Similar and Confusing Raagas

1. Some sound-alike renditions can be confusing!
2. There are many raagas that use the same svaras or notes but differ in other subtler aspects.
3. Others have very different svaras but strongly resemble another raag.
4. As a result of these close resemblances, one raag is often confused with another. 
5. It is the mood of the raag that is more important than the notes it comprises. For example, Raagas Darbari Kanhada and Jaunpuri share the same notes but are entirely different in their renderings.
6. Here are some distinguishing features to help us understand how to differentiate between a few sets of very similar raagas that are commonly confused with each other.

Bhoopali vs Deshkar

1. Bhoopali, an evening raag belongs to Kalyan thaat whereas Deshkar, a morning raag belongs to Bilaval thaat.
2. Bhoopali concentrates on using the poorvaang svaras, Sa, Re, Ga whereas Deshkar uses the Uttarang svaras, Pa, Dha, Sa, (of the higher register or taar saptak).
3. Though both raagas utilize the same notes or svaras, it is the chalan or the exposition of each raag that differentiates them:
   • Chalan of Bhoopali: The main phrase: Pa Dha Sa Dha Pa Ga Re Sa Re Pa Ga.
   • Chalan of Deshkar: There is only a mild use of Rishabh.
4. Many important phrases that identify Deshkar do not occur in Bhoopali.
   • Let us listen to a bandish in Bhoopali, in which we can hear the repeated use of Ga.
   • Here is a lesson on Bhoopali vs Deshkar to further spot the differences.
   • Listen at 17.39 in this one-hour Audio: Music Appreciation – Vol 2
5. Credit: Pandit Falguni Mitra

Bhoopali vs Shuddh Kalyan:

1. Similarities:
   • Bhoopali and Shuddh Kalyan both belong to Kalyan thaat.
   • Both use the Poorvaang svaras of the octave and the vaadi (most prominent) svar of both raagas is Gandhar.
2. Differences:
   • Jaati: Bhoopali has 5 notes in both aroah and avroah (Audav – Audav) whereas Shuddh Kalyan has 5 notes in aroah & 7 in avroah Sa, Re, Ga, Pa, Dha, Sa and Sa Ni Dha Pa Ma Ga Re Sa. (Audav – Sampoorna).
   • There is a subtle difference in the use of meends of Pa-Ga and Sa-Dha: Bhoopali may employ a swift Pa-Ga or Sa-Dha whereas Shuddh Kalyan takes a slower glide, also skimming over Tivra ma , as in Pa-Tivra ma-Ga
   • The Seventh note, Nishad is completely absent in Bhoopali. Shuddh Kalyan also employs a meend over Ni, as in Sa-Ni-Dha.
     • In the delineation of Shuddh Kalyan, both Ni and Ma are generally not prominent, being used only as meends. However, a straight Nishad Pa Dha Sa-Ni-Dha Ni Pa.
     • Ni and Ma are prominent in Shuddh Kalyan when used in sargams or taans.
3. Credit: Pandit Falguni Mitra

Jaunpuri vs Darbari Kanhada vs Adana

Similarities:

1. All these three Raagas belong to Asavari Thaat.
2. All three use Komal Gandhar, Komal Dhaivat and Komal Nishad.
3. In Adana, Shuddha Nishad is applied additionally.
4. Credit: Pandit Falguni Mitra

Differences: Watch the video:
Darbari, Adana and Jaunpuri differences and similarities

Jaunpuri	Darbari Kanhada	Adana
Jaunpuri is soft and pleasing and has simple movements. It is a morning melody.	Darbari Kanhada is a majestic night melody, of sombre and serious mood and with restrained emotions.	While close to Darbari Kanhada , Adana’s character is somewhat restless – it does not stay on one note long. Adana is also a night melody.
In Jaunpuri, a balanced application of alankars (ornamentations) is adopted.	Meends and gamaks are applied widely with telling effect but with enormous care in Darbari Kanhada .	In Adana, gamaks are used in good measure but not so much, the meend.
Jaati: Shadav-Sampoorna	Jaati: Sampoorna – Shaadav	Jaati: Shaadav – Shaadav
Aroah: S R M P d n S Avroah: S n d P M g R S	Aroah: S R g, M P d,n S Avroah: S d n, P, M P g, M R S	Aroah: S R M P, d, N S Avroah: S d N S, d n P, M P, g M R S
Vaadi: Dha (komal)  Samvaadi: Ga (komal)	Vaadi: Re Samvaadi: Pa	Vaadi: Sa (Taar saptak) Samvaadi: Pa
Jaunpuri is Uttaranga pradhan, i.e. the development and the movements are mainly in the area – P D N S. There is hardly any scope in the area – S R M.	The Gandhar here is Andolit – it swings and is tremulous. The same thing applies to its Dhaivat, but care should be taken to see that the Andolan does not go beyond the required limits. In Darbari Kanhada, the development in the mandra saptak or lower register is very absorbing. g M R S and d n P phrases come back again and again creating a beautiful atmosphere.	Adana sounds very forceful because of some special note movements.
In Jaunpuri, we use M G R S and not G M R S. Similarly, N D P and not D N P.	Microtones or Shrutis of G and D in Darbari Kanhada are lower than Jaunpuri’s.

Kalavati vs Janasammohini vs Shuddh Kalyan

1. One of the differences between Shubh Kalyan (or Janasammohini) and Kalavati is that Kalavati is more Uttarang pradhan while the Janasammohini is slightly more Poorvang pradhan, Re being it’s active note.
2. Let us listen to Ustad Fateh Ali Khan – Raag Shubh Kalyan – Tarana to get an insight about Janasammohini [instrumental music, taranas & bandishes in that order will give us the real flavor of any raag]. “Shubh here is pronounced as Shab [like night , as it is pronounced in “Kal Chaudhviin Ki Raat Thi Shab Bhar”]
3. Here, Pandit Ajay Pohankar sings Raga Shubha Kalyan – Vilambit, Ektaal – Drut, Teentaal.
   • This night melody, a recent innovation, has a striking resemblance to Shuddh Kalyan. The difference is in the use of “komal nishad” in “avroh”, instead of “shuddh nishad” as in “Shuddh Kalyan”.
   • The raag is heard here first in vilambit laya set to ek taal of 12 maatras, and then in drut teen taal of 16 maatras.
   • Pandit Ajay Pohankar – Raag Shubh Kalyan – presenting a beautiful Khayal with Pandit Mukundraj Deo and Pandit Sudhir Nayak accompanying him on Tabla and Harmonium respectively.
4. Shubha Mudgal sings Khayal – Raga Shuddh Kalyan – Ektala & Teental
5. Shubh Kalyaan is said to be also known as Shiv Kalyan.

Madhmad Sarang vs Megh:

1. Listen at 10.45 in this one-hour Audio: Music Appreciation- Vol 2

Sohini vs Shivaranajani

1. Here the similarity is often superficial, upon listening to raag-based light music.
2. For example, ‘Jhoomti chali hawa‘ [Sohini] & ‘Laage na mora jiya‘ [Shivranjani] do sound alike when we hum them. But only because we are using the Sa from absolutely two different scales, i.e. Sa of ‘Jhoomti chali hawa’ is actually Ga* of ‘ Laage na mora jiya’!
3. When we compare two raags, they must have the same Sa and that’s where the confusion arises from. If we play the notes on a keyboard from the same Sa – we notice that these raags are miles apart.
4. Then why do they appear like sisters? If we take Shivranjani’s Sa, and play Raag Sohini from its Ga* (as if that were Sohini’s Sa) we can practically overlap these notes, and that’s why in spite of very different Raags they still mimic some similarity when we hear them.

Shuddh Malhar (Bilaval Thaat) vs Durga vs Jaladhar Kedar:

1. These are 3 Scale-congruent Raagas with Durga.
2. Let us understand their different moods through a simplistic and brief theoretical comparison of their salient features here: RagaDurga unfolded to Illustrate shades of Malhar and Kedar in it

Shuddh Sarang vs Shyam Kalyan:

1. Listen to Shuddh Sarang here: The absence of Ga in Shuddh Sarang keeps it distinct from Shyam Kalyan, whereas the inclusion of Dha and sharp Ma keeps it distinct from the other raags of the Sarang group.
2. The G m R S – G m P G m R S with Shuddha Madhyam brings out the subtle difference.

Shuddh Sarang vs Shyam Kalyan vs Kamod:

1. Listen to Shyam kalyan here: Shuddh sarang and Shyam kalyan have some similarity; although the former doesn’t include Ga.
2. The concluding phrase – G m R S helps to maintain the impression of Shyam kalyan.
3. Although this phrase also occurs in Raag Kamod, dominance of sharp Ma and Ni in Shyam kalyan gives it a distinct character.

Some other Confusing Raags:

1. Kamod vs Shyam Kalyan.
2. Pooriya vs Marwa vs Sohini.
3. Miyan ki Malhar vs Bahar.
4. Barva vs Gara vs Sindhura vs Piloo.
5. Todi vs Gurjari Todi.

---

More on Indian Classical Music:

The Alchemy of Indian Classical Music

---