Sargam, a technique for the teaching of sight-singing, is the Hindustani or North Indian equivalent to the western solfege. Sargam is practiced against a drone and the emphasis is not on the scale but on the intervals, thus it may be considered just intonation. The same notes are also used in South Indian Carnatic music.
Swara or svara is an Indian classical music term that connotes simultaneously a breath, a vowel, a note, the sound of a musical note corresponding to its name, and the successive steps of the octave, or saptanka. More comprehensively, it is the ancient Indian concept of the complete dimension of musical pitch. At its most basic comparison to western music, a swara is, essentially, a "note" of a given scale. However, that is but a loose interpretation of the word, as a swara is identified as both a musical note and tone; a "tone" is a precise substitute for sur, relating to "tunefulness". Traditionally, Indian musicians have just seven swaras/notes with short names: sa, re, ga, ma, pa, dha, ni, which they collectively refer to as saptank or saptaka. This is one of the reasons why swara is considered a symbolic expression for the number seven. In another loose comparison to western music, saptak may be interpreted as solfège, e.g. the notes of a scale as Do, Re, Mi, Fa, Sol, La, Ti .Saptak can named as heptave because it contains seven notes.
Bhairavi is a Hindustani Classical heptatonic (Sampurna) raga of Bhairavi thaat. In Western musical terms, raga Bhairavi employs the notes of the Phrygian mode, one of the traditional European church modes.
Puriya Dhanashree is a raga in Hindustani classical music. It belongs to the Purvi thaat and has been derived from the defining raga of that thaat – Raga Purvi.
Kafi is a raga in Hindustani classical music. It corresponds to Kharaharapriya in Carnatic music and Dorian mode in Western music
Yaman is a heptatonic (sampurna) Indian classical raga of Kalyan Thaat.
A Carnatic raga refers to ragas used in Carnatic music. It has several components: a primordial sound (nāda), tonal system (swara), pitch (śruti), scale, ornaments (gamaka), and important tones.
Raga Kedar, also known as Kedara, is a Hindustani classical raga. Named after Lord Shiva, the raga occupies a high pedestal in Indian classical music. It is characterised by many melodious turns. This raga is the repetition of the swaras सा and म. It is generally accepted that it displays much thermal energy and is regarded as the Raagini of Raag Deepak. While preceding from Shuddha Madhyam (m) to Pancham (P), a touch of Gandhar (G) or a smooth passage from Gandhar (G) to Pancham (P) expressed as m G P is the more common way of instant raga manifestation.
Durga is a raga in Hindustani Classical music. It shares some features with Shuddha Saveri of Carnatic music, but is significantly different from it in terms of the sancharas of the raga.
Tilak Kamod is a Hindustani classical raga.
Hindol is a Hindustani classical raga from the Kalyan Thaat.
Swaralipi is any system used in sheet music in order to represent aurally perceived music through the use of written notes for Indian classical music.
Jogiya, or Jogia, is a raga in Hindustani classical music. It is based on Bhairav Thaat. It is played at the 1st Prahar of the day, dawn time. The name Jogiya came from Jogi, a colloquial version of the word yogi.
Sarang ragangHindustani pronunciation:[ˈsärəŋgˈrägäŋg], and all other ragas falling under this category are ragas in the Hindustani Classical music. Ragang refers to a family of ragas, sharing a common melodic kernel. Other similar raga families are the Malhar family and the Kanada family. The Sarang ragas are sung in the time period of early afternoon. This includes many ragas originating from folk music and songs. The Sarang raga and all other ragas falling under in this type depict the scenes of the Indian historic past events, e.g. raga Brindabani Sarang depicting Vrindavan village or Lankadahan Sarang depicting Lord Hanuman singing this raga while burning Lanka with his tail, etc.
Rishabha is the second svara out of the seven svaras of Hindustani music and Carnatic music. Rishabha is the long form of the syllable रे for simplicity while singing the syllable. Rishabha is pronounced as Re and Ri.
Gandhara is the 3rd svara from the seven svaras of Hindustani music and Carnatic music. Gandhara is the long form of the syllable ग. For simplicity in pronouncing while singing the syllable, Gandhara is pronounced as Ga.
Pancham is the fifth svara from the seven svaras of Hindustani music and Carnatic music. Pancham is the long form of the syllable प. For simplicity in pronouncing while singing the syllable, Pancham is pronounced as Pa. It is also called as पंचम in the Devanagri script.
Nishada is the seventh and last svara in Hindustani music and Carnatic music. Nishada is the long form of the syllable नी. For simplicity in pronouncing while singing the syllable, Nishada is pronounced as Ni.
Shadaj is the first svara out of the seven svaras of Hindustani music and Carnatic music. Shadaj is the long form of the syllable सा. For simplicity in pronouncing while singing the syllable, Shadaj is pronounced as Sa. It is also called as षड्ज in the Devanagri script.
Madhyam is the fourth svara from the seven svaras of Hindustani music and Carnatic music. This article is written from the Hindustani perspective. Madhyam is the long form of the syllable म. For simplicity in pronouncing while singing the syllable, Madhyam is pronounced as Ma. It is also called as मध्यम in the Devanagri script.
