Sa Re Ga Ma on Rubab: A Complete Guide to Star Notation, Saptaks, and Scales
In this guide, we will explore the use of Sa Re Ga Ma on the Rubab (Rabab), using the Star Notation system. You will learn how notes are mapped across frets, shifting patterns between octaves (saptaks), half-saptak approaches, and how to apply ornamentation techniques like the Chamnay Child (c).1. 12 Notes in One Saptak
In Indian classical music, one saptak (octave) contains 12 notes—seven primary notes, with some having flat (komal) or sharp (teevra) versions:- s (Sa)
- r (Re) – Komal: r-
- g (Ga) – Komal: g-
- m (Ma) – Teevra: m-
- p (Pa)
- d (Dha) – Komal: d-
- n (Ni) – Komal: n-
2. Fret Progression and Mapping on the Rubab
Below is the mapping of the 12 notes on the Rubab, showing which fret and string to use for each note:Note | Fret-String Representation | Description |
---|---|---|
s (Sa) | 0-1 | Open string, 1st string |
r- (Komal Re) | 1-1 | 1st fret, 1st string |
r (Re) | 2-1 | 2nd fret, 1st string |
g- (Komal Ga) | 3-1 | 3rd fret, 1st string |
g (Ga) | 4-1 | 4th fret, 1st string |
m (Ma) | 0-2 | Open string, 2nd string |
m- (Teevra Ma) | 1-2 | 1st fret, 2nd string |
p (Pa) | 2-2 | 2nd fret, 2nd string |
d- (Komal Dha) | 3-2 | 3rd fret, 2nd string |
d (Dha) | 4-2 | 4th fret, 2nd string |
n- (Komal Ni) | 0-3 | Open string, 3rd string |
n (Ni) | 1-3 | 1st fret, 3rd string |
3. Missing Fret Logic and Shifting Patterns
The missing fret logic ensures that the natural gaps between notes are preserved. For example, between s (0-1) and r (2-1), the 1st fret is skipped. When shifting the sequence, the pattern remains consistent.Example of Shifting Pattern:
If the original sequence is s r g m p d n S, and you start from r (1-1), the new sequence will be: r g m p d n S R-4. Half Saptak Approach
To make it easier for beginners, the half saptak approach is used. After reaching M in the second saptak, the remaining notes are played in the first saptak:Example:
S R- G- M → p d- n S5. Chamnay Child (c) Concept
The Chamnay Child (c) adds ornamentation to the melody. It can be applied in two ways:Example 1: Chamnay at the End of Sequence
s r g m p d n S cExample 2: Chamnay with Each Note
scr-cgcmcpcd-cn-cSc6. Practical Scales and Raags on Rubab
Below are examples of how Indian classical thaats are expressed on the Rubab using Star Notation:- Yaman Thaat: s r g m- p d n S
- Bhairav Thaat: s r- g m p d- n S
- Kafi Thaat: s r g- m p d n- S
- Bilawal Thaat (All Shuddha Notes): s r g m p d n S
Fret Mapping for Bilawal Thaat:
Note | Fret-String Representation | Description |
---|---|---|
s (Sa) | 0-1 | Open string, 1st string |
r (Re) | 2-1 | 2nd fret, 1st string |
g (Ga) | 4-1 | 4th fret, 1st string |
m (Ma) | 0-2 | Open string, 2nd string |
p (Pa) | 2-2 | 2nd fret, 2nd string |
d (Dha) | 4-2 | 4th fret, 2nd string |
n (Ni) | 1-3 | 1st fret, 3rd string |
S (Higher Sa) | 2-3 | 2nd fret, 3rd string |
6. Practical Example: How to Play Bilawal Thaat on Rubab
Below is a step-by-step guide to playing the Bilawal Thaat on the Rubab, covering both the ascending (Aaroh) and descending (Avroh) orders with fret, string, and note mappings.
Bilawal Thaat Notes (All Shuddha – Natural Notes)
- Ascending (Aaroh): s r g m p d n S
- Descending (Avroh): S n d p m g r s
Fret and String Mapping for Bilawal Thaat on Rubab
Note | Fret-String Representation | Description |
---|---|---|
s (Sa) | 0-1 | Open string, 1st string |
r (Re) | 2-1 | 2nd fret, 1st string |
g (Ga) | 4-1 | 4th fret, 1st string |
m (Ma) | 0-2 | Open string, 2nd string |
p (Pa) | 2-2 | 2nd fret, 2nd string |
d (Dha) | 4-2 | 4th fret, 2nd string |
n (Ni) | 1-3 | 1st fret, 3rd string |
S (Higher Sa) | 2-3 | 2nd fret, 3rd string |
Step-by-Step Guide to Play Bilawal Thaat (Aaroh and Avroh)
Ascending Order (Aaroh): s r g m p d n S
- s (Sa): Play open 1st string (0-1)
- r (Re): Play 2nd fret, 1st string (2-1)
- g (Ga): Play 4th fret, 1st string (4-1)
- m (Ma): Play open 2nd string (0-2)
- p (Pa): Play 2nd fret, 2nd string (2-2)
- d (Dha): Play 4th fret, 2nd string (4-2)
- n (Ni): Play 1st fret, 3rd string (1-3)
- S (Higher Sa): Play 2nd fret, 3rd string (2-3)
Descending Order (Avroh): S n d p m g r s
- S (Higher Sa): Play 2nd fret, 3rd string (2-3)
- n (Ni): Play 1st fret, 3rd string (1-3)
- d (Dha): Play 4th fret, 2nd string (4-2)
- p (Pa): Play 2nd fret, 2nd string (2-2)
- m (Ma): Play open 2nd string (0-2)
- g (Ga): Play 4th fret, 1st string (4-1)
- r (Re): Play 2nd fret, 1st string (2-1)
- s (Sa): Play open 1st string (0-1)
Example of Playing Bilawal Thaat with Chamnay Child (c)
Ascending with Chamnay: s c r c g c m c p c d c n c S c
Descending with Chamnay: S c n c d c p c m c g c r c s c
Tips for Playing Bilawal Thaat on Rubab
- Smooth Transitions: Practice moving between strings to ensure smooth transitions, especially between m (0-2) and p (2-2).
- Focus on Intonation: Since Bilawal uses all shuddha notes, pay attention to correct intonation.
- Ornamentation with Chamnay: Use chamnay (c) to add musical expression, either after each note or at the end of a phrase.
Star Notation for Rubab with Fret Progression
Fret Mapping Across All Notes in One Saptak
Each note corresponds to a fret number on the Rubab. As you mentioned, some frets are skipped between certain notes, which creates a more natural and playable scale. Below is the correct sequence with the missing frets explained.
- s = 1st fret
- r- = 2nd fret (komal r)
- r = 3rd fret (shuddha r)
- g- = 4th fret (komal g)
- g = 5th fret (shuddha g)
- m = 6th fret (shuddha m)
- m- = 7th fret (teevra M)
- p = 8th fret
- d- = 9th fret (komal d)
- d = 10th fret (shuddha d)
- n- = 11th fret (komal n)
- n = 12th fret (shuddha n)
- S = 13th fret (octave of
s
in the higher saptak)
Continuing Beyond the First Saptak (For Higher Notes)
- R- = 14th fret (komal R)
- R = 15th fret (shuddha R)
- G- = 16th fret (komal G)
- G = 17th fret (shuddha G)
- M = 18th fret (teevra M)
- P = 19th fret
- D- = 20th fret (komal D)
- D = 21st fret (shuddha D)
- N- = 22nd fret (komal N)
- N = 23rd fret (shuddha N)
- S3 = 24th fret (octave of
S
in the second higher saptak)
Explaining the Missing Frets Logic
- The missing frets represent gaps between certain notes to maintain the proper musical scale.
For example:- Between s (1st fret) and r- (2nd fret), there is no fret in between.
- Similarly, between p (8th fret) and d- (9th fret), there is no additional fret—this follows the natural spacing of the scale.
- This pattern aligns with the 12-tone chromatic scale (which includes both shuddha and komal notes).
- After reaching the 13th fret (S), the sequence repeats in the higher saptak with the same structure.
Example: Playing the Full Saptak on the Rubab
If you are instructed to play “s r g m p d n S”, you will follow this sequence on the frets:
- s = 1st fret
- r = 3rd fret (skipping 2nd fret, which is
r-
) - g = 5th fret (skipping 4th fret, which is
g-
) - m = 6th fret
- p = 8th fret
- d = 10th fret (skipping 9th fret, which is
d-
) - n = 12th fret (skipping 11th fret, which is
n-
) - S = 13th fret
Summary of Key Concepts
- Komal Notes: Denoted with a
-
symbol (e.g.,r-
,g-
). - Teevra Note: Only applicable to M (denoted as
M
). - Octave Shift: After reaching
S
(13th fret), the higher saptak starts. - Fret Progression: Some notes have skipped frets to align with the natural musical scale.
- Same Note in Different Saptaks: Lower saptak notes use lowercase letters (
s
,r
), and higher saptak notes use uppercase letters (S
,R
).
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