Western Notes → Carnatic Swaras

If you already know Western notes, mapping them to Carnatic swaras is straightforward. Both systems divide the octave into 12 semitones — the difference is in how they name and organize these pitches.

The Key Insight

Western music names each of the 12 semitones uniquely (C, C#, D, D#, E, F, F#, G, G#, A, A#, B). Carnatic music uses 7 swara names with variants — so the same pitch can have different names depending on its role. Think of it like how the same person might be called “doctor” at work and “mom” at home.

Complete Note Mapping

Click any row to hear the pitch (relative to Sa = C4)

Western	Carnatic Swara	Variant	Note
C	Sa	S	Fixed tonic. Always the starting point.
C#/Db	Ri	R1	Shuddha Rishabham — the flattest Ri.
D	Ri or Ga	R2/G1	Same pitch, two names: Chatushruti Ri or Shuddha Ga.
D#/Eb	Ri or Ga	R3/G2	Same pitch: Shatshruti Ri or Sadharana Ga.
E	Ga	G3	Antara Gandharam — the sharpest Ga (Western major 3rd).
F	Ma	M1	Shuddha Madhyamam — the natural 4th.
F#/Gb	Ma	M2	Prati Madhyamam — the sharp 4th (tritone).
G	Pa	P	Fixed fifth. Never changes, like Sa.
G#/Ab	Da	D1	Shuddha Dhaivatam — the flattest Da.
A	Da or Ni	D2/N1	Same pitch: Chatushruti Da or Shuddha Ni.
A#/Bb	Da or Ni	D3/N2	Same pitch: Shatshruti Da or Kaisiki Ni.
B	Ni	N3	Kakali Nishadam — the sharpest Ni (leading tone).

Understanding Overlapping Names

The pitch D can be called either R2 (Chatushruti Rishabham — the 2nd degree) or G1 (Shuddha Gandharam — the 3rd degree). Which name is used depends on the raga. In a raga that uses R1 (C#) as its Ri, the D would be called G1. In a raga that uses R2 (D) as its Ri, it cannot also be G1.

Rule: In any Melakartha raga, Ri must be lower than Ga, and Da must be lower than Ni. This constraint, combined with 2 Ma options, creates exactly 72 valid combinations.

Western Scales → Melakartha Ragas

Every Western scale you know has a Carnatic counterpart. Here are the most common mappings:

C Major Scale

C D E F G A B

Dheerasankaraabharanam (Raga 29)

S R2 G3 M1 P D2 N3

The most fundamental scale in Western music maps exactly to one of the most important Melakartha ragas.

Natural Minor (Aeolian)

C D Eb F G Ab Bb

Natabhairavi (Raga 20)

S R2 G2 M1 P D1 N2

The Western natural minor scale corresponds to Natabhairavi.

Harmonic Minor

C D Eb F G Ab B

Keeravani (Raga 21)

S R2 G2 M1 P D1 N3

Raise the 7th of natural minor and you get Keeravani — notice N2→N3.

Dorian Mode

C D Eb F G A Bb

Kharaharapriya (Raga 22)

S R2 G2 M1 P D2 N2

The jazz-favorite Dorian mode is Kharaharapriya — parent of beloved ragas like Abheri and Sri.

Mixolydian Mode

C D E F G A Bb

Harikambhoji (Raga 28)

S R2 G3 M1 P D2 N2

The dominant scale/Mixolydian maps to Harikambhoji — parent of Mohanam and Kambhoji.

Lydian Mode

C D E F# G A B

Mechakalyani (Raga 65)

S R2 G3 M2 P D2 N3

The bright Lydian mode is Kalyani — one of the most majestic ragas in Carnatic music.

Phrygian Mode

C Db Eb F G Ab Bb

Hanumatodi (Raga 8)

S R1 G2 M1 P D1 N2

The Spanish/flamenco-sounding Phrygian mode is Hanumatodi — parent of the beloved Bhairavi.

Practical Tips for Western Musicians

1.Think of Sa as your movable Do — it can be set to any pitch. When Sa = C, the mapping above is exact.
2.M1 vs M2 is the most important fork: M1 ragas (1-36) feel “natural,” M2 ragas (37-72) have a “sharp 4th” (Lydian) quality.
3.Carnatic music often uses gamakas (ornaments/oscillations) on swaras — something Western equal temperament doesn’t capture. The same “note” can sound very different with gamakas.
4.Start with ragas you can “hear” as familiar scales: Sankarabharanam (major), Kharaharapriya (Dorian), Kalyani (Lydian).

Test Your Knowledge

Practice translating Western notes and scales to Carnatic swaras with dynamic, audio-powered questions.

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