It is not unusual in Indian classical music for the same swara material to yield a multiplicity of ragas, with none of the siblings obviously derived from any of the others. An interesting example of such ragas is of the triplets – Marwa, Pooriya and Sohini in Hindustani music. The three ragas have identical swara material: Sa-re-Ga-Ma-Dha-Ni. They are distinguished from one another by the distinctive sequencing of swaras or phraesology, and by a variety of subtler prescriptions which are not commonly understood, or documented.

By definition, all ragas are performed to base-Sa, at the pitch the musician fixes it. In addition to base-Sa, these three ragas, because of their different centres of gravity, have different notional scale-bases, consistent with their primary melodic territory.