When Indian Ragas Meet Western Scales: Exploring the Hidden Similarities
- namikasrinivas
- May 8
- 3 min read
Updated: Jun 25
Indian and Western music might seem like they belong to two completely different worlds. One flows with ragas, the other with scales and modes. But once you dig a little deeper, you start to notice something surprising — they’re not as different as you think.
This blog is all about exploring those hidden connections. We’re going to look at how certain Indian ragas share the exact same note structures as Western scales — like how the raga Shankarabharanam is basically the same as the major scale, or how Natabhairavi lines up with the natural minor. It’s like two different languages saying the same thing, but with a unique cultural twist.

Before we get into it, just a heads-up: this isn’t an intro to music theory. We’re assuming you already know your way around the basics — stuff like major and minor scales, the seven Western modes (Ionian, Dorian, etc.), and maybe even a bit about ragas. If you’re good with that, then we’re ready to explore!
Western Scales: The Basics
In Western music, we usually start with the major scale, but from there, we can create seven different modes by shifting the starting note. These modes give us different emotional colors and moods depending on which one we use.

Here’s a quick breakdown of the seven modes:
Ionian – the classic major scale, bright and happy.
Dorian – minor-sounding, but with a hopeful twist.
Phrygian – darker and more intense.
Lydian – dreamy, thanks to the raised fourth.
Mixolydian – major but with a bluesy vibe.
Aeolian – the natural minor scale, full of emotion.
Locrian – dissonant and unstable, not used as often.
Besides these modes, there are other scales like harmonic minor, melodic minor, and pentatonic, which bring their own flavor to music. These scales provide the framework for melodies and harmonies, and depending on which one you choose, your music will take on a completely different mood.
Indian Ragas: A Different Vibe, Same Notes
Now, let’s talk about Indian classical music. Instead of scales, we have ragas. A raga is more than just a set of notes; it includes specific rules for how to use those notes, how to move up and down the scale, and even what emotional atmosphere to evoke. It’s kind of like a guideline for creating an emotional journey with music.
The interesting thing is that many Indian ragas share the same note structures as Western scales. So, even though the two traditions might seem worlds apart, they’re built on the same foundational idea — using a series of notes to express emotion.
Here are some examples of ragas that share their note structures with Western scales:
Shankarabharanam (Carnatic) is basically the same as the Ionian mode (major scale) — bright, uplifting, and joyful.
Natabhairavi (Hindustani) shares its notes with the Aeolian mode (natural minor), giving it a deep, emotional feel.
Keeravani (Carnatic) is similar to the Harmonic Minor scale, giving it a dramatic, almost mysterious vibe.
Kharaharapriya (Carnatic) matches the Dorian mode, which is a minor scale with a more hopeful twist.
Harikambhoji (Carnatic) aligns with the Mixolydian mode — major with a bluesy touch.
Mecakalyani (Carnatic) shares similarities with the Lydian mode — major and dreamy because of the raised 4th.
Hanumatodi (Hindustani) lines up with the Phrygian mode, giving it that dark, ancient sound.
It’s fascinating how these ragas and Western modes use the same set of notes, but the cultural and emotional context is what makes each one feel unique.
Here’s a table showing the direct comparisons between Indian ragas and their Western scale counterparts:
Carnatic Raga | Hindustani Equivalent | Western Scale | Mood/Notes |
Shankarabharanam | Bilawal | Ionian (Major) | Bright, joyful |
Natabhairavi | Asavari | Aeolian (Natural Minor) | Sorrowful, grounded |
Keeravani | Kirwani | Harmonic Minor | Intense, dramatic |
Kharaharapriya | Kafi | Dorian | Mellow with energy |
Harikambhoji | Khamaj | Mixolydian | Playful, open |
Mecakalyani | Yaman | Lydian | Dreamy, uplifting |
Hanumatodi | Bhairavi | Phrygian | Dark, ancient |
Mayamalavagowla | — | Double Harmonic Major | Exotic, bold |
Charukesi | — | Hungarian Minor | Emotional, intense |
Simhendramadhyamam | — | Gypsy Minor | Passionate, dramatic |
Rishabhapriya | — | Whole-Tone | Ambiguous, floating |
It’s amazing to see how both Indian and Western music are rooted in the same idea: using a set of notes to express emotion. Whether it’s the Ionian scale in Western music or the Shankarabharanam raga in Indian classical music, both traditions use these structures to evoke specific moods.
While the surface details — like ornamentation and cultural context — differ, the core of both systems is the same. So the next time you’re listening to a piece of Indian classical music or a Western scale, remember that, at the heart of it, they’re just different ways of speaking the same musical language.
Music really doesn’t have borders. It’s universal.
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