b) A thath must have seven notes, while a raga may have less than seven notes.
c) A thath must have seven consecutive notes, while a raga may not have consecutive notes.
d) A thath has only the ascending order, while a raga has both ascending and descending order (aroha and avaroha).
e) Vadi (sonant ) notes have o relationship to a thath; in a raga, vadi notes are important.

Between the two systems, the Karnatak one has comprehensive scales. We must note the following points about a raga:

a) A raga belongs to some thath (parent scale) and has aroha (ascending scale) and avaroha (descending scale). The number of notes in the aroha and avaroha may differ.

b) A raga must have five to seven notes. S is must. M and P cannot be excluded together.
c) A raga must have two tetrachords; the lower one is called poorvang and the upper one uttarang.
d) It must have a vadi (sonant) plus samvadi (consonant) and amuvadi (assonant) notes.
e) It must not take both pure (shudh) and flat (komal) or pure (shudh) and sharp (teevra) of the same note consecutively, for example M followed by M or G followed by _G_ .

There are however a few exceptions.

f) It must produce some feeling or aesthetic satisfaction or rasa.

Gaiki:
The mode or practice of singing a raga in different variations according to the instruction of the teacher is called Gaiki. The singing of a composition in your own style with tan, alankar, and grace is also called gaiki. Gaiki may depend on the gharana (school/guild) to which the singer belongs.


Basic Notes

There are seven basic notes which are called shudh (natural or pure). They are shadja, rishabha, ghandhara, madhyama, panchama, dhaivata, and nishada. In short form, they are known as S, R, G, M, P, D, and N. This group of Indian solfa notes is called a saptak (seven notes of diatonic scale).
There are three types of saptak:

mandra/mandar (lower), madhya (middle), tara (higher). The three series will take the following form on a harmonium. A dot under the notes indicates mandra, and a dot over the notes indicates tara saptak, while the madhya (middle) scale has no dot over the notes. In addition, there are four komal (soft or flat) notes: R, G, D, N, and one teevra/teebra (sharp) note: M. which is written as M to distinguish it from M shudh, thus making a total of 12 notes in the chromatic scale. These five are called modified (vikrita) notes.
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In western notation these notes are as follows:

doh, re, mi, fa, sal, la, ti and their symbols are d, r, m, f, s, l, t; the sharp notes are : ra, ma, fa, la ta.
In C scale these are indicated as under:
C, D, E, F, G, A, B, and the sharp notes are Db, Eb, Fb, Ab, Bb.

In Indian notation, the 12 notes are written in the following symbols:
S, _R_, R, _G_, G, M, M, P, _D_, D, _N_N. S can start from any note, and it represents the key of C in western
notation.

b) A thath must have seven notes, while a raga may have less than seven notes.
c) A thath must have seven consecutive notes, while a raga may not have consecutive notes.
d) A thath has only the ascending order, while a raga has both ascending and descending order (aroha and avaroha).
e) Vadi (sonant ) notes have o relationship to a thath; in a raga, vadi notes are important.

Between the two systems, the Karnatak one has comprehensive scales. We must note the following points about a raga:

a) A raga belongs to some thath (parent scale) and has aroha (ascending scale) and avaroha (descending scale). The number of notes in the aroha and avaroha may differ.

b) A raga must have five to seven notes. S is must. M and P cannot be excluded together.
c) A raga must have two tetrachords; the lower one is called poorvang and the upper one uttarang.
d) It must have a vadi (sonant) plus samvadi (consonant) and amuvadi (assonant) notes.
e) It must not take both pure (shudh) and flat (komal) or pure (shudh) and sharp (teevra) of the same note consecutively, for example M followed by M or G followed by _G_ .

There are however a few exceptions.

f) It must produce some feeling or aesthetic satisfaction or rasa.

Gaiki:
The mode or practice of singing a raga in different variations according to the instruction of the teacher is called Gaiki. The singing of a composition in your own style with tan, alankar, and grace is also called gaiki. Gaiki may depend on the gharana (school/guild) to which the singer belongs.


Basic Notes

There are seven basic notes which are called shudh (natural or pure). They are shadja, rishabha, ghandhara, madhyama, panchama, dhaivata, and nishada. In short form, they are known as S, R, G, M, P, D, and N. This group of Indian solfa notes is called a saptak (seven notes of diatonic scale).
There are three types of saptak:

mandra/mandar (lower), madhya (middle), tara (higher). The three series will take the following form on a harmonium. A dot under the notes indicates mandra, and a dot over the notes indicates tara saptak, while the madhya (middle) scale has no dot over the notes. In addition, there are four komal (soft or flat) notes: R, G, D, N, and one teevra/teebra (sharp) note: M. which is written as M to distinguish it from M shudh, thus making a total of 12 notes in the chromatic scale. These five are called modified (vikrita) notes.
_____________________________________________________
| |
| |
| |
| |
| |
| |
| |
| |
| |
|_____________________________________________________|

In western notation these notes are as follows:

doh, re, mi, fa, sal, la, ti and their symbols are d, r, m, f, s, l, t; the sharp notes are : ra, ma, fa, la ta.
In C scale these are indicated as under:
C, D, E, F, G, A, B, and the sharp notes are Db, Eb, Fb, Ab, Bb.

In Indian notation, the 12 notes are written in the following symbols:
S, _R_, R, _G_, G, M, M, P, _D_, D, _N_N. S can start from any note, and it represents the key of C in western
notation.