7,12,16 swaras devanagari latinised script

 The twelve swaras (notes) in Indian classical music, represented in Devanagari script, are:

 षड्ज (Sa), ऋषभ (Re), गान्धार (Ga), मध्यम (Ma), पञ्चम (Pa), धैवत (Dha), and निषाद (Ni)

Shadja (षड्ज)

Rishabh (ऋषभ)

Gandhar (गान्धार)

Madhyam (मध्यम)

Pancham (पंचम)

Dhaivat (धैवत)

Nishad (निषाद)

Comparison between Carnatic, Hindustani, and Western Notations

Semitones from Tonic	Carnatic name		Hindustani name		Western note (when the tonic, Sa, is C)
	Full form	Abbreviation	Full form	Abbreviation
0	Ṣaḍjam	Sa	Ṣaḍj	Sa	C
1	Śuddha R̥ṣabham	Ri₁	Kōmal R̥ṣabh	Re	D♭
2	Catuśruti R̥ṣabham	Ri₂	Śuddh R̥ṣabh	Re	D
	Śuddha Gāndhāram	Ga₁			E𝄫
3	Ṣaṭśruti R̥ṣabham	Ri₃	Kōmal Gāndhār	Ga	D♯
	Sādhāraṇa Gāndhāram	Ga₂			E♭
4	Antara Gāndhāram	Ga₃	Śuddh Gāndhār	Ga	E
5	Śuddha Madhyamam	Ma₁	Śuddh Madhyam	Ma	F
6	Prati Madhyamam	Ma₂	Tīvra Madhyam	Ḿa	F♯
7	Pañcamam	Pa	Pañcam	Pa	G
8	Śuddha Dhaivatam	Dha₁	Kōmal Dhaivat	Dha	A♭
9	Catuśruti Dhaivatam	Dha₂	Śuddh Dhaivat	Dha	A
	Śuddha Niṣādam	Ni₁			B𝄫
10	Ṣaṭśruti Dhaivatam	Dha₃	Kōmal Niṣād	Ni	A♯
	Kaiśikī Niṣādam	Ni₂			B♭
11	Kākalī Niṣādam	Ni₃	Śuddh Niṣād	Ni	B

Svaras in Carnatic music

The svaras in Carnatic music are slightly different in the twelve-note system. Each svara is either prakr̥ti (invariant) or vikr̥ti (variable). Ṣaḍjam and Pañcamam are prakr̥ti svaras, whilst R̥ṣabham, Gāndhāram, Mādhyamam, Dhaivatam and Niṣādam are vikr̥ti svaras. Ma has two variants, and each of Ri, Ga, Dha and Ni has three variants. The mnemonic syllables for each vikṛti svara use the vowels "a", "i" and "u" successively from lowest to highest. For example, r̥ṣabham has the three ascending variants "ra", "ri" and "ru", being respectively 1, 2 and 3 semitones above the tonic note, ṣaḍjam.

Position	Svara (स्वर)	Short name	Notation	Mnemonic	Semitones from Sa
1	Ṣaḍjam (षड्जम्)	Sa	S	sa	0
2	Śuddha R̥ṣabham (शुद्ध ऋषभम्)	Ri	R₁	ra	1
3	Catuśruti R̥ṣabham (चतुश्रुति ऋषभम्)	Ri	R₂	ri	2
	Śuddha Gāndhāram (शुद्ध गान्धारम्)	Ga	G₁	ga
4	Ṣaṭśruti R̥ṣabham (षट्श्रुति ऋषभम्)	Ri	R₃	ru	3
	Sādhāraṇa Gāndhāram (साधारण गान्धारम्)	Ga	G₂	gi
5	Antara Gāndhāram (अन्तर गान्धारम्)	Ga	G₃	gu	4
6	Śuddha Madhyamam (शुद्ध मध्यमम्)	Ma	M₁	ma	5
7	Prati Madhyamam (प्रति मध्यमम्)	Ma	M₂	mi	6
8	Pañcamam (पञ्चमम्)	Pa	P	pa	7
9	Śuddha Dhaivatam (शुद्ध धैवतम्)	Dha	D₁	dha	8
10	Catuśruti Dhaivatam (चतुश्रुति धैवतम्)	Dha	D₂	dhi	9
	Śuddha Niṣādam (शुद्ध निषादम्)	Ni	N₁	na
11	Ṣaṭśruti Dhaivatam (षट्श्रुति धैवतम्)	Dha	D₃	dhu	10
	Kaiśikī Niṣādam (कैशिकि  निषादम्)कैशिकि निषाद (Kaiśiki Niṣāda),	Ni	N₂	ni
12	Kākal ī Niṣādam (काकलि निषादम्)काकलि निषाद (Kākali Niṣāda)	Ni	N₃	nu	11

As you can see above, Catuśruti Ṛṣabham and Śuddha Gāndhāram share the same pitch (3rd key/position). Hence if C is chosen as Ṣaḍjam, D would be both Catuśruti R̥ṣabham and Śuddha Gāndhāram.  Similarly for the two svaras each at pitch positions 4, 10 and 11.

The 16 swaranaamaas (notes)names in Carnatic music, along with their indian/Devanagari script representations, are:

kannada

diacritic latin(for notation)

diacritic latin

devnagari

tamizh

ಷೋಡಶ ಸ್ವರ ನಾಮಾ

ṣōḍaśa svara nāmā

षोडश स्वर नामा

ஷோட₃ஶ ஸ்வர நாமா

ഷോഡശ സ്വര നാമാ

ದ್ವಾದಶ ಸ್ವರ ಸ್ಥಾನಾ

dvādaśa svara sthānā

द्वादश स्वर स्थाना

த்₃வாத₃ஶ ஸ்வர ஸ்தா₂நா

ദ്വാദശ സ്വര സ്ഥാനാ

ಸಪ್ತ ಸ್ವರ

sapta svara

सप्त स्वर

ஸப்த ஸ்வர

സപ്ത സ്വര

ಷಡ್ಜ (Sha?ja),

sa

ṣaḍja (ShaDja),

षड्ज (Shaḍja),

ஷட்₃ஜ (Sha?ja),

ഷഡ്ജ (Sha?ja),

ಶುದ್ಧ ಋಷಭ (Shuddha Rishabha),

ri 1/ra

śuddha r̥ṣabha (Suddha Rishabha),

शुद्ध ऋषभ (Shuddha Rishabha),

ஶுத்₃த₄ ருஷப₄ (Shuddha Rishabha),

ശുദ്ധ ഋഷഭ (Shuddha Rishabha),

ಚತುಶ್ರುತಿ ಋಷಭ (Chatu?ruti Rishabha),

ri 2/ri

catuśruti r̥ṣabha (CatuSruti Rishabha),

चतुश्रुति ऋषभ (Chatuśruti Rishabha),

சதுஶ்ருதி ருஷப₄ (Chatu?ruti Rishabha),

ചതുശ്രുതി ഋഷഭ (Chatu?ruti Rishabha),

ಷಟ್ಶ್ರುತಿ ಋಷಭ (?a?shruti Rishabha),

ri3/ru

ṣaṭśruti r̥ṣabha (?a?shruti Rishabha),

षट्श्रुति ऋषभ (Ṣaṭshruti Rishabha),

ஷட்ஶ்ருதி ருஷப₄ (?a?shruti Rishabha),

ഷട്ശ്രുതി ഋഷഭ (?a?shruti Rishabha),

ಶುದ್ಧ ಗಾನ್ಧಾರ (Shuddha G?ndh?ra),

ga1/ga

śuddha gāndhāra (Shuddha G?ndh?ra),

शुद्ध गान्धार (Shuddha Gāndhāra),

ஶுத்₃த₄ கா₃ந்தா₄ர (Shuddha G?ndh?ra),

ശുദ്ധ ഗാന്ധാര (Shuddha G?ndh?ra),

ಸಾಧಾರಣ ಗಾನ್ಧಾರ (S?dh?ra?a G?ndh?ra),

ga2 /gi

sādhāraṇa gāndhāra (S?dh?ra?a G?ndh?ra),

साधारण गान्धार (Sādhāraṇa Gāndhāra),

ஸாதா₄ரண கா₃ந்தா₄ர (S?dh?ra?a G?ndh?ra),

സാധാരണ ഗാന്ധാര (S?dh?ra?a G?ndh?ra),

ಅನ್ತರಗಾನ್ಧಾರ (Antara G?ndh?ra),

ga 3/gu

antaragāndhāra (Antara G?ndh?ra),

अन्तरगान्धार (Antara Gāndhāra),

அந்தரகா₃ந்தா₄ர (Antara G?ndh?ra),

അന്തരഗാന്ധാര (Antara G?ndh?ra),

ಶುದ್ಧ ಮಧ್ಯಮ (Shuddha Madhyama),

ma 1 /ma

śuddha madhyama (Shuddha Madhyama),

शुद्ध मध्यम (Shuddha Madhyama),

ஶுத்₃த₄ மத்₄யம (Shuddha Madhyama),

ശുദ്ധ മധ്യമ (Shuddha Madhyama),

ಪ್ರತಿ ಮಧ್ಯಮ (Prati Madhyama),

ma2/mi

prati madhyama (Prati Madhyama),

प्रति मध्यम (Prati Madhyama),

ப்ரதி மத்₄யம (Prati Madhyama),

പ്രതി മധ്യമ (Prati Madhyama),

ಪಞ್ಚಮ (Panchama),

pa

pañcama (Panchama),

पञ्चम (Panchama),

பஞ்சம (Panchama),

പഞ്ചമ (Panchama),

ಶುದ್ಧ ಧೈವತ (Shuddha Dhaivata),

dha1/dha

śuddha dhaivata (Shuddha Dhaivata),

शुद्ध धैवत (Shuddha Dhaivata),

ஶுத்₃த₄ தை₄வத (Shuddha Dhaivata),

ശുദ്ധ ധൈവത (Shuddha Dhaivata),

ಚತುಶ್ರುತಿ ಧೈವತ (Chatu?ruti Dhaivata),

dha2/dhi

catuśruti dhaivata (Chatu?ruti Dhaivata),

चतुश्रुति धैवत (Chatuśruti Dhaivata),

சதுஶ்ருதி தை₄வத (Chatu?ruti Dhaivata),

ചതുശ്രുതി ധൈവത (Chatu?ruti Dhaivata),

ಷಟ್ಶ್ರುತಿ ಧೈವತ (?a?shruti Dhaivata),

dha 3/dhu

ṣaṭśruti dhaivata (?a?shruti Dhaivata),

षट्श्रुति धैवत (Ṣaṭshruti Dhaivata),

ஷட்ஶ்ருதி தை₄வத (?a?shruti Dhaivata),

ഷട്ശ്രുതി ധൈവത (?a?shruti Dhaivata),

ಶುದ್ಧ ನಿಷಾದ (Shuddha Ni??da),

ni 1/na

śuddha niṣāda (Shuddha Ni??da),

शुद्ध निषाद (Shuddha Niṣāda),

ஶுத்₃த₄ நிஷாத₃ (Shuddha Ni??da),

ശുദ്ധ നിഷാദ (Shuddha Ni??da),

ಕೈಶಿಕಿ ನಿಷಾದ (Kai?iki Ni??da),

ni2/ni

kaiśiki niṣāda (Kai?iki Ni??da),

कैशिकि निषाद (Kaiśiki Niṣāda),

கைஶிகி நிஷாத₃ (Kai?iki Ni??da),

കൈശികി നിഷാദ (Kai?iki Ni??da),

ಕಾಕಲಿ ನಿಷಾದ (K?kali Ni??da)

ni3/nu

kākali niṣāda (K?kali Ni??da)

काकलि निषाद (Kākali Niṣāda)

காகலி நிஷாத₃ (K?kali Ni??da)

കാകലി നിഷാദ (K?kali Ni??da)

same color same sthaana position hence 16 swaranamas take 12 swarasthaanas

hence 12 keys in harmonium key board/12 frets in veena

sapta swara~ggaLin tamizhiSai peyargaL

sa- kural,ஸப்த ஸ்வரங்க₃ளின் தமிழிஶை பெயர்க₃ள்

ஸ- குரல், ரி- துத்த₂ம், க₃- கைக்கிளை,

ம-உழை,ப-இளி,த₄- விளரி,நி-தாரம்

സപ്ത സ്വരങ്ഗളിന് തമിഴിശൈ പെയര്ഗള്

സ- കുരല്, രി- തുത്ഥമ്, ഗ- കൈക്കിളൈ,

മ-ഉഴൈ,പ-ഇളി,ധ- വിളരി,നി-താരമ്

 (സ്വര) Short name Notation Mnemonic[21] Semitones from Sa

1 (ഷഡ്ജമ്) Sa S sa 0

2 (ശുദ്ധ ഋഷഭമ്) Ri R1 ra              1

3 (ചതുശ്രുതി ഋഷഭമ്) Ri R2 ri     2

        (ശുദ്ധ ഗാന്ധാരമ്) Ga G 1 ga

4  (ഷട്ശ്രുതി ഋഷഭമ്) Ri R3 ru 3

             (സാധാരണ ഗാന്ധാരമ്) Ga G2 gi

5  (അന്തര ഗാന്ധാരമ്) Ga G3 gu 4

6  (ശുദ്ധ മധ്യമമ്) Ma M1 ma 5

7 (പ്രതി മധ്യമമ്) Ma M2 mi 6

8 (പഞ്ചമമ്) Pa P pa 7

9  (ശുദ്ധ ധൈവതമ്) Dha D1 dha 8

10  (ചതുശ്രുതി ധൈവതമ്) Dha D2 dhi 9

         (ശുദ്ധ നിഷാദമ്) Ni N1 na

11  (ഷട്ശ്രുതി ധൈവതമ്) Dha D3 dhu 10

      (കൈശികി  നിഷാദമ്) Ni N2 ni

12  (കാകലി നിഷാദമ്) Ni N3 nu 11

 the context of Indian classical mus

Saptaswaras, in the context of Indian classical music, refers to the seven fundamental musical notes, or swaras, that form the basis of both Carnatic and Hindustani music. These seven notes are: Sa, Re, Ga, Ma, Pa, Dha, and Ni. They are also known by their longer Sanskrit names: Shadja, Rishabha, Gandhara, Madhyama, Panchama, Dhaivata, and Nishada, respectively. 

ic, refers to the seven fundamental musical notes, or swaras, that form the basis of both Carnatic and Hindustani music. These seven notes are: Sa, Re, Ga, Ma, Pa, Dha, and Ni. They are also known by their longer Sanskrit names: Shadja, Rishabha, Gandhara, Madhyama, Panchama, Dhaivata, and Nishada, respectively. 

Here's a breakdown of the Saptaswaras: 

• Sa (Shadja): The tonic or foundational note.
• Ri (Rishabha): The second note.
• Ga (Gandhara): The third note.
• Ma (Madhyama): The fourth note.
• Pa (Panchama): The fifth note, also considered a fixed or perfect interval.
Dha (Dhaivata): The sixth note.
Ni (Nishada): The seventh note, which completes the octave.

These seven notes are the building blocks for melodies and ragas in Indian classical music. They are often associated with specific sounds from nature, with Sa being linked to the peacock's cry, Ri to the bull's bellow, Ga to the goat's bleat, Ma to the heron's call, Pa to the cuckoo's song, Dha to the horse's neigh, and Ni to the elephant's trumpet 

• Sapta Swaras - The Seven Musical Notes of Carnatic Music | PDF - Scribd

  There are 7 musical notes in Carnatic Music, called the Sapta (seven) Swaras (musical notes). These are the. following (The full n...

  

  Scribd

  
• Swaras in Carnatic Classical Music - Musikclass

  A Swara is a tone or a musical note on an octave. Swara is actually a Sanskrit word. It refers to the ancient Indian concept which...

  Musikclass

  
• Sapta Swaras - Notes & HA - 2 | PDF - Scribd

  The document discusses the origins of the seven basic notes (swaras) in Indian classical music. Each note is said to originate fro...

  

  Scribd