Raga Reference for Keyboard — Intermediate
Pin this next to your keyboard. Quick reference for the 3 ragas taught in the intermediate course, with exact keyboard note mappings. All notes shown as keyboard note names (C, D, E, etc.) with sargam equivalents in parentheses.
What Makes a Raga Different from a Scale?
Section titled “What Makes a Raga Different from a Scale?”A raga is much more than a scale. A scale is just a set of notes — a raga is a living musical framework:
| Feature | Western Scale | Indian Raga |
|---|---|---|
| Notes | Fixed set of notes, play in order | May skip notes or zigzag in aroha/avaroha |
| Direction | Same notes up and down | Different notes ascending vs descending is common |
| Emphasis | No note is more important than another | Vadi (king note) and samvadi (minister note) get special emphasis |
| Ornamentation | Optional | Essential — meend (glides), gamak (oscillations) are part of the raga’s identity |
| Mood | General (happy/sad) | Specific mood (rasa) and time of day |
| Rules | Play the notes in any order | Specific phrases (pakad) define the raga’s character |
Sargam-to-Keyboard Mapping
Section titled “Sargam-to-Keyboard Mapping”Sa can be mapped to any key, but for this course we use Sa = C as the default.
| Sargam | Symbol | Keyboard Note (Sa=C) | Western Equivalent |
|---|---|---|---|
| Sa | S | C | Tonic (1st) |
| Komal Re | r | Db | Minor 2nd |
| Shuddh Re | R | D | Major 2nd |
| Komal Ga | g | Eb | Minor 3rd |
| Shuddh Ga | G | E | Major 3rd |
| Shuddh Ma | m | F | Perfect 4th |
| Tivra Ma | M | F# | Augmented 4th |
| Pa | P | G | Perfect 5th |
| Komal Dha | d | Ab | Minor 6th |
| Shuddh Dha | D | A | Major 6th |
| Komal Ni | n | Bb | Minor 7th |
| Shuddh Ni | N | B | Major 7th |
| Sa (upper) | S’ | C (octave up) | Octave |
Raga Yaman (Kalyan)
Section titled “Raga Yaman (Kalyan)”The most accessible raga for beginners — considered the best raga to learn first.
| Also Known As | Raga Kalyan |
| Thaat | Kalyan |
| Time | Evening — first raga of the night (sunset to late evening) |
| Mood (Rasa) | Romantic, devotional, serene, auspicious |
| Vadi | Ga (E) — the king note, linger on this |
| Samvadi | Ni (B) — the minister note |
Notes (Sa = C)
Section titled “Notes (Sa = C)”| Sargam | Keyboard Notes | |
|---|---|---|
| Aroha (ascending) | N’ R G M P D N S’ | B(low) - D - E - F# - G - A - B - C(high) |
| Avaroha (descending) | S’ N D P M G R S | C(high) - B - A - G - F# - E - D - C |
| Key Feature | Tivra Ma (F#) instead of Shuddh Ma (F) — this is what makes Yaman unique |
Important: The aroha (ascending) typically starts from the lower Ni (B below Sa), not from Sa. This is a defining feature of Yaman.
Western Equivalent
Section titled “Western Equivalent”Yaman is very close to the Lydian mode (F Lydian if Sa = C, but starting from C with a raised 4th: C-D-E-F#-G-A-B-C).
Characteristic Phrases (Pakad)
Section titled “Characteristic Phrases (Pakad)”These short phrases define Yaman’s identity. Play them to “enter” the raga:
| Phrase | Sargam | Keyboard Notes |
|---|---|---|
| Phrase 1 | N’ R G R S | B(low) - D - E - D - C |
| Phrase 2 | N’ R G M P | B(low) - D - E - F# - G |
| Phrase 3 | P M G R S | G - F# - E - D - C |
| Phrase 4 | N D P M G | B - A - G - F# - E |
Well-Known Songs in Yaman
Section titled “Well-Known Songs in Yaman”- “Ek Pyaar Ka Nagma Hai” (film: Shor) — a classic Bollywood melody in Yaman
- “Aye Mere Humsafar” (film: Qayamat Se Qayamat Tak)
CT-X9000IN Setup for Yaman
Section titled “CT-X9000IN Setup for Yaman”| Setting | Recommendation |
|---|---|
| Tone | 207: Sitar, 212: Santoor, or 269: Bansuri (Indian flute) |
| Rhythm | 192: Keherwa or 189: Teentaal |
| Tempo | Start at Vilambit (slow, 50-60 BPM), work up to Madhya laya (medium, 80-100 BPM) |
| Pitch Bend | Set range to 2 semitones for meend effects |
Raga Bhairavi
Section titled “Raga Bhairavi”Known as the “Queen of Ragas” — the most versatile raga, often used to conclude a concert.
| Also Known As | The morning raga (but used at any time to end performances) |
| Thaat | Bhairavi |
| Time | Early morning — but also used as a concluding raga at any time |
| Mood (Rasa) | Devotional, compassionate, gentle sadness, deep emotion |
| Vadi | Ma (F) — the king note |
| Samvadi | Sa (C) — the minister note |
Notes (Sa = C)
Section titled “Notes (Sa = C)”| Sargam | Keyboard Notes | |
|---|---|---|
| Aroha (ascending) | S r g m P d n S’ | C - Db - Eb - F - G - Ab - Bb - C(high) |
| Avaroha (descending) | S’ n d P m g r S | C(high) - Bb - Ab - G - F - Eb - Db - C |
| Key Feature | All komal (flat) notes: Re, Ga, Dha, Ni are all lowered. Uses all 7 notes. |
Important: Bhairavi uses ALL flat variants — komal Re (Db), komal Ga (Eb), komal Dha (Ab), komal Ni (Bb). Only Ma is shuddh (F, natural).
Western Equivalent
Section titled “Western Equivalent”Bhairavi is very close to the Phrygian mode (C Phrygian: C-Db-Eb-F-G-Ab-Bb-C).
Characteristic Phrases (Pakad)
Section titled “Characteristic Phrases (Pakad)”| Phrase | Sargam | Keyboard Notes |
|---|---|---|
| Phrase 1 | g m P g m r S | Eb - F - G - Eb - F - Db - C |
| Phrase 2 | m g r S n’ S | F - Eb - Db - C - Bb(low) - C |
| Phrase 3 | P d n d P m g r S | G - Ab - Bb - Ab - G - F - Eb - Db - C |
Well-Known Songs in Bhairavi
Section titled “Well-Known Songs in Bhairavi”- “Raina Beeti Jaye” (film: Amar Prem) — classic Bollywood Bhairavi
- “Kabira” (film: Yeh Jawaani Hai Deewani) — modern Bollywood using Bhairavi elements
CT-X9000IN Setup for Bhairavi
Section titled “CT-X9000IN Setup for Bhairavi”| Setting | Recommendation |
|---|---|
| Tone | 270: Shehnai, 207: Sitar, or 007: Grand Piano (for a pure approach) |
| Rhythm | 192: Keherwa or 193: Dadra |
| Tempo | Vilambit (slow, 50-70 BPM) for devotional feel |
| Pitch Bend | Set range to 2 semitones — Bhairavi uses heavy meend between komal Ga and Re |
Raga Des
Section titled “Raga Des”A romantic, lyrical raga of the late evening — light and accessible, widely used in Bollywood.
| Also Known As | Raga Desh |
| Thaat | Khamaj |
| Time | Late evening to night (9 PM onward) |
| Mood (Rasa) | Romance, longing, rainy season (monsoon), patriotic sentiment |
| Vadi | Re (D) — the king note |
| Samvadi | Pa (G) — the minister note |
Notes (Sa = C)
Section titled “Notes (Sa = C)”| Sargam | Keyboard Notes | |
|---|---|---|
| Aroha (ascending) | S R m P N S’ | C - D - F - G - B - C(high) |
| Avaroha (descending) | S’ n D P m G R S | C(high) - Bb - A - G - F - E - D - C |
| Key Feature | Uses Shuddh Ni (B) ascending but Komal Ni (Bb) descending. Ga (E) only appears in the descent. |
Important: Des has different notes ascending and descending. The aroha skips Ga (E) and Dha (A), and uses shuddh Ni (B). The avaroha includes Ga (E), Dha (A), and switches to komal Ni (Bb).
Western Equivalent
Section titled “Western Equivalent”Des does not map neatly to one Western mode. The ascending pattern resembles a pentatonic with a major 7th; the descending is closer to Mixolydian (C-D-E-F-G-A-Bb-C).
Characteristic Phrases (Pakad)
Section titled “Characteristic Phrases (Pakad)”| Phrase | Sargam | Keyboard Notes |
|---|---|---|
| Phrase 1 | R m P n D P | D - F - G - Bb - A - G |
| Phrase 2 | P m G R S | G - F - E - D - C |
| Phrase 3 | D N S’ R’ S’ n D P | A - B - C(high) - D(high) - C(high) - Bb - A - G |
Well-Known Songs in Des
Section titled “Well-Known Songs in Des”- “Vande Mataram” (patriotic) — India’s national song, often rendered in Des
- “Kun Faya Kun” (film: Rockstar) — Sufi-flavoured Bollywood in Des
CT-X9000IN Setup for Des
Section titled “CT-X9000IN Setup for Des”| Setting | Recommendation |
|---|---|
| Tone | 269: Bansuri (flute) for melodic lines, 207: Sitar for full arrangements |
| Rhythm | 189: Teentaal or 192: Keherwa |
| Tempo | Madhya laya (medium, 70-90 BPM) — Des has a flowing, lyrical quality |
| Pitch Bend | Set range to 2 semitones for subtle meend effects |
General Raga Techniques
Section titled “General Raga Techniques”Alankar Patterns (Exercises)
Section titled “Alankar Patterns (Exercises)”Alankars are melodic exercises that help you internalise a raga’s notes. Practice these patterns in any of the three ragas:
Pattern 1 — Ascending/Descending in groups of 3:
S R G, R G m, G m P, m P D, P D N, D N S'S' N D, N D P, D P m, P m G, m G R, G R S(Use the notes of your chosen raga)
Pattern 2 — Ascending/Descending in groups of 4:
S R G m, R G m P, G m P D, m P D N, P D N S'S' N D P, N D P m, D P m G, P m G R, m G R SPattern 3 — Zigzag:
S R S, R G R, G m G, m P m, P D P, D N D, N S' NMeend Technique on CT-X9000IN
Section titled “Meend Technique on CT-X9000IN”Meend (gliding between notes) is essential for raga playing. On the CT-X9000IN:
| Step | Action |
|---|---|
| 1 | Set the Pitch Bend Range to 2 semitones (for whole-step glides) or 4 semitones (for wider glides) |
| 2 | Press and hold the target note |
| 3 | While holding the key, push the pitch bend wheel up or down to glide from/to the adjacent note |
| 4 | Release the wheel slowly for a smooth, vocal-like slide |
Choosing the Right CT-X9000IN Indian Tones
Section titled “Choosing the Right CT-X9000IN Indian Tones”| Tone Number | Instrument | Best For |
|---|---|---|
| 264 | Sitar | Full raga presentations, Bollywood |
| 265 | Santoor | Gentle, lyrical ragas (especially Des, Yaman) |
| 269 | Bansuri (Flute) | Melodic lines, slow alankars |
| 270 | Shehnai | Devotional music, Bhairavi, auspicious pieces |
| 271 | Tabla (pitched) | Rhythmic accents, taal practice |
| 007 | Grand Piano | When you want a clean, pure sound for practice |
Choosing the Right CT-X9000IN Indian Rhythms
Section titled “Choosing the Right CT-X9000IN Indian Rhythms”| Rhythm Number | Taal | Beats | Best For |
|---|---|---|---|
| 189 | Teentaal | 16 | Classical, Bollywood (most versatile) |
| 192 | Keherwa | 8 | Light classical, Bollywood, folk |
| 193 | Dadra | 6 | Semi-classical, Bhajans, Ghazals |
| 194 | Rupak | 7 | Classical vocal, slow devotional |
| 195 | Jhaptaal | 10 | Classical, complex compositions |
Quick Comparison: All Three Ragas
Section titled “Quick Comparison: All Three Ragas”| Feature | Yaman | Bhairavi | Des |
|---|---|---|---|
| Time | Evening | Morning (or concert ending) | Late evening |
| Mood | Romantic, serene | Devotional, compassionate | Romantic, longing |
| Vadi | Ga (E) | Ma (F) | Re (D) |
| Samvadi | Ni (B) | Sa (C) | Pa (G) |
| Unique Feature | Tivra Ma (F#) | All komal (flat) notes | Different notes up and down |
| Western Parallel | Lydian mode | Phrygian mode | Mixolydian (descending) |
| Difficulty | Easiest to start | Medium | Medium |
| CT-X9000IN Tone | Santoor (212) | Shehnai (270) | Bansuri (269) |
Raga Reference for Keyboard — Intermediate Course Exact keyboard mappings for Yaman, Bhairavi, and Des