It is really impossible to explain what exactly is Sare------ (while you write), you can learn more if you sit with some one with the knowledge of music, but as a layman I will try to write what I know.
Sa = Shadja
Re = Risbah
Ga = Gandhar
Ma = Madhyam
Pa = Pancham
Dha = Dhaivat
Saregamapadhani = Swaras or notes
Collectively these notes are known as the sargam. In singing, these become Sa, Ri (Carnatic) or Re (Hindustani), Ga, Ma, Pa, Da (Carnatic) or Dha (Hindustani), and Ni. When writing these become, S, R, G, M, P, D, N. A dot above a letter indicates that the note is sung one octave higher, and a dot below indicating one octave lower. If a swara is not natural (shuddha), a line below a letter will indicate it is flat (komal), and an acute accent above a letter will indicate that it is sharp (tivra or tivar). In some notation systems, the distinction is made with capital and lowercase letters. R, G, D, and N may be either shuddha or komal; M may be either shuddha or tivra. Sa and Pa are immovable (once Sa is selected), forming a just perfect fifth
Sargam is the Hindustani (North Indian) and Carnatic (South Indian) equivalent to the western Solfege, a technique for the teaching of Slight-singing. Sargam is practiced against a Drone and the emphasis is not on the Scale but on the Intervals.
In certain forms of Indian classical music and Qawali, when a rapid 16th note sequence of the same note is sung, different syllables may be used in a certain sequence to make the whole easier to pronounce. For example, instead of "sa-sa-sa-sa-sa-sa-sa-sa" said very quickly, it might be "sa-da-da-li-sa-da-da-li" which lends itself more to a quick and light tongue movement.
Although the sargam contains only seven kinds of notes, five of them (R, G, M, D and N) may designate up to two different pitches. The notes S and P, however, are fixed. The basic mode of reference is that which is equivalent to the Western lonian mode (this is called Bilawal thaat in Hindustani music). All relationships between pitches follow from this basic arrangement of intervals. In any given seven-tone mode (starting with S), R, G, D, and N can be natural (shuddha, 'pure') or flat (komal, 'soft') but never sharp, and the M can be natural or sharp (tivra) but never flat, making up the twelve notes in the Western equal tempered Chromatic Sacale. 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-tivra Ma-which uses the letter M. Sa and Pa are always abbreviated as S and P, respectively, since they cannot be altered. 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). In addition, sometimes upper- and lower case letters are replaced with accent marks or lines above or below the letter indicating komal and tivra).
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