In my last post, we talked about the basic properties of a Raag. A new Raag is created by defining a specific flow of notes. That flow of notes should not match (exactly) with any other Raag. When the flow is defined, some notes become more dominant than others and an order of notes is established. This order of notes divides all the notes in a Raag into five categories. We have seen these words in the definitions’ post, but we will go through them again:

1. Vadi Svara
2. Sumvadi Svara
3. Anuvadi Svaras
4. Vivadi Svara &
5. Verjit Svara

1. Vadi Svara: The most dominant note in a Raag is called Vadi Svara. It is used again and again in phrases which make the Raag’s personality statement.
2. Samvadi Svara: It is a helper to the Vadi Svara. It is the second most important note in any Raag. It is mostly on the fourth or fifth place (up or down) from the Vadi Note.
3. Anuvadi Svaras: All the other notes, which are used in a Raag, are called Anuvadi Svaras.
4. Vivadi Svara: This is a Raag breaker note. If you use it, generally speaking the Raag will be broken. The term ‘breaking a Raag’ is used when any or some of the defined rules for a Raag are broken. But never mistake a Vivadi note as a Verjit (forbidden or omitted) note. Sometimes there are more than one Verjit notes in a Raag, but there is only one Vivadi Note. Some really expert singers and player do use the Vivadi note in their performance. In general, it is better to stay away from a Vivadi note.
5. Verjit Svara: These notes are not used in the Raag. They do not exist in the Aroh and the Avroh (ascending-descending) of a Raag. But in rare conditions some Verjit (forbidden) notes can be used as a passing note or a grace note.

The old music scriptures state that the ‘Vadi Svara’ is like a king. The ‘Sumvadi’ note is his Minister and ‘Anuvadi’ notes are the servants to serve the king and the minister. A ‘Vivadi’ note is said to be an enemy and the ‘Verjit’ notes are the foreigners. Keep this formula in your mind, you will never be confused over this matter again.

Further, in the scriptures all Raags are divided into three categories:
1. Shudh (pure): The Raag, which cannot be mistaken for any other Raag, and is created purely from unique notes, is a Shudh Raag. These kinds of Raags don’t break easily even if some of the defined rules of the Raag are broken.
2. Chhyalug: (shadowed): When a Raag is created by mixing two Raags, that is a Chhyalug Raag. Term ‘Chhyalug’ is also used when while performing one Raag, a performer knowingly mixes another Raag’s flow into it. The new Raag comes under the real one’s shadow. The word ‘Salunk’ also means the same thing.
3. Sankeeran (Mixed): When mixing more than two Raags creates a new Raag, that is a Sankeeran Raag. These kinds of Raags are very difficult to keep unbroken, as with a little mistake or oversight, it can become (sound like) one of its parent Raags.

Asharya Raag: (Primary Raag)
This a special category of elite Raags. In northern Indian music, every Thaat is named after a main Raag from that Thaat. And the Raag, which shares its name with its parent Thaat, is called the ‘Asharya Raag’. Every Raag from any one Thaat does show a little bit of shadows of its ‘Asharya Raag’. In popular music, where a Raag is hardly considered when composing or performing, to learn the note structure of a composition, the ‘Asharya Raag’ is normally noted on the top of the composition. That doesn’t mean that the given composition is in that particular Raag, What that means is that composition is in that Thaat and the improvising can be done in that Raag or around it. All Asharya Raags (Total 10, one in every Thaat) are the first Raag in every Thaat. As always there are exceptions. Jhinjhoti is the Asharya Raag of Khamaj Thaat. Although the Khamaj Raag is the most famous Raag from Khamaj Thaat, but it is not a Sampooran/Sampooran raag. So Jhinjhoti take the crown.

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