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Shadja (Sanskrit: षड्ज, romanized: ṣaḍja [ʂɐɖd͡ʑɐ]) is the first of the seven svaras in Hindustani and Carnatic music.^[1] Shadaj is the long form of the syllable सा (Sā).^[2]

The following is the information about Shadaj and its importance in Indian classical music:

• Shadaj is the first svara in an octave or Saptak.
• Shadaj is usually the main svara in a raga.
• The svara that is played on the Tanpura for the singer is Shadaj. It is played to know that one is singing on the right pitch and octave.
• Shadaj is the base or basic svara. It is a very fundamental svara in Classical music.
• Shadaj serves a critical role in maintaining the tonal framework during performances. Before transitioning from one raga to another, particularly when the ragas share the same set of svaras (notes) but differ in their chalan (movement or progression), the note "Sa" is often played. This practice ensures clarity and prevents confusion by re-establishing the tonal base, allowing the next raga to begin distinctly.
• The svara of Shadaj is never komal or tivra, it is always Shuddha in any given raga.
• It is said that Shadaj is the basic svara from which all the other 6 svaras are produced. When we break the word Shadaj then we get, Shad And Ja. It means that Shad is 6 and ja is 'giving birth' in Marathi.^[3] So basically the translation is :

 षड् - 6, ज -जन्म .

Therefore, it collectively means giving birth to the other 6 notes of the music.

• The frequency of Shadaj and the related svara are chosen relative to the performer. If the Shadaj is 240 Hz, for example, the frequencies of the seven svaras are also given below: Sa 240 Hz, Re 270 Hz, Ga 300 Hz, Ma 320 Hz, Pa 360 Hz, Dha 400 Hz, and Ni 450 Hz, Sa 480 Hz (Taar Saptak) ........ (and so on).

Consequently, the Sa after the Ni of 450 Hz has a frequency of 480 Hz i.e. the double of the Lower octave Sa.^{[citation needed]}

• There are four Shruti's of Sadja. Previously the main Shruti not only for Sa but for all the other svaras was on the last Shruti but now it is considered to be on the first Shruti.

For example, if these are the four Shruti's of Sa then,

                      Previously this was the position of the main Shruti of Sa.
                       ^ 
             1   2  3  4
             ^
             But now this position has become the main Shruti of Sa.

• All the other svaras except Shadaj (Sa) and Pancham (Pa) can be komal or tivra svaras but Sa and Pa are always Shuddha svaras. And hence svaras Sa and Pa are called Achal Svaras , since these svaras don't move from their original position. Svaras Ra, Ga, Ma, Dha, Ni are called Chal Svaras, since these svaras move from their original position.

    Sa, Re, Ga, Ma, Pa, Dha, Ni - Shuddha Svaras
   
    Re, Ga, Dha, Ni - Komal Svaras 
  
    Ma - Tivra Svaras

• Shadaj holds a unique and indispensable position in Indian classical music. It is the only svara that cannot be omitted (varjit) in any raga, making it essential to both the saptak (scale) and the structure of every raga.
• For some ragas where Sa is the Vadi or Samvadi svara, Sa is played repeatedly. But for ragas where Sa is not a Vadi or a Samvadi svara, it is still played repeatedly since it the main svara.
• Ragas where Sa is the Vadi svara - Raga Malkauns, etc. Ragas where Sa is the Samvadi svara - Raga Kedar.
• Shadaj is said to be sourced from the cry of a peacock.^[4][5]
• Shadaj is associated with the planet Mercury.^[4]
• Shadaj is associated with Green colour.^[4]

• List of Ragas in Hindustani classical music
• Svara
• Rishabh (Re)
• Gandhar (Ga)
• Madhyam (Ma)
• Pancham (Pa)
• Dhaivat (Dha)
• Nishad (Ni)