Topic 1 – The short expressions used in this website for 22 Shrutis

Topic 2 : Non-English Musical, Technical and other terms

Topic 3 : Introduction to the Harmonium

Topic 4 : Production of Natural Sounds : Harmonic, Partials, Timbre

Topic 5 : The difference between “Nada”, “Shruti” and “Swara”

Topic 6 : Previous Research work on 22 Shrutis

Topic 7 : The Story Of The World’s First Shruti-Harmonium

Topic 8 : The Logic behind 22 Shrutis (‘Shruti-Nirman Chakra’)

Topic 9 : The Meaning And Criticism Of The ‘Tempered’ Scale

Topic 10 : Positions of notes in Equitempered (ET) Scale

Topic 11 : Capacity of the human ear to differentiate Sound frequencies.

Topic 12 : Indian Natural Scale

Topic 13 : Mathematical difficulties in calculating 22 Shrutis.

Topic 14 : Pythagoraen Octave (Scale)

Topic 15 : Importance of the Pythagorean Scale : ‘Pythagorean Limma’

Topic 16 : ‘Syntonic Comma’ or ‘Ptolemic Comma’

Topic 17 : Relationship between a Musical note and a Mathematical number

Topic 18 : Just Intonation Scale – ‘Natural’ scale in the West

Topic 19 : The most Ancient Musical Scales in the World

Topic 20 : Efforts made by 2 prominent Indian Researchers to find our Indian scale

Topic 21 : Discovery of 22 Shrutis from S-R-G-M

Topic 22 : Why “22” Shrutis Only ? : Natural Evolution

Topic 23: Why “22” Shrutis? : Natural Existence on a string

Topic 24 : 22 shrutis – Rational Behind the Ratios

Topic 25: Difference between Equitempered notes and Indian Musical Notes

Topic 26 : Shadjas and Panchams of all 22 Shrutis lie in these 22 positions only

Topic 27 : Bilaterally Equiratioal positioning of 22 Shrutis

Topic 28: Serial positioning of 22 Shrutis according to accurate adjacent ratios.

Topic 29: Bharatamuni’s Shadja and Madhyama Gramas explained

Topic 30: Bharatamuni’s Moorchhanas

Topic 31: 22 Shruti Relationships Template

Topic 32: Practical Use of Decimals : Knowing exact distance of 22 Shrutis from Shadja

Topic 33: Practical Use of Ratios : Playing all the 22 Shrutis on any String

Topic 34: Relationship of ‘Numbers generating Shrutis’ and ‘Prime numbers’

Topic 35: How to play 22 Shrutis on a Synthesizer

Topic 36: Names of 22 Shrutis in Western music

Topic 37: Relation of 22 Shrutis with the 7 Natural notes

Topic 38: The difference between Hindustani and Carnatic Classical Music systems

Topic 39: Modification of the structure of traditional Harmonium to accommodate 22 shrutis

Topic 40: Accurate tuning of the higher and the lower pitched Shrutis under every key in 22-Shruti-Harmonium

Topic 41: Tuning of 22 Shrutis ‘by the Ear’

Topic 42: Presence of 20 out of 22 Shrutis in Ancient Musical Scales

Topic 43: Western rationale of keeping ‘A’ at 440 Hz

Topic 44: Frequencies of all the 22 Shrutis in all the 12 scales on the Keyboard

Topic 45: Summary of 22 Shrutis

Topic 46: Why singing by Indian Stalwarts in the tempered scale was appreciated for a long time

Topic 47: Useful mathematical information for all 22 scales beginning from 22 shrutis

Topic 48: Reasons for the wrong belief that there are ‘several’ or ‘infinite’ shrutis

Topic 49: Summary of my research work on 22 Shrutis

Topic 50: What of ‘tempered’ harmoniums now that 22-Shruti-Harmonium is here?

Topic 51: Comparison of 22-Shruti Harmonium with other instruments

Topic 52: Why sound from a harmonium, with a discontinuous sound is perceived as continuous in concerts

Topic 53: Creation of Ragas in Indian (Hindustani) Classical Music

Topic 54: Selection of shrutis in various Ragas in Indian (Hindustani) Classical Music

Topic 55: Moorchhana creating different Ragas in Hindustani Classical Music

Topic 56: Further Reading and References on the Internet

Topic 57: Difference between 53 Tone Equi-Tempered Scale and Indian Shrutis

Topic 58: Common Musical Scales and their equivalent in Indian Classical Music

Topic 59: Difference between the Semantic Danielo-53 System and 22 shrutis

Topic 60: Ancient writings on the subject of 22 shrutis