tambura provides that do that baseline against which the whole music is being generated. your do, you have to select at least four other notes. so long as you play that particular raga you cannot use any other note. secondly, our music has definite and prefixed mode of going up and coming down. the rules of the raga may preclude you from just climbing up straight for one in sequence. it may have kinks in it. third point is that out of these notes, one note is generally more prominent in that it's used more frequently, and sometimes you stop on that particular note very often. [ensemble playing a raga] so out of these several dos and don'ts there finally emerge a state of basic phrases which are just like the, you know, ears, nose, eyes lips of a human countenance. these basic phrases, actually, when you go through them they paint the face of the raga. so i have been able to explain to some extent what a raga means. chosen notes in an octave, definite and prefixed mode of going up and coming down, some particular note getting prominence and many other smaller rules which y