Request for some comments from learned members here.
Mostl refer to shudh (re, ga, ma, Dha, ni) or komal re, ga, Dha, ni. Tivra madhyam is higher than shudh Madhyam but shudh Madhyam is not generally called komal madhyam.
Some times I feel the practice of calling a note as Shuddha is unnecessary. Depending upon our convention, the same note may or may not be referred to as Shuddha. For eg., the Komal Rishab of Hindustani Music is referred to as Shuddha Rishabha in Karnatic Music.
There are two varieties of each swara except Sa and Pa. The lower-pitch version of the note may be referred to as Komal version and the higher-pitch version as Tivra version. If this logic is applied, then, Ma of Bilawal scale may be called as Komal Ma and Ma of Yaman may be called as Tivra Ma.
This is open for further discussion.
I have come across the Shuddha swaras being referred to as "Teevra", i.e., "Komal" Re and Teevra Re in some text, but I cannot recall where. The well established convention is for the 12 swaras to be referred as "Sa. re, Re, ga, Ga, Ma, Ma', dha, Dha, ni, Ni".
Incidentally in Western notation, for example, the white keys on the piano/keyboard are referred to as "C, D, E, F, G, A and B" whereas the black keys are referred to either, for e.g., as C# or D-flat, F# or G-flat, etc. So I guess it is a matter of convention.
I think it will be wrong to call Shuddha ma as Komal Ma...
The Pa, Ma, Ga and Re are points within the harmonic series of the Sa, and are called as their Shuddha versions. We move the Ga and Re down from their natural position to get their Komal versions. In case of the Ma, there is not enough space between the Ma and Ga to move it down. It can be moved up though in the space between Ma and Pa, and then we call it the Teevra Ma..
The more interesting question would be, why cant we call the Teevra Ma as the Komal Pancham?