Basic Indian Classical Notation Lesson

by Paul Barrette, May 2005

People learn in different ways. Some learn by ear, others need to write it down, others still need both. Whatever way you choose to keep track of the music you learn, it doesn't matter, so long as you learn it. I like to write it down and sing it so that I get the feel of it. Recently, I picked up a digital voice recorder (see image) to record lessons and small pieces I am working on. It is very convenient. It is fairly cheap, no setup required, small, has built in USB, no software is needed connect to a modern computer (Linux or Windows). I picked it up at bestbuy.com for about $100.

There are a lot of different ways to write ICM notation. I prefer to follow the way that Ravi Shankar describes it in his book, "My Music, My Live". That book is a good read, but out of print. Still, you can find them on Ebay or from Solfege Scale maps to the ICM scale, for the most part:

Solfege Syllables
• Do Re Me Fa So La Ti

ICM Syllables
• Sa Re Ga Ma Pa Dha Ni

I have never learned Solfege, but I thought the mapping might help those who have.

There are a few other ICM Syllables that are commonly used. These are the komal (=flat) and teevra (=sharp) syllables. So the expanded set of ICM Syllables will look like:

The underlined notes are "komal" or flat notes, and the bold ma is "teevra" or sharp. All notes except for Sa and Pa have an alter ego, whose nature is either komal or teevra. Typically, these syllables are written with a lowercase letter if they are teevra, with the exception of teevra ma which has no komal, so we just use the lowercase for it, we are foregiving right? Even better, we only use the first letter of the syllable when transcribing music, e.g. S R G M P D N.... Please look at the annotated sitar diagram on the right for a pictorial reference.

In the above table, the Sa is equivalent to C# in the western system. This need not be the case, since in ICM the Sa is not only the most important note (also called the "tonic" note), it is modal, e.g. it can be anything you wish and the other notes will offset from there. However, C, C# and D are commonly used as Sa. I prefer to use the Western D as my Sa. In other words, I "take my Sa from D", which is a common expression. I would suggest using C# if you are beginning since the wire is not as tight and hard on the fingers. In case you are wondering...the reason I say "repeat Sa re Re ga Ga etc...from the next higher octave" above, is because there are two and one-half octaves on the first string of the sitar. Similarly, when a note is lower than your Sa, it is in the previous octave. Most of the melody is played in these 2.5 octaves.

So, how do you distinguish between octaves? Typically, the octave lower than your Sa is represented with a dot BELOW the syllable. Two dots below a note means two octaves BELOW your Sa. Similarily, a dot ABOVE the syllable means the octave above your Sa and and two dots above a note means two octaves above your Sa. (We don't go lower two, and then only for Karaj Pancham, which is described in the tuning section.) Typically, on the web, it is difficult to write with subscript and superscript dots. I have indicated Low, Mid, High below.

The first string of the sitar has 2.5 octaves of notes:

Lower Ocatave
• M m P d D n N

Middle Ocatave
• S r R g G M m P d D n N

High Ocatave
• S r R g G M m P

The Keep in mind that for komal r and d, hi g and hi r you will have to slide your fret up or down. Typically, High P can only be played from meend.