Swar and Raga Theory, Laya, Tala and Notation Systems
This domain tests swar and shruti, that, jati, vadi–samvadi, aroha–avaroha, laya and tala, plus the two notation systems used in Indian music publications.
Swar, that, jati
The saptak holds seven shuddha swar (S R G M P D N); komal Re, Ga, Dha, Ni and tivra Ma complete the twelve. Twenty-two shrutis are theoretical positions inside the octave. Bhatkhande grouped ragas into ten thats: Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Bhairavi, Asavari, Todi. Jati counts notes in aroha and avaroha - sampoorna (7), shadav (6), audav (5) - and is written aroha–avaroha, e.g. audav–sampoorna.
Vadi, samvadi and the rest
Vadi is the raga's principal note; samvadi is its consonant partner, usually a fourth or fifth away (Sa–Pa or Sa–Ma); anuvadi are the remaining notes; vivadi is a note avoided or used only in passing.
Laya and tala
Laya is vilambit, madhya or drut; layakari is barabar, dugun, tigun, chaugun. Teentaal is 16 matras (4+4+4+4) with khali on matra 9; jhaptaal is 10 (2+3+2+3); rupak is 7 (3+2+2) and opens on khali.
Notation systems
Bhatkhande's lipi writes sargam in Devanagari, underlines komal swar, marks tivra Ma with a vertical stroke, uses dots above and below for tar and mandra saptak, a dash for a rest, vertical bars for vibhag, × for sam and 0 for khali. Vishnu Digambar Paluskar's system, used in Gandharva Mahavidyalaya publications, numbers matras and talis and also marks khali with 0; it is commoner in Maharashtra.
Worked example
A raga ascends S R M P N S and descends S n D P M G R G S. Aroha has five notes → audav; avaroha has seven → sampoorna, so jati is audav–sampoorna. Shuddha Ni rising against komal Ni falling, with Ga and Re appearing only in descent, identifies Des: Khamaj thaat, vadi Re, samvadi Pa.
Traps
- Treating that and raga as synonyms.
- Assuming vadi is merely the most-played note rather than the structural centre.
- Omitting komal and tivra marks when writing notation.