Indian system of music is based on 7 notes or swaras – Sa Ri Ga Ma Pa Dha Ni. One octave is an interval between notes that is twice the starting frequency. Eg, if I were to start with 132 Hertz and continue to increase the pitch of my voice, when I hit 264 Hertz, I would have covered one octave. A typical male (speech) voice has a frequency range of 85 to 180 Hertz; and a female (speech) voice has a range of 165 to 255 Hertz. These are roughly an octave apart. However, speech voice covers only a limited range; a professional vocalist can traverse 2.5 to 3 octaves. A learner at the early stages of training is required to get comfortable with 2 octaves over a period of learning.

As per older Karnatic music theory one octave is divided into 22 equal intervals – forming 22 “shrutis”. This is based on the practical understanding of what a human ear can perceive. Essentially this means there are 22 “note positions” or swara-sthaanas) in an octave. These are variations of the basic 7 notes ie., Sa-Ri-Ga-Ma-Pa-Dha-Ni. However, in practice, this has been simplified into 12 swara-staanas in the current musical theory framework. Thus it matches (at least theoretically) with the 12 keys of a piano keyboard. How 22 shruthis have been “collapsed” into 12 note positions? That is because some of these notes are considered overlapping. When we say 12 “notes” it has to be understood that each note has a ‘spread’ or a range, which allows it to be rendered somewhat differently for a given raga. (except for “Sa” and “Pa” which are considered ‘fixed’ notes). Given below is the names of the notes and their equivalent Hindusthani and Western names:

No	Swara	Swara/ Overlapping Swara	Name in Karnatic Music	Name in Hindusthani Music	Western Music Note
1	S		Shadjam	Shadj	C
2	R1		Shuddha Rishabham	Komal Ri	D ♭ / C#
3	R2	G1*	Chatusruti Rishabham / Shuddha Gandharam	Shuddh Ri	D
4	R3*	G2	Shatsruti Rishabam / Sadharana Gandharam	Komal Ga	D# / E ♭
5		G3	Anthara Gandharam	Shuddh Ga	E
6	M1		Shuddha Madhyamam	Komal Ma	F
7	M2		Prati Madhyamam	Tivr Ma	F# / G♭
8	P		Panchamam	Pancham	G
9	D1		Shuddha Dhaivatam	Komal Dha	G# / A♭
10	D2	N1*	Chatursruti Dhaivatam / Shuddha Nishadam	Shuddh Dha	A
11	D3*	N2	Shatsruti Dhaivatam / Kaisika Nishadam	Komal Ni	A# / B♭
12		N3	Kakali Nishadam	Shuddh Ni	B

• In Hindusthani music, G1, R3, N1, D3 notes don’t have a separate existence, they are known only by their equivalent overlapping note (ie R2, G2, D2, N2).

How do we define a “Raga”? Simply stated, it is a set of notes, arranged as a tune, producing a pleasing effect. A raga is defined by its arohana (ascending scale) and avarohana (descending scale). 

Eg: S R G M P D N S (arohana) – S N D P M G R S (avarohana). A raga may contain all the seven notes or may not, based on its structure.

The swara differs from the shruti concept in Indian music. A shruti is the smallest gradation of pitch available, while a swara is the selected pitches from which the musician constructs the scales, melodies and ragas. The Natya Shastra identifies and discusses twenty two shruti and seven swara per octave. Theoretically, an infinite number of shruti are possible (as there can be any number of frequencies or fractional frequencies between notes, technically speaking!), and later music scholars of India increased the number of shruti in their studies.

It is important to understand that all the notes except Sa and Pa are flexible within a range and rendered differently based on the raga. Eg., though Mayamalavagowla and Begada have the same “ma” (M1), the rendering is different – Begada M1 is rendered with a higher pitch. Similarly, the M2 used in Kalyani is slightly different from M2 used in Varali etc. For easier understanding and simplicity, we always refer to “12 swara sthaanas”.

A formal sysem (framework) of classification of Ragas is the “mela-kartha” system. The predominant system we have today is called “sampoorna melakartha system” consisting of 72 “base” ragas from which all ragas are derived. Please remember that Ragas existed before such frameworks were devised. The classification in this manner helped to provide a structure and a theoritical framework for easier understanding. 

Classification with ‘mela’ system was first proposed by Ramamatya in 1550 in his work titled Swaramelakalanidhi. The mela system was redefined in a completely different form by Venkatamakhi in the 17th century (Chaturdandi Prakaasika). This system later came to be known as ‘asampurna melakartha’ paddhati (असंपूर्ण मेळ). Today’s melakartha system was propounded by Govindacharya in 18th century (using the same foundational elements that Venkatamakhi proposed, now suitably modified). This system (which is considered also mathematically elegant) is well established as a framework in Karnatic Music today. 

72 melakarthas are derived by combination of 12 notes shown above. These are divided into 12 “chakras” of 6 ragas each. The first 6 are with shuddha Madhyamam and the second six are with prathi madhyamam. So, we have 12 x 6 = 72 Melakarthas.

Due to the 12-notes and overlapping positions of some notes, only 72 combinations are possible. Eg, we can’t have a raga with “R2 and G1” in its scale  (as both represent the same pitch/position). Or D3 and N2 in the scale.

Eg:

S R1 G1 M1 P D1 N1 S (Kanakangi) S R1 G1 M1 P D1 N2 S (Ratnangi) S R1 G1 M1 P D1 N3 S (Ganamurti) S R1 G1 M1 P D2 N2 S (Vanaspati) S R1 G1 M1 P D2 N3 S (Manavati) S R1 G1 M1 P D3 N3 S (Tanarupi)	Indu Chakra
S R1 G2 M1 P D1 N1 S (Senavati) S R1 G2 M1 P D1 N2 S (Hanumatodi) S R1 G2 M1 P D1 N3 S (Dhenuka) S R1 G2 M1 P D2 N2 S (Natakapriya) S R1 G2 M1 P D2 N3 S (Kokilapriya) S R1 G2 M1 P D3 N3 S (Rupavati)	Netra Chakra
etc…. please look up for more info in Wikipedia. Search for the term “Melakartha”

All the derived ragas (janya ragas) are the children of these 72 melakarthas in the theoretical framework. Since there are dissonant (vivadi) notes when we use some of the combinations of the basic 12 notes, not all melakartha ragas are extensively used in compositions. Eg., usage of “S R1 G1 M1….” or “… D1 N1 S” in a raga is considered vivadi as they produce a somewhat dissonant effect when rendered.

Based on the characteristis of a raga and the notes used in the same, a janya raga is said to be derived from one of the mela kartha ragas. However, since there are instances where a janya raga can be derived from two or three mela karthas (as the janya ragas may not contain all the notes). In such instances, the ‘lakshana’ of the raga is looked at and one of the melakartha ragas are selected by musicologists. Of course, some of these are challenged and discussed too!

Please read more about these concepts form books and other authentic internet sources. While theory helps us in a better understanding of music, it is not a pre-requisite for enjoying good, melodious music!

The basic lessons are divided into progressive sets, each introducing a new concept and helping to establish proficiency of a higher level:

1. Sarala Varise (Simple, sequential notes)
2. Janti Varise (Double notes, mostly sequential, but with variations)
3. Dattu Varise (Zig-zag notes, that help you jump from notes to note.
4. Alamkaras (Exercises on 7 beat cycles used in karnatic music)
5. Geethams & Jathiswarams
6. Swarajathis
7. Varnams
8. Krithis… 

and so on….!

Once you have crossed the step 5 above, you can consider yourself a budding musician! Because, you are learning items that are actually sung in concerts. Of course, there are more things to add to the repertoire (there is lot of fine print, so to say!) before you can reach there, but all of it begins here.