Sai Rhythms

This is a Carnatic raga, different from the Hindustani raga with the same name.

Songs in praise of Lord Subramanya are commonly composed in this tune which can be classified under multiple Ragas. The following notes are used to form the tune: S, R2, G1, G2, M1, P, D2, N1.

 Raag Patdeep has the following ascending notes: N2 S G1 M1 P N2 S. The descending notes remains the same.

In Raga Kedar, N1 is used and G2 is omitted in the descending set of notes. The ascending and descending notes for Kedar: S M1 G2 P M2 P D2 N2 S;    S N1 D2 P M2 P D2 P M1 S R2 S.

In Raga Marwa, the ascending notes start as N R G, instead of S R G. Typically for the pitch, Nishad (7th) is used instead of Pancham (5th) or Madhyam (4th).

The Carnatic Raga Hamsanandi has the swara "R1" in the ascending set of notes as well. Typically for the pitch, Nishad (7th) is used instead of Pancham (5th) or Madhyam (4th).

The Indian Raga Keeravani is considered to be the equivalent of this scale.

This raga is also known as Jana Sammodhini.

In Raga Yaman, the ascending notes are rendered as N R G M D N S skipping S and P.

This Raga also uses G2 occasionally in the descending set of notes.

Also known as Megh Malhar, this Raga is very similar to Madhmad Sarang. The difference lies in the rendering of the notes esp. R and N. R is rendered by touching M, and N by touching P (while descending).

This Raga is said to have been created by the legendary Miyan Tansen.

This Raga is similar to Mayamalavagowla / Bhairav but is rendered differently.

This Raga is also known as Anandi, Anandi Kalyan or Nand Kalyan.

This Raga is similar to the Asavari thaat of Hindustani music.

The common Carnatic convention for G1 is R3 and for N1 is D3. The given convention is employed for better understanding.

Songs in this Raga usually start in the lower octave as in the phrase P D2 S R2 G2 P D2 S.

In Raga Puriya Dhanashri, the ascending notes are usually rendered as N R G M D N S skipping S and P.

This Raga also uses D1 as in the phrase: M1 P D1 P G1 R2.

In Raga Puriya Kalyan, the ascending notes are usually rendered as N R G M D N S skipping S and P. The ascending notes in Purvikalyani does not include N, it is rendered as S R1 G2 M2 P D2 P S.

Songs that have more than one Raga are referred to as Raga Mishran.

The Carnatic convention for this Raga is S R3 G3 M1 P D1 N2 S; S N2 D1 P M1 G3 R3 S. The current convention is employed for better understanding.

The ascending notes for Raga Senjurutti also includes: G2 and N1. Below are the notes for Raga Jhinjhoti.

Typically for the pitch, Nishad (7th) is used instead of Pancham (5th) or Madhyam (4th).

This Raga also uses G2 occasionally.

The Hindustani Raag Shree is different from this.

In Raag Miyan ki Todi, the note P is generally skipped in the ascending notes and rendered as S R G M D N S.

This Raga is also called Varamu in Carnatic music. In Hindustani music, it is called Chandrakauns with Bageshri-anga (different from the common Chandrakauns which has Malkauns-anga).

The notes R2 and D2 are also used occasionally. 

Typically for the pitch, Nishad (7th) is used instead of Pancham (5th) or Madhyam (4th).

The R2 in the ascending and descending scale for this Raga is generally written as G2 in Carnatic music. It is written as R2 here for better understanding.

The common Carnatic convention for R2 is G1. The given convention is employed for better understanding.

This Raga is also rendered with D1 instead of D2.

While ascending, the notes S and P are usually skipped and rendered as N R G M D N S.