Raga defines a general type of melodic application. It also lays out a series of rules required to create the melody. It determines the rules for going up and down the scales - which swaras (notes) should be used more and which ones should be used less? Which notes should be used with which words and which words should be avoided? Basically, ragas are frameworks that can be used to compose or    improve melodies. This provides infinite variety within the scope of the notes. The surprising abundance of ragas has inspired many artists. A rich tradition of portraying ragas and raginis as kings and queens has emerged. In a very unique way, this form enchants the human spirit. On the contrary, ragas using Tivra Ma represent dynamism and movement similar to the major mode in the West. As stated above, each raga defines the rules of going up and down the scale. Each raga has three basic sequence of notes: Aaroh, Avaroh and Pakad. Aaroh is the rising and Avaroh the descent. Each Raga has a Pakad. This is the set of notes that makes each raga unique. You can listen to the Aaroh, Avaroh and Pakad of each raga by clicking on the SRGMPDN sign next to each image. You can experience the different emotions created by each raga yourself.

Two of the seven notes, Sa and Pa are unchanging. The other four notes, Re, Ga, Dha and Ni can go down half a tone to create four new notes. These are called Komal Re, Komal Ga, Komal Dha and Komal Ni respectively. Finally the note Ma can be raised half a tone to create Tivra Ma. Ragas that use Komal notes are usually more romantic in nature and create nostalgic feelings, pleasing the human spirit. This is similar to the minor mode in Western Classical Music. By contrast, the ragas using the Tivra Ma express dynamism and action, similar to the major mode in the West.