Hindustani and Western comparison · Lesson 1 of 10 · Pitch and classification
Sa, tonic and shared pitch sets
Start with what the two systems share: a home note, named steps and countable intervals. Then see why a shared set of pitches is only the first step in comparing a raagRaagA 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 with a Western scale or mode.
Strong:
a shared feature you can count or measure
Qualified:
a useful analogy with clear differences
Context:
a contrast that teaches, not an equivalence
The tonic is the starting note of the Western scale. Match it to Sa. Here a pitch class groups pitches that differ only by octave or by spelling, such as C-sharp and D-flat. The shared sets compare these twelve pitch classes. Tivra MaTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary is the raised form of Ma. Lowercase ga, dha and ni mark 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 notes.
Hindustani raagRaagA 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
Bhupali
Sa Re Ga Pa Dha
pitch overlap
Western scale / mode
Major pentatonicPentatonic scaleA five-note scale used to organise melody. Major and minor pentatonic are common Western forms; a five-note pitch set alone does not define a raag.Source: TR G5 p. 23, Pitch §10; G6 p. 27, Pitch §15.More in the glossary
C - D - E - G - A
Shared: Exact pitch-class set under tonic alignment.
Melodic context: Bhupali is defined by phrase movement, emphasis, repose, and raagRaagA 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 context; major pentatonicPentatonic scaleA five-note scale used to organise melody. Major and minor pentatonic are common Western forms; a five-note pitch set alone does not define a raag.Source: TR G5 p. 23, Pitch §10; G6 p. 27, Pitch §15.More in the glossary names only a note set.
Hindustani raagRaagA 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
Yaman
Sa Re Ga Ma(tivra) Pa Dha Ni
pitch overlap
Western scale / mode
LydianModeA diatonic pitch collection organised around a particular tonic and step pattern. A modern mode names pitch relationships, not a complete raag or performance style.Source: TR G6 p. 27, §§16–17; G7 p. 29, §§3–4; G8 p. 32, §§2–3. and 2 moreMore in the glossary
C - D - E - F# - G - A - B
Shared: Exact seven pitch classes in the abstract.
Melodic context: Yaman's Ni-Re-Ga movement, ascent conventions, tivra MaTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary treatment, drone, and lack of functional-harmony requirements are not contained in LydianModeA diatonic pitch collection organised around a particular tonic and step pattern. A modern mode names pitch relationships, not a complete raag or performance style.Source: TR G6 p. 27, §§16–17; G7 p. 29, §§3–4; G8 p. 32, §§2–3. and 2 moreMore in the glossary.
Hindustani raagRaagA 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
Kafi
Sa Re ga Ma Pa Dha ni
pitch overlap
Western scale / mode
DorianModeA diatonic pitch collection organised around a particular tonic and step pattern. A modern mode names pitch relationships, not a complete raag or performance style.Source: TR G6 p. 27, §§16–17; G7 p. 29, §§3–4; G8 p. 32, §§2–3. and 2 moreMore in the glossary
C - D - Eb - F - G - A - Bb
Shared: Exact seven pitch classes in a common profile.
Melodic context: Kafi's characteristic phrases, intonation, ornament, and light-classical variants go beyond DorianModeA diatonic pitch collection organised around a particular tonic and step pattern. A modern mode names pitch relationships, not a complete raag or performance style.Source: TR G6 p. 27, §§16–17; G7 p. 29, §§3–4; G8 p. 32, §§2–3. and 2 moreMore in the glossary's interval formula.
Hindustani raagRaagA 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
Kirwani
Sa Re ga Ma Pa dha Ni
pitch overlap
Western scale / mode
Harmonic minorMinor scaleNotes organised around a tonic with a minor third above it. Natural, harmonic and melodic minor differ especially in their sixth and seventh degrees.Source: AB G2 §3; G3 §3. and 1 moreMore in the glossary
C - D - Eb - F - G - Ab - B
Shared: Exact seven pitch classes in a common profile.
Melodic context: Kirwani is treated melodically over a tonic drone; harmonic minorMinor scaleNotes organised around a tonic with a minor third above it. Natural, harmonic and melodic minor differ especially in their sixth and seventh degrees.Source: AB G2 §3; G3 §3. and 1 moreMore in the glossary is commonly taught through key and chord function.
Topic 1 · Fit: Strong
Sa and the tonic
Learning objective: Line up Sa with a Western tonic before comparing any notes.
In Hindustani music, every 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 is heard in relation to Sa. The performer chooses the pitch of Sa, and the other notes are placed from it.
In Western tonal music, the tonic is the first scale degreeScale degreeA note’s position in a scale, identified by a number or name. The tonic is degree 1; the other degrees are understood in relation to it.Source: AB G1 §4. and 1 moreMore in the glossary, the home note of a key. The other scale degreesScale degreeA note’s position in a scale, identified by a number or name. The tonic is degree 1; the other degrees are understood in relation to it.Source: AB G1 §4. and 1 moreMore in the glossary are counted from it.
So before you compare, choose a tonic and treat Sa as that note. If Sa is C, then Re is D and Ga is E. Move Sa to D and every letter name moves with it.
Where the comparison stops
This step only makes the notes comparable. It says nothing yet about how a raagRaagA 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 or a Western piece treats its home note.
Sargam and movable-do solfègeSolfègeA way to learn and sing pitch relationships using syllables such as do, re and mi. In movable-do major, do names the tonic and the other syllables name scale degrees.Source: AB G1 §4. and 1 moreMore in the glossary
Learning objective: Read sargam names beside movable-do syllables and scale-degree numbers, and know where the match breaks.
Sargam names the seven swarasSwaraA 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: Sa, Re, Ga, Ma, Pa, Dha and Ni. NIOS explains that Sa and Pa never change. Re, Ga, Dha and Ni can be 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 (lowered), and Ma can be tivraTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary (raised).
Movable-do solfègeSolfègeA way to learn and sing pitch relationships using syllables such as do, re and mi. In movable-do major, do names the tonic and the other syllables name scale degrees.Source: AB G1 §4. and 1 moreMore in the glossary sings do, re, mi, fa, sol, la and ti from whatever the tonic is, so do always means scale degreeScale degreeA note’s position in a scale, identified by a number or name. The tonic is degree 1; the other degrees are understood in relation to it.Source: AB G1 §4. and 1 moreMore in the glossary 1. With Sa as do, the seven shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossaryswarasSwaraA 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 line up with the syllables of the major scaleMajor scaleSeven notes organised around a tonic using a particular sequence of whole and half steps. Scale degrees identify each note’s position.Source: AB G1 §4. and 1 moreMore in the glossary.
Altered notes need care. Each system names lowered and raised notes in its own way, so name the 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 in full, such as 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 Ga, and say which octave it is in.
Where the comparison stops
The syllables match one for one only under movable do, with Sa as do. Not every solfègeSolfègeA way to learn and sing pitch relationships using syllables such as do, re and mi. In movable-do major, do names the tonic and the other syllables name scale degrees.Source: AB G1 §4. and 1 moreMore in the glossary tradition uses movable do, 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 and tivraTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary follow sargam's own rules rather than Western chromatic syllables.
Learning objective: Measure each 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 as a distance above Sa, in semitones, and compare it with Western interval names.
Any 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 can be described by its distance above Sa. On a keyboard, shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga is four semitones above Sa 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 Ga is three.
Western theory names the same distances by size and quality: four semitones above the tonic is a major third, and three is a minor third.
This is a strong way to compare written notes. It describes the symbolic interval, not the exact pitch a singer produces.
Where the comparison stops
Semitone counts are a measurement, not a description of a raagRaagA 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. Performed intonation can differ from these symbolic sizes; the lesson on intonation explains how.
Kalyan thaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, Yaman and the LydianModeA diatonic pitch collection organised around a particular tonic and step pattern. A modern mode names pitch relationships, not a complete raag or performance style.Source: TR G6 p. 27, §§16–17; G7 p. 29, §§3–4; G8 p. 32, §§2–3. and 2 moreMore in the glossary pitch set
Learning objective: See that Kalyan thaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary and the LydianModeA diatonic pitch collection organised around a particular tonic and step pattern. A modern mode names pitch relationships, not a complete raag or performance style.Source: TR G6 p. 27, §§16–17; G7 p. 29, §§3–4; G8 p. 32, §§2–3. and 2 moreMore in the glossary mode share seven pitch classes once Sa and the tonic are aligned, and why that does not define Yaman.
NIOS describes a thaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary as a set of seven chosen notes in ascending order. It is a skeleton for classifying 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 and is not meant to be sung as it is. Yaman comes from Kalyan thaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary: its Ma is tivraTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary and its other notes are shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary.
The LydianModeA diatonic pitch collection organised around a particular tonic and step pattern. A modern mode names pitch relationships, not a complete raag or performance style.Source: TR G6 p. 27, §§16–17; G7 p. 29, §§3–4; G8 p. 32, §§2–3. and 2 moreMore in the glossary mode is a major scaleMajor scaleSeven notes organised around a tonic using a particular sequence of whole and half steps. Scale degrees identify each note’s position.Source: AB G1 §4. and 1 moreMore in the glossary with a raised fourth degree, and that raised fourth is its color note. With Sa as C, Kalyan thaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary and C LydianModeA diatonic pitch collection organised around a particular tonic and step pattern. A modern mode names pitch relationships, not a complete raag or performance style.Source: TR G6 p. 27, §§16–17; G7 p. 29, §§3–4; G8 p. 32, §§2–3. and 2 moreMore in the glossary both give C, D, E, F♯, G, A and B.
Western exam syllabuses teach LydianModeA diatonic pitch collection organised around a particular tonic and step pattern. A modern mode names pitch relationships, not a complete raag or performance style.Source: TR G6 p. 27, §§16–17; G7 p. 29, §§3–4; G8 p. 32, §§2–3. and 2 moreMore in the glossary too. RSL lists it in popular music harmony at Grade 7.
Where the comparison stops
This is pitch-set overlap only. Yaman's phrases, note emphasis and ornaments are not part of the LydianModeA diatonic pitch collection organised around a particular tonic and step pattern. A modern mode names pitch relationships, not a complete raag or performance style.Source: TR G6 p. 27, §§16–17; G7 p. 29, §§3–4; G8 p. 32, §§2–3. and 2 moreMore in the glossary mode, and the LydianModeA diatonic pitch collection organised around a particular tonic and step pattern. A modern mode names pitch relationships, not a complete raag or performance style.Source: TR G6 p. 27, §§16–17; G7 p. 29, §§3–4; G8 p. 32, §§2–3. and 2 moreMore in the glossary mode does not tell you how to perform Yaman. The next lesson covers that grammar.
Learning objective: Compare Bhupali, Kafi and Kirwani with a Western collection that has the same pitch classes under a chosen tonic.
NIOS gives Bhupali five notes, Sa Re Ga Pa Dha, with Ma and Ni left out. Under the same tonic these are the notes of the major pentatonicPentatonic scaleA five-note scale used to organise melody. Major and minor pentatonic are common Western forms; a five-note pitch set alone does not define a raag.Source: TR G5 p. 23, Pitch §10; G6 p. 27, Pitch §15.More in the glossary scale, which Trinity teaches at Grade 5.
NIOS gives Kafi 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 Ga 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 Ni, with its other notes shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary. That pitch set matches the DorianModeA diatonic pitch collection organised around a particular tonic and step pattern. A modern mode names pitch relationships, not a complete raag or performance style.Source: TR G6 p. 27, §§16–17; G7 p. 29, §§3–4; G8 p. 32, §§2–3. and 2 moreMore in the glossary mode, which Trinity teaches at Grade 7.
A practitioner's profile of Kirwani gives 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 Ga 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 with shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni. That matches the harmonic minorMinor scaleNotes organised around a tonic with a minor third above it. Natural, harmonic and melodic minor differ especially in their sixth and seventh degrees.Source: AB G2 §3; G3 §3. and 1 moreMore in the glossary scale, which ABRSM teaches from Grade 2. This profile is a supplementary source, and its compact descending line contains a notation slip, so Ragapedia uses only its stated pitch set.
Where the comparison stops
Each pair is an overlap of pitch classes under a chosen tonic. It does not establish the raagRaagA 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's identity, and a raagRaagA 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's notes can vary between teachers and performances. Say “pitch-set overlap”, not that the raagRaagA 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 is the scale.
JatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary and note count
Learning objective: Count the notes a raagRaagA 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 uses going up and coming down, and compare the count with five- and seven-note Western collections.
JatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary counts the notes in a raagRaagA 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's ascent (aroha) and descent (avaroha). NIOS calls five notes audav, six shadav and seven sampurna. The two directions can differ: a raagRaagA 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 with seven notes up and five down is sampurna–audav.
Bhupali uses five notes in both directions, so NIOS gives its jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary as audav–audav. Western theory counts notes too: a pentatonic scalePentatonic scaleA five-note scale used to organise melody. Major and minor pentatonic are common Western forms; a five-note pitch set alone does not define a raag.Source: TR G5 p. 23, Pitch §10; G6 p. 27, Pitch §15.More in the glossary has five, and the diatonic collections behind the major scaleMajor scaleSeven notes organised around a tonic using a particular sequence of whole and half steps. Scale degrees identify each note’s position.Source: AB G1 §4. and 1 moreMore in the glossary and the modes have seven.
NIOS also shows a count that depends on direction. It leaves Ma out of Alhaiya Bilawal's ascent, which gives six notes going up, and uses all seven coming down. AUTRIM's page on the raagRaagA 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 says the same: Ma is left out of the ascent.
Western theory has six-note scales too. Open Music Theory describes the blues scaleBlues scaleA pitch collection commonly taught for blues melody and improvisation. The common minor blues scale adds a lowered fifth to minor pentatonic.Source: TR G5 p. 23, Pitch §10; G6 p. 27, Pitch §15.More in the glossary as a minor pentatonicPentatonic scaleA five-note scale used to organise melody. Major and minor pentatonic are common Western forms; a five-note pitch set alone does not define a raag.Source: TR G5 p. 23, Pitch §10; G6 p. 27, Pitch §15.More in the glossary scale with one added passing note, so it has six notes. It also names the whole-tone and hexatonic collections, each with six notes.
Listen and look
WesternThe C blues scale (Open Music Theory, Example 4)Count the notes: a minor pentatonicPentatonic scaleA five-note scale used to organise melody. Major and minor pentatonic are common Western forms; a five-note pitch set alone does not define a raag.Source: TR G5 p. 23, Pitch §10; G6 p. 27, Pitch §15.More in the glossary scale plus one chromatic passing note on the way up to sol makes six.Source: Lavengood, Open Music Theory: Blues Melodies and the Blues Scale, “The Blues Scale”, Example 4
WesternThe two whole-tone collections (Open Music Theory, Example 2)A six-note collection made only of whole steps. Set it beside the six notes of Alhaiya Bilawal's ascent and see how differently the steps are spaced.Source: Gotham, Lavengood, Moseley and Shaffer, Open Music Theory: Collections, “Whole-Tone Collection”, Example 2
Times and bar numbers come from the linked source. AUTRIM's times are seconds into its video; Raga Records gives counter times or track lengths from its own booklets and programme lists. Ragapedia has not added its own timings.
Where the comparison stops
A note count is only a count. 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 with the same count, or even the same notes, can still be different 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. A six-note ascent is not a six-note scale: Alhaiya Bilawal still uses all seven notes on the way down.
TranspositionTranspositionThe movement of written or sounding music up or down by a specified interval while preserving its internal pitch relationships.Source: AB G5 §2. and 1 moreMore in the glossary: moving Sa
Learning objective: Move Sa to a new pitch and keep every 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's distance from it the same.
Because each 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 is placed from Sa, moving Sa moves every note by the same amount. With Sa on C, Yaman's notes are C, D, E, F♯, G, A and B. With Sa on D they are D, E, F♯, G♯, A, B and C♯.
Western theory calls this transpositionTranspositionThe movement of written or sounding music up or down by a specified interval while preserving its internal pitch relationships.Source: AB G5 §2. and 1 moreMore in the glossary: the same music written or played at a different pitch. ABRSM teaches it at Grade 5, and Trinity's Grade 6 asks students to transpose a melody for named transposing instruments.
Try it with the tonic selector in the explorer above. The letter names change; the pattern of distances does not.
Where the comparison stops
TranspositionTranspositionThe movement of written or sounding music up or down by a specified interval while preserving its internal pitch relationships.Source: AB G5 §2. and 1 moreMore in the glossary shifts every pitch by the same interval and keeps the pattern of intervals. A raagRaagA 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 stays the same raagRaagA 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 at any pitch of Sa, and transposing it does not turn it into a different mode or raagRaagA 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.
Ragapedia wrote these comparisons by combining separately cited Hindustani and Western sources. No source institution has endorsed them, and a musician has not reviewed this lesson.
