APPENDIX – I

MODE - SHIFT – TONE OR GRAHABHĒDA PRADARSINI

Prof. Sāmbamoorthy has invented a dēvice which is used to find out scales through
Grahabhēda. This instrument enables one to visually and aurally understand the new scales
that are derived by the process of Modal shift of tonic. The name Mode-Shift-Tone is an
abbreviation of the mode that results from the shift of the tonic note.

The instrument in appearance is like a miniature Harmonium with 25 keys, the first
12 keys standing for the 12 Svarasthanas of the first octave, the next 12 for the 12
Svarasthanas of the second octave and the 25th key for the Shadja of the third octave. Thus
the key board of this instrument might be taken to correspond to the finger board of the
veena, with this difference that the first key stands for the note given by the open Sārani
string of the veena and the remaining 24 keys for the notes heard on the 24 frets on the
same string. Instead of the white and black keys being on two different levels, the 25 keys
herein are all in one level. Above the keyboard is a Vernier with the 12 Svarasthanas marked
on it. Above these solfa letters, are marked the notes figuring in the major diatonic scale C D
E F G A B (Sankarābharana or Bilāval ). The Vernier moves along a groove.

MANNER OF USE

Supposing it is dēsired to know the scales that would result by the application of the
process of Modal shift of tonic to a given scale like Sankarābharanam – proceeds as follows:-

Set up the Sankarābharanam scale by drawing out the 1st, 3rd, 5th, 6th, 8th, and 12th
keys and the corresponding keys in the second octave. The reading of the Vernier in its
initial position will tell us that the notes of the Sankarābharanam scale. In order to find the
scale that would result when the Ri of the Sankarābharanam is taken as the tonic note,
move the Vernier to the right and set its Sa against the Rishabha of the basic scale and now
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read on the Vernier the notes for the eight drawn out keys from the new tonic note. The
reading will tell us visually that the new scale is Kharaharapriya. In order to aurally verify the
result, push back the first key, i.e., Sa of the basic scale to its original position and play a
series of notes from the new first key or Shadja. Kharaharapriya will be heard. Likewise we
can work out for the other new tonic notes.

The precise frequencies of the notes of the resulting scales can in every case be
determined if the frequencies of the notes of the basic scales are known or given.

If the basic happens to be of the Audava or Shādava type, set up the scale and move
the Vernier so that its Shadja is against the new tonic note; the reading on the Vernier will
indicate not only the Ārohana and Avarohana of the resulting but also the value of its Svaras
and incidentally its Janaka mēla or parent scale.

In the case of transilient scales with homogenous Ārohana and Avarohana it is easy
to work out results. Where the basic scale happens to be of the Audava Sampoorna type,
work out independently the results for the Ārohana and Avarohana and combined the two
to get the answer. Thus the Nishāda of Dhanyāsi when taken as tonic note will result in
Sālaga Bhairavi- the Nishāda of the Ārohana taken as the tonic note, giving rise to the
Ārohana S R M P D S and the Nishāda of the Sampoorna Avarohana taken as the tonic note
giving rise to the scale of Kharaharapriya.

When the basic scale happens to be a Vakra , the resulting scale will also be a Vakra .
In the new scale the Vakra Svara and the Vakrantya Svara will be different from those of the
basic scale. For finding out the resulting scales in Vakra s, proceed as before: bearing in
mind the Vakra Svara and the Vakrantya Svara of the basic scale, determine which notes of
the resulting scale will now be the Vakra Svara and Vakrantya Svaras. Thus the Madhyama
murchana of Kuntalavarāli (S M P D N D S – S N D P M S -28) will result in the
Budhamanohari (S R G M G P S – S P M G R S – 29)

In the case of Bhāshanga with the foreign note incorporated in the scale, the
resulting s will also be Bhāshanga s of the same type. In such cases, set up the scale in the
two octaves with the key representing the Anya Svara alone drawn out for half the length.
The corresponding note represented by this half-drawn out key will be the Anya Svara in the
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resultant scale. Thus the Pa of Sāranga taken as the tonic note will result in a which will be
the Janya of the 29th mēla and its Ārohana and Avarohana will be S R G M P D N S – S N P D
NP M G R S, the starred Nishāda (Kaisaki) being the Anya Svara.

An advanced type of mode-Shift- Ton with 22 keys for the 22 Srutis of each octave
can also be constructed and the precise frequencies of the notes of the resultant scales
determined.

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 APPENDIX - II

GRAHABHEDA CHART FOR MĒLAS

Resulting Mēla with the new tonic note
SL No Generating Mēla taken as
SUDDHA MADHYAMA MĒLAS Ri Ga Ma Pa Dha Ni
1 KANAKĀNGI 51 X X X X X
2 RATNĀNGI 52 X 55 X X X
3 GĀNAMURTI 54 X 55 X X X
4 VANASPATI X X 25 X X X
5 MĀNAVATI X X 61 X X X
6 TĀNARUPI X X X X X X
7 SENĀVATI 63 X X X 17 X
8 HANUMATODI 65 28 20 X 29 22
9 DHENUKA 66 X 56 X 35 X
10 NĀTAKAPRIYA X 64 26 X X 23
11 KOKILAPRIYA X X 62 X X X
12 RUPAVATI X X X X X X
13 GĀYAKAPRIYA 69 X X X X X
14 VAKULĀBHARANAM 71 X 21 X X 58
15 MĀYĀMĀLAVA GAULA 72 X 57 X X X
16 CHAKRAVĀKAM X X 27 X X 59
17 SURYAKĀNTAM X 7 63 X X X
18 HATAKĀMBARI X 43 X X X X
19 JHANKĀRADHVANI X X X 2 53 X
20 NATABHAIRAVI X 29 22 8 65 28
21 KEERAVĀNI X X 58 14 71 X
22 KHARAHARAPRIYA 8 65 28 20 X 29
23 GAURIMANOHARI 10 X 64 26 X X
24 VARUNAPRIYA X X X 32 X X
25 MĀRARANJANI X X X 4 X X
26 CHĀRUKESI X X 23 10 X 64
27 SARASĀNGI X X 59 16 X X
28 HARIKĀMBOJI 20 X 29 22 8 65
29 DHEERA SANKARĀBHARANAM 22 8 65 28 20 X
30 NĀGĀNANDINI X 44 X 34 X X
31 YAGAPRIYA X X X X X X
32 RĀGAVARDHANI X X 24 X X X
33 GANGEYA BHUSHANI X X 60 X X X
34 VAGADHEESVARI X X 30 X 44 X
35 SULINI X 9 66 X 56 X
36 CHALANĀTA X 45 X X X X

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 Resulting Mēla with the new tonic note
SL No Generating Mēla taken as
PRATI MADHYAMA MĒLAS RI GA MA PA DHA NI
37 SĀLAGAM X X X X X X
38 JALARNAVAM X X X X X X
39 JHĀLAVARĀLI X X X X X X
40 NAVANITAM X X X X X X
41 PĀVANI X X X X X X
42 RAGHUPRIYA X X X X X X
43 GAVĀMBODHI X X X X 18 X
44 BHAVAPRIYA X 34 X X 30 X
45 SUBHAPANTUVARĀLI X X X X 36 X
46 SHADVIDHA MĀRGINI X 70 X X X X
47 SUVARNĀNGI X X X X X X
48 DIVYAMANI X X X X X X
49 DHAVALĀMBARI X X X X X X
50 NĀMANĀRĀYANI X X X X X X
51 KĀMAVARDHANI X X X X X 1
52 RĀMAPRIYA X X X X X X
53 GAMANASRAMA X 19 X X X 2
54 VISVAMBARI X 55 X X X 3
55 SYĀMALANGI X X X 3 54 X
56 SHANMUKHAPRIYA X 35 X 9 66 X
57 SIMHENDRA MADHYAMAM X X X 15 72 X
58 HEMAVATI 14 71 X 21 X X
59 DHARMAVATI 16 X X 27 X X
60 NEETIMATI X X X 33 X X
61 KĀNTĀMANI X X X 5 X X
62 RISHABHAPRIYA X X X 11 X X
63 LATANGI X X X 17 X 7
64 VĀCHASPATI 26 X X 23 10 X
65 MECHAKALYĀNI 28 20 X 29 22 8
66 CHITRĀMBARI X 56 X 35 X 9
67 SUCHARITRA X X X X X X
68 JYOTISVARUPINI X X X X X X
69 DHATUVARDHANI X X X X X 13
70 NASIKĀBHUSHANI X X X X 46 X
71 KOSALAM X 21 X X 58 14
72 RASIKAPRIYA 57 X X X X 15

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 APPENDIX III
SRUTI BHEDA- A MATHEMATICAL APPRECIATION
Sa
1
Ra Sa
1.0535 1
Ri/Ga Sa
1.125 1.0679 1
Ru/Gi Ri/Ga Ra Sa
1.1852 1.125 1.0535 1
Gu Ru/Gi Ra Sa
1.2656 1.1852 1.1099 1.0535 1
Ma Ru/Gi Ri/Ga Sa
1.3333 1.2656 1.1852 1.125 1.0678 1
Mu Ma Gu Ru/Gi Ri/Ga Ra Sa
1.4047 1.3333 1.2656 1.1852 1.125 1.0535 1
Pa Ma Ri/Ga Sa
1.5 1.4238 1.3333 1.2656 1.2013 1.125 1.0678 1
Da Pa Mu Ma Ru/Gi Ri/Ga Ra Sa
1.5802 1.5 1.4047 1.3333 1.2656 1.1852 1.125 1.0535 1
Di/Na Pa Ri/Ga Sa
1.6875 1.6018 1.5 1.4238 1.3515 1.2656 1.2013 1.125 1.0678 1
Du/Ni Di/Na Da Pa Ma Ru/Gi Ri/Ga Ra Sa
1.7778 1.6875 1.5802 1.5 1.4238 1.3333 1.2656 1.1852 1.125 1.0535 1
Nu Du/Ni Da Pa Mu Ma Gu Ru/Gi Ra Sa
1.8729 1.7778 1.6648 1.5802 1.5 1.4047 1.3333 1.2656 1.1852 1.1099 1.0535 1
Sa Du/Ni Di/Na Pa Mu Ma Ru/Gi Ri/Ga
2 1.8984 1.7778 1.6875 1.6018 1.5 1.4238 1.3333 1.2656 1.1852 1.125 1.0679
Ra Sa Nu Du/Ni Di/Na Da Pa Mu Ma Gu Ru/Gi Ri/Ga
2.107 2 1.8729 1.7778 1.6875 1.5802 1.5 1.4047 1.3333 1.2656 1.1852 1.125
Ri/Ga Sa Di/Na Pa Ma
2.25 2 1.8984 1.802 1.6875 1.6018 1.5 1.4238 1.3333 1.2656 1.2013
Ru/Gi Sa Nu Du/Ni Di/Na Da Pa Mu Ma
2.3704 2 1.8984 1.7778 1.6875 1.5802 1.5 1.4047 1.3333 1.2656
Gu Sa Nu Du/Ni Da Mu Ma
2.4972 2 1.8729 1.7778 1.6648 1.5802 1.4798 1.4047 1.3333
Ma Sa Du/Ni Di/Na Da Pa
2.6666 2 1.8984 1.7778 1.6875 1.5802 1.5 1.4238
Mu Sa Nu Du/Ni Da Pa
2.8094 2 1.8729 1.7778 1.6648 1.5802 1.5
Pa Sa Du/Ni Di/Na
3 2 1.8984 1.7778 1.6875 1.6018
Da Sa Nu Du/Ni Di/Na
3.1604 2 1.8729 1.7778 1.6875
Di/Na Sa
3.375 2 1.8984 1.802
Du/Ni Sa
3.5556 2 1.8984
Nu Sa
3.7458 2
Computer based Srutibhēdam by Shri. Ālathoor Vijayakumar.( www.musicresearch.in/contents.php)

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 APPENDIX IV
Notation of Grahabheda Varna

Ragamalika Tala: Adi

Composer: Culcutta Krishna Murty

Pallavi (Madhyamavati)
// r , r , - m r r s – n s r , s , , , / r s r – n , s – p n / m p – n s r m r s //
Man – da - - - ra--- - - - - gi - - ri - - - - - da - - - ra - -
//r m r p , m – m n p n , - m p n s r / m r s – n , s p , / n m , - p m m r s //
Ma - - - dha - - - va - - - - ma - - - - - ma - - va - - - -
Anupallavi: (Hindolam)
{Madhyamavati’s Ri as Sa}
//m , g , m , - d m d g m , - d n s / n s n – d n d – m d /g m d s – n , , , //
Nan - da ja - - -- -- - - - - - - - - - rchi ta - - - - -
// s n s m g – s , - n s d , n – m d g m / d n s d , g m / d g d m g s n //
Na - - - ra - - - da - - - - se - - - vi - ta - - - -
Muktayi Svaram (Suddha Saveri)
{Madhyamavati’s Ma as Sa}
// d s d d p m p d p d p p m r m r / r p m m d p p s / d p d m p , , , //
//d p d s , d s d s r , s r d s r / s m r m s r d s / p d s r m , , , //
// s , m r s , p m r s , p d m r s / r m d p , d m p / r m r p m d p , //
// p s d r s d , p d m , r p m d p / m , r m s , d r / s m r s , d s p //

Charanam (Suddha Dhanyasi)

{Madhyamavati’s Pa as Sa}

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// n , s , g , m s g p m g m g n / s , n s g m , g / s g , s n s , p //
Su gu na - ka – ra - su - - nda ra - mu ku - - - - - da

Ettugada Svaras
(Suddha Dhanyasi)
1. //n , , s , , g , , n , s , , m , / n , , s , , p , / m , , g , s n p // (Mandara)

Mohanam {Madhyamavati’s Ni as Sa}

2. // p d s , r d s d , s r , g s r / s , r g , p r g / d p , g r s r d //

// s , p g , r s d s p d , g r , s / d p d g p d , s / r g , p g r s d // (Mandara)

3. // s , , - r , g , - r s g r - s d p g r / (Mohanam) N
/n , , - s , r , m / r p m - r m p n s // (Madhyamavati)
//g m p g m ,- s g n s , - p s n p m / (Suddha Dhanyasi) P
/n s r n s , - r m / r p , - m n p n s // (Madhyamavati)
//m d p - r p m - s m r - d r s - r s d p / (Suddha Saveri) M
/ n n s s - m r - r p / m n p - s n r n s // (Madhyamavati)
//d n s - m g s g n s , , - n s d n / (Hindolam) R
/n p n - m p , , , / m p r - n p m r s// (Madhyamavati)
(Mandaradhara)

∞∞∞∞∞∞∞∞

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