Veda can be understood as Jnana. If Jnana manifests itself in the form of sound, then it is worshipped as Sabda Brahma. This sound pervades the entire Universe in different forms, which could be direct or indirect. Its intensity displays considerable variety, such as feeble, medium, and high pitched sound.
This sound manifests in various ways due to the diversity in the structure of the human body. The oxygen that is released through the belly button, heart and ears is expressed in different ways, due to the disparity in the arrangement of the different parts of the body.
The larynx in the throatis the location of the last part of such pronunciation. The intensity of the letter being vocalized depends on the place in the larynx, where it is formed. The period of the letter is determined by the length of the breath. Thus the letter, which consists of sound and duration, is in various forms and it is the source of the various languages, diverse speeches and the different forms of music.
The properties of the sound after its transformation into letters and the different features of the Swara will be discussed in the sequel.
Swara
The phrase Swara-sabda has derived from the noun Swru – Sabdopathapayo. It can be interpreted as the sound delivered from the tone.
Svatho rainjyathi srothuschitham sa svara uchyathe!
It means that the tonal sound naturally soothes the mind of the listener. Therefore, it is termed as swara.
On the basis of the variations in the frequency of sound waves, it has been established that there are twenty – two ways of expressing sound. This sound deliverance or expression is known as sruthi.
There is a relationship between the sruthi and swara. Each and every swara possesses some kind of sruthi. It is like the ghee in the curd or the fire in the wooden stick. The various stages of sruthi are Deeptha, Ayatha, Mridhu, Madhyama, and Karuna. In fact, these stages are nothing other than the level of sound generated at that stage.
If the twenty –two types of sruthis are classified into seven categories, then they are called the seven swaras. These swaras are further interpreted in two methods.
First method
Pradhamascha dwithiyascha thrutheeyodha chathurdhakaha|
Mandra krushto hyathiswaara ethankurvanthi saamaga||
The Samagana experts classify the swara into pradhama, dwithiya, thruthiya, chathurdha, mandra, krushta, and athisvaarya.
Second method
Shadjascha rishabhaschaiva gandharo madhyama sthadha|
Panchimo dhaivathaschaiva nishada saptama swaraha||
In some music scriptures, the swara is given the seven names, Shadja, rishabha, gandhara, madhyama, panchama, dhaivatha, and nishada. Different combinations of the swara generate the different ragas. The composition of the swara is called moorchana. The practitioner of music must identify each moorchana in the different swaras before learning and practicing them. By doing so, the presiding deity of the specific swara satisfies and provides the desired outcome to the practitioner.
The generation of Shadjadhi words.
Shadjamu
The air that is transmitted through the nose, throat, heart, palate, tongue and teeth generates this sound. Since the places of generation of this sound are six, it is called shadjamu.
Explanation
It is the basis and origin of the six swaras, and it is generated at the six places enumerated above.
Rishabha
The term Rishabha indicates a bull. The air, which is pushed upwards from the navel towards the upper portion of the throat, produces a sound like a bull’s bellow. That is why this swara is called the rishabha.
Explanation
The bellow of the bull is different from the lowing of cows. The Rishabha sound is similar to the bellowing of a bull.
Gandharam
The air starts its journey from the navel, passes through the throat and palate, and reaches the nose. It is bestowed with fragrance at the nose, and smell is termed as gandha. Hence, the sound produced is called gandhara.
Explanation
Melodious pronunciation is the main feature of this swara. It is compared with the mooing of a cow.
Madhyama
The air starts from the navel, circulates in the heart, and returns back to the navel. This is known as the madhyama or middle swara.
Explanation
This swara is the middle swara in the range of swaras. Hence, it is denoted as the madhyama swara.
Panchama
The air travels from the navel and circulates in five places, namely, the abdomen, heart, throat and head. Panchama signifies five, and as this swarais generated by the air that circulates through five organs, it is called the panchama swara.
Explanation
This swara is applied to identify the boundaries and scope of the other swaras. This is the fifth in the row of swaras and hence, it is called the panchamaswara.
Dhaivatham
The dhaivatha swara is the sixth swara. It is superior to the remaining five swaras. It exists in a higher place, in comparison to the other swaras, and it is used as an accompanying swara to the other swaras. On account of these attributes, it is entitledthe dhaivatha swara. Dhaivatha denotes divinity.
Explanation
In Sanskrit, the letter dhee indicates the intellect. This swara has attained divinity as the knowledgeable person sings it with the utmost concentration, or in other words that person sings in the sixth scale.
Nishadha
Thatswara in which all the other swarasmerge, is the nishadha swara. It is the highest and it is beyond the other swaras.
Explanation
Sat indicates the Lord Parabrahma. This swarahas been given the name of nishadha swara, since it is proximate to the Lord Parabrahma.
There are three types of music practice;
Practice on a veena
Song accompanied by a veena
Music as a family practice
The students in the preliminary stages of learning may find it difficult to identify the important places for vocalising the swaras. Therefore, their teachers teach these finer details on either a veena or flute. As such, the literature on music, dance or even the Vedas have attached great importance to the practice of music on the veena or flute. The students are required to listen to the swara sounds produced by the stringed instrument (veena) or a wind instrument (flute). After carefully listening to the sounds of swara, they have to attempt to produce the same sound with their voice. This is the traditional practice of music.
In the past, the Vedic scholars who excelled in vocal music used to play the veena, during the yajnas. However, over time, this system of music practice lost its importance. The practice of music, in combination with the veenaand flute is simpler and more effective, for students.
In performing the Somayajna, it is essential to play the critical vocal music of Uha and Uhya for hours at a stretch. This requires two types of practice.
HastaSwara
This is similar to vocal music. In this system, the places of the swaras are to be shown on the hand.
Study instruction
The student has to place the hands on the knees and sit in a comfortable position. He should obtain his Guru’s permission and practice singing with concentration. He should chant Om, mantras of vyahruthis, Savitri, and Gayatri before beginningthe practice.
He should keep all the fingers straight and touch the swara places on the protuberances on the fingers with his thumbs. He should touch the three lines on these distensions and not the ends of the fingers. The instruction texts state that the Hasta-swara system is very important and that the practitioner will not obtain success if he ignores it. If there is any imbalance in making the proper swara, then there will be an opportunity for the practitioner to rectify it. This system has been developed to help students remember the swaras correctly.
The Sama Veda provides guidance with regard to the placement of fingers to indicate the swara places. The following table provides this information.
In the Hasta-swara, all the fingers have to be conjoined. The left hand fingers may also be used to indicate the time intervals of matra, dwimatra, and vrudha.
Differences in the Rik and Sama instruction
A slight difference is acceptable in the chant of the Riks and in the timing of the chanting process. In Sama gana, long time gaps are allowed, during the timed chant of the swaras.
Swara Mandala
The Swara Mandala is the collective noun employed for indicating the group of 7 Swaras, 3 Gramas, 21 Moorchanas, and 41 Thanas. There are ten types of factors that are involved in vocal singing of the Swara Mandala.
These are
1. Blood; 2. Purnam; 3. Alankritham; 4. Prasannam; 5. Vyaktham; 6. Vikrushtam; 7. Slakshnamu; 8. Samamu; 9. Sukumaramu; and 10. Madhuram.
The combined effect of all these factors is termed the song.
The number of Swaras in other branches of the Vedas
There are several rules in the branches of Vedas, which determine the places of the Riks and yajass in Samagana. These consist of three primary swaras;
Udattham
The sound that is produced at the upper portion of the larynx and mouth is called Udattham. It is the combination of the nishadham and gandharam. These two swaras are enshrined in the Udhattham.
Anudhattham
The sound that is generated at the lower parts of the larynx is called Anudhatham. The swaras of Rishabha and Dhaivatha are internal parts of this swara.
Swaritham
The swara that has both Udhatha and Anudhatha is known as Swaritha or Swaaramu. The internal swaras of this swara are Shadjama, Madhyama, and Panchama.
The seven swaras in the Sama Veda exist in the following manner.
The Rig-Veda branches of Kata, Kalapa, Thaittariya, and Ahvaraka contain the Pradhama swara.
The Triswaryamu in the Rig-Veda is formed as a combination of dwithiya and Tritiya swaras. It is known as Udhatthanudhattha swaritham.
In the Ahvaraka branch, the swaras like Krushta, Pradhama, and Tritiya are chanted.
The adherents of the Taittariya branch use the swaras Dwithiya, Tritiya, Chaturdha, and Mandra swaras.
The Anudhatham that sounds like Udhatham is known as Prachayam or Dhrutham. It is widely used in several branches of the Vedas.
The followers of Sathapadhabrhmanam in the Suklayajurveda, and Thandya and Bhallavi Brahmana scriptures use only the Pradhama and Dwithiya swaras.
Aikaswara or Ekasruthiis an extensive Swara. A large number of mantras and several branches of Veda are chanted in this swara.
This leads to the question that if the Rithviks belonging to several branches participate in one yajna, then how would they coordinate their vocalising with each other? The yajna tradition has to provide an answer to this perplexing issue.
The mantras have to be chanted in the same manner as the Pranava is chanted. This is called Ekaswara. This swara contains other swaras within it. This arrangement is known as Ekasruthi.
Conclusion
The swara acts as the life of Veda. The human body without life is useless and has no value. This is also applicable to the Vedas, which in the absence of the swara are akin to a human body without life. The practitioner has to first obtain upadesha from the Guru. He has to interpret the upadesha within the meaning of the teachings of Siksha and Lakshana scriptures. This practice provides a flawless and pure Vedanada to him. The mantras chanted with this background will be more powerful and fulfil all his desires, instantaneously.
The word Swara denotes sound. It also signifies melody that unifies one with tapas. One can achieve the highest state of tapas through sound. The literature on the subject of Sabda, supports this meaning.