This page compares note sets after matching Sa to the starting note of a Western scale. Explore the shared notes and the melodic movement of each 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.
Sharing notes does not make 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 and a scale equivalent. 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 also has characteristic phrases, note emphasis and performance context.
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.
Method sources
These sources explain scales, chalanChalanThe way a raag moves through its notes: characteristic turns, phrases and patterns of emphasis. These behaviours help distinguish raags with similar pitch sets.Source: AM “Rag”. and 2 moreMore in the glossary and melodic movement.
