As we know, there are 12 identifiable musical notes in a Saptak (Octave), namely S, r, R, g, G, M, m, P, d, D, n, and N. What is surprising is that out of these, Shadja and Pancham are playable at 1 precise point each on any string; and each of the other 10 are actually spread over a 'region' on the string ! e.g.,If we pluck a single string, it first makes the sound of "Shadja" or "Fundamental tone". As we go on moving the point of playing the string from any side, it makes some unidentifiable sounds till we reach the region of r. This is the lowermost point of perception as r by human ear (let us call it as r1). Continue ahead, and soon we reach another point which is the highermost point of perception for r by human ear (r2). In between these 2 points is the 'region' of r as it exists naturally on a string. Thus, for each of the 10 notes other than the Shadja and Panchama there are lower and the higher 'points of perception by the human ear', creating a region on the string ! When we start playing from one end, (see figure below) |
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The frequency starts increasing from "Shadja", and a point is reached where we can perceive the note as "Komal Rishabha" (See r1 : producing frequency of 105.35). We can move further and still the perception of Komal Rishabha continues. This happens till we reach r2 (producing frequency of 106.666666). Beyond r2, the string produces a non-recognisable (besur) sound. This region can be called as 'No man's region'(-------*------). Thus, there are 2 limits for Komal Rishabha, r1 (lower), and r2 (higher), creating the "Swarakshetra" for Komal Rishabha (------*-----).
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