Sargam on Guitar (Indian Raagas on Guitar)

Now its good time for us to expand our horizons and learn something about Indian Classical Music
(ICM).

There is plethora of information floating on net and its very hard to find a consolidated and
systematic way to learn. I am starting this thread with the purpose to learn and understand ICM
step by step. I would like to emphasis on word "understand" because without it you will not
appreciate ICM.

All of you who want to come along with me on this exciting voyage are most welcome!

So lets start answering with the most basic question:

"How will I map Sa Re Ga Ma ..." on Guitar?

The only thing require for remembering this mapping is that western's note "C" maps to
Indian's note "Sa".

Here is complete mapping:

C - Sa
D - Re
E - Ga
F-m
G - Pa
A - Dha
B - Ni

Why I have used 'm' instead of 'Ma' will require more knowledge to understand which will get
cleared in subsequent posts. For the time being just denote Ma with 'm'.

Here is fretboard with Indian Notes:

e|-F/m---|-------|-G/Pa--|-------|-A/Dha-|-------|-B/Ni--|-C/Sa--|-------|-
D/Re--|-------|
B|-C/Sa--|-------|-D/Re--|-------|-E/Ga--|--F/m--|-------|-G/Pa--|-------|-
A/Dha-|-------|
G|-------|-A/Dha-|-------|-B/Ni--|-C/Sa--|-------|-D/Re--|-------|-E/Ga--|-
F/m---|-------|
D|-------|-E/Ga--|-F/m---|-------|-G/Pa--|-------|-A/Dha-|-------|-B/Ni--|-
C/Sa--|-------|
A|-------|-B/Ni--|-C/Sa--|-------|-D/Re--|-------|-E/Ga--|-F/m---|-
G/Pa--|-------|-------|
E|-F/m---|-------|-G/Pa--|-------|-A/Dha-|-------|-B/Ni--|-C/Sa--|-------|-
D/Re--|-------|

I have highlighted 3 "Sa"-s. These are in comfortable zone of hand. Later we will find that most of
the raags require movement on 3 octaves and hence frets 5 to 8 I find more convenient to play
them.

Just practice Sa Re Ga m... in ascending and descending order till we meet again with more exciting
stuff.

Sooner you have to brushup your hindi as well, so lets start with two words:
Ascending -> Arohan
Descending -> Avarohan

If you are curious on what are we going to learn next then I can give a hint that by the end of next
session you will be playing your first raag, you will be knowing most of the important terms used in
a raag and if you are looking for more then I will give you hindi songs which have been composed
on the raag that you have just learned. Howz that!!!
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Welcome back guys!

Its always good to know some history of our Hindustani music system, its origin and development.

The origin of Indian music is said to be rooted in the Vedas. According to Hindu mythology, Music
originated from the first sound ever to be heard in the universe, the NaadBrahma or OM. In the
early Vedic period, the Svaras were called Krushta, Prathama, Dvitiya, Tratiya, Chaturtha, Mandra
and Atisyarya. Later, these were called Shadja, Rishabha, Gandhara, Madhyama, Panchama,
Dhaivata and Nishada." Or, Sa, Re, Ga, Ma, Pa, Dha and Ni as they are sung.

Brahma is said to be the author of the four Vedas, of which the SamaVeda was chanted in definite
musical patterns. Vedic hymns were sung in plain melody, using only 3 notes. The Hindustani
musical scale is said to have evolved from 3 notes to a scale of 7 primary notes, on the basis of 22
intervals. A scale is divided into 22 shrutis or intervals. A Saptak is a group of 7 notes. The
first and fifth notes (Sa and Pa) do not alter their positions on this interval. The other 5 notes can
change their positions in the interval, leading to different raagas.

What is Raaga?

The combination of several notes weaved into a composition in a way which is pleasing to the ear is
called a raaga. Each raaga creates an atmosphere which is associated with feelings / emotions /
sentiments. A raaga is based on the principle of a combination of notes selected out the 22 note
intervals of the octave.

Raaga is neither a scale, nor a mode. It is, however, a scientific, precise and melodic form with its
own peculiar ascending and descending movement which consists of either a full octave, or a series
of six or five notes. Raaga has its own principal mood such as tranquility, devotion, eroticism,
loneliness, pathos, heroism, etc. Each raaga is associated, according to its mood, with a particular
time of the day, night or a season.

Raaga, in the Sanskrit dictionary, is defined as "the act of coloring or dyeing" (the mind in this
context) and "any feeling or passion especially love, affection, sympathy, vehement desire, interest,
joy, or delight". The root word for the term 'Raaga' is the Sanskrit word 'Ranja' meaning to please,
to colour or to tinge.

A raaga is basically a set of Vedic-rooted rules for how to build a melody. It specifies rules for
movements up (arohi) and down (avrohi) the scale, which notes should figure more and which notes
should be used more sparingly, phrases to be used, phrases to be avoided, and so on. As raagas
were never codified but transmitted orally from teacher to student, some raagas can vary greatly
across regions, traditions and styles. Indian classical music is always set in raaga, but all raaga
music is not necessarily classical.

Fox Strangeway defines a raaga as: "An arbitrary series of notes characterised as far as possible as
individuals, by proximity to or remoteness from the note which marks the general level of melody,
by a special order in which they are usually reinforced by a drone". - Music of Hindustan, Oxford
University, 1914.

What is Thaat?

The tune of seven ascending and descending notes is called 'Thaat'. A system created by Pandit
Bhatkande in the 1920's in order to classify all raagas into one of ten parent scales. Although flawed
in certain respects the system acts as a good starting point for learning raagas containing varying
notes.

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A Thaat must have seven notes out of the twelve notes [Seven Shuddha, Four komal (Re, Ga, Dha ,
Ni), one teevra (Ma) ], placed in an ascending order. Both the forms of the notes can be used.

Thaat has only an Aaroha

Thaats are not sung but the raags produced from the Thaats are sung.

Thaats are named after the popular Raaga of that Thaat. For example Bhairavi is a popular
Raagaand the thaat of the RaagaBhairavi is named after the raag.

The music books record ten basic thaats:

Kalyan♣
Bilawal♣
Khamaj♣
Bhairav♣
Bhairvi♣
Asawari♣
Todi♣
Poorvi♣
Marwa♣
Kafi♣

There are problems whenever one is talking about the number of thaats. Generally only ten are
acknowledged; twenty are in common usage; while 32 are possible given present concepts of scale
construction.

What are the important Terms in Raaga?

Vaadi (Sonant) - The most prominent note of the raaga which gets emphasized in the raaga and
used very often.

Samvaadi (Consonant) - The second most important note of the raaga. It used lesser than the
vaadi but more than the other notes of the raaga. This is the fourth or fifth note from the Vaadi.

Anuvaadi - The other notes of the raaga (other than Vaadi and Samvaadi)

Vivadi - The meaning of vivadi is "one which produces dissonance ". Which is not present in the
raaga. But still a vivadi sur is used in a raaga by able singers in such a way that it enhances the
beauty of the raaga. This is done very rarely. For example some times in the raaga "Yaman" Shuddh
Madhyam is used in between two Gandhar (Ga)

Arohi - Ascend of the notes. Here each note is higher than the preceding note. Example : Sa, Re,
Ga, Ma, Pa, Dha, Ni

Avrohi - Descend of the notes. Example : Ni, Dha, Pa, Ma, Ga, Re, Sa

Aurav - A raaga of five notes

Khaurav - A raaga of six notes. Also called Khado or Shudav

Sampooran - A raaga of seven notes

Pakad - A small group of notes which describe the unique features of the raaga.

Challan - A series of melodic notes pattern

Jaati - Gives the number of notes in Arohi as well as the Avrohi of the raaga. Odav has 5 notes.
Shadav has 6 notes and Sampoorn has 7 notes. Thus there are 9 jaati based on Odav, Shadav,
Sampoorn in Arohi and Avrohi.
Samay - Each Raaga has a specific time at which it can be performed. This is so as those notes are

3
supposed to be more effective at that particular time.

What are musical terms of a Raaga in vocal style?

Asthaee - The first part of the composition. Mainly develops in the lower and the middle octave.

Antra - Second part of the composition. Develops in the middle or higher note.

Mukhadaa - The first line of the composition.

Khyaal - This is the most prominent genre of Hindustani (vocal) music. A khyaal is also composed
in a particular raaga and taal and has a text. The text is very brief. The composition again consists
of two parts: Asthaee and antra. The khyaal text range from praise of kings or seasons, description
of seasons, divine love, sorrow of separation etc. The text contains rhyme, alliteration, and play on
words. A khyaal performance is of two types: bara Khayaal and chhota Khayaal each of which has a
two-part )Asthaee + antra) composition and extensive improvisation. Baraa and chotaa Khayaal are
performed in slow tempo or Madhya laya medium tempo and chotaa Khayaal is always in phrase of
the Asthaee (or the antra) is called Mukhraa. This vital phrase serves as the cadence phrase and
remains intact during the improvisation. The melody of the baraa Khayaal is relatively unimportant
compared to the text, taal and the mukhra. Khyaal recital typically consists of one or two
male/female vocalists accompanied by sarangi or harmonium, taanpura and tabla.
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One thing that is exciting to know is what are the feelings these raagas communicate.

Feelings communicated by the music of Raagas

Soohi - joy and♣ separation

Bilaaval - happiness♣
Gaund - strangeness, surprise,♣ beauty
Sri - satisfaction and balance♣
Maajh - loss,♣ beautification
Gauri - seriousness♣
Aasa - making effort♣
Gujri -♣ satisfaction, softness of heart, sadness
Devgandhari - no specific feeling♣ but the Raagahas a softness
Bihaagra - beautification♣
Sorath -♣ motivation
Dhanasari - inspiration, motivation♣
Jaitsree - softness,♣ satisfaction, sadness
Todi - this being a flexible Raagait is apt for♣ communicating many feelings
Bhairaagi - sadness, (Gurus have, however, used♣ it for the message of Bhakti)
Tilang - this is a favourite Raagaof Muslims.♣ It denotes feeling of beautification and yearning.
Raamkali - calmness♣
♣ Nat Narayan - happiness
Maali Gaura - happiness♣
Maaru - giving up of♣ cowardice
Tukhari - beautification♣
Kedara - love and♣ beautification
Bhairav - seriousness, brings stability of mind♣
Basant♣ - happiness
Sarang - sadness♣
Malaar - separation♣
Jaijawanti -♣ viraag

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Kalyaan - Bhakti Ras♣
Vadhans - vairaag, loss (that is why♣ Alahniya is sung in this Raagawhen someone passes away)
Parbhati - Bhakti♣ and seriousness
Kaanra - Bhakti and seriousness♣
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Raaga Bhilawal or Alhaiya Bhilawal
Ok guys, as promised, here is you first playable raaga.

This raaga is based of Thaat Bhilawal (ancient name Velavali). Bilaval had become the basic scale
for North Indian music by the early part of the 19th century. Its tonal relationships are comparable
to the Western C- major scale.

Raagas of Bilawal Thaat:

1. Raaga Bhilawal (Alhaiya Bhilawal)

2. Raaga Pahadi

3. Raaga Deshkar

In Bhilawal Thaat only one note Ma is komal and its shown with small letter (m).

Raaga Bilawal or Alhaiya Bhilawal

Arohi: S – GR – GP – DN - S'

Avrohi: S'N - DP, DnDP, mG – mR - S

[[Listen to this raaga in attached file]]

Bhilaval appears in the Ragmala as a ragini of Bhairava, but today it is the head of the Bhilaval
thaat. The Ragmala gives Bhilaval as a putra (son) of Bhairav, but no relation between these two
raagas is made today. Bhilaval is a morning raaga to be sung with a feeling of deep devotion and
repose, often performed during the hot months.

Literally, Bhilaval means ‘delight’ and therefore this raaga is often sung in the spring season.

This raaga is sung at the first part of the day i.e., from 6 a.m. to 9 a.m. The season of its recitation
is spring (basant) i.e., during February and March

It is a morning Raaga, and uses all the seven notes in the ascending and descending order. All
notes are shuddha (full). The derivative raagas out of this structure are grouped under the broad
head of Bilawal Thaat.

Its vaadi (main sur) is Dha and samvaadi (the second important sur) is Ga

Its pakad is GPDnS',S'NDnDP-mGmRS

Its jaati is Shadav-Sampoorn. The repeated notes are not count is defining jaati. Its bhaav is
Shadj-Madhyam. Important anuvaadi is Pa.

Songs of Raaga Bilawal

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1. Ik pyaar ka nagma hai
2. Choo ker mere man ko

[[Detailed analysis of above songs on why they are on this raaga will be done in next post...stay
tunn..ned]]
Attached Files
Raaga-Bhilawal-Aroh-Avroh.zip (149.9 KB, 264 views) __________________
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#7
04-26-2006, 11:56 PM

Ok time to do little bit R & D on why "Ik pyaar ka nagma hai " is on
amit82cse raaga Bhilawal.
Silent observeR
First listen to the recording at following url...

http:\\www.soundclick.com\amit82cse\

Simple way is that play this song, find the notes used and try to
match them with the raaga bhilawal's notes either in aroh or in
avroh. If you do this, you will find that this song is really on Raaga
Status: Offline Bhilawal. So simple!!!
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Raaga Yaman
Welcome back after the break!

Raaga Yaman is derived from Thaat Kalyan. Its a sampurna raaga performed in the first part of
the night. Vadi is Ga and Samvadi is Ni.

Aroha : 'Ni Re Ga M Pa Dha Ni Sa'

Avroha: Sa' Ni Dha Pa M Ga Re Sa

Notice that I have written "Ma" using capital letter "M" and not with "m" which I had used in Raaga

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Bhilawal. Reason is that by default "Ma" is komal and is denoted by just "m" but when you have to
tell the Sharp of Ma then we use capital "M".

Here is how these notes layout on fretboard:

e|-------|-------|-------|-------|-A/Dha-|-------|-B/Ni--|-C/Sa--|-------|
B|-------|-------|-------|-------|-E/Ga--|-------|-F#/M--|-G/Pa--|-------|
G|-------|-------|-------|-B/Ni--|-C/Sa--|-------|-D/Re--|-------|-------|

Songs on this raaga:

Old : Ahsaan tera hoga mujhpar - Janglee
New : Tera Suroor
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Raaga Pahadi
Time to learn one more Raaga: Pahadi

It is drived from thaat Bhilawal. It can be sung at any time. It consists of just 5 notes in aroh..

Sa Re Ga Pa Dha

This raaga is used in most of the old hindi songs. My favorite is song from movie Taj Mahal : Jo vada
kiya vo nibhana padega
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Hindusthani Ragas
The Seven Natural (Complete)"Swaras" or Tones are: Sa Re Ga Ma
Pa Dha Ni
Notice the following terms related to the notes !!!

• All upper case letters refer to the "Shuddha Swaras" or natural tones.
Example,R G D N.
• All lower case letters refer to the "Komal Swaras". Example, r g d n.
• For 'Ma', m refers to the natural one and M refers to the 'Tivra or Kori
Ma'.

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 • The upper octave notes are suffixed by the ' sign. Example, S' R' G' m' P' D' N'.
• The lower octave notes are prefixed by the ' sign. Example, 'S 'N 'D 'P 'm 'G 'R.
• Thaat can be defined as the root or parent raga from which another raga (child)
can be derived. Example, 'Jaunpuri' derived from 'Asavari'. There are about 10
Thaats: Asavari, Bhairav, Bhairavi, Bilawal, Kafi, Kalyan, Khamaj,
Marwa, Purvi, Todi.
• Aarohana is the ascending note pattern and Avarohana is the descending note
pattern.
• The Aarohana and Avarohana of the thaat ragas are available as MIDI files (in B-
flat). Click on these ragas to hear them (if your computer supports MIDI
playback).

The following ragas have complete (all 7) notes and the Aarohana and
Avarohana are Monotonic (straight).

Hindustani
Carnatic Raga Aarohana (Up) Avarohana (Down) Time Thaat
Raga
Ahir Bhairav Chakravaham S r G m P D n S' S' n D P m G r S Pre-Dawn Bhairav
Bhairav Mayamalava Gowla S r G m P d N S' S' N d P m G r S Morning Bhairav
Bhairavi Sindhu Bhairavi S r g m P d n S' S' n d P m g r S Dawn Bhairav
Kalyan Mecha Kalyani S R G M P D N S' S' N D P M G R S Evening Kalyan
Jaunpuri Jhonpuri S R m P d n S' S' n d P m g R S Morning Asavari
Kafi Kharaharapriya S R g m P D n S' S' n D P m g R S Night Kafi
Kalingra Mayamalavagaula S r G m P d N S' S' N d P m G r S Late Night to Dawn Bhairav
Kirwani Kiravani S R g m P d N S' S' N d P m g R S Night Melakar
Dheera
Bilawal S R G m P D N S' S' N D P m G R S Morning Bilawal
Shakarabharanam
Latangi Latangi S R G M P d N S' S' N d P M G R S - Melakar
Nata Bhairav Sarasangi S R G m P d N S' S' N d P m G R S Morning Bhairav
Purvi Kamavardhini S r G M P d N S' S' N d P M G r S Dusk Purvi

The following ragas have missing notes (does not have all 7 notes) but have
straight Aarohana & Avarohana

Avarohana
Name of Raga Carnatic Raga Aarohana (Up) Time Thaat
(Down)
Abhogi Kanada Abhogi S R g m D S' S' D m g R S Night Kafi
Asavari Nata Bhairavi S R m P d S' S' n d P m g R S Morning Asavari

8
 Melakaratha
Bairagi Revati ? S r m P n S' S' n P m r S Morning
Raga
Bibhash Bauli S r G P d S' S' d P G r S Morning Kalyan
Bageshri, Sudha
Bageshri S R g m D n S' S' n D m g R S Night Kafi
Bhairavi
Abheri or
Late
Bhimpalashri Karnatakadevagandh 'n S g m P n S' S' n D P m g R S Kafi
Afternoon
ari
Bhupali Mohanam S R G P D S' S' D P G R S Evening Kalyan
S' n D P M G R
Champakali Ketakapriya 'n S G M P n S' Night Kalyan
S
Chanrakauns or
Chandrakauns S g m d N S' S' N d m g S Night Kalyan
Kadaram
Durga Shuddha Saveri S R m P D S' S' D P m R S Night Bilawal
Hangshadhwan Late Melakaratha
Hamsadhwani S R G P N S' S' N P G R S
i Evening Raga
Hindol Sunada Vinodini S G M D N S' S' N D M G S Seasonal Marwa
Jogiya Malahari S r m P d S' S' N d P d m r S Morning Bhairav
Melakaratha
Kalavati Valaji S G P D n S' S' n D P G S Late Night
Raga
S' n D P m G R
Khamaj Hari Kambhoji S G m P D N S' Late Night Khamaj
S
S' N D P M g R Melakartha
Madhuvanti Dharmavathi 'N S g M P N S' Evening
S Raga
Malkaush Hindolam S g m d n S' S' n d m g S Night Bhairavi
Late
Multani Gamaka Samandam 'N S g M P N S' S' N d P M g r S Todi
Afternoon
Rageshri Nattai Kurinji S G m D N S' S' N D m G R S Night Khamaj
Shivranjani none S R g P D S' S' D P g R S Night Kafi
S' N D P m G R
Sudh Kalyan Mohana Kalyani S R G P D S' Night Kalyan
S
S' N D N D, G
Sohini Hamsanandi S G M D N S' r' S' M D M G M G r Late Night Marwa
S
Tilang Vedandagamana S G m P N S' S' n P m G S Night Khamaj
Todi Subha Pantuvarali S r g M d N S' S' N d P M g r S Morning Todi
Vrindavani Pushpalathika S R m P N S' S' n P m R S Afternoon Kafi

9
Sarang

The following ragas have notes (either complete or missing) with

Monotonic Aarohana and Non-Monotonic Avarohana

Carnatic Aarohana
Name of Raga Avarohana (Down) Time Thaat
Raga (Up)
9 pm till
Bihag Behag S G m P N S' S' N D P M G m G R S Bilawal
midnight
Darvari Darbari SRgmPdn
S' d n P m P g m R S Late Night Asavari
Kanada Kanada S'
9 pm till
Desh Kedara Gowla S R m P N S' R' n D P m G R G S Khamaj
midnight
Hamir Late
Hamir/Hamvir S G m P N S' S' N D P G M P G m R S Kalyan
(Kalyani) Evening
SGmPDN
Manj Khamaj none S' n D P M P m G R S Late Night Khamaj
S'
S' N D P M P G m G R S S m
Maru Bihag Kanada S G m P N S' Night Kalyan
GMGRS
'N S R M P N
Shyam Kalyan Saranga S' N D M P M R G m R G 'N S Evening Kalyan
S'

The following ragas have notes (either complete or missing) with Non-
Monotonic Aarohana and Avarohana.

Name of Raga Carnatic Raga Aarohana (Up) Avarohana (Down) Time Thaa
Bahar Kanada 'N S g m P g m D n S' S' n P m P g m R S Spring Purvi
Basant Vasantha S G m d r' S' S' N d P m G m G r S Spring Purvi
Chayatarangini,
Bhatiyar S D P D m P G M D S' r' N D P m P G r S Pre Dawn Marw
Sama
S' N D P M P D P G
Chayanat Saranga S R G m P D N S' Late Evening Kalya
mRS
S G R m G P M D P N S' N D P D M P G m Afternoon -
Gour Malhar none Kafi
D S' RPRS Monsoon
Gour Sarang Gouda Saranga S R g M R P m P D S' S' D n P m P m g R S Late Afternoon Kalya
Gurjari Todi Shekharachandrika 'N S r g M g M d n S' S' N d M G rG r S Morning Purvi
S R g R S, 'D 'n 'P, R, S' N D P, D m, G R g Night -
Jaijaiwanti Dhwijavanthi Kham
G m P, N S' RS Monsoon

10
 'N r G m M m G M d Late Night to
Lalit Surya Lalith r' N d M d M m G r S Marw
S' Morning
r' N r' N D, M G r, 'N
Marwa Gamanasrama 'N r G M D, N D S' Night Marw
'D S
Night -
Megh Madhyamavati S m R m P n S' S' n P m R m 'n R S Kafi
Monsoon
Miyan Ki RmRSmRPnDN Night -
Kanada S' n P m P g m R S Kafi
Malhar S' Monsoon
N D P G m G R S 'N
Pahadi Pahadi S R G P D P D S' All Time Bilaw
'D 'P 'D S
S' N D P m g R S 'N
Patdeep Patdeep 'N S g m P N P S' Evening Kafi
SGRS
S' N d P d P m g R S
Pilu Kapi 'N S G m P 'n D P S' All Time Kafi
'N S
Puria Hamsanandi 'N r S G M D N r' S' S' N D M G r S Night Marw
Puria r' N d P M g M r G r
Kamavardhini 'N r G M P d P N S' Evening Purvi
Dhaneshri S
S' N D P M P D P m Early
Sudh Sarang none S m R M P N S' Kafi
RS Afternoon
'P 'N S R G m R m P N Night - second
Tilak Kamod Nalina Kanthi S' N P D m G R G S Kham
S' part

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