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Within Indian classical music for Shruti, Sarana Chatushtai is an experiment. The purpose is to obtain the correct physical configuration of Śruti swara arrangement to Shadja Grama Notes on a veena instrument (Sa, Ri, Ga, Ma, Pa, Dha, Ni corresponding to 4-3-2-4-4-3-2 totalling 22 Srutis in a Saptak). The experiment is described in Abhinavabharati, a commentary to Natya Shastra, as an explanation after verse 28.26 of Natyashastra. The 22 Srutis are the only notes which can be useful for music in an “octave”, in this view. The sections below describe the experiment.

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  • Sarana Chatushtai (en)
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  • Within Indian classical music for Shruti, Sarana Chatushtai is an experiment. The purpose is to obtain the correct physical configuration of Śruti swara arrangement to Shadja Grama Notes on a veena instrument (Sa, Ri, Ga, Ma, Pa, Dha, Ni corresponding to 4-3-2-4-4-3-2 totalling 22 Srutis in a Saptak). The experiment is described in Abhinavabharati, a commentary to Natya Shastra, as an explanation after verse 28.26 of Natyashastra. The 22 Srutis are the only notes which can be useful for music in an “octave”, in this view. The sections below describe the experiment. (en)
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  • Within Indian classical music for Shruti, Sarana Chatushtai is an experiment. The purpose is to obtain the correct physical configuration of Śruti swara arrangement to Shadja Grama Notes on a veena instrument (Sa, Ri, Ga, Ma, Pa, Dha, Ni corresponding to 4-3-2-4-4-3-2 totalling 22 Srutis in a Saptak). The experiment is described in Abhinavabharati, a commentary to Natya Shastra, as an explanation after verse 28.26 of Natyashastra. The 22 Srutis are the only notes which can be useful for music in an “octave”, in this view. The sections below describe the experiment. (en)
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