DO RE MI FA : सा रे ग म

"solfège" , in French and "solfeggio", in Italian is the music education used to teach pitch and sight singing. These are the basic primary music eduction for all those who want to learn and build their career in music. The major 7 syallable that are most commonly used are, do re mi fa sol la ti/si. there are two method of applying solfege

a) Fixed do Syllables are tied to specific pitches
b) Movable do syllables are assigned to different pitches

 Italian "solfeggio" and French "solfège" ultimately derived from the names of two syllables ; sol and fa. The combination of these two syllables can sometimes also be used as verb in English language as, "to sol-fi". Similarly "solmization"  is derived from the two syllables sol and mi.

The use of the above 7 notes diatonic musical scale is not of today. It was used in ancient. At the starting of the music, It was played in descending order. In eleventh century, the music theorist Guido of Arezzo developed a six note ascending scale which was as follow: "ut re mi fa sol la". The last seventh note "si" was added later soon. These names were taken from the first verse of the Latin hymn Ut queant laxis, which was written by Paulus Diaconus in 8th century. The first note, "ut" was changed in the 1600s in Italy to "Do". Similaryly the note "si" was changed to "ti" in 19th century. In England during the Elizabethan era a simplified version of this system was used(i.e. using only syllables "fa","sol","la" and "mi").....

सा रे ग म प ध नि , the 7 swaras of Indian classical music also known as the Saptak, "gamut" or "the series of seven notes". In Sanskrit saptak means "containing seven" and is derived from the Sanskrit work sapta which means seven. They are the basic notes of the Indian Classical music also with other 5 interspersed half-notes, resulting a 12-note scale.
Natya Shastra was an ancient Indian treaties which was written between 200 BC and 200 AD.

These 7 different notes of the scale has their own name respectively; Shajda, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad. Collectively all these notes are known as the sargam. It is the equivalent to "solfège".
Shadja  is the defining note of the scale which means 'giving birth to six'. It is considered that the other notes are emerged from this "sa".  It is the most firm note out of the other notes, without which the entire saptak falls apart. The term shadja  comes from Sanskrit, "Sad + aja" which means creator of six. The other notes doesnot have true definition unless sa is defined.
The other important and firm note is "pa" which when combined with "sa" gives the perfect union and also these two notes are immovable.

These tones are supposed to originated from the sound of different animals. These sounds have different meanings and are related with the 7 chakras of our body.

Sadja                           Sa                      Cry of the peacock

Rishabha                     Re                      Lowing of the bull

Gaandhaara                Ga                     Bleating of a goat

Madhyama                 Ma                     Call of the heron

Panchama                   Pa                      Call of the cuckoo

Dhaivata                     Dha                    Neighing of the horse

Nishaada                    Ni                      Trumpeting of the elephant

The swars are also associated with the planets and colors liks;

Sa - Mercury - Green
Ri - Mars - Red
Ga - Sun - Golden Color
Ma - Moon - White or Yellowish Tint
Pa - Saturn - Blue or Black
Dha - Jupiter - Yellow
Ni - Venus - Multi Color

Similarly, These swaras have following qualities

Shadja - Means 'father of the six svaras' and the one which gives birth to the other six svaras.

Rishab - Being the nearest to the Grâmni svara (Sa) it is strong as Vrishab (Bull).

Gandhâr – Is associated with karunâ (sadness, longing). 

Madyam – This svara is in the middle of the saptak.

Pancham – Is made up of the words panch (five) and mi (to measure). Is that note that is fifth from the Shadaj and is the tool to measure the svara intervals.

Dhaivat – Is the overtone of the madyam svara and is heard by the Dhivân (sensitive minds).

Nishâd – Is so called because the notes of the scale come to a close with it. The word is derived from Sanskrit root “ni+shâd” to come to a rest. Nishâd is full of karunâ (longing).

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