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🎶Tambura

P̣·S·S·Ṣ

Notation Guide

Carnatic Notation Standard

The notation system used across Raga Sangrah follows the PCM (Perfecting Carnatic Music) standard. All notation strings, audio playback, and voice synthesis are governed by this reference.

1Three Octave System (Sthayi)

Mandra Sthayi

Ṣ Ṛ G̣ Ṃ P̣ Ḍ Ṇ

Lower octave — dot below (U+0323 combining)

Frequency: ½ × Madhya Sa

Madhya Sthayi

S R G M P D N

Middle octave — plain uppercase

Base: Sa = C4 (261.63 Hz)

Tara Sthayi

Ṡ Ṙ Ġ Ṁ Ṗ Ḋ Ṅ

Upper octave — dot above (U+0307 combining)

Frequency: 2 × Madhya Sa

216 Swara Variants — Complete Reference

Swara	Mandra	Madhya	Tara	Sanskrit Name	Ratio	Semitones
Sa	Ṣ	S	Ṡ	—	1/1	0
Ri₁	Ṛ₁	R₁	Ṙ₁	Shuddha Rishabha	256/243	1
Ri₂	Ṛ₂	R₂	Ṙ₂	Chatushruti Rishabha	9/8	2
Ri₃	Ṛ₃	R₃	Ṙ₃	Shatshruti Rishabha	32/27	3
Ga₁	G̣₁	G₁	Ġ₁	Shuddha Gandhara	32/27	3
Ga₂	G̣₂	G₂	Ġ₂	Sadharana Gandhara	5/4	4
Ga₃	G̣₃	G₃	Ġ₃	Antara Gandhara	81/64	5
Ma₁	Ṃ₁	M₁	Ṁ₁	Shuddha Madhyama	4/3	5
Ma₂	Ṃ₂	M₂	Ṁ₂	Prati Madhyama	45/32	6
Pa	P̣	P	Ṗ	—	3/2	7
Da₁	Ḍ₁	D₁	Ḋ₁	Shuddha Dhaivata	128/81	8
Da₂	Ḍ₂	D₂	Ḋ₂	Chatushruti Dhaivata	5/3	9
Da₃	Ḍ₃	D₃	Ḋ₃	Shatshruti Dhaivata	16/9	10
Ni₁	Ṇ₁	N₁	Ṅ₁	Shuddha Nishada	16/9	10
Ni₂	Ṇ₂	N₂	Ṅ₂	Kaisika Nishada	9/5	11
Ni₃	Ṇ₃	N₃	Ṅ₃	Kakali Nishada	15/8	11

Subscript digits (₁ ₂ ₃) denote the variant number. R₂ = Chatushruti Rishabha, G₃ = Antara Gandhara, etc. Ratios follow the Carnatic just-intonation system (22-shruti scale).

3Gamaka Markers

~

Kampita

Oscillation — rapid pitch wobble around the note

^

Sphurita

Grace note — quick touch of the note above

/

Jaru

Slide — glide up from the note below

\

Jaru ↓

Slide — glide down from the note above

w

Nokku

Stress — emphasis with a slight initial push

*

Odukkal

Suppressed — note played with reduced volume

(

Gamaka (

Gamaka start — marks the beginning of a gamaka phrase

)

Gamaka )

Gamaka end — marks the end of a gamaka phrase

Gamaka markers are appended directly to the swara token, e.g. G~ = Gandhara with Kampita,R/ = Rishabha with Jaru slide.

4Tala & Beat Markers

|

Akshara boundary — separates beats within an avartanam

||

Avartanam end — one complete tala cycle

-

Karvai — sustain / hold the previous note for one extra beat

,

Half-beat — note occupies half an akshara (ardha akshara)

5Example — Sarali Varisai No. 1 (Mayamalavagowla, Adi Tala)

1st Kala (slow)

S R₁ G₃ M₁ | P D₁ N₃ Ṡ ||

Descending

Ṡ N₃ D₁ P | M₁ G₃ R₁ S ||

Colour key: sky = Madhya Sthayi, amber = Tara Sthayi, rose = Mandra Sthayi. Beat separators | divide aksharas; || marks the end of the avartanam.