Carnatic Notation (Sargam)
What Is Carnatic Notation (Sargam)?
Carnatic notation uses the sargam syllables — Sa, Ri, Ga, Ma, Pa, Dha, Ni — derived from the ancient Sanskrit names Shadja, Rishabha, Gandhara, Madhyama, Panchama, Dhaivata, and Nishada. This seven-syllable system is the foundation of South Indian classical music (Carnatic music) and maps all twelve chromatic pitches using uppercase and lowercase letters to distinguish between natural (shuddha) and altered (vikruti) forms.
In the abbreviated notation used in Tunable, Sa and Pa are fixed anchors — they have no altered forms. The remaining five swaras each have two variants: a lower (komal) form shown in lowercase (r, g, d, n) and a higher (tivra) form in uppercase (R, G, D, N), plus the special case of Ma, where lowercase m is the natural form and uppercase M is the raised (tivra) form.
Carnatic music organizes these twelve pitches into 72 parent scales called melakarta ragas, each containing exactly seven notes. The sargam syllables serve not just as pitch names but as the basis for vocal and instrumental improvisation, composition, and the elaborate system of gamaka (ornamentation) that defines the Carnatic tradition.
Note Names
| Degree | Carnatic | English |
|---|---|---|
| 1 (Tonic) | S | C |
| ♯1/♭2 | r | C♯/D♭ |
| 2 | R | D |
| ♯2/♭3 | g | D♯/E♭ |
| 3 | G | E |
| 4 | m | F |
| ♯4/♭5 | M | F♯/G♭ |
| 5 | P | G |
| ♯5/♭6 | d | G♯/A♭ |
| 6 | D | A |
| ♯6/♭7 | n | A♯/B♭ |
| 7 | N | B |
Where It's Used
- South Indian classical (Carnatic) music performance and education
- Carnatic vocal training and kalpanaswaram (improvised passages)
- Tamil Nadu, Karnataka, Andhra Pradesh, Telangana, and Kerala
- Sri Lankan and Malaysian Indian diaspora music communities
- Veena, mridangam, violin, flute, and other Carnatic instruments
History & Origin
The sargam system has roots in the Samaveda, one of the four Vedas of ancient India, dating to approximately 1000 BCE. The earliest theoretical framework appears in Bharata's Natya Shastra (c. 200 BCE – 200 CE), which described a system of 22 microtonal intervals called shruti. The seven swaras were formalized over centuries through treatises by Sharngadeva (Sangita Ratnakara, 13th century) and later Venkatamakhi (17th century), who systematized the 72 melakarta raga system that organizes all possible seven-note scales in Carnatic music. The abbreviated uppercase/lowercase notation is a modern convention that emerged in the 20th century for concise written representation.
How It Compares
The same twelve chromatic pitches in Carnatic Notation (Sargam) vs other notation systems:
| English | Carnatic | Hindustani | French (♯) |
|---|---|---|---|
| C | S | S | Ut |
| C♯/D♭ | r | r | Ut♯ |
| D | R | R | Re |
| D♯/E♭ | g | g | Re♯ |
| E | G | G | Mi |
| F | m | m | Fa |
| F♯/G♭ | M | M | Fa♯ |
| G | P | P | Sol |
| G♯/A♭ | d | d | Sol♯ |
| A | D | D | La |
| A♯/B♭ | n | n | La♯ |
| B | N | N | Si |
Using Carnatic Notation (Sargam) in Tunable
Tunable supports Carnatic Notation (Sargam) alongside 14 other notation systems. Switch notation in Settings → Tuner → Notation to display all note names, scale degrees, and chord roots in Carnatic Notation (Sargam) throughout the app.
FAQ
What do the uppercase and lowercase letters mean in Carnatic notation?
Uppercase letters (R, G, M, D, N) represent the higher variant of each swara, while lowercase letters (r, g, m, d, n) represent the lower variant. S and P have no variants — they are always fixed as Sa and Pa.
Is Carnatic sargam the same as Hindustani sargam?
The seven base syllables (Sa, Ri/Re, Ga, Ma, Pa, Dha, Ni) are shared, but the theoretical frameworks differ. Carnatic music uses the 72 melakarta system, while Hindustani music uses the 10 thaat system. The ornamentation, performance practice, and raga interpretations also differ significantly.
How does sargam compare to Western solfège?
Both are syllable-based systems for naming pitches. Sargam's Moveable Do equivalent is that Sa can be set to any pitch (like Do in Moveable Do solfège). However, sargam carries additional meaning — each swara is associated with specific emotional qualities (rasas) and ornamental patterns (gamakas) that have no parallel in Western solfège.