Two Tigers — Bilawal Thaat
A short one-octave melody for learning repeated notes and stepwise movement.
Sa Re Ga Ma | Pa Pa Pa — |
Ma Ga Re Sa | Sa Sa Sa — |Learn the seven Shuddha Swar, the five altered Vikrit Swar, all 10 Hindustani Thaat scales, and the keyboard shortcuts used by Web Harmonium. Keep this guide open beside the free online harmonium while you practice.
Sargam is to Indian music what Solfège (Do Re Mi) is to Western music. The seven pure notes, called Shuddha Swar, form the backbone of Ragas, compositions, and daily harmonium practice.
The Western notes below use Sa = C♯ as an example. Because Sargam is relative, the exact Western pitch changes when you transpose Sa.
| Sargam | Full name | Western note | Meaning & role |
|---|---|---|---|
| Sa | Shadja (षड्ज) | C♯ | The tonic and reference pitch for the scale. |
| Re | Rishabha (ऋषभ) | D♯ | The second degree; it may be Shuddha or Komal. |
| Ga | Gandhara (गान्धार) | F | The third degree; Shuddha Ga is bright while Komal Ga sounds more inward. |
| Ma | Madhyama (मध्यम) | F♯ | The fourth degree; it appears as Shuddha Ma or Tivra Ma. |
| Pa | Panchama (पञ्चम) | G♯ | The stable fifth and, with Sa, a common drone anchor. |
| Dha | Dhaivata (धैवत) | A♯ | The sixth degree and an important expressive note in many Ragas. |
| Ni | Nishada (निषाद) | C | The seventh degree, often creating motion toward the upper Sa. |
| Sa′ | Tar Shadja (तार षड्ज) | C♯ | The high Sa, one octave above the tonic. |
Practice tip: Sing each note aloud as you play it. Connecting your voice to the key builds ear training and Sargam fluency more effectively than silent repetition.
Beyond the seven Shuddha notes, Indian classical music uses five altered notes. Their combinations help create the distinctive melodic color of each Thaat and Raga.
| Vikrit Swar | Type | Western note | Example Ragas |
|---|---|---|---|
| Komal Re | Flat second | D | Bhairavi, Kafi, Asavari, Todi |
| Komal Ga | Flat third | E | Bhairavi, Kafi, Asavari, Todi |
| Tivra Ma | Sharp fourth | G | Yaman, Marwa, Poorvi, Todi |
| Komal Dha | Flat sixth | A | Bhairavi, Kafi, Asavari |
| Komal Ni | Flat seventh | B | Bhairavi, Kafi, Asavari |
Key insight: Yaman uses Tivra Ma while Bhairavi uses four Komal notes, yet the identity of a Raga depends on much more than its note collection. Characteristic phrases, ascent and descent, emphasis, ornamentation, and time of performance all matter.
Pandit Vishnu Narayan Bhatkhande organized Hindustani Ragas into 10 widely taught Thaat families. A Thaat identifies a seven-note pitch collection; a Raga adds characteristic movements, important notes, ornamentation, and musical grammar.
| Thaat | Altered notes | Approx. Western mode | Mood, time & examples |
|---|---|---|---|
| Bilawal | All Shuddha | Major / Ionian | Morning; bright and open. Ragas include Bilawal and Alhaiya Bilawal. |
| Khamaj | Komal Ni | Mixolydian | Evening; romantic and longing. Ragas include Khamaj, Des, and Tilak Kamod. |
| Kafi | Komal Ga + Komal Ni | Dorian | Late evening; expressive. Ragas include Kafi, Bageshri, and Bhimpalasi. |
| Asavari | Komal Ga + Komal Dha + Komal Ni | Natural minor / Aeolian | Late morning; serious and contemplative. Ragas include Asavari, Jaunpuri, and Darbari. |
| Bhairavi | Komal Re + Ga + Dha + Ni | Phrygian | Early morning; devotional. Ragas include Bhairavi; related Ragas may use fewer notes. |
| Kalyan | Tivra Ma | Lydian | Evening; expansive and majestic. Ragas include Yaman and Shuddha Kalyan. |
| Marwa | Komal Re + Tivra Ma | Lydian ♭2 | Late afternoon; restless and searching. Ragas include Marwa, Puriya, and Sohini. |
| Poorvi | Komal Re + Tivra Ma + Komal Dha | — | Late afternoon; mysterious and intense. Ragas include Poorvi, Puriya Dhanashree, and Shree. |
| Todi | Komal Re + Komal Ga + Tivra Ma + Komal Dha | — | Late morning; poignant and complex. Ragas include Todi, Gurjari Todi, and Multani. |
| Bhairav | Komal Re + Komal Dha | Double harmonic | Early morning; solemn and powerful. Ragas include Bhairav, Ahir Bhairav, and Nat Bhairav. |
This reference is generated from the same key data as the live instrument. The large letter or symbol is the computer key to press; the Sargam label is shown beside it. White keys also display their Western key labels.
Pro tip: Keep this page in a second tab while you practice on the main Web Harmonium keyboard. The live key labels remain the authoritative shortcut reference.
Play the tonic and fifth back and forth, then hum each pitch. These stable notes give your ear two reliable anchors.
Ascend through Sa Re Ga Ma Pa Dha Ni Sa′, then descend slowly. Repeat until the order and spacing feel familiar.
Lower Ga and Ni. Listen to how two altered notes change the color while Sa, Re, Ma, Pa, and Dha stay in place.
Raise Ma by one semitone and compare the result with Bilawal. That single change creates a noticeably more open sound.
Move from scales into a melody you already know. Familiar phrasing lets you focus on finding notes and keeping steady time.
A short one-octave melody for learning repeated notes and stepwise movement.
Sa Re Ga Ma | Pa Pa Pa — |
Ma Ga Re Sa | Sa Sa Sa — |A familiar traditional melody with compact phrases and gentle changes of direction.
Sa Sa Sa Re | Ma Ma Re — |
Ma Ma Re Sa | Sa Sa — — |A recognizable melody for connecting notes on the page with pitches you already hear internally.
Sa Sa Pa Pa | Dha Dha Pa — |
Ma Ma Ga Ga | Re Re Sa — |A standard harmonium commonly has 39 to 42 keys, covering about three octaves. Web Harmonium presents a browser-friendly playing range and provides octave controls for moving beyond the keys currently visible.
Sargam names relative scale degrees as Sa Re Ga Ma Pa Dha Ni, so the sounding pitches move when you choose a new tonic. Western notation uses fixed pitch names such as C, D, and E. Web Harmonium shows both systems to help players connect them.
Komal means a note is lowered by one semitone, while Tivra means it is raised. Re, Ga, Dha, and Ni can be Komal; Ma can be Tivra. Sa and Pa remain fixed relative to the chosen tonic.
Start with Bilawal because it uses all Shuddha notes. After the scale feels comfortable, try Kafi for Komal Ga and Ni, then Kalyan for Tivra Ma.
Open the Web Harmonium tutorial for guided practice with listening, moving score lanes, and note-by-note feedback. The practice songs on this page also link directly to their tutorial sessions.
You have the note names, live keyboard map, scales, and Thaat system. Now use them in a real practice session.
Bookmark this page with Ctrl+D on Windows or Cmd+D on Mac.
· Web Harmonium Notes Reference