Shruthi in Music Explained: Definition, Types, and Importance in Carnatic Music

In Carnatic music, Shruthi is not merely a technical element; it is the life force that gives music its soul, emotion, and authenticity. A musician who maintains perfect Shruthi can bring even simple phrases to life, while poor Shruthi can weaken the beauty of the most advanced compositions. Shruthi in Music is the foundation upon which the entire structure of Carnatic music rests. Long before a student learns complex ragas or kritis, they are introduced to Shruthi, the concept of pitch alignment and tonal stability.

For beginners and parents alike, understanding Shruthi is essential to appreciating why early training in Carnatic music emphasizes listening, voice culture, and consistent practice with a tanpura or Shruthi box. Unlike fixed-scale music systems, Carnatic music is deeply sensitive to microtonal variations, making Shruthi awareness a lifelong discipline rather than a one-time lesson.

In today’s digital age, as more students learn Carnatic music online, the importance of Shruthi has become even more relevant. Whether a child is attending online Indian classical music classes or practicing independently at home, Shruthi remains the anchor, ensuring musical accuracy and growth. 

This blog explains Shruthi in detail, its meaning, types, the 22 Shruthi system, and why learning it is crucial for anyone pursuing Carnatic music seriously.

What Is Shruthi in Music?

In Carnatic music, Shruthi refers to the precise pitch on which music is based. It is the tonal reference that defines where each swara (Sa, Ri, Ga, Ma, Pa, Da, Ni) is placed. Simply put, Shruthi is the pitch framework, while Swaras are the notes that operate within it.

The word Shruthi is derived from the Sanskrit root “shru”, meaning “that which is heard.” This emphasizes the listening-based nature of Indian classical music, where the ear plays a greater role than written notation. In Carnatic tradition, Shruthi is considered sacred. The saying “Shruthi Mata, Laya Pita” highlights its importance. Shruthi is the mother of music, while rhythm (laya) is the father.

Many beginners confuse Shruthi with swara, but they serve different purposes:

• Shruthi is the pitch reference or tonal position
  
• Swara is a musical note sung or played within that pitch

Shruthi defines where a note should be placed, while Swara defines what note is being sung. Without accurate Shruthi, swaras lose their clarity and emotional impact.

Why Should You Learn Shruthi in Music?

What Are The Types of Shruthi In Carnatic Music?

In Carnatic music, Shruthi is not treated as a single fixed concept. Instead, it is experienced in different functional forms during learning and performance. Each type of Shruthi plays a specific role in shaping musical accuracy, raga expression, and emotional depth.

1. Aadhara Shruthi (Base Shruthi)

Aadhara Shruthi is the most important and fundamental Shruthi in Carnatic music. It refers to the base pitch a musician chooses, which serves as the reference point for all other notes. This base Shruthi is always sung or played as “Sa” and remains unchanged throughout a performance.

Every musician selects an aadhara Shruthi that suits their vocal range or instrument. Once chosen, all swaras, ragas, and compositions are aligned to this Shruthi. Changing the aadhara Shruthi mid-performance is avoided because it disrupts pitch stability and musical balance.

For beginners, identifying and consistently maintaining the correct aadhara Shruthi is essential. It helps build voice strength, pitch control, and long-term vocal comfort. Regular practice with a tanpura or Shruthi box helps students internalize this base pitch.

2. Graha Shruthi

Graha Shruthi refers to the starting pitch or note from which a raga, musical phrase, or composition begins. While most Carnatic compositions start on Sa, some may begin on other swaras such as Ma or Pa, depending on the raga structure or compositional intent.

Graha Shruthi plays a key role in:

• Establishing the mood of the raga
• Guiding the listener into the tonal framework
• Setting the direction of melodic movement

Understanding graha Shruthi helps students develop better raga awareness and confidence while beginning alapana, kritis, or swara passages. It also improves singing clarity and prevents hesitation at the start of phrases.

3. Nyasa Shruthi

Nyasa Shruthi is the resting or concluding pitch where a musical phrase naturally resolves. It is the note that provides a sense of completeness and stability to the listener.

In Carnatic music, phrases are carefully designed to settle on specific swaras that best express the raga’s character. Often, Sa or Pa serves as the nyasa Shruthi, but in some ragas, other swaras can also act as resting points.

Nyasa Shruthi is crucial for:

• Bringing closure to musical phrases
• Enhancing raga bhava (emotional expression)
• Avoiding unnecessary tension in singing

Students trained to recognize and land correctly on Nyasa Shruthi develop smoother transitions, better phrasing, and stronger raga identity.

4. Anu Shruthi (Microtonal Shruthi)

Anu Shruthi refers to the subtle microtonal variations that exist between the main Swaras. These are not sung as separate notes but are experienced through gamakas (ornamentations) and nuanced pitch movements.

Anu Shruthis are what give Carnatic music its richness and depth. They allow the same swara to sound different in different ragas. For example, the Ga in one raga may feel emotionally distinct from the Ga in another due to microtonal placement.

Mastery over anu Shruthi:

• Enhances raga individuality
• Prevents flat or mechanical singing
• Adds expressiveness and authenticity

This level of Shruthi understanding develops gradually through listening, repetition, and guided practice.

Why Understanding These Types of Shruthi Matters?

When students understand the different types of Shruthi, they:

• Sing with better pitch accuracy
• Develop stronger raga clarity
• Gain confidence in both practice and performance

This knowledge is especially valuable for students learning Carnatic music, where conscious listening and Shruthi awareness play a major role.

The 22 Shrutis Explained (Carnatic Music)

In Carnatic music, an octave is not viewed as just 12 fixed notes. Instead, it is understood as a subtle continuum of 22 Shrutis, or microtonal pitch points. These Shrutis form the sonic foundation from which Swaras emerge, and ragas derive their emotional identity.

It is important to note that Shruthis are not sung as separate notes. They are felt, approached, and expressed through gamakas, slides, and oscillations. This refined pitch awareness is what makes Carnatic music deeply expressive and raga-specific.

Distribution of the 22 Shrutis Across the Swaras

1. Sa (Shadja) – 4 Shrutis

Shruti count: 4
Nature: Fixed and immovable

Sa is the most stable and fundamental swara in Carnatic music. All other notes are defined in relation to Sa. The four shrutis allotted to Sa represent its tonal stability and anchoring role.

• Sa does not change across ragas
• It provides a sense of rest and completeness
• It serves as both a starting and ending point in most compositions

Because of its stability, Sa is considered the reference point for Shruthi alignment.

2. Ri (Rishabha) – 3 Shrutis

Shruti count: 3
Variations: R1, R2, R3

Ri is a flexible swara that appears in multiple forms depending on the raga. These three shrutis allow Ri to take on different emotional colors:

• R1 (Shuddha Rishabha) – lower, more subdued
• R2 (Chatusruti Rishabha) – bright and commonly used
• R3 (Shatsruti Rishabha) – higher and sharper

Ri’s placement is crucial, as it strongly influences the mood and identity of a raga.

3. Ga (Gandhara) – 2 Shrutis

Shruti count: 2
Variations: G1, G2/G3

Ga is closely linked with Ri and often overlaps with it in Shruthi space. These two shrutis allow Ga to sound:

• Softer and more plaintive in some ragas
• Sharper and brighter in others

In Carnatic music, Ga is rarely sung as a plain note, it is usually expressed through oscillations, making Shruthi accuracy extremely important.

4. Ma (Madhyama) – 4 Shrutis

Shruti count: 4
Variations: Shuddha Ma (M1), Prati Ma (M2)

Ma has a broad Shruthi space, allowing it to function as a powerful pivot note.

• Shuddha Ma (M1) – softer and calmer
• Prati Ma (M2) – sharper and more intense

The four shrutis here enable a clear distinction between these two madhyamas, which form the basis of the Melakarta raga system’s division.

5. Pa (Panchama) – 4 Shrutis

Shruti count: 4
Nature: Fixed and immovable

Like Sa, Pa is a stable swara and does not change its position. Its four shrutis reinforce its firmness and resonance.

• Acts as a strong resting note
• Creates balance within the octave
• Often paired with Sa in practice exercises

Pa provides strength and symmetry to Carnatic music structures.

6. Da (Dhaivata) – 3 Shrutis

Shruti count: 3
Variations: D1, D2, D3

Da, like Ri, has multiple variations, each occupying a different Shruthi:

• D1 (Shuddha Dhaivata) – lower and weighty
• D2 (Chatusruti Dhaivata) – widely used
• D3 (Shatsruti Dhaivata) – sharper and brighter

The choice of Da affects how strongly a raga resolves toward the upper Sa.

7. Ni (Nishada) – 2 Shrutis

Shruti count: 2
Variations: N2, N3 (and rarely N1)

Ni plays a critical role in leading back to Sa. Its two Shrutis allow:

• A softer, yearning pull toward Sa
• Or a sharper, more direct resolution

Ni is emotionally charged and often elongated or ornamented to highlight raga bhava.

Summary Table of 22 Shruthis In Carnatic Music

Swara	Number of Shrutis
Sa	4
Ri	3
Ga	2
Ma	4
Pa	4
Da	3
Ni	2
Total	22 Shrutis

How the 22 Shruthis Are Used in Carnatic Music?

• Shruthis define exact swara placement
• They enable raga differentiation
• They support expressive gamakas
• They are learned through listening and repetition, not notation

A student does not consciously count Shrutis while singing. Instead, through consistent practice with a tanpura and guidance from a music teacher, the ear naturally learns to recognize the correct Shruthi.

This is why Shruthi practice is emphasized from the very first lesson at Artium Academy’s beginner level and remains central throughout a Carnatic musician’s journey.

Practice Tips for Beginners

Beginners are advised to:

• Practice Sa–Pa–Sa daily
  
• Sing sarali varisais slowly with Shruthi support
  
• Avoid changing Shruthi frequently
  

Using an online Shruthi box or tanpura is highly recommended, especially for students who learn Carnatic music online.

Shruthi in Online Carnatic Music Learning

With the rise of online Indian music classes, maintaining Shruthi discipline has become even more important. Good online platforms ensure:

• Proper Shruthi selection for each student
  
• Structured voice training
  
• Teacher-guided pitch correction

Unlike online Hindustani music classes, Carnatic music places a stronger emphasis on continuous Shruthi alignment throughout compositions.

Common Shruthi Mistakes Students Make

• Choosing a Shruthi that is too high or too low
  
• Ignoring Shruthi during practice
  
• Relying only on memory instead of listening
  
• Inconsistent daily practice

Regular guidance through online singing classes helps avoid these issues early.

How Parents Can Support Shruthi’s Practice for Kids?

Parents should look out for correct Shruthi alignment, age-appropriate teaching, consistent practice habits, and gradual improvement in confidence and voice clarity when their child is enrolled in singing classes for kids.

• Encourage daily short practice sessions
  
• Ensure the use of a Shruthi box
  
• Avoid frequent Shruthi changes
  
• Focus on consistency over speed

This support is especially valuable when children attend online Indian classical music classes from home.

Shruthi and Lifelong Musical Growth

Shruthi’s mastery in Carnatic music is a lifelong journey, not a milestone achieved only at the beginner stage. Even experienced artists continue to refine their Shruthi sense through conscious listening, consistent practice, and deeper musical awareness. As a musician grows, their understanding of Shruthi becomes more intuitive, allowing them to express ragas with greater clarity, emotion, and confidence.

In Carnatic music, Shruthi is not about achieving mechanical perfection; it is about developing awareness. This awareness helps students sing with stability, recognize subtle pitch variations, and stay true to the soul of the raga. When nurtured from an early age, Shruthi awareness becomes a natural part of musical thinking.

Through structured Indian music lessons offered via online singing classes, children today can build a strong Shruthi foundation from the comfort of their homes. Well-designed singing classes for kids focus not only on songs but also on listening skills, vocal technique, and pitch control. 

At Artium Academy, this holistic approach to online Carnatic music learning ensures that students of all ages grow steadily, confidently, and musically, guided by the principle that Shruthi is the heart of music.