Rāga and Tāla
Explore the melodic world of Rāga — with its notes, families, and classifications — and the rhythmic universe of Tāla in Indian Classical Music.
- Nāda
- Musical sound — sound that is pleasant and can be used in music.
- Śhruti
- A sound that is clearly heard and can be recognised as distinct from another nearby sound.
- Svara
- A note in music. There are seven notes in Indian music: S R G M P D N.
- Saptak / Sthāyī
- An octave or register in music. Musicians usually perform in Mandra (lower), Madhya (middle), and Tāra (higher) octaves.
Svara — The Building Blocks of Melody
A svara is a musical note. In Indian Classical Music, there are 7 basic svaras. However, some notes have two versions — a lower (flat) version and a higher (sharp) version — giving us a total of 12 note positions called svara-sthānas.
S and P are called Achala-svaras (fixed notes) or Prakṛiti-svaras — they have no variants.
R, G, M, D, N are called Chala-svaras (variable notes) or Vikṛiti-svaras — each has a lower and a higher variant.
Total note positions = 2 fixed + (5 × 2 variants) = 12 svara-sthānas
Svaras on a Keyboard — Three Octaves
Svara-sthānas in Hindustani and Carnatic Music
| Svar | Full Name | Variant | Hindustani Name | Carnatic Name |
|---|---|---|---|---|
| S | Ṣhaḍja | No variant | — | — |
| R | Ṛiṣhabha | Lower | Komala | Śhuddha |
| Higher | Śhuddha | Chatuḥśhruti | ||
| G | Gāndhāra | Lower | Komala | Sādhāraṇa |
| Higher | Śhuddha | Antara | ||
| M | Madhyama | Lower | Śhuddha | Śhuddha |
| Higher | Tīvra | Prati | ||
| P | Pañchama | No variant | — | — |
| D | Dhaivata | Lower | Komala | Śhuddha |
| Higher | Śhuddha | Chatuḥśhruti | ||
| N | Niṣhāda | Lower | Komala | Kaiśhikī |
| Higher | Śhuddha | Kākalī |
The 7 notes and 12 note positions are the same in both Hindustani and Carnatic music — only the names for the variants are different. This system of 7 notes and 12 positions is also found in most music systems around the world.
Rāga — The Melodic Framework
A rāga is a melodic framework in Indian Classical Music. It is not just a scale — it is a complete system that tells a musician which notes to use, how to move between them, and what mood to create. The rāga system is one of the reasons Indian Classical Music is considered one of the most sophisticated music systems in the world.
Hundreds of rāgas exist. To understand them better, they are classified into groups — just like we classify plants and animals in science.
Classification Based on Number of Notes (Rāga-jāti)
One way to classify a rāga is by how many notes it uses in its ascending scale (ārohaṇa) and descending scale (avarohaṇa). This is called Rāga-jāti in Hindustani music.
A rāga can also have different numbers of notes while going up and while coming down. All the possible combinations give us the following rāga-jāti types:
Legend has it that Tānsen — Emperor Akbar's most beloved court musician — was tricked by jealous courtiers into singing Rāga Dīpaka, a rāga believed to produce deadly heat. Knowing that only Rāga Megha (the rāga of rain) could save him, Tānsen secretly trained his daughter Sarasvatī and her friend Rūpavatī. As Tānsen sang Dīpaka and the heat around him intensified, the two girls began singing Rāga Megha. Rain poured down, cooling the air and saving Tānsen's life. This legend reflects how deeply Indians believed in the power of music.
Classification Based on Note Positions (Svara-sthānas)
Rāgas are also grouped into families based on which specific note positions (svara-sthānas) they use. Hindustani and Carnatic music each have their own system for this.
Carnatic Music — The 72 Meḻakartā System
In Carnatic music, there are 72 meḻakartā rāgas that form the complete scale system. Each meḻakartā rāga uses all seven svaras in both the ascending and descending scales. These 72 scales are created by systematically using different combinations (lower and higher variants) of R, G, M, D, and N.
The system of mathematically deriving these 72 meḻakartā scales using permutation and combination of svara-sthānas was established by Venkatamakhi in his 18th century treatise called Chaturdaṇḍī-Prakāśhikā.
Janaka (Parent) and Janya (Derived) Rāgas
The 72 meḻakartās are called Janaka (parent) rāgas. From each Janaka rāga, many Janya (child) rāgas are derived by removing notes or changing their order.
Janaka Rāga: Śhaṅkarābharaṇam (all 7 notes)
From this, Rāga Haṁsadhvani is derived by removing M and D, giving a 5-note (auḍava) scale:
Hindustani Music — The Thāṭ System
In Hindustani music, rāgas are grouped using the Thāṭ system. A thāṭ is a parent scale of 7 notes (S R G M P D N) arranged in ascending order. Using different combinations of the variants of R, G, M, D, and N, there are 10 different thāṭs. Every Hindustani rāga belongs to one of these 10 thāṭs.
The Thāṭ system was created by musicologist Pandit Vishnu Narayan Bhatkhande in the early 20th century to make the study and classification of Hindustani rāgas more organised and easy to understand.
Kalyāṇ Thāṭ scale: S R G M' P D N S (M' = higher/tīvra Madhyama)
Rāga Yaman (Ascending): N R G M' D N Ṡ | (Descending): Ṡ N D P M G R S
Rāga Śhuddha Kalyāṇ (Ascending): S R G P D Ṡ | (Descending): Ṡ N D P M' G R S
Comparison: Classification Systems
System: 72 Meḻakartā
Based on: All 7 notes in both ārohaṇa and avarohaṇa
Derived rāgas: Called Janya rāgas
Parent rāgas: Called Janaka rāgas
Founder: Venkatamakhi (18th century)
System: 10 Thāṭs
Based on: 7 notes in ascending order only
Derived rāgas: All belong to one of 10 thāṭs
Parent scales: Called Thāṭs
Founder: Pandit Vishnu Narayan Bhatkhande (20th century)
Feature Profile: Rāga Śhaṅkarābharaṇam (Carnatic)
| Feature | Details |
|---|---|
| Meḻakartā Number | 29 |
| Jāti (Classification) | Saṁpūrṇa (7 notes) |
| Western Equivalent | Major Scale |
| Ārohaṇam (Ascending) | S R₂ G₃ M₁ P D₂ N₃ Ṡ |
| Avarohaṇam (Descending) | Ṡ N₃ D₂ P M₁ G₃ R₂ S |
| Famous Composition | 'Enduku Peddala' by Saint Tyāgarāja |
| Significance | One of the first rāgas students learn — its scale is clean and straightforward |
Feature Profile: Rāga Alhaiyā Bilāval (Hindustani)
| Feature | Details |
|---|---|
| Thāṭ | Bilāval |
| Jāti | Saṁpūrṇa (7 notes) |
| Notes | All notes are Śhuddha (pure/natural form) |
| Vādī (most important note) | D (Dhaivata) |
| Saṁvādī (second most important) | G (Gāndhāra) |
| Singing Time | First prahāra of the night (first 3-hour segment after sunset) |
| Nature | Uttaraṅga Pradhāna Rāga (upper half of scale is dominant) |
| Āroha (Ascending) | S G R G P D N S |
| Avaroha (Descending) | S N D P, D N D P, M G M R, S |
| Pakaḍ (Important phrase) | G R G P D N S |
| Distinction | Bilāval and Alhaiyā Bilāval are two different rāgas — Komala Niṣhāda is not used in Bilāval |
Types of Compositions
A Carnatic composition that uses musical notes (svaras) and optionally rhythmic syllables (jatis) to create a lively piece.
No lyrics (sāhitya) are used.
Example: Rāga Kaṇṇaḍā, Tāla: Ādi, Composer: Veena Padmanābhayya
A Carnatic composition that combines simple lyrics (sāhitya) with musical notes (svaras) and optionally rhythmic syllables (jati).
Has lyrics unlike Jatisvaram.
Example: Rāga Haṁsadhvani, Tāla: Ādi
A Bandiśh is a fixed composition in Hindustani music, set to a specific rāga and tāla. It has two parts: Sthāyī (the main section in the lower and middle octave) and Antarā (the second section that goes into the higher octave).
Feature Profile: Rāga Haṁsadhvani
| Feature | Details |
|---|---|
| Jāti | Auḍava (5 notes) |
| Parent (Janaka) | Śhaṅkarābharaṇam |
| Notes removed | M (Madhyama) and D (Dhaivata) are omitted |
| Ārohaṇa | S R₃ G₃ P N₃ Ṡ |
| Avarohaṇa | Ṡ N₃ P G₃ R₃ S |
| Mood | Joyful, bright, and devotional |
Tāla — The Rhythmic Cycle
A tāla is a rhythmic cycle in Indian Classical Music that organises beats into a repeating, fixed pattern. Tāla gives structure to music — it is the rhythmic backbone that holds the melody together.
Tāla Terms in Hindustani Music
Teen Tāla — 16 Beats
Mātrā: 16 | Vibhāg: 4 | Tālī: beats 1, 5, 13 | Khālī: beat 9
| Mātrā | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Bol | dha | dhin | dhin | dha | dha | dhin | dhin | dha | dha | tin | tin | ta | ta | dhin | dhin | dha |
| Tālī | X (Sam) | 2 | 0 (Khālī) | 3 |
Jhaptāla — 10 Beats
Mātrā: 10 | Vibhāg: 4 (groups of 2, 3, 2, 3) | Tālī: beats 1, 3, 8 | Khālī: beat 6
| Mātrā | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 |
|---|---|---|---|---|---|---|---|---|---|---|
| Bol | dhee | Naa | dhee | dhee | naa | tee | naa | dhee | dhee | naa |
| Tālī | X (Sam) | 2 | 0 (Khālī) | 3 |
Tālas of Carnatic Music
Carnatic music also has several tālas. The two most popular are Ādi Tāla (8 beats) and Rūpaka Tāla (6 beats). In Carnatic music, the tāla is kept with the fingers.
Ādi Tāla — 8 Beats
| Beat | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
|---|---|---|---|---|---|---|---|---|
| Syllable | Ta | Ka | Dhi | Mi | Tha | Ka | Ta | Ta |
| Hand Action | Beat | Little Finger | Ring Finger | Middle Finger | Beat | Turn | Beat | Turn |
Rūpaka Tāla — 6 Beats
| Beat | 1 | 2 | 3 | 4 | 5 | 6 |
|---|---|---|---|---|---|---|
| Syllable | Ta | Ka | Ta | Ka | Dhi | Mi |
| Hand Action | Beat | Turn | Beat | Little Finger | Ring Finger | Middle Finger |
Great Stalwarts of Indian Music
Exercises — Questions & Answers
A rāga-jāti where the ascending scale (ārohaṇa) has 6 notes and the descending scale (avarohaṇa) has 7 notes.
A Vibhāg is a division or group of beats within a tāla cycle, similar to how bars or measures divide music in other traditions.
Jāti in Hindustani music refers to the classification of a rāga based on the number of notes (5, 6, or 7) it uses in its ascending and descending scales — called Auḍava, Ṣhāḍava, and Saṁpūrṇa respectively.
A rāga with 6 notes in both ārohaṇa and avarohaṇa belongs to the Ṣhāḍava — Ṣhāḍava jāti.
Example: Rāga Śhrīrañjanī (Carnatic) — S R G M D N S (ascending) and S N D M G R S (descending) — both use 6 notes.
Achala-svaras (Prakṛiti-svaras) — Fixed notes: These are S (Ṣhaḍja) and P (Pañchama). They have only one fixed form and no variants. For example, the note S always sounds the same as the tonic/base note.
Chala-svaras (Vikṛiti-svaras) — Variable notes: These are R, G, M, D, and N. Each has a lower (flat/komala) and a higher (sharp/tīvra) form. For example, R can be Komala R (lower) or Śhuddha R (higher) in Hindustani music.
Total note positions = 2 fixed + 5×2 variants = 12 svara-sthānas.
1. Rāga Haṁsadhvani (5 notes — Auḍava, derived by removing M and D):
Ārohaṇa: S R₃ G₃ P N₃ Ṡ | Avarohaṇa: Ṡ N₃ P G₃ R₃ S
2. Rāga Kaṇṇaḍā (6 notes — Ṣhāḍava, derived from Śhaṅkarābharaṇam):
Ārohaṇa: S G₃ M₁ D₂ N₃ Ṡ | Avarohaṇa: Ṡ N₃ Ṡ D₂ P M₁ G₃ M₁ R₂ S
Auḍava
Venkatamakhi (in his 18th century treatise Chaturdaṇḍī-Prakāśhikā)
Thāṭ system
The pattern follows a shift of one step each time in descending movement of svaras:
SMGR → RPMG → GDPM → NDGP → SNDG → RSND → GRSN
| Feature | Jatisvaram | Svarajati |
|---|---|---|
| Lyrics (Sāhitya) | No lyrics — uses only svaras and jatis | Has simple lyrics (sāhitya) |
| Components | Svaras + rhythmic syllables (jatis) | Svaras + lyrics + optional jati patterns |
| Complexity | Simpler — focuses on note patterns | More complete — combines melody, rhythm, and meaning |
| Example | Rāga Kaṇṇaḍā, Tāla Ādi by Veena Padmanābhayya | Rāga Haṁsadhvani, Tāla Ādi |
Rāga Haṁsadhvani is a janya (derived) rāga belonging to the Carnatic tradition. It is derived from the 29th meḻakartā, Śhaṅkarābharaṇam, by removing the notes M (Madhyama) and D (Dhaivata).
It is an Auḍava rāga with 5 notes in both ārohaṇa and avarohaṇa:
Ārohaṇa: S R₃ G₃ P N₃ Ṡ | Avarohaṇa: Ṡ N₃ P G₃ R₃ S
Its mood is joyful and devotional. It is also used in Hindustani music. The name "Haṁsadhvani" means "the sound of the swan." It is one of the most widely recognised and loved rāgas among beginners and experts alike.
Classification Based on Number of Notes (Rāga-jāti):
One of the most common ways to classify rāgas is by counting how many notes (svaras) are used in the ascending scale (ārohaṇa) and the descending scale (avarohaṇa). This system is called Rāga-jāti in Hindustani music.
- Saṁpūrṇa (7 notes): Example — Yaman (Hindustani), Śhaṅkarābharaṇam (Carnatic)
- Ṣhāḍava (6 notes): Example — Gurjarī Todī (Hindustani), Śhrīrañjanī (Carnatic)
- Auḍava (5 notes): Example — Bhūpālī (Hindustani), Haṁsadhvani (Carnatic)
A rāga can also have different numbers of notes going up versus coming down, giving rise to combinations like Saṁpūrṇa–Auḍava or Ṣhāḍava–Saṁpūrṇa.
i. Tānsen: One of the Navaratnas of Emperor Akbar's court, Tānsen was a legendary Hindustani vocalist and Dhrupad singer. He is credited with composing many rāgas and is considered the founding figure of the Senia gharana. Legends say his music could cause rain to fall and lamps to light.
ii. Kumar Gandharva: A revolutionary Hindustani classical vocalist who challenged traditional boundaries. He researched folk music deeply, revived forgotten rāgas, and created new ones. Even after recovering from tuberculosis that silenced him for years, he returned with a completely transformed voice and approach.
iii. Mīrābāī: A 16th century poet-saint from Rajasthan whose devotional songs (bhajans) to Lord Krishna are among the most beloved in Indian music. She played a vital role in the Bhakti movement and composed hundreds of deeply emotional devotional poems, still sung widely today.
iv. MS Subbulakshmi: The most celebrated Carnatic vocalist of the 20th century. She was the first musician to receive India's highest civilian award, the Bharat Ratna. She performed at the United Nations in 1966, bringing Indian classical music to the world stage. Famous for her Suprabhatam and Tyāgarāja compositions.
Auḍava — Ṣhāḍava (5 notes going up, 6 notes going down)
Ṣhāḍava — Auḍava (6 notes going up, 5 notes going down)
Auḍava — Auḍava (5 notes in both ascending and descending). Example: Bhūpālī, Haṁsadhvani
Saṁpūrṇa — Saṁpūrṇa (all 7 notes in both ascending and descending). Example: Yaman, Śhaṅkarābharaṇam
| Svara | Note Position | Variant Names (Hindustani) | Variant Names (Carnatic) |
|---|---|---|---|
| S (Ṣhaḍja) | No variant — fixed | No variant | No variant |
| Higher R | 4th position | Śhuddha Ṛiṣhabha | Chatuḥśhruti Ṛiṣhabha |
| Lower M | 6th position | Śhuddha Madhyama | Śhuddha Madhyama |
| Higher N | 12th position | Śhuddha Niṣhāda | Kākalī Niṣhāda |
| Pañchama (P) | 8th position — fixed | No variant | No variant |
Mātrā: 16 | Vibhāg: 4 groups of 4 | Tālī: Beats 1 (Sam/X), 5 (Tālī 2), 13 (Tālī 3) | Khālī: Beat 9
| Mātrā | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Bol | dha | dhin | dhin | dha | dha | dhin | dhin | dha | dha | tin | tin | ta | ta | dhin | dhin | dha |
| Mark | X | 2 | 0 | 3 |
Legend: X = Sam (beat 1, most important) | Numbers 2, 3 = Tālī (stressed beats) | 0 = Khālī (unstressed, empty beat)