Comparison status
This pair can be compared side by side, but it is not a modeled confusion guide yet. Treat the result as a worksheet prompt.
Compare raagsRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary
Use comparison to see where two raagsRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary share notes but diverge in behavior. This is a study aid, not a substitute for teacher review.
Yaman
Start rising phrases from lower Ni. Hold Ga and Ni, and let phrases rest on Pa.
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- .Ni Re Ga Ma(tivra) Pa Dha Ni Sa'
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' Ni Dha Pa Ma(tivra) Ga Re Sa
- VadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Ga
- SamvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Ni
Bhairav
Oscillate slowly on komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re and komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Dha. Sa, Ma and Pa are also held.
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa re Ga Ma Pa dha Ni Sa'
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' Ni dha Pa Ma Ga re Sa
- VadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- dha
- SamvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- re
SwaraSwaraA musical note in Indian music. The seven names are Sa, Re, Ga, Ma, Pa, Dha and Ni; some have shuddha, komal or tivra forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary overlap
Shared
SaGaPaNi
Yaman only
ReMa(tivra)Dha
Bhairav only
Re(komal)MaDha(komal)
Shareable comparison guides
These static pages cover modeled confusion pairs and can be shared with students without rebuilding the selector state.
Bhupali vs DeshkarAUTRIM gives Bhupali and Deshkar the same basic scale; their treatment differs in note emphasis, register and glides.Bhairavi vs Asavari (komal Re form)Komal-Re Asavari shares notes and some movement, but forbids Bhairavi’s additional tones.Pahadi vs BhupaliThe core notes are the same; that does not mean the phrases are shared.Pahadi vs DeshkarListed as having the same core notes; that does not mean the phrases are shared.Pilu vs KirwaniThe Shuddh Pilu form with komal Ga/Dha and shuddha Re/Ni resembles Kirwani.Shivaranjani vs BhupaliThe core form differs by using komal Ga.Kedar vs KamodShares the Ma(tivra) Pa / Sa approach to high Sa.Ahir Bhairav vs KafiKomal Ni in the upper half of the scale can suggest Kafi; komal Re and the Dha ni / re turn keep it Ahir Bhairav.Ahir Bhairav vs KhamajThe upper tetrachord can suggest Khamaj; komal Re and characteristic movement distinguish it.Bhimpalasi vs PatdeepRelated Dhanashri-group raag.Bhimpalasi vs PiluRelated Dhanashri-group raag.Bhimpalasi vs MultaniIncluded in the Dhanashri group despite a different scale.Kirwani vs BageshriThe Mewati interpretation is said to contain Bageshri shades, attributed by Howlett to Aarshin Karande.Patdeep vs PiluWithout Ga oscillation and a Sa touch on Re, a phrase can suggest Pilu.Hamir vs KamodShared concluding phrases can suggest Kamod; Dha emphasis distinguishes Hamir.Purvi vs BihagShares Pa Ma(tivra) Ga Ma Ga, with different intonation.Jaijaivanti vs DeshShared turns; komal Ga and Pa / Re preserve Jaijaivanti.Marwa vs MalkaunsIf Re is mistaken for the tonic the resulting scale can sound like Malkauns.Yaman vs BhupaliOur cited sources do not name these two raags as similar. Compare their cited fields side by side.