi continuous Gamaka a break- continue gamaka, the angles should be changed to
Figure imgf000049_0003
Kharaharapriya
One movement Gamaka:Hook and Horse shoe
The Hook symbol Pand its reverse ^ and Arc/ Horse shoe
These are single symbols - though looks like combinations of R S Glide and S G D, etc. expressing a single smooth movement Gamaka. These can occur at various positions of GB.
Figure imgf000050_0001
._D G
ABHOGI ABHOGI ABHOGI
These can be combined with other symbols as well.
Figure imgf000050_0002
While (a) is a two movement Gamaka made of quick and slow glides with an slight emphasis on the return
(B) is of only one movement a single flow gamaka, though made of the same notes.
(a)
Figure imgf000051_0001
The Dot '. 'In GB
Apart from the use to denote octaves in the notation line, the Dot is used within the GB is to express the following:
1. A Staccato
When a Dot is assigned to note and is placed in the GB over the middle line it means staccato. The note shall be performed at its position, the swarasthana shorter than the written duration.
Figure imgf000051_0002
s Dots in Notation and in GB.Staccato for the octave S.
Figure imgf000052_0001
s s
2. A Rest.
When placed over a beat it would express a rest at that beat.
Figure imgf000052_0002
S for one beat and rest on the 2 beat
3. Beginning of a period rest
If there are more beats to the swaraafter the rest in the notation, then such a rest on a beat would continue, unless and until it is broken by a Gamaka symbol for the same swara or, by the incidence of another swara in the notation.
Figure imgf000052_0003
"S" to be performed for one beat's duration and the rest commencing from the 2nd beat continuing till
Figure imgf000053_0001
Rest after 'S' on the 2nd beat broken by the sustain starting on the 3rd.
Figure imgf000053_0002
Rest from the 2nd beat till the 3rd broken by N in the notation.
4. An Articulation
The Dot ' .' would also indicate an articulation, the sound of the peculiar style of south Indian music of tapering the end of the last glide of a Gamaka. Tapering here would mean either a sliding off at a micro tone (an indeterminate pitch) before reaching the note the Gamaka approaches, or in some cases to stop at the very moment when it reaches the pitch.
Shankara Bharanam
Figure imgf000053_0003
M M M M M
This Dot has more to do with the pitch rather than the beats. Therefore, should be aligned close to the symbols within its own beat, steering clear of the beats to which it does not belong.
Figure imgf000054_0001
M G
The Dot here is an articulation and not a rest and clearly aligned to the symbol.
Rest.
Figure imgf000054_0002
Dots in notation line, when placed above or below a note, stand for higher or lower octaves respectively.
5. A pause
When the Dot precedes a symbol then a undefined miniscule pause is to be taken adlib before the swara is performed. This Dot will be written in the first beat of the note to which it is assigned along with the symbol.
Figure imgf000054_0003
The Dot should be read in combination with the sustain and is not a staccato. Both theDot and the Sustain are aligned to the 1 st beat denoting an initial miniscule delay ad lib before the sustain. The sustain continues to the second beat as there is no rest indicated.
Only a Dot can mean a break in the continuity of a gamaka even though Gamaka symbols may be 'disjointed', In the following example, there is no break between the 'disjointed' slow and fast glides for G as there are no dots in between. However there is a break at the end of the fast glide as there is a Dot.
Figure imgf000055_0001
Figure imgf000055_0002
Figure imgf000056_0001
G __ M N G s
I BHAIRA BHAIRAVI BHAIRAVI
Figure imgf000056_0002
R , N
SAVERI BHAIRAVI KALYANI
Accent and Weight (Azhutham):
The symbol ' is used to indicate two different articulation- Accent and Weight (Emphasis).
(a) Accent. When written just above the middle of a line for a note it means that the note is to be accented. This will be without employing any other note, as a swarasthana even though th the line.
Figure imgf000056_0003
In the example below the second S should be performed with an accent, while the first will be performed without any, at its position.
Figure imgf000057_0001
s s
The > sign can also be placed at a particular beat in the notation for a swara, not necessarily at the very beginning. In other words, the 1 > ' sign can be placed to indicate an Accent, in course of a sustained note as below.
Figure imgf000057_0002
Here, the accent is the fourth beat of the four beat long sustain of S. The sustain is understood here even without the symbol but if needed, it may be added.
' > ' accent a note other than the PN in a Gamaka.
Figure imgf000057_0003
The accent is on the second beat for the S at its octave. However, in vocal music, it will be quite difficult to execute this. It would usually be performed, due to the nature of voice wherein the pitch tends to lower naturally before it reaches the intended pitch with an approach from below.
Figure imgf000058_0001
P
Or, from above.
Figure imgf000058_0002
However, all these varieties are easily possible for instruments.
(b) Weight/ Emphasis.When placed in the course of a Gamaka symbol '>' would mean the unique 'weight'-emphasis callecWz/jutriom, with a certain intensity, that should be added/articulated. It will have to be performed at the point in which it is written.
Figure imgf000058_0003
The emphasis 'weight' in the begginning of the gamaka.
Figure imgf000059_0001
. . ί — . - The emphasis, in the middle of a Gamaka.
'weight'/ emphasis can occur at any point and -many points in the same gamaka.
of a
Figure imgf000059_0002
gamaka, it should be close enough to be seen as aligned to the symbol within its beat. It should never be aligned to a beat to which it doesn't belong.
Below is an example that denotes the weight for the Gamaka in the first beat. It is clear that ' ' does not belong to the second beat.
Figure imgf000060_0001
M.M. GO U LAI
This on the other hand has a gamaka without accent in the first beat and has an accent in its position in the second.
Figure imgf000060_0002
The flick
Looking like an inverted walking stick, this Gamaka is a symbol that denotes a very quick upward flash with an 'accent' at the end of the flash to an unvoiced pitch. An unvoiced pitch is apitch at which the sound is stopped suddenly- i.e. that which goes without voice.Though there is an inherent rest at the end of the flick it is also possible to write an intended stop with an additional Dot '.'
Figure imgf000060_0003
Even though the flick ends in the space above the line, it would still mean that it is unvoiced.
However a flick, the momentary flash, can denoting after which note it should become 'unvoiced' ending at the line above, to denote the top line note
Figure imgf000061_0001
6
And by indicating the note when in the space above the top line:
Figure imgf000061_0002
M
Exception: where a note naturally falling in the outsidespace is indicated.
Even though, the space denotes D, which is the space note that naturally falls there, it is indicated, the redundancy in this case indicates that the flick, normally unvoiced, should be voiced.
Voiced flicks employing higher notes have to mention the note involved .
Figure imgf000061_0003
M
- - · - - * Indicative 'N" for a voiced flick.
Figure imgf000062_0001
A flick on the beat.
Figure imgf000062_0002
A flick after sustain on the beat.
Figure imgf000062_0003
A delayed sustain and a flick.
A Flick occurring first in a phrase of three notes for the first note, voiced but with an immediate rest.
Figure imgf000063_0001
MOHANAM
The Flick can also come in combination with other symbols mostly occurring at the end of a swara..
Figure imgf000063_0004
Figure imgf000063_0002
D JI KAMBHOJ! BEG AD A ϊώίΥΑΝΪ
Figure imgf000063_0003
___P _______
KAMBHOJI Pick UP "
This symbols used to denote a pick up from a microtone /sruti an indeterminate pitch moving in the opposite direction to a succeeding Gamaka. Therefore this would invariably come at the start of another Gamaka symbol. This looks like a short slow glide down and can be identified by its beginning which would be short to mean a microtone an indeterminate pitch in most cases.
Figure imgf000064_0001
R
SAVERI
The Leave Out symbol "
This symbol looking like a short slow rising glide would denote a glide to be left-off smoothly at a microtone, an indeterminate pitch. It moves in the opposite direction after arriving at a note. This symbol would always follow another symbol.
Figure imgf000064_0002
, s_ D ,
SAVERI - SAVER SAVERT"
In normal circumstances, in spite of the fact that it is named 'leave-out', there will be no break at the end of the Gamaka, but a tapering that flows into the next note.
Figure imgf000065_0001
This can also be used with a Dot forcing a rest.
Figure imgf000065_0002
SAVERI
In such cases when a dot is used to denote a break, it will be like a very short unvoiced flick.
Figure imgf000065_0003
This Gamaka is a combination of Slow Glide, Quick Glides and Slow Glides and is a unique Gamaka in south Indian Music:
Figure imgf000066_0001
P ,
S'BHARANAM
This is a significant symbol of a Gamaka often used. The narrow middle indicates a very fast glide of notes. Starting with a slow glide, the note snaps back and forth in no time towards the final slow glide which is often sung markedly.
Briga : The blinding turn.
The Briga ' ' is a Short Quick Glide Up and a Short Quick Glide Down, occurring together. This denotes an extremely quick flash of a four note turn consisting of the upper note, the PN, the lower note and the PN. The alignment of the symbols would indicate the relative high or low pitches to be performed.
In the Gamaka alignment below the pitches R and N are to be picked up closer to S rather than their pitch degrees.
Figure imgf000066_0002
I
Figure imgf000067_0001
____R
SAVE I
In the above example the Quick Glide down is from the pitch degree proper and glides fully. The Short Quick Glide Up starts closer to R.
Figure imgf000067_0002
SAVERI
The top glide, very quick and short starts from a proper pitch degree, the note above PN here, and very quickly moves to the next glide staring from just below the PN.
Note: The Briga sign of / should never be written as >. The shape and placement of Briga and Accent symbols are very different and should be written clearly.
Bri a
Figure imgf000067_0003
Accent
Figure imgf000067_0004
TURNS;
Quick touch of the upper and the lower notes and the principal note in between eg : ΌΡΜΡ'
The examples belo i are some of the ways Turn can be written.
Figure imgf000068_0001
SCOOP:
Scoop is a gamaka which would express a single flight of movement with a small pickup, mostly from an indeterminate pitch.
Figure imgf000068_0002
This will be different from the Pick-up gamaka and a Rising Slow Glide combination which is a combination of two movements.
Figure imgf000069_0001
Though they employ the same notes they are different and are made of single and double movement respectively, the former with no emphasis on the turn, while the latter with a nuanced ernphasis.THe first one is of one sweeping movement with while the second moves down and rises up with a natural emphasis.
Therefore, when transcribed they would yield the same swaras. Gamaka symbols can be re-transcribed to the swarasthana notation albeit sans expressions.
Transcriptions serve many purposes. They confirm the accuracy of the intended Gamaka transcription as GB symbols. They expand every Gamaka manifestation. They clarify to the performer the component swaras as also the rhythmic- beat divisions of the notes...and so on..There is a seperate heading that's below.
Indicative Notes Outside GB- Higher Pitches in the Outside Spaces
To represent any higher pitch the same space above and below GB are used by simply indicating the name of the notes involved in the symbol
Any higher pitch/note beyond the two Raga note positions outside GB which is neither confined to the immediate upper note nor the constituent notes of the raga can be indicated- Indicative Notes with Leger Lines
If and when a gamaka uses two notes beyond the space above GB, Leger Lines have to be used along with Indicative notes.
Where Indicative Notes are not Necessary.
Any Gamaka employing raga notes that naturally lie in the outside spaces of GB do not need Indicative
Notes.
In the example below, the bottom line is R and the space is S. theGamaka falls to S from R, the Bottom Space Note and rises to G, the PN. No Indicative note is necessary.
Figure imgf000070_0001
P, the note in the space above, fails to M and rises up to P and again falls to G. No Indicative note is necessary.
G
PivPG
Indicative Motes -Space above GB
When a Gamaka uses only one single higher pitch beyond the Space above GB, it is to be denoted by an Indicative Swara
Figure imgf000070_0002
P
Namsadhvarii In the above raga the space is S for the PN P. Therefore the high note R, beyond the upper space of GB is indicated. It is the only one above the space which is employed in the Gamaka.
Figure imgf000071_0001
P
Hamsadhvani
Indicative Note provided for G, a further high note. However, it is the only one used beyond the space in the Gamaka.
In the following instance, along with a note on the line, the Gamaka employs only one note Ό', which lies beyond 'P', the upper space. It is therefore indicated.
Figure imgf000071_0002
G _
DMD6
(VIAND
Indicative Notes - Space belo GB
When a Gamaka uses oniy one single lower note beyond the Space below GB, it is to be denoted by an Indicative Swara only.
Figure imgf000072_0001
In Hamsadhwani, th lower space is P for the PN "S", Here the note is G whic below P. it is therefore indicated, it is the only one below the space which is employed in the Gamaka.
Figure imgf000072_0002
Indiqative Note provided for the octave S, a further low note. It is the only one used beyond the space in the Gamaka.
In the following instance along with a note on the line the Gamaka uses only one note N which lies beyond the space. Therefore N, is indicated.
Figure imgf000072_0003
HA SADHWANi Indicative notes with Leaer lines
When a gamaka employs two or more notes beyond the space note, above or below GB, indicative Notes come with Leger Lines.
Leger lines are the extra horizontal lines to be used with symbols to denote notes, in the spaces above, below and inside the G6.
Leger Lines and Indicative Notes, Outside GB.
Figure imgf000073_0001
Gamakas employing two notes beyond the outside spaces with Leger Lines and Indicative Notes. Leger line should normally be used for the lower of the two.
Pairs of Leger lines.can also be used outside the GB.
For Gamakas above GB, involving more than two notes, the highest note should be in space and leger lines should be provided for all the other notes showing the relative higher/lower pitches that are involved. All the notes are to indicated.
Figure imgf000074_0001
S is the highest note, placed in space, D the lowest and N in between, clearly positioned, with leger lines and with indicative notes for all.
For Gamakas below GB, involving more than two notes, the lowest note should be in space and leger lines should be provided for all the other notes showing the relative higher/lower pitches that are involved. All the notes are to indicated.
Figure imgf000074_0002
G is the lowest note, placed in space, N the highest and D in between, clearly positioned, with leger lines and with indicative notes for all.
Spaces Created by Leger Lines outside GB
The rule that notes lie within the spaces of lines of GB, do not apply for the spaces created by leger lines outside GB. Leger lines outside GB, denote notes irrespective of whether it is a raga note or not, and the space created by such leger lines are not taken into account except for showing the relative higher or lower pitches. Courtesy Notes for Space Note.
Courtesy notes are Indicative Notes for facilitating quick easy identification of notes if it borders on ambiguity. They are used to dispel any doubt.
In the instances where the space note and other notes beyond is used in a Gamaka, There are two ways of doing it. 1. with Indicative notes only, and 2. With leger lines. Here the space note S which can be identified straightway, has been left alone without indication. Only N the lower note is indicated.
Figure imgf000075_0001
G
S.BHARANAfvT
SMG
While the above conforms to the rule that only the note beyond the space is to indicated and would suffice, a courtesy indication for the space note may be provided, if necessary.
Figure imgf000075_0002
SNG 1. Indicative Notes should appear at the earliest point - to the left of the gamaka symbol, leger line, etc for quick recognition.
Figure imgf000076_0001
G
S.BHARANAM
2. When two or notes are involved, the first indication should appear left most first, and the second one second, and so on.
Figure imgf000076_0002
P
S.BHARANAM
G appears first, then R
When more notes are involved and if it cannot be placed at the left, without cramping, they may be placed at the point of incidence of the note.
Indicative
Figure imgf000077_0001
G
Placing the indications to the right of the notes should be avoided as far possible.
Figure imgf000077_0002
S.BHA ANAM
Indicative notes within GB spaces
Indicative Notes may be used within the inner spaces of GB a. With leger lines
b. Without leger lines. Indicative notes with Leger Lines within GB.
Indicative Notes in the inner spaces denote a pitch degree,// and only used with a leger line.
Figure imgf000078_0001
D
KALYANI T e indicative Note and Leger Line mean the proper pitch degree N2. The top line here is N3.
Figure imgf000078_0002
This expresses a MayamalavaGoula gamaka as played on the Veena traditionally using the pitch degree M2a non raga3 note. It is denoted by an Indicative Note together with a Leger Line.
Indicative swaras with no leger line within GB
When Indicative Notes appear inside the spaces of the GB alone, without leger lines, it will not mean the perfect pitch degree but a pitch that is around that degree and passes for it giving its 'color' or 'chaaya', indicating a slight increment / decrement from a swarasthana. In other words a miniscule increase or decrease of frequency/ pitch from the sthanas commonly solmizated by the next higher or lower note name.
3 Maya malavagoula has Ml and not M2 . It is technically not possible to play the actual note in the veena in this gamaka and M2 is employed instead albeit so quickly that it is not revealed creating an illusion of Ml. Gamakas may employ only the 'Color'4 of the note indicated- up to a note or almost the note, but not the note itself ; that which would pass off for that pitch degree even though it might be about and around it.
Figure imgf000079_0001
D
Kal ani
Figure imgf000079_0002
Figure imgf000079_0004
R t t f
MOHANAM MOHANAM
These are easily produced in the voice. However, the possibility of producing these would depend upon the different instruments and their capabilities. For example, the violin can produce these nuances without difficulty, while for a fretted mandolin or Saxophone only illusions sof "lesser than a pitch" can be created by a high class technique and musicianship.
Gamakas without Indicative Notes inside spaces.
When Gamaka symbols appear with no indicative swara either, it would then mean a small increment or dec from the note that is aligned
Figure imgf000079_0003
D 'D' sustains, rises only slightly and falls.
4 Though not a pitch degree nor a gamaka inflected note it is still identified in the swara name, the third identity that a swara name mey denote.
5 A study of such illusion which should be many would throw light on the understanding of Carnatic music This would express such an increment - a special sound of Carnatic music that "will not be heard" as employing any foreign note ; that which would be within the ambit, limit and range of the note to which it is aligned ; that little increase which can only be interpreted as the same - not leaking to the higher/lower note.
The 'G' is to be performed only with a slight increment in the frequency not amounting to the pitch of tween and is foreign to the Kalyani raga.
Figure imgf000080_0001
G
KALYANI
In instances when any two adjacent lines of GB represents semitones, even without an indicative note a n micro tones or srutis that lie in between.
Figure imgf000080_0002
R ,
SAVERI
The adjacent swaras are semi tones Rx and S used in this Raga Saveri. The Gamaka sustains in S and rises a wee bit not up to i but less.
Difference between Indicative notes within and outside GB
All Indicative Notes with or without Leger Lines used outside GB denote pitch degrees.
Within GB, Indicative Notes denote swara, hot swarastahanas when they appear alone and would mean swarasthanas ONLY when accompanied by Leger Lines,lnterestingly when "G" is inflected with a subtle oscillation in Kalyani there will be a very slight increase in the pitch not amounting even to i. However, it will be expressed as GMGM to indicate arise in the pitch even though that rise is very close to P N. This is necessary because micro tone pitches in and around the PN which are still called by swarasthana names and the swarasthanas themselves are employed together, necessitating
Swara denoting - Stand alone Indicative Notes
Swarasthana denoting - Leger Line-Indicative Notes combination
Since No such possibilitiy exist beyond the immediate notes around PN, a standalone Indicative Note IN would mean only the pitch degree.
Alternatively, it can be made mandatory to use Leger Line -Indicative Notes outside GB, This would mean that every time a note is above GB is employed a leger line should accompan the indication.
Relative positioning of the notes with leger lines in spaces.
Features of Indicative Notes.
1. Indicative notes can be either notes of the raga or a note not diatonic to the raga.
2. Indicative notes have no rhythmic meaning at all.
3. If an Indicative note appears without leger line, then it should be marked on the point of incidence
4. Indicative notes should appear before the leger lines.
5. Care should be taken to keep the indicative notes absolutely clear and legible. They should steer clear of each other if there are many.
6. When in the lower space, they should not bump into the notation below. Indicative notes and notation notes have to be in different planes, that is, in different vertical positions.
7. D6ts indicating the octaves of indicative notes should also be written wherever necessary Difference between Leger lines and sustain symbols
Leger lines are different from 'Sustain' lines though they look alike. The difference can be spotted by the following.
Leger Line
1. Leger Lines never stand alone.
2. They always come with Gamaka symbols accompanied by Indicative Notes.
3. Lege Lines are touched in the middle by Gamaka symbols and never at ail at the snds.
Figure imgf000082_0001
Figure imgf000083_0001
Sustain
1. Sustains may come alone
2. They may also come in combinations witii the other symbols. The symbols may precede and/or succeed them touching them at or aligned to, the ends.
3. Sustains are never, touched by Gamaka symbols in the middle at all.
Sustain standing alone.
Kal ani
Figure imgf000083_0002
M
Sustain preceding Vibrato
Succeding Vibrato
aligned to the end
Figure imgf000084_0001
Figure imgf000084_0002
Sustains touched at both
ends by glides
Figure imgf000084_0003
M
A sustain symbol can be identified even by 'disjointed' symbol continuing from the end of the line, it is not necessary that they should touch but alignment will be unmistakably to the ends. Sustain
Figure imgf000085_0001
SAVERI
Oscillations:
Execution of Quick and Slow Glides :
Sharp angles and straight lines always denote quick gamakas which turn 'square', The curved lines would indicate slow rounded gamaka articulations.
Examples
Figure imgf000085_0002
. NL ...... M
When transcribed back to the normal swara notation, both Gamakas would mean G.MG G (without the stop denoted by the Dot here).
However, it is clear that the articulations are different The first one is slow, rounded with . an inherent natural emphasis while the second one is faster and square.
In the following, a Gamaka involving the same set of notes MG MG is expressed with different articulations in the GB.
Figure imgf000086_0001
The first MG is slow while the second is fast with a rest.
The slow and fast glides can be combined in as many combinations as is necessary.
Figure imgf000086_0002
Position of oscillations - An oscillation is a number of, to and fro movements, between pitches. It may be ei
Figure imgf000086_0003
G G
GMG G MG GMG
It can happen at anywhere in and around the GB.
When the lines touch the notes within the GB, the oscillations would be between the pitch degrees.
Figure imgf000086_0004
The gamaka for M oscillates between LN and PN GMGM
Figure imgf000087_0001
The gamaka oscillates between LN and UN through PN GPGP
Figure imgf000087_0002
The gamaka oscillates between LN and PN and stops at G.
G GMG
Figure imgf000087_0003
The gamaka oscillates between LN to UN, comes back to PN and moves again to the UN GPM'P
When the spaces below and above are used in such glides.then it would still mean the pitch degree, that is the swarathana as per the Arohanam Avarohanam.
Figure imgf000087_0005
Figure imgf000087_0004
. « . Space outside the GB would mean the pitch degree and oscillations would be between P and G. When the outer spaces are used with the line the height of the glide lines could look slightly less but should be tall enough so that it is not be mistaken for vibrato.
Oscillation, not Vibrato.
Figure imgf000088_0001
Ail the above involving only the pitch degrees can be called 'full oscillations'.
Tapering Oscillations.
Often the oscillation for a note tapers (narrowed frequency band width) in performance (considered correct and aesthetically beautiful), which we can be called Tapering Oscillations.
As against the full oscillation involving pitch degrees ,
Figure imgf000088_0002
The oscillation might taper involving micro tones less than the pitch degree, like
Figure imgf000088_0003
Jn this case, as it can be seen, the oscillation becomes narrower after touching the pitch degree. Often this is performed with a mild retard ad lib. When you use a leger line and indicate a swara, then the oscillation would employ that swara-sthana the pitc
Figure imgf000089_0001
- - - - - - - - - The raga is Shankarabhranam. The top line is G3 and the leger line in the space indicated G2 proper. This is the- way a mandolin player might perform using the actual pitch degree G2 but not showing it, to give an illusion of only the color of G2, and not G2.
When only the indicative swara is given without leger line, then the pitch employed in the oscillation is slightly less, when approached from below (flatter) and slightly more when approached from above (sharper) than pitch degree.
N > > > N , > >
Kal ani
Figure imgf000089_0002
. R
Here without the leger line the Gamaka employs a pitch approximately around G2.
However the note name of the swarasthana6 would be used for want of an expression.
When no indicative swara is given, it would mean that the there is only an increment/decrement of frequency of the note from the note to which it is written.
As discussed before another instance where the swarasthana nomenclature is used to denote pitches less than the swarastahana in question.
Figure imgf000090_0001
ALYANI jhe raga isKalyani and the M2is the top line. MiJies between G3 and M2. The Mi will not sound in this at all. The gamaka is still anchored in 6 and does not lean to any anyaswara/foreign note.
This oscillation will be within the ambit of the note to which it is written. At no point of time, should any foreign note to the raga be heard in this case.
In other instances (in ragas like Todi), foreign notes to the raga, (notes not lined up in the Arohanam - Avarohanam) are part and parcel of such oscillations.
Figure imgf000090_0002
G
THODI
Here, from Ra the movement is up to IvU both constituents of Todibut when coming down the R2 - foreign note to the Todiis employed.
Micro Tones
Indicative signs '-' and '+'
The '-' and '+' may be used to indicate flatter or sharper pitches, if more specifics are intended.
Quarter notes can be specifically denoted + and - signs. This is used with an Indicative swara, indicating if it is sharper or flatter to its normal pitch degree. Though thisis so they are called by the swarasthana names compounding the problem of the practice to call three different things in the same fashion
Figure imgf000091_0001
R ,
SAVER!
Quarter Tones that lie between semi tones are part and parcel of Indian music. Gamaka symbols that are short and not connecting or indicating Swarasthanas, denote Quarter tones. They occur particularly in the spaces within GB. Quarter tones are 'sharper* or 'flatter' depending on the alignment of the symbol to a swarasthana or pitch degree. It should be noted that they are however expressed in swarasthana nomenclature. While GB notation can show them here is no separate way to express them except by explanations and demonstration.
Figure imgf000091_0002
R
The quarter tone employed in the above example, will be flatter than R the PN as the Gamaka is aligned just below the middle line.
Figure imgf000091_0003
D
SAVERI the micro tone employed in the above example, will be sharper than P as the Gamaka is aligned just above the bottom line.
Various micro tone s mbols
Figure imgf000092_0001
R R R
SAVER! SAVER1 SAVERI
Note: Though Leave out and Pick up symbols often use the spaces in the GB they are special symbols they indicate only colors of the constituent notes of the raga except in cases where courtesy notes are provided.. .
Rhythmic aspects:
In order to very clearly express the movements of the gamakas, it will be prudent to express a swarasthana in higher resolution/ quantization ( melkalam,) which gives us an expanded time axis- the extra horizontal space for the GB to put the appropriate symbol with the appropriate rhythmic implications.
Rhythmic expansions:
Rhythmic implications of the Gamakas should be clear from the vertical alignment of the symbols to the notations below/
Figure imgf000092_0002
M is for 2 beats and the implication is the first beat has (¾. and the second MG (two notes per beat).
For faster gamakas, symbols have to be narrowed confining to the beats within which they have to be performed as
Figure imgf000093_0001
Here for the first beat of M it is G.MG- four notes to a beat and for the second MG...
Figure imgf000093_0002
In case where a Short Quick Glide is used, the rhythmic implications are the same and the gamakas are not quickened because of the short glide. The rhythm is with the beats..
Figure imgf000093_0003
An exception to this is the Briga symbol (Turn)which looks like two Short Glides down and up.
Figure imgf000094_0001
This denotes a very fast movement and should be performed as fast as possible. But in case, there is a any need to be specific, the notation may be expanded as below and the Briga placed appropriately.
Figure imgf000094_0002
J_L£_ ~£~_ Here the single beat S is expanded, appropriately underlined.
Movements of the Gamakas can be shown clearly by expanding the notation below and aligning the Gamaka Symbols to the beats appropriately.
The temporal aspects of GB notation:
The time axis is from left to right. The notation line clearly indicates the pitch time relationship stating which note is to be performed when and for. how long. This will correspond to the tempo, that is speed of the piece and the tala or number of beats.
While this is so, the gamaka symbols themselves would express the sub-divisions of the gamaka as to a beat. There are 3 aspects of rhythm in the GB. The first aspect is expressed in the notation tine which clearly tells what notes to play, when to play and how long to play as also rests.
Number of Gamaka symbols to a Swara.
Absence of a symbol in ttie GB for a note written below also denotes a definite indication that the swara has to be played at its own place. Any number of symbols may be attributed to a swara but they should be properly aligned indicating clearly the rhythmic implication.
More than one Gamaka symbol may be combined into one for a swara
Figure imgf000095_0003
Figure imgf000095_0001
KALYANI BEGADA SAVERI
or the may stand closely aligned to a swara without being joined.
Figure imgf000095_0002
KALYANI SAVERI
Notwithstanding this they are to be performed smoothly and connectedly at all times except and only when there is a Dot indicating a rest. Gamaka symbols have to be aligned to the 'Beats' in the notations below. The larger the width, the slower the gamaka and the narrower the width, the faster the gamaka.
Exampje 1: Both the glides to be performed in the same speed as the width of the glides are the same.
Figure imgf000096_0001
_
KALYA T
Example 2: The width of the second glide is narrower - to be performed quicker than the first. Additionally, the Dot indicates that the last glide shouldn't really reach G or that G should never be sustained.
Figure imgf000096_0002
M ALYA I
When a long note occurs, an incidence of Gamaka may be appropriately placed at the point where it occurs.
Figure imgf000097_0001
In the four beat sustain of S, the Gamaka is in the fourth.
In the above a courtesy sustain symbol may be added if so desired.
Figure imgf000097_0002
n the three beat G, after two beats of sustain the third beat will have Gamaka.
Figure imgf000097_0003
Figure imgf000097_0004
In this Gamaka, the third and fourth beat has gamakas.
Gamakas pertaining to beat should be written within the space for the beat clearly indicating the rhythmic implication.
The Gamaka in the first beat will be faster as there are two movements to one beat. The second beat will be slower as there is only one movement to that one beat.
Figure imgf000098_0001
- - M -: - - =■ , - -
Alignment of the short glides, whether slow/quick will express increase/decrease in frequencies from the swara to which it is aligned.
Figure imgf000098_0002
SAVERI
Figure imgf000098_0003
SAVERI
Figure imgf000099_0001
s. s
SAVER!
Figure imgf000099_0002
S S
SAVERI SAVERI SAVERI
ADDITIONAL EXPLANATIONS AND CLARIFICATIONS
Lines and spaces(Constituent notes would mean all the raga notes derived from the arohanaavarohana.) If a note is not lined u in the arohanaavarohana it should be construed as foreign to the raga.
Some Ragas explicitly use foreign notes (KambhojiBilahari) the swarasthana and some ragas use them discreetly. (Todi )
In Ragas like Bhairavi the two varieties of D are constituent raga notes. The lines in and the spaces outside GB take the higher of the two.
There are five positions in the GB which by default take the raga notesbased on the ArohanamAvarohanam ,to any given PN.
The essential difference between the spaces in the GB and outside (above & below) GB is (a) The outer spaces always denote the notes of the Raga and not the foreign notes/anyaswaras that lie between the notes of the scale.
The inner spaces normally take (non constituent) 'foreign notes'/anyaswaras that are between the notes of the Raga which take the line
However in some rare ragas which use varieties of the same pitch classes and in the same nomenclature the leger line may denote Raga notes too.
Inside GB indicative notes would denote a pitch degree only when used with Leger Line. When it comes alone it would denote the Chaaya of the indicated note.
Bracketed Notes.
The Gamaka notation would depend on the subjective perception as the same Gamaka may be interpreted differently by different people.
This works on the principle that each note entry is a separate and distinct event. As there are different ways a Gamaka can be expressed, Therefore, when a Gamaka is expressed and such note is expressed in the GB.
A Gamaka can be expressed in different swara expressions by different people. The component notes of a Gamaka can expressed by naming the component notes separately or by attributing them to one note. GB recognizes this phenomena and treats a note on its own terms.
* ·
In a possible instance a Gamaka " S , p," might have a 'N" as an anuswarato S . it can be perceived recognized or interpreted as S , p, or S NP, with the N perceived as inherent to S as in the first instance or as a separate entity in the second, It would therefore expressed or spelt or pronounced while singing. With both expressions quite acceptable, to reflect the way it is expressed the notation N should either be left outor written with brackets, in the notation below to show that 'N' though inherent in S it is being pronounced or perceived as a separate entity. The notation below GB expresses the perceived swaras as S ,ρ,. please note that the P too has the upper S in its ambit yet is expressed only as P.
Figure imgf000101_0001
S. Bharanam
The same Gamaka, the same sound but with a different swara perception or swara expression (for S) S N P, has been notated below, with N in brackets.
Figure imgf000101_0002
S. Bharanam ( SN P)
Here the N does not affect the GB notation and therefore is bracketed. If written without brackets then N would be Principal Note at that point, leading to confusion as where the Quick Glide from S is reaching, for, if the PN is N at that point, the bottom line would then become D.
Please note that SN has also been duly underlined to indicate the rhythmic expansion in the notation. In all instances where a Gamaka ends in a swara- that which can be taken as an anu-swara to a PN- and if that swara is pronounced or perceived as a separate entity, the bracketed notation is to be used to reflect such an expression.
Here is an instance where a Gamaka is expressed in two different ways to reflect the perceived or expressed swaras.
Here in the first instance the glide is for P (to D) with the D pronounced at the very end of the glide, after it reaches D. The swara expression would be as if the intra sub division of P and D is P,D (triplet) or P„D, with the D pronounced at the last moment of the glide.
By bracketing D and insulating the GB the proper depiction of swara expression is made.
Figure imgf000102_0001
P D M G
However in this second instance, the glide is for D and therefore written thus, with no brackets.
Figure imgf000102_0002
P (D) M G
The essential difference between these two is the recognition that gamakas are attributable to, and express-able as different notes, and there relative nuances.
The actual sound of the glide would be from P to D in both the instances, though they look at different planed to the eye,
However, when these two above are performed, it will be seen that the there is a percussion at P and the D respectively, which make completely different from each other ; P-with D as secondary note in the first and D- with secondary P in the second.
The notes in the notation below the GB separate Events and the component notes of a Gamaka is not.
A Gamaka is one Composite Event made up of many notes. A swara transcription of a Gamaka would however yield only a notation of separate events.
Gamaka notes lose their individual identities with the Gamaka. They are not separate events but the ones merges to become another identity, a single composite identity.
Expanded Notation
Alternately an expanded notation may be written below the standard notation to clarify the nuance.
Figure imgf000103_0001
P , M G
P„D
This will do away with the need of bracketing the intended swara formation to be written Transcription to Swara Notation.
Gamaka Symbols can be transcribed back to swarasthana notation. Gamaka symbols are but the depiction of the movements between notes and also the micro tones as applicable. Realizing the swara notation from the symbols serves many a purpose like checking the accuracy, understanding the components and clarifying the rhythmic implications of the Gamaka symbols.
It is important to note that swarasthanas, swaras and also microtones are referred to in the same nomenclature. This is the limitation of Swarasthana notation.
For example, D might refer to:
1. The Pitch Degree N2, the swarasthana expressed a 2 ,
2. A Gamaka inflected N2 , using other swarasthanas, for example, D2lSD2SD2, where the S and D stand for their respective pitch degrees, the swarastahana
3. A Gamaka infected N2 expressed as N2D2 2D2, where the D2 stands for not the pitch degree D2 but a micro tone which is closer to N2.
While GB system removes this ambiguity and gives these manifestations their own unique identities, it is important for many reasons that the symbols are transcribed back to swarathana notation.
The above mentioned points are but enumerations of the current and age old practice of reference to the notes of Indian music, ft would therefore be in order to transcribe GB symbols keeping them in mind.
Guide to transcription.
Transcription of Gamaka symbols and rhythmic subdivisions.
Transcriptions of Gamakas are essential to proper writing and reading and understanding. in transcribing a Gamaka the intra rhythmic subdivisions are normally taken as four to a note in medium tempo. Quick Glide.
In slow to medium tempo quick glides take one beat of the four subdivisions it is broken into, and the note which it reaches hangs on for the remaining three.
Figure imgf000105_0001
N taking one beat and S sustained for 3 beats. Therefore the transcription would be NS , , ,
In faster tempos the subdivisions become less in number. Here the glide from N takes one of two beats that it will be broken into and S takes the second.
Figure imgf000105_0002
N and S takes one beat each, to be transcribed as N S.
Transcription of Quick Glide up and Quick Glide down.
Figure imgf000105_0003
This is a symbol of two glides one up and one down. It is interpreted by the human mind interestingly. The symbol is always understood as having sub divisions of four with sustain even without a sustain symbol at the end. therefore, the above symbol stand for SRS, arid GRG, respective and should be transcribed thus.
Transcription of other glides of two.
Figure imgf000106_0001
However the same can be symbolised as below, to make it amply clear, that there is indeed a sustain at the end.
Figure imgf000106_0002
S G
SRS, GRG,
The transcription being SRS, and GRG.In the case where there is a sustain in the beginning, it would precede the glides in the GB as below and would be transcribed as S.RS and G.RG respectively.
Figure imgf000107_0001
G
S,RS G,RG
To express a triplet of SRS for example, the number 3 is to be written as shown below. This would naturally mean that the sub divisions are not four but three.
The above would be transcribed as SRS and GRC^
3 3
Various symbols and their transcriptions.
Figure imgf000107_0002
GMGMG G,PGPG GPGPG
The above symbols are transcribed truly with no sustain at the end, unlike in the case of symbols involving only two glides. The moment a third symbol features in the GB the anomalous interpretation of the human cognition vanishes.
The second aspect is that GB symbols will have its own rhythmic sub-divisions (intra rhythmic), independent of, but aligned to the notation written below.
The third aspect belongs to the musician, his interpretation and subjective decision, that would be applied in the Vibrato, Dot preceding the sustain or any pause that might be notated.
Figure imgf000108_0001
.JVL ... M M
G M , , G , M G G M G ,
While the notation line expresses that the M (swarasthana) is to be played for 1 beat and nothing more, the gamaka symbol expresses the rhythmic sub-divisions and the notes or pitches involved in the gamaka. The symbols give clearly, the rhythmic aspects of the swara. In short, the Inter note rhythmic aspect is in the notation line and the intra Gamaka rhythmic aspect is expressed in the GB layer.
It is to be noted that the invention provides notation for 'Gamakas' an unique element associated with Indian music and also in other world music like Persian Iranian Japanese Chinese i.e. oscillation of notes are also included in the notation system as per this invention which is novel and unknown in prior art.
Further the notation system can be represented visually to the singerperformer/student. The notation system is applicable for usage as printed document digital document or combination thereof without limiting the contents of the invention to the user / singer. In one aspect, the invention relates to a method of representing gamaka notation system for Indian music comprising swaras, taalas and ragas, the said method using a grid box corresponding to musical notations representative of pitch and time duration of the swara along a horizontally extended time axis providing a grid box (1) display correspondingly along the axis to a standard musical notations and above the said musical notations, applying selected gamaka note symbols within on, outside and around the gamaka grid box to indicate the gamaka notes to be sounded in selected time intervals corresponding to musical notations underneath, each of the gamaka note being visually representative of a predetermined selected gamaka note quality in accordance with a predetermined gamaka note quality protocol and for a predetermined duration of the musical notation correspondingly to the swara underneath the said gamaka note, applying a selected graphical treatment to each gamaka note symbol, each selected graphical treatment being representative of a specific gamaka tone quality in accordance with a predetermined gamaka tone quality protocol, and providing corresponding swara lyric for each musical note along the axis, said lyrics provided directly beneath the said corresponding musical notes.
In another aspect it applies all melodic and oscillated music of the world.
In another aspect, the invention relates to gamaka tone quality is representative of oscillation of notes to be sounded.
In another aspect, the invention relates to the gamaka grid box is arranged as rectangular matrix like structure having a plurality of vertical columns (4), and a set of three parallel horizontal lines forming two rows.
In another aspect, the invention relates to space within each of said column of the grid box is , representative of atleast one or more gamaka tone quality from a predetermined gamaka tone quality protocol.
In another aspect, the invention relates to horizontal length of each column of grid box is representative of time intervals referred as a beat in the music.
In another aspect, the invention relates to each vertical column representing a beat has an terminating right hand side vertical line referred as beat bar line, which is represented as a single vertical line (2). In another aspect, the invention relates to plurality of vertical columns collectively representing a groupings of beat referred as a taala cycle, has a terminating right hand ide vertical lin referred as taala bar line which is represented as a set of plurality (double) of vertical lines (3).
In another aspect, the invention relates to the horizontal length of the columns encompassing each gamaka note symbols along the gamaka grid box is equal to the horizontal length along the axis of its corresponding musical notation underneath.
In another aspect, the invention relates to the top horizontal line of the gamaka grid box corresponds to upper note of the swara (UN), the bottom horizontal line corresponds to lower note of the swara (LN), and the middle horizontal line corresponds to principal note of the swara (PN) (of a specific raga on the basis of arohanam - avarohanam of the said raga).
In another aspect, the invention relates to the selected graphical treatment of each gamaka note symbol may comprise using one or more geometric shapes, each geometry representing a particular gamaka tone qualify in accordance with a predetermined gamaka tone quality protocol.
In another aspect, the invention relates to the graphical gamaka note symbol is marked on the grid box, within a column corresponding to the musical swara note imprinted below when the note is intended to be held for one beat.
In another aspect, the invention relates to the graphical gamaka note symbol is marked on the grid box, along a number of columns of the grid box, when a musical swara note is intended to be held for more than one beat.
In another aspect, the invention relates to most of the gamaka note symbols are read from left to right along the horizontal axis of grid box.
In another aspect, the invention relates to some of the gamaka note symbols may be read from left towards right along the horizontal axis of the grid box. In another aspect, the invention relates to some of gamaka note symbols may be read from right to left along the horizontal axis of the grid box.
In another aspect, the invention relates to the said grid box may be a digital display.
In another aspect, the invention relates to the grid box may be a printed display.
In another aspect, the invention relates to the space immediately above the top horizontal line, represents a next upper note to the principal note (PN) of the corresponding swara (of a specific raga on the basis of arohanam - avarohanam of the said raga).
In another aspect, the invention relates to the space immediately below the bottom horizontal line represents a next lower note to the principal note (PN) of the corresponding swara (of a specific raga on the basis of arohanam - avarohanam of the said raga).
In another aspect, the invention relates to the space above the top horizontal line may include musical note in text to represent a higher note which is beyond the next upper note to the principal note (PN) of the corresponding swara (of a specific raga on the basis of arohanam - avarohanam of the said raga).
In another aspect, the invention relates to the space below the bottom horizontal line may include musical note in text to represent a lower note which is lesser than the next lower note to the principal note (PN) of the swara (of a specific raga on the basis of arohanam - avarohanam of the said raga).
In another aspect, the invention relates to more than one note is to be imprinted in the said space a Leger line indicates a pitch which pitch is not same as swara pitch.
In another aspect, the invention relates to the space encompassed within the horizontal lines represent any of the notes lying within upper note of swara (UN), lower note of swara (LN) and principal note of swara (PN) (of a specific raga on the basis of arohanam - avarohanam of the said raga). In another aspect, the invention relates to the gamaka note symbol is aligned and justified with respect to corresponding swara underneath at the point of incidence, whereby gamaka note symbol affect only the corresponding musical note to which it is actually aligned.
In another aspect, the invention relates to the grid box is empty if there is no gamaka corresponding to the swara underneath.
It is submitted that many modifications and deviations will be readily known to skilled persons in the art all of which are covered within the scope of invention and is not limited by illustrations, examples and references given in the description.
Incorporate the aspect of staff notation or any other notation in combination with GB.
Figure imgf000112_0001

Claims

WE CLAIM
1. A method of representing gamaka notation system for Indian music comprising swaras, taalas and ragas, the said method using a grid box corresponding to musical notations representative of pitch and time duration of the swara along a horizontally extended time axis :
a. providing a grid box (1) display correspondingly along the axis to a standard musical notations and above the said musical notations, b. applying selected gamaka note symbols within on, outside and around the gamaka grid box to indicate the gamaka notes to be sounded in selected time intervals corresponding to musical notations unde n at ! each of the gamaka note being visually representative of a predetermined selected gamaka note quality in accordance with a predetermined gamaka note quality protocol and for a predetermined duration of the musical notation correspondingly to the swara underneat the said gamaka fiote,
c. applying a selected graphical treatment to each gamaka note symbol, each selected graphical treatment being representative of a specific gamaka tone quality in accordance with a predetermined gamaka tone quality protocol, and d. providing corresponding swara lyric for each musical note along the axis, said lyrics provided directly beneath the said corresponding musical notes.
2. The method as claimed in claim 1 , wherein gamaka tone qualify is representative of oscillation of notes to be sounded.
3. The method as claimed in claim 1, wherein the gamaka grid box is arranged as rectangular matrix like structure having a plurality of vertical columns (4), and a set of three parallel horizontal lines forming two rows.
4. The method as claimed in claim 3, wherein space within each of said column of the grid box is representative of atleast one or more gamaka tone quality from a predetermined gamaka tone quality protocol.
5. The method as claimed in claim 3, wherein horizontal length of each column of grid box is representative of time intervals referred as a beat in the music.
6. The method as claimed in claim 3, wherein each vertical column representing a beat has an terminating right hand side vertical line referred as beat bar linej which is represented as a single vertical line (2).
7. The method as claimed in claim 3, wherein plurality of vertical columns collectively representing a groupings of beat referred as a taala cycle, has a terminating right hand side vertical line referred as taala bar line which is represented as a set of plurality (double) of vertical lines (3).
8. The method as claimed in claim 1 , wherein the horizontal length of the columns encompassing each gamaka note symbols along the gamaka grid box is equal to the horizontal length along the axis of its corresponding musical notation underneath.
9. The method as claimed in claim 1 , wherein the top horizontal line of the gamaka grid box corresponds to upper note of the swara (UN), the bottom horizontal line corresponds to lower note of the swara (LN), and the middle horizontal line corresponds to principal note of the swara (PN) (of a specific raga on the basis of arohanam - avarohanam of the said raga).
10. The method as claimed in claim 1 , wherein the selected graphical treatment of each gamaka note symbol may comprise using one or more geometric shapes, each geometry representing a particular gamaka tone quality in accordance with a predetermined gamaka tone quality protocol.
11. The method as claimed in claim 10, wherein the graphical gamaka note symbol is marked on the grid box, within a column corresponding to the musical swara note imprinted below when the note is intended to be held for one beat.
12. The method as claimed in claim 10, wherein the graphical gamaka note symbol is marked on the grid box, along a number of columns of the grid box, when a musical swara note is intended to be held for more than one beat.
13. The method as claimed in claim 1 , wherein most of the gamaka note symbols are read from left to right along the horizontal axis of grid box.
14. The method as claimed in claim 1 , wherein some of the gamaka note symbols may be read from left towards right along the horizontal axis of the grid box.
15. The method as claimed in claim 1 , wherein some of gamaka note symbols may be read from right to left along the horizontal axis of the grid box.
16. The method as claimed in claim 1, wherein the said grid box may be a digital display.
17. The method as claimed in claim 1 , wherein the grid box may be a printed display.
18. The method as claimed in claim 1 , wherein the space immediately above the top horizontal line, represents a next upper note to the principal note (PN) of the corresponding swara (of a specific raga on the basis of arohanam - avarohanam of the said raga).
19. The method as claimed in claim 1 , wherein the space immediately below the bottom horizontal line represents a next lower note to the principal note (PN) of the corresponding swara (of a specific raga on the basis of arohanam - avarohanam of the said raga).
20. The method as claimed in claim 1 , wherein the space above the top horizontal line may include musical note in text to represent a higher note which is beyond the next upper note to the principal note (PN) of the corresponding swara (of a specific raga on the basis of arohanam - avarohanam of the said raga).
21.The method as claimed in claim 1 , wherein the space below the bottom horizontal line may include musical note in text to represent a lower note which is lesser than the next lower note to the principal note (PN) of the swara (of a specific raga on the basis of arohanam - avarohanam of the said raga).
22. The method as claimed in claim 20 & 21 , wherein when more than one note is to be imprinted in the said space a Leger line indicates a pitch which pitch is not same as swara pitch.
23. The method as claimed in claim 1, wherein the space encompassed within the horizontal lines represent any of the notes lying within upper note of swara (UN), lower note of swara (LN) and principal note of swara (PN) (of a specific raga on the basis of arohanam - avarohanam of the said raga).
24. The method as claimed in claim 1 , wherein the gamaka note symbol is aligned and justified with respect to corresponding swara underneath at the point of incidence, whereby gamaka note symbol affect only the corresponding musical note to which it is actually aligned.
2fj.The method as claimed in claim 1 , wherein the grid box is empty if there is no gamaka corresponding to the swara underneath.
PCT/IN2017/000014 2016-01-21 2017-01-20 Gamaka box notational system WO2017125945A2 (en)

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