Cross-system comparison
This page compares pitch classes after aligning Sa with a Western tonic. It does not claim equivalence: a raag also carries ascending and descending behavior, characteristic phrases, note hierarchy, intonation, ornament, time, and performance context.
Hindustani raag
Sa Re Ga Pa Dha
Western scale / mode
C - D - E - G - A
Shared: Exact pitch-class set under tonic alignment.
Not equivalent: Bhupali is defined by phrase movement, emphasis, repose, and raag context; major pentatonic names only a note set.
Hindustani raag
Sa Re Ga Ma(tivra) Pa Dha Ni
Western scale / mode
C - D - E - F# - G - A - B
Shared: Exact seven pitch classes in the abstract.
Not equivalent: Yaman's Ni-Re-Ga movement, ascent conventions, tivra Ma treatment, drone, and lack of functional-harmony requirements are not contained in Lydian.
Hindustani raag
Sa Re ga Ma Pa Dha ni
Western scale / mode
C - D - Eb - F - G - A - Bb
Shared: Exact seven pitch classes in a common profile.
Not equivalent: Kafi's characteristic phrases, intonation, ornament, and light-classical variants go beyond Dorian's interval formula.
Hindustani raag
Sa Re ga Ma Pa dha Ni
Western scale / mode
C - D - Eb - F - G - Ab - B
Shared: Exact seven pitch classes in a common profile.
Not equivalent: Kirwani is treated melodically over a tonic drone; harmonic minor is commonly taught through key and chord function.
The distinction between scale and raag follows pedagogical explanations that treat chalan and melodic behavior as essential, not optional decoration.