Lesson -47 : WCM Vs Carnatic - Modulation Aspects - Part-1

In the last few discussions, we have seen the apparent benevolence of Carnatic scheme in bestowing upon us in terms of numerous pattern formations and thereby the possibilities of using numerous ragas by us while composing a song.

But at the same time, Carnatic scheme is disciplining us "Hello, all raagams are available to you OK…But use only one at a time….! And dont spoil its appearance & structure !"

On the other hand, WCM is constrained with the number of patterns it has its just three or so

But there is no restrictions whatsoever from jumping one from pattern to another…!

IN FACT, IT RATHER ENCOURAGES AND EVEN STIPULATES SOME RULES FOR SUCH SHIFTING OF SCALES FROM ONE TO ANOTHER....!

Its not only just shifting of scale, even the shifting of tonic…!

Which is un-thinkable in Carnatic scheme ! Major to major ……Major to Minor……..Minor to Major ….etc etc…!

This is what called Modulation….as explained earlier….!

The only fundamental guidance WCM prescribes is “While Modulating from One scale to Another, it is preferably effected by change of any one note …either by raising of note or flattening of note ! and reach another Major or Minor…!”

For example if you are in C-Major, You can modulate to the following :




Once you have modulated to the other nearby major or minor, then you are having again the options of further modulating upwards to additional sharps or flats OR modulating back to original…. Previous one….!

As you can appreciate now, while one makes the gradual transition from one scale to another, in the transition zone, you may be getting the notes of both old scale and the new modulated scale…!

Which may create an illusionary effect to Carnatic experts that some shifting of Raagam is taking place !

For the WCM expert , he did nothing new except that he was following the modulation rules…!

Again the change of raagam perceptions also one shall look at two basis :

One way is without noting the shifting of Tonic, you name the swarams and see it as a ragam of EXISTING TONIC only and measure the shift of raagam and name it….!

Second perception is clearly identifying & feeling the CHANGED TONIC and measure the deviations from the new Tonic..and perceive the shift of raagam and name it….!

Whatever, the case may be, one thing is sure, that in the “changing zone” of one color to another, you can certainly get some “Rainbow” of colors !

Thats what the precise case IR was "highlighting" in his How To Name It……!

Where he compares the Modulation Effects of Bach's compostion with our Outlook of Raagam !