The second step of the sapta swara, offering both komal (lowered) and shuddha (natural) options. While these are somewhat equivalent to the Western b2 and ♮2 (=100 and 200 cents), the Hindustani Re may also take a nearby microtone (or even a more abstruse value: e.g. Wim van der Meer notes that the komal re in Kesarbai Kerkar’s Lalita Gauri often drops below 50 cents) – plus, swaras are much more than just ‘notes’ (e.g. Rishab, meaning ‘bull’ in Sanskrit, has fabled associations with erotic energies and the songs of skylarks). Oddly, it could be argued that the shuddha Re is present in all tabla-accompanied ragas, regardless of actual swara set – since the dayan drum’s open ‘Tun‘ stroke is tuned to this tone. Also see Sarha Moore’s paper The Other Leading Note for a rundown of the b2 position in global traditions from raga to heavy metal. [n.b. In the past, some artists referred to the shuddha Re position as ‘tivra Re’: e.g. Rao’s Raga Nidhi volumes]
रे (ऋषभ)
Sa | Re | Ga | Ma | Pa | Dha | Ni
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• Re Categories •
Komal re: present
Komal re: only
Komal re: varjit
Komal re: imperfect
Komal re: detached
Shuddha Re: present
Shuddha Re: only
Shuddha Re: varjit
Shuddha Re: imperfect
Shuddha Re: detached
Generic Re: present
Generic Re: varjit
Double Re: present
Mirror: r–P | rR–Pd | R–d
• Quirks: shuddha Re matches the tabla’s open ‘Tun‘ stroke:
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