22 Shrutis Simplified: For Musicians

India contains a vast storehouse of ancient knowledge. Indian Classical Music, known to invoke spirituality, is based on the principle of perfect consonance. Carrying the wisdom of the ancients forward, for perhaps the first time ever, the exact mathematical positions of the notes used in Indian Classical Music have been discovered and documented in this Knowledge Series '22 Shrutis Simplified'. The mammoth research has been undertaken by Dr. Vidyadhar Oke. The conceptualization & creation of this series was done by Dr. Sangeeta Shankar, making it accessible and understandable to everyone.
The aim of this series is to understand, grasp & apply the knowledge of the 22 shrutis. The 22 Shrutis are based on universal laws & principles. Every concept has been broken into parts and explained in a great level of detail. Downloadable charts will be added to the description soon. We invite musicians of all abilities, and listeners with a discerning ear to mention their valuable comments & discuss the unlimited possibilities opened up due to the documentation of this knowledge.
'22 Shrutis Simplified: For Musicians' gives an overall understanding of the 22 shruti system and a glimpse into what's in store in the series.
The series contains the following chapters:
'Chapter 1: In a Nutshell' covers the basic concepts and gives an overview of how the 22 shrutis are arrived at.
'Chapter 2: The Fundamentals' delves into further detail, explaining concepts of harmonics, sound, consonance and some universal laws of nature.
'Chapter 3: The Science Behind It' decodes terms like 'Dhwani', 'Nada', 'Swar', 'Shruti' and explains distances, ratios & positions of the 22 shrutis.
'Chapter 4: Demonstrations' shows the practical application of the 22 shruti system in Indian Classical Music - as explained by iconic figures of North Indian Classical Music.
'Chapter 5: How to Tune & Use' covers the technological aspects & the ease with which this knowledge can be incorporated into today's musical projects & software.
Research by: Dr. Vidyadhar Oke
Conceptualized & Created by: Dr. Sangeeta Shankar
Special Thanks (in order of appearance):
Pt. Ajay Chakraborty
Dr. N. Rajam
Pt. Nayan Ghosh
Pt. Vishwa Mohan Bhatt
Mahesh Raghvan

[@krishnapartha]

Namaste Sangeetha Akka, can you kindly (and for me, selfishly) provide English captions? (I still understood from your demonstrations the beautiful insight. Madhyam and Pancham change the swara’s effect!) However, maybe this message will reach further? I thank you deeply Akka for these beautiful sharings. I pray you and your whole family are well. 🙏🏾 humbly, Krishna

[@JJthimnsan.]

U know English why not hindi ?? Just asking , hindi is a such a beautiful language

[@siddhiradhekrishna]

Thank You 🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏

[@BhajanVibes]

Excellent Video, thank you very much. Even our all lifetime is not sufficient to learn music in it's entirety. It is an ocean of knowledge. My western music theory teacher once said, " Western music is based on THIRDS ". we can see all the basic triads and further the extended chords are basically stacked thirds, and this is what I see here. Wheather it is Sa Re Ga OR Re Ma Dha OR Ga Pa Ni........... Its all the stacked Thirds. Just like we build the chords in any particular scale. When Dha is played with the drone set on Ma and when the same note Dha is played with the drone set on Pancham. It's merely the Harmonic Interval that plays role here, it is a very basic concept of Consonance and Dissonance in western music theory. Unison, Fifth, and Octave are perfect consonces wehreas third and sixth are imperfect consonces. Second and Seventh intervals are Dissonces. When Perfect Fourth ( Ma ) drone is set on to play Sixth interval ( Dha) it becomes the harmonic interval of Third degree which is harmoinous and when Sixth is played with the Fifth in drone it creates the Second degree harmonic interval which is dissonant.

[@chinthapatti1]

Thanks for giving us basics, Pattiarachchi

[@pushpasharma1354]

Sangeeta ji apne shruti pe jo work keya h KZbin k madhyam se really speechless. Bhat ji Pranam. Apka to namm hi sangeet h. Keep it up. M also Retd. Prof. Music vocal.

[@Joshbansuri]

Wah wah Kamal ❤

[@bhatiajai007]

This is a revelation. A true Sarasvati darshana! Thank you for this series!

[@haramohankhuntia]

A very interesting topic each musician, music students, teacher should Know. Blessings to Sangeeta Shankar for bringing this and presenting it so nice and interesting way.

[@VSRaana]

Mam apki smile ne subscribe karne pe majboor kar diya .... Amulya gyan ke liye aabhar ....

[@pushpasharma1354]

Wow. Really it's very minutely observed without Guru mukh we can't sing. Hon. Madam N. Rajan plays so soulful . My Musical regards. U all r blessed by Maa Saraswati.

[@rakeshgoswami2387]

Beautiful information provided ..for us ..Guru mam ..thank you so much

[@AdhiyogaSystem]

Very important video. I salute you Sangeetaji.

[@Joshbansuri]

Bohat khoob

[@Gopalji1297]

Very soulful & right way...💐❤️🙏

[@gsmurthy2595]

Fantastic explanation and a very interesting topic both for musicians and students, I feel that all music lovers of Indian Classical music would also use sanskrit names for 22 shruties instead of saying r1, G2, m1 etc which is not an Indian standard and we start using names viz. Dayavati/ Ranjani/Raktika as shrutis for Rishabha, Roudri/Krodha for Gandhara, Vajrika/ Prasarini/Priti/Marjani for Madhyama, Kshiti/Rakta/Sandipani/Alapini for Panchama, Madanti/Rohini/Ramya for Dhaivata, and Ugra/Kshobhini for Nishada...in all basic lessons also these names could be taught .🙏

[@praveenkumardeshmukhviolin9825]

It's very great 🙏 thank you very much madam

[@ravindrashenoy5955]

Very Interesting. Not heard about this before.

[@vinamewada8645]

Thankyou so much, Ma'am

[@Aadityaap]

Speechless…. Such a great work 🙏🏻

[@chanchalchakraborty3953]

Thank You. Madam. Very very. Very Nice 🙏🏻🙏🏻🙏🏻👍👌🙏🏻🙏🏻🙏🏻

[@livingmusic4096]

Such an excellent video should have much more views

[@maulikparikh7942]

Hello ma'am aapne bahut hi achhi tarah se shrutio ke bare me samjaya aapka bahut bahut dhanyavad. Me as a tabla player hu aur mene visharad alankar aur m. p. a music table me kiya hai. Aapse is video se muje bahut kuch sikhne ko mila. Aapne bilkul sahi kaha same vesa mera he. Rago ke bare me ham jante hai matlab ki pata chal jata hai ki konsa rag hai lekin jo uski barikaye he jo ekdam deap me jo thodi counfution thi vo muje samaj me aayi. Me firse aapka dil se shukriyada karna chahta hu. My self Maulik Parikh from Ahmadabad Gujarat se hu. 🙏🙏🙏🙏🌹🌹🌹🌹❤❤❤❤

[@GovindRasoiB]

Wow very useful tips very nice n right think thanks for sharing

[@anunad209]

Very nice informative information. Pradeep

[@veeraraghavuluarigela9022]

Namaste Vidya dhar Oke Sir and Sangeet Sankar Madamji, Your Lesson are Very Useful to me ,Thank you Sir and Madam.I ask you,One doudt ,What is the difference between Raag "Maand" and Raag "Hemant".Southern Musians said that Raag" Maand " is taken from Rajasthani folk music(Northern).But They are Singing Raag "Hemant" as Maand.And Also is there any Raag in the Name of "Mandra Bageshee".Please Clarify my doubts.

[@VidyadharOkeDr]

The matter in your your question is not a subject of our research. Thanks. Dr.Oke

[@rakeshgoswami2387]

Beautiful information provided ..for music lovers

[@souls2music567]

Great video and content dears.. G😍d bless you..

[@Hitendra387]

Very super explaining. Thank you. H S Thaker Advocate Vadodara Gujarat India and Geeta

[@DPflutes]

Maam in this video you mention series of lessons on Shruti. Where can I get those lessons , please kindly reply. Regards and Charan sparsh.

[@VidyadharOkeDr]

Please see the whole series of 5 videos entitled '22 shrutis simplified'. Dr.Oke

[@satyanarayansharma5645]

I want to purchase 22 Shruti harmonium. How can I get it.

[@ishavasya]

Thank you, ma'am. I had been searching about this.

[@ragasangit1481]

Respected Dedibhai I am from west Bengal. It is my request to teach playing violin by KZbin.

[@kinjalknr]

Excellent

[@narendrasoni1222]

🙏 अद्भुत ।

[@kunals_music]

You have a very beautiful way of explaining. 🙂

[@itsmeashutoshpandey]

I do not understand please explain about Shruti distance because I have questions that agar 1 Shruti pe sa lete hain to 5th pe Rishabh kyoki sa ki 4 shrutiyan but acording this lecture Rishabh ki Shruti 4th pe aa rahi h

[@S.P.Chauhan.]

Sa kee 4 Nahi Hoti. ....Sa Fix Hota Hai.

[@VidyadharOkeDr]

Please see Chapter 3, my demonstration in this series. Also you may study 'Research Topics' on my website www.22shruti.com, with many videos for the answer to your question. Thanks. Dr.Oke

[@amarkantkumar4233]

Apko sadar pranam

[@prakashsoni7232]

राधे राधे मै कर्णाटक हुब्बल्ली मे रहता हुँ।फिरसे मैने वायलिन स्ट्रिंग बनाना शुरू किया है ।तो ऊसका ईस्तमाल करना चाहिये ।सभी स्केल स्ट्रिंग मिलेगा।ईलेक्ट्रोमेटल।धन्यवाद।

[@revathisampath6933]

Can this be shared in English for all music lovers to understand and appreciate? Thank you

[@Yours_Curiously]

Thank you for such well explained video. Will your course be free of cost? Also, do you have any courses for beginner to learn indian classical music. I like the way you explain things. Pranam.

[@rakeshgoswami2387]

Thank you so much

[@Minakshi_koshta]

🙏🙏🙏 Thankyou Ma'am 🙏🙏🙏🙏

[@vaani-1896]

Tq mam u teach n explain osm 👌

[@ritamishra7858]

🙏🏻 what I could gather is that Komal dhaivat is used in higher level Shruti in raag Bhairavi where as the same note is used in lower level Shruti for raag bharav Am I correct 🙏🏻

[@srinitaaigaura]

Once you sing with gamakas and meends and all, no one strictly adheres to all 22 shrutis, especially in singing. When you sing with a tambura, mostly we end up singing the natural intervals more than the pythogorean intervals.

[@kulamanisahoo1]

Thanks a lot madam

[@nareshkumarindian4593]

Thanks mam 🙏

[@indranigodavarthi2783]

Can you please provide English subtitles

[@rakeshgoswami2387]

Want to know more of it

[@kapilsethia9284]

I have some question for oakji. How are we going to play all these Shruti without pulling or pushing knobs? Like 24 tone ET. Will they work in harmonic music? Doesn't any rag uses lower and higher pitch together of same note? It would be nice if you play long melodies on both types of instrument to show the difference.

[@VidyadharOkeDr]

We pull a knob before playing a Raga, for a 'higher' shruti. There is nothing like 24 tone ET, and that will be completely different than 22 shrutis. 24 ET will be a harmonic disaster. No Raga uses both lower and higher shrutis for the SAME note. Please watch Video No.4 in this series where Pt.Vishwamohan Bhatt has played longer alaps with 22 shrutis. Regards, Dr.Oke

[@S.P.Chauhan.]

@@VidyadharOkeDr Sir, Great Wotk done By You.🌹🙏 Really Impressed By your work regarding Indian Classical Music...I am trying to Convert my Keyboard into Shruti Keyboard...Can I have your phone no please ..I have some Doubts...Thanks in Advance.🙏

[@karanb2763]

I didn't know this..

[@indranigodavarthi2783]

Actually i have been trying to know about this topic, but i couldn't follow hindi, at least please provide English subtitles

[@VidyadharOkeDr]

You can see some of the English sub-titled/ original English videos on 22 shrutis on my website www.22shruti.com. Thanks, Dr.Oke

[@GovindRasoiB]

Lk 116

[@jaykishanflute]

😊😊🙏🏼🙏🏼🙏🏼🙏🏼🙏🏼

[@yogeshdobriyal9648]

But ma'am it's very difficult on flute

[@jitendraambaliya8601]

😇

[@shrikanthiyer767]

P

[@callwinsingh1271]

But vo to different harmony h dono ki to sound to alag hogi ek jada pleasant dusrey se besura thodi hua yeh

[@mthambirajah6879]

Hi sister, please explain in English. Thanks

[@searchmeinyoutube]

If F is played with G I'll sound bad, and if F is played with A, it'll sound good......its called a whotone(or just, third semitone, thirds).......and this is VERY BASIC. With due respect, I don't think Indian Classical can do any better harmonisation than western classical.

[@7wardie]

Dam i speak english

[@7wardie]

oh no dont worry