Similarly in Hindustani Music, the names of 'Komal' and 'Shuddha' Swaras have no uniformity. The Rishabha, Gandhar, Dhaivat and Nishad have the 'Komal' version first followed by 'Shuddha'; whereas for Madhyam, there is the 'Shuddha' version first followed by 'Teevra'. These names have also been carried forward due to ignorance about the meanings of these names, and also about 22 Shrutis. 'Komal' is the 'flatter' variety of the note and the correct name for the 'sharper' version is 'Tara', not 'Shuddha'. 'Teevra' (in Sanskrit) means 'of a larger volume', not 'of a higher frequency'! Hence, 'any' note such as Rishabha, Gandhar, Madhyama, Dhaivata and Nishad can be Teevra, or of a larger volume. The correct 12 names of Hindustani 12 notes are 1) Shadja, 2) Komal Rishabha, 3) Tara Rishabha, 4) Komal Gandhara, 5) Tara Gandhara, 6) Komal Madhyama, 7) Tara Madhyama, 8) Panchama, 9) Komal Dhaivata, 10) Tara Dhaivata, 11) Komal Nishada, and 12) Tara Nishad. 'Komal' notes are subdivided into their Shrutis 'Ati-Komal' (Lower frequency version) and 'Komal' (Higher frequency version); and 'Tara' notes into 'Tara' (Lower frequency version) and 'Ati-Tara' (Higher frequency version). Out of the 22 notes thus created, the word "shuddha" denotes 'purity' and signifies notes with a natural ratio of 100:125:150. Seven of the 22 notes (see table) are thus additionally called shuddha. The complete nomenclature for 12 swaraprakaras and 22 shrutis in Hindustani Classical Music is shown in the table.