Prime number relation to Indian Classical Music

The mathematical analysis of rhythm system shows that Indian classical

music is based acoustically on prime numbers 2, 3 and 5 yields many
seven to nine tone scales (called r a g) each with associated melodic
patterns and each causing a specific emotional effect (called ras). In other
words svars should relate to each other and especially with s a d ja. They



should related to each other with numbers 2, 3, 5 and their multiples (or
divisibles) and strictly not with any other numbers. Numbers 2 and 3 are
very important. Traditionally 2 and 3 represent Sangati (consonance) and
Visangati (dissonance) respectively. The consonance is associated with
every part, every moment, every work and every emotion of the universe.
On the other hand dissonance is associated with extraordinary beauty and
happiness breaking the monotony of consonance.

Here one may ask a question that are numbers 2, 3 and 5 (and their
multiples or divisibles) always produce the best systematic relation (for
better consonance)? And in the same sense also in which the modern
Physics agrees with ordered relation (or systematization)? Telling about
similarity or systematization, Sir Jems Jeans said that: It is a general rule
that two svars produce beautiful sound only when the ratio of their
frequencies is expressed in smaller numbers. Smaller and smaller the
number used in ratio, we get more and more beautiful sound.
The ratio of s a d ja and t i vratar madhyam is believed as
 

1 : 45 / 32 (1 : 32  5 / 2 5  1 : 1.40625) . If this t i vratar madhyam enters in

the region of Pañcam where it is known as var a l i madhyam or Cyut
Pañcam, the ratio of s a d ja and var a l i madhyam become
 

1 : 64 / 45 [1 : 2 6 / (32  5 )  1 : 1.422222] . In place of above ratios can

other smaller ratios like 1 : 10 / 7 ( 1 : 1.4285714 ) and 1 : 7 / 5 ( 1 : 1.4 ) or

1 : 17 / 12 ( 1: 1.416666 ) and 1 : 24 / 17 ( 1: 1.4117647 ) be put? If in place of
45/32 we put 7/5 & 10/7 or in place of 64/45 we put 17/12 & 24/17 then will
t i vratar madhyam not become more similar to S a d ja? According to the

theory of similarity (in Physics point of view) these suggestions can not be
rejected. Above changes in ratios make t i vratar madhyam more similar to
s a d ja but these ratios are expressed in numbers like 7 and 17, these are
 

not acceptable in Indian classical music. There are reasons for it.

Now, it is well known fact that each number has its individual (local)
property. There is not any Philosophical or Spiritual basis for it. We know
that all types of differences in substances or elements are only due to the
difference in their number of atoms. All the elements are made up of same
fundamental particles like electron, proton and neutron. Elements differ
from one another in their properties only due to the difference of the
number of these fundamental particles.
It seems that Indians know these facts about number from very early times
and they believed that individual work to each number is entrusted by that
“Mathematician” who is the creator of the world. (Now science believes that
the creator of the world is a pure mathematician). When Indian music
prevents the inconsistency produced by variations and restrict itself to the
numbers 2, 3 and 5 then it is estimated that it must be inspired by some
apparent knowledge which extinct with time.

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Presently there are twelve svars (7 S uddh and 5 vikrit) in one register in
Indian classical music (these twelve svars remains, when ten other svars
had disappeared, which all together made the ancient system of twenty-two
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S rutis) and there are three (types of) differences in these S rutis, viz.

24 16 33  5 135 52 25
 ,  and 
5  3 15 27 128 23  3 24

i.e., 1.06666 1.0546875 and 1.0416666

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In ancient twenty-two S rutis system also mainly three (types of) differences
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in S rutis were used: viz –

34 81 23 256 52 25
 ,  and 
24  5 80 35 243 23  3 24

i.e., 1.0125 , 1.0534979 and 1.0416666

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Kohal mentioned the number of S rutis as Sixty-six. This Sixty-six S rutis
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system is also based on three differences in S rutis. viz.-
 34 81 211 2048 56 15625
 ,  and 
2 5
4
80 3 5
4 2
2025 35  2 6 15552

i.e.,1.0125 , 1.011358 and 1.0046939

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(Number of S rutis in this octave is sixty-five. Kohal added one more to it to
become sixty-six). There may be many other octaves other than these
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three. But this octave of sixty-five S rutis reaches the first and the lowest
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limits of divisions of S ruti in which difference of S ruti is 34 / 2 4  5  81 / 80 ,
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which is termed as Pram a n s ruti by Bharat Muni. This Pram a n s ruti
 

assumed as the constant and it is the difference between Pañcam of S a d

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ja gr a m and Madhyam gr a m. Pañcam of S a d ja gr a m is of 4 S rutis
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whereas Pañcam of Madhyam gr a m is of 3 S rutis. Pram a n s ruti, the

constant, also satisfies the frequency ratio of s a d ja and Pañcam i.e. 3/2

[viz. 3 / (2  5)  (2  5) / 3  3 / 2] . There is not any theoretical limitation of the

4 4 3 3

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subtlety of S ruti division. Tending to more subtle division of S ruti, we are
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capable to have an octave of 559 S rutis ; but in this case also we get three
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differences of S rutis. viz :

2 23  36 38  5 518  2
, and
514 215 327

i.e., 1.0018647 , 1.0011291 and 1.0004976