Sometimes two raags sound almost like twins – sharing many of the same notes and even having similar moods. How do we tell them apart? The answer lies in their detailed specification.
When documenting, studying, or teaching a raag, musicians usually note at least the following:
- Thaat – the parent scale or family to which the raag belongs.
- Jaati – the count of notes in Aaroha and Avaroha (Audav, Shadava, Sampoorna).
- Aaroha – the typical ascending movement (may include zigzag patterns or note omissions).
- Avaroha – the typical descending movement.
- Vaadi – the main note (often where important phrases rest or resolve).
- Samvaadi – the second most important note (often a perfect fourth or fifth away from Vaadi).
- Pakad / Chalan – characteristic phrases that act as a “signature” of the raag.
- Samay (Prahar) – recommended time of day or season for performance.
- Rasa – primary emotional flavors associated with the raag.
Written side by side, these details help us see why Raag Desh and Raag Tilak Kamod, for example, are different even though they may share many notes and a similar sweetness.
For students, learning to read and hear these details builds a strong foundation. For listeners, even a little familiarity with this vocabulary can make concerts much more interesting: you start to predict and recognize the raag’s “favorite moves”.