The discernable melodic form underlying all Indian Classical Music is called raga, a combination of notes which is rather abstract and a complex concept. Every raga consists of a fixed and unchangeable sets of notes presented in a form of ascending and descending scale, the aroha and the avaroha. In describing the melodic structure of a raga we have to consider the concept of That which is the parent scale from where the raga is derived. The aesthetic potentiality, necessary for a raga is realized by giving prominence to a particular note in preference to others. This preference throws that note in direct contrast with the tonic harmony of the dhrone and thereby boldly upholds the particular consonant or disonant character of that note , thus imparting a distinct aesthetic stamp or ethos to the raga. The note receiving such prominence is called Vadi. Besides the notes that comprise a raga and their distinctive arrangement in the ascent and descent, most raga have a characteristic phrase which frequentely occurs. However all these elements are not sufficient to identify a raga and the reason is that there are too many compositions very close as structure and much alike when listening so only an intimate knowledge of ornamentation allows recognition. The Music Tradition considers ragas as depicting specific moods. Each is required to be performed with this aspect in mind, so that the appropriate mood can be evoked in the listener`s mind. There are a number of stories in existence regarding the properties of ragas, some of them based on the belief that certain ragas, if properly performed, can have magical effects. Almost all of the ragas are associated with a particular season or a particular time of the day, this association being conected to the moods that specific notes or their combinations evoke. An usual presentation of a raga comprises four parts : the alap (slow introduction without tabla accompaniment) , the jhor (rhytmical construction without tabla accompaniment) the gat (main composition with tabla accompaniment) and the the jhala (fast composition with tabla accompaniment). Among the styles of Indian Music there are three wellknown forms, the Dhrupad, the Khayal and the Thumri. The Dhrupad is the strictest form in terms of raga grammar and presentation format and claims the distinction of being the oldest music that can be heard today. Dhrupad is supposed to have descended from a form known as the Prabandha, which was a fixed composition, having a bengining and an end and set to a raga and a tal. As a conclusion we must say that the style Dhrupad is much more old then the Senia which is the school and refers more at the way of implementing the Dhrupad in a most pure and perfect manner.