This presentation is based on E -book "Shruti DarpaN and deals with ancient Indian music with special reference to establishment of 22 notes on flutes as mentioned in ancient text Natyashatra

1. SHRUTI DARPAN
Ancient Indian Music
With special reference to
Establishment of Shruties on Flute
By
Avinash Patwardhan
email-avipatwardhan@gmail.com
website- ww.avinashiflutes.com

3. Prologue
The book presents original research work on the fundamental
aspect of Shruti-Swara arrangement in Indian classical music
by using FLUTE as a medium.
22 Shruti flutes were constructed in one Saptak (Octave) as
against on 12. The different Murchana Flutes as mentioned
by Bharat were also constructed.
This is the most innovative work in the history of Indian
Classical Music in the last 2000 years after Bharatmuni.

4. P.V.C. conduit pipes were used to facilitate
easy construction of flutes.
The principles of Physics were applied in the
fabrication of flutes.
The experimental data of Shruti positions in
pipe on Y-axis versus major frequency on X-
axis was plotted.
An equation of 10th degree Polynomial with a
correlation coefficient of 99.9974%. Was
obtained
The mathematical behavior

5. The 'Shruti Darpan' flute fabricated with 22
+ holes is to actually listen to the 22
different sounds useful in music one higher
than the other in one Saptak (Octave).
The material used for the flute is 22 mm.
diameter P.V.C. pipe.

6. The Shadja Grama Flute with "Sa" as the
first note with 311.17 Hz frequency is
constructed then by reducing 1 Sarana.
Likewise 4 Sarana Flutes were constructed
and the merging notes Ga, Ni, Re, Dha, Sa,
Ma, Pa of 2,3 and 4 Shruti values were
proved beyond doubt subjectively and
objectively.

7. SHRUTI DARPAN
•The Sanskrit word "Shruti" means what is heard
and "Darpan" means the mirror.
•The word "Shruti" has an established Specific
meaning only given to "Vedas" and moreover Indian
classical music has its root in Samveda.
•All other mythological classics such as
Ramanayana, Mahabharat, Puranas & Suktas are
known as smruti granthas.
•There is a reason to believe that the Indian
classical music is as old as the civilization.

8. •Bharatmuni's Natyashastra has attained the popularity
as the first written text on music.
•All other writers after Bharatmuni such as Sarangdeo,
ShriNivaSa, Narada, Ahobala, Venkatmakhi and many
more up to pandit V, N. Bhatkhande & Palsukar have
also accepted Bharatmuni to be the first known writer
on music.
•Pt. V. N. Bhatkhande wrote many books on music in
Sanskrit, Hindi and Marathi. In his books he has
elaborately explained the views of ancient writers period
wise.
•He has found the notation system to write different
ragas and made it very easy for the aspirants of
classical music to note down the compositions (Bandish)

9. •The very idea struck about the writing of this
treatise was from the contradiction regarding the
controversy of Shruti- Swara arrangement.
•The first thing before me was to develop a sound
technique for the making of tuned flutes.
•The portrait of Lord Krishna is incomplete if the
flute is not present there.
•After going through the above mentioned
controversial aspects in music, I selected the
Bharatmuni's Natyashastra as reference work to
start the process of making the flutes.

10. •I got the inspiration to proceed further in tuned flute
construction and to establish the 22 Shruti positions.
•The flute available in the market today is English tuned. The
musical shop owners say specifically that we do not take
guarantee of the instrument being in tune or not.
•The International scale starts with ` C' as the first note
with frequency as 261.63 Hertz.
•All these difficulties put forth by the tiny instrument, really
made me to think about the scientific method of producing the
flutes.

11. The fundamental thought
•From ancient times the conventional flute is made of
bamboo.
•No two bamboos exactly identical.
•Hence the P.V.C. conduit pipes are used to make
the flutes.
•Bharatmuni was first given the names to seven notes
with respective Shruti values.
•He advises to perform the only experiment of
Sarana Chatushtai to establish the Shruties of the
Shadjagrama and explains it on two identical
Veenas.

12. •The controversy from last 2000 years is about
this fundamental aspect of existence of Shruties.
•All musicologists till today have used the stringed
instruments for The practical applications for the
Sarana experiment but could not prove objectively
the existence of Shruties.
•This inspired author to construct the 22+ holed
Shruti Darpan flute as a reference flute. For fixing
the dimension of Shruti a new experimental
methodology was developed.

13. •The Sarana Chatushtai experiment is proved
with the respective merging notes as asked by
Bharatmuni at the end of the respective
Saranas.
The Pramana Shruti distance wise remains the
same for at least 4 Shruti values.
When the concept of Shadjagrama was once
established, then the various Murchana flutes
were produced which showed different
combinations.

14. All about a Flute
•Natyashastra by Bharat Muni is the complete
work on drama.
•Flute is the only instrument on which if the first
note is changed a different combination or
murchana is available.
•For this the first note is either lowered in pitch
or is increased.
•The different combinations matching with today's
Ragas in the Shadjagrama flute are made.

15. •Flutes base on the gramas mentioned by
Bharatmuni were constructed.
•This unbelievably matches with today's ragas
but with different names.
•The Shruti Darpan flute was proved fruitful as
against proving the same thing on the stringed
instruments.

16. Pt. V.N. Bhatkhande In this book
'Hindustani Sangeet Paddhati' in Marathi
Vol.2. refused the existence of
Shruties as explained by the ancient
writers Bharatmuni and Sarangdeo for
the want of subjective and objective
proof of it.
Need of Research

17. Comparision of Bharatmuni & Bhatkhande’s views
1
Bharatmuni Bhatkhande
1.The Shruti value in one
Saptak (Octave) is same or
not, it is not clearly
mentioned about the
magnitude of Shruties
anywhere.
Twenty-two Shruties - are
unequal and are treated as
imaginary used by the
ancients for beautification.
2.The Shadjagrama
configuration is given as 4-
3-2-4-4-3-2. For respective
notes Sa, Re, Ga, Ma,Pa,
Dha & Ni
The pure notes of the
Saptak (Octave) are kept
intact as 4-3-2-4-4-3-2 but
with a different concept.

18. Bharatmuni Bhatkhande
3 The Shadjagrama is 4-
7-9-13-17-20-22
representing the seven
pure notes.
The Shadjagrama is with
1-5-8-10-14-18-22.
4. The pure notes of
Shadjagrama can be
named as Kafi
(kanakangi) as per
today's norms.
The pure notes are
named as Bilawal as per
present norms.

19. Bharatmuni Bhatkhande
5. The one Shruti
difference in Pancham
note of Shadjagrama &
Madhyamgrama is
termed as Pramana
Shruti.
Rejects the Shruti
concept, for want of
subjective and objective
proof not given by
Ancients.
6. The lowering of
SHADJAGRAMA notes by
Pramana Shruti in every
Sarana is explained to
perform Sarana-
Chatushtai experiment
No experimental
methodology is given to
prove his placing of
Shruties succeeding the
notes.

20. Bharatmuni Bhatkhande
7. Sarana-Chatushtai is
performed on two similar
Veenas to establish 22
Shruti positions in
Shadjagrama.
Criticizes the experiment for want
of assumptions of Shadjagrama
notes as no Shruti values are
given to respective notes
8. Shruties are kept before
the Swara
Shruties are kept after the Swaras,
but no reason whatsoever is sited
to alter the ancient configuration
of Bharatmuni.
9. Vikrut notes are only
Antar (difference)
Gandhar and kakli Nishad
Vikrut notes along with seven
pure are komal Re, Ga, Tivra Ma
komal Dha and Ni, but accepts
that at the time of Bharatmuni all
these notes in
different Murchanas were visible.

21. From last 20 years author is working on
FLUTES in all the forms to establish Shadja
Grama, Madhyam Grama by proving the 'Sarana
Chatushtai' experiment on flute as mentioned
by Bharatmuni in chapter No.28 and 30 in the
work 'Natyashastra' and Sarangdeo's 'Sangeet
Ratnakar'.

22. Author proved, both by theory & experiments,
that Bharatmuni was right and Pt. Bhatkhande
was wrong.
Shadja Grama, Madhyam Grama, Murchanas,
Vikrut Swaras etc. etc. can be established on
the instrument flute.

23. Diagrammatic representation
•The diagrammatic representation will be
helpful to understand the construction
easily.
•When the ranges of 22 Shruties were fixed
on a one meter long pipe of 22 mm internal
diameter & 25 mm outer diameter as per
the experimental methodology explained
earlier, the Shruti Darpan flute for Madhya
Saptak (Octave) was designed.

24. 7-Diagrammatic representation
•After establishing the 22 positions of Shruties
in the Saptak (Octave) along with the ranges of
every Shruti at holes and at free cuts of the
pipe, the note D# sounds at 502 mm from the
closed end of the pipe with frequency 311.17
Hertz.
•Tables 7.1 to 7.9 gives Shruti values in
various gramas.
•Only three tables are reproduced here

25. Table 7.1-Shadjagrama Murchana in present context
Present Name Murchana SA RE GA MA PA DHA NI SA RE GA MA PA DHA NI
KAFI-1
SA-
UTTARAMANDRA
4 3 2 4 4 3 2 4 7 9 13 17 20 22
BHAIRAVI-1 RE-ABHIRUDGATA 3 2 4 4 3 2 4 4 6 10 14 17 19 23
KALYAN-1
GA-
ASHWAKRANTA
2 4 4 3 2 4 3 4 8 12 15 17 21 24
KHAMAJ-1
MA-
MATSARIKRITA
4 4 3 2 4 3 2 4 8 11 13 17 20 22
ASAVARI
PA-
SHUDHASHADJA
4 3 2 4 3 2 4 4 7 9 13 16 18 22
BHAIRAVI-
TODI
DHA-UTTARAYATA 3 2 4 3 2 4 4 4 6 10 13 15 19 23
BILAWAL-1 NI-RAJANI 2 4 3 2 4 4 3 4 8 11 13 17 21 24

26. Table 7.3-Shadjagrama Shuddha Gandhar
Present
Name
Murchan
a
S
A
RE
G
A
MA PA
DH
A
NI
S
A
RE GA MA PA DHA NI
KHAMAJ-2 SA 4 3 4 2 4 3 2 4 7 11 13 17 20 22
ASAVARI-2 RE 3 4 2 4 3 2 4 4 8 10 14 17 19 23
BHAIRAVIT
ODI-1
GA 4 2 4 H 2 4 3 4 6 10 13 15 19 22
BILAWAL-2 MA 2 4 3 4 4 3 4 4 8 11 13 17 20 24
MADHYAMG
RAM
PA 4 3 2 4 3 4 2 4 7 9 13 16 20 22
BHAIRAVI-2 DHA 3 2 4 3 4 2 4 4 6 10 13 17 19 23
KLAYAN-2 NI 2 4 3 4 2 4 3 4 8 11 15 17 21 24

27. Table 7.9-Gandhargrama
Present
Name
Murch
ana
SA
R
E
G
A
M
A
PA
DH
A
N
I
S
A
R
E
G
A
M
A
P
A
DH
A
NI
BHAIRAVI
-5
SA 3 2 4 3 3 3 3 4 6 10 13 16 19 23
BILAWAL-
5
RE 2 4 3 3 3 4 3 4 8 11 14 17 21 24
KAFI-5 GA 4 3 3 3 4 3 2 4 7 10 13 17 20 22
ASAVARI-
5
MA 3 3 3 4 3 2 4 4 7 10 14 17 19 23
KHAMAJ-5 PA 3 3 4 3 2 4 3 4 7 11 14 16 20 23
KHAMAJ-6 DHA 3 4 3 2 4 3 3 4 8 11 13 17 20 23
ASAVARI-
6
NI 4 3 2 4 3 3 3 4 7 9 13 16 19 22

28. Behavior of a string & wind
musical instruments
•Sitar with a length of 34" is studied for generating
the north Indian classical music notes.
•Frequency of a free vibrating string to be set at
311.17 Hz doubles at half the distance i.e. 17."
•The Shruti principle of Bharatmuni tells about 22 tiny
positions in this range.

29. •The construction of instruments like flute or
Veena is not explained by Bharatmuni nor has he
given any numerical specifications about the
positions of sounding of notes in the Shadjagrama.
•The different lengths of the strings might have
different Shruti values butwhen once set for one
length remains constant for that length.
•In case of pipe the lengths differ but when the
22 Shruti ranges are once established it remains
constant irrespective of the diameter of the pipe.

30. The following diagram explains the experiment with 4 Saranas.

33. Sarana-Chatushtai experiment on
two similar sitars
Table 9.1-Comparative display of old & new scales
SHRUTI
NO
BHAR
AT
MUNI
SRINIVA
SA
BHATKHA
NDE
DIATO
NIC
OLD
EQ.
TEMPERED
SA 240 240 240 240 240
RE KOM 256 259 254 256 254.
RE 264 270 270 270 269.
GA K 284 288 288 284 285
GA 301 301 301. 300 301
MA 320 320 320 320 320.
MA T 338 344. 338 338. 339
PA 360 360 360 360 359
DHA K 384 377 381 384 380
DHA 397 405 405 400. 403
NI 426 432 432 430 427
NI KAK 451 452 451 450 453
SA 480 480 480 480 480

34. Knit-India Shruti DarpaN Flutes

35. Flute design information on
Saptak (Octave) wise sample data
SHRUTI
LENTH IN
mm
FREQUENC
Y IN
HERTZ
SHRUTI
LENGTH
FREQUENC
Y IN HZ
SHRUTI
LENGTH in
mm
BHARATM
UNI’S
MANDRA MANDRA MADHYA MADHYA TAR
SHRUTI
SCALE
SAPTAK(Octave)
FREQUENC
Y
1060 155.5 484 311 196 622
1024 160.49 466 320.98 187 640
988 165.846 448 331.692 178 663.384
952 171.551 430 343.102 169 686.204
916 177.67 412 355.353 160 710.706
880 184.256 394 368.513 151 737.026
853 189.507 380.5 379.015 144.25 758.03

36. Curve Fit –Air column

37. Curve Fit – Strings

38. Curve Fit results
a=2245.332472 ,b=-25.29054,
c=0.222437, d=-0.0014001863
e=5.9783674 x10-6,, f=-1.69944605 x 10-8, ,
G=3.1911094 x 10-11 ,h=-3.8938684 x10-14 ,
i=2.962449 x 10-17, , J=2.36844199 x 10-20
10th Degree Polynomial Fit
Co-relation Coefficient=0.999974
Polynomial Equation is Y=a+bx+cx2+dx3 ……

39. Conclusions
• This book is the first to give theoretical
and practical scientific construction
methodology for flute in detail.
• The Shruti Swara arrangement is resolved
subjectively and objectively. This is the
most ancient concept of Bharatmuni.
• Author has established the 22 Shruti
positions of Bharatmuni by performing the
Sarana experiment on Flute and Sitar
respectively.
• The flutes for 56 murchanas as per
Bharatmuni's writings are available with
author.

40. • The existence of Shruties with respect
to modern unit of frequencies is proved
by plotting the graph between 66
values in three Saptak (Octave) for
Shruties in mm vs. Frequency in Hz.
• The smooth curve was plotted with 10th
degree Polynomial least square fit and
the `Shruti equation' was established
for Pipe and String. This mathematically
proves the ancient concept of Shruties
in the present context.
• Nobody since last 2000 years have
performed the Sarana Chatushtai
experiment on Flute nor Bharatmuni
has explained it on flute

41. Epilogue
• This book “Shruti Darpan“ was published on
29th November 2014 as a printed book.
• Author was aware that the contents of the
book are highly technical and can be
appreciated only by music teachers and
musicians.

42. • It was suggested that an E-book
edition should be prepared and
uploaded on Web for wider
circulation amongst the students
doing research on Indian classical
music.

43. • Minor changes in the format of the
text material were necessary.
• A glossary of terms is added.
• Author has, tried to explain Shruti
demonstration on flute to prove how
Bharat Muni’s Natyashastra is scientific
and relevant even in present era.
•If few students of music find this book
inspiring, my efforts will be more than
fulfilled.

44. Author in workshop

45. Flutes made by Author

46. Frequency Meter cum
Tuner
Natya Shastra of Bharat Muni, Chapter 30

47. Acknowledgement
• I cannot find words to express my gratitude to
my mother late Malini Patwardhan.
• I acknowledge the support of my wife Sau
Dr.Suchitra Patwardhan and my sons chi Gandhar
and chi Alap. They extended the practical help in
flute playing and forced me to print this book
"Shruti-Darpan".
•I am indebted to Prof Dr. Rajgopalan and Prof Dr.
A.S. Nene for helping me to write the research
paper.
•I want to thank again all those well wishers and
friends without whom the book would have been a
mission impossible.

48. For Detailed information, procure
Soft or Hard Copy of the book
Shruti DarpaN
At
www.Bookganga.com

49. Dedicated to my dear mama
Baba Amte