<P> A dot above a letter indicates that the note is sung one octave higher, and a dot below indicates one octave lower . Komal notes are indicated by an underscore, and the tívra Ma has a line on top which can be vertical or horizontal . (Or, if a note with the same name - Sa, for example - is an octave higher than the note represented by S, an apostrophe is placed to the right: S' . If it is an octave lower, the apostrophe is placed to the left:' S. Apostrophes can be added as necessary to indicate the octave: for example, ` ` g would be the note komal Ga in the octave two octaves below that which begins on the note S (that is, two octaves below g).) </P> <P> The basic mode of reference is that which is equivalent to the Western Ionian mode or major scale (called Bilawal thaat in Hindustani music, Dheerasankarabharanam in Carnatic). All relationships between pitches follow from this . In any seven - tone mode (starting with S), R, G, D, and N can be natural (shuddha, lit .' pure') or flat (komal,' soft') but never sharp, and the M can be natural or sharp (teevra) but never flat, making twelve notes as in the Western chromatic scale . If a swara is not natural (shuddha), a line below a letter indicates that it is flat (komal) and an acute accent above indicates that it is sharp (teevra,' intense'). Sa and Pa are immovable (once Sa is selected), forming a just perfect fifth . </P> <P> In some notation systems, the distinction is made with capital and lowercase letters . When abbreviating these tones, the form of the note which is relatively lower in pitch always uses a lowercase letter, while the form which is higher in pitch uses an uppercase letter . So komal Re / Ri uses the letter r and shuddha Re / Ri, the letter R, but shuddha Ma uses m because it has a raised form - teevra Ma - which uses the letter M. Sa and Pa are always abbreviated as S and P, respectively, since they cannot be altered . </P> <P> The chart below assumes Sa to be at C . </P>

Sa re ga ma pa da ni sa