A student of Indian classical music always begins with sargams (alankar), which are ascending and descending sequences of notes in an easily repeatable pattern. These are an essential part of one’s voice training and a prerequisite to improvising a Raga in both vocal and instrumental music.

(Key: Bold denotes higher octave; Komal (soft) notes are underlined)

Some popular sargams are as follows:

Sargam 1

Aroh: Sa Re Ga Ma Pa Dha Ni Sa
Avroh: Sa Ni Dha Pa Ma Ga Re Sa

Sargam 2

Aroh: SaSa ReRe GaGa MaMa PaPa DhaDha NiNi SaSa
Avroh: SaSa NiNi DhaDha PaPa MaMa GaGa ReRe SaSa

Sargam 3

Aroh: SaReSa ReGaRe GaMaGa MaPaMa PaDhaPa DhaNiDha NiSaNi SaReSa
Avroh: SaReSa NiSaNi DhaNiDha PaDhaPa MaPaMa GaMaGa ReGaRe SaReSa

Sargam 4

Aroh: SaReGa ReGaMa GaMaPa MaPaDha PaDhaNi DhaNiSa
Avroh: SaNiDha NiDhaPa DhaPaMa PaMaGa MaGaRe GaReSa

Sargam 5

Aroh: SaReGaMa ReGaMaPa GaMaPaDha MaPaDhaNi PaDhaNiSa
Avroh: SaNiDhaPa NiDhaPaMa DhaPaMaGa PaMaGaRe MaGaReSa

Sargam 6

Aroh: SaGa ReMa GaPa MaDha PaNi DhaSa
Avroh: SaDha NiPa DhaMa PaGa MaRe GaSa

Sargam 7

Aroh: SaReSaReGa ReGaReGaMa GaMaGaMaPa
MaPaMaPaDha PaDhaPaDhaNi DhaNiDhaNiSa

Avroh: SaNiSaNiDha NiDhaNiDhaPa DhaPaDhaPaMa
PaMaPaMaGa MaGaMaGaRe GaReGaReSa

These sequences can be easily converted into sargams for other thaats. For thaat Bhairavi, you can replace all shuddha swara to komal. As an example, Sargam 4 in Bhairavi will become

Aroh: SaReGa ReGaMa GaMaPa MaPaDha PaDhaNi DhaNiSa Avroh: SaNiDha NiDhaPa DhaPaMa PaMaGa MaGaRe GaReSa

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