Sequenced Progression of Notes – A Theoretical Perspective
Let’s assume that we have to create progression of four notes, Sa, Re, Ga and Ma. First and foremost we must write the simplest progression, Sa, Re, Ga, Ma. Thereafter we put a dot under the ‘Sa’. Since there is no note lower than Sa, we write Sa below Re (Sa Re Ga Ma) followed by Ga and Ma with its respective sequence. We get Re, Sa, Ga, Ma as another sequence.
Following the same principle, we shall make another sequence from Re, Sa, Ga, Ma. We have Sa before Re but Re Sa Ga Ma sequence has Sa note on the right hand side, therefore we put a dot below the Re thus making it Re Sa Ga Ma. Now we also put a dot below the Sa. Since there is no note on the left hand side of Sa we put a dot below the Ga followed by writing Ma as it is. Thereafter we put the remaining Ga and Sa notes in place of dotted Sa and Ga thus making it Sa, Ga, Re, Ma. This is how we have composed the third note sequence (3rd swar prastaar).
Therefore, it works on the following principle:
(1*2*3*4 = 24)
There shall be 24 different sequenced patterns taking into consideration the four notes.