Raag Archive

Bhairav

Bhairav Thaat · Sampurna · Komal Re · Komal Dha

Komal Re and komal Dha — the pre-dawn raga of profound stillness and devotion. Fretboard, chords, gravity, motion, piano, and listening guides.

Bairagi Bhairav

Bhairav Thaat · Audav · Sa Vadi

S r M P n — the ascetic's pentatonic. Five swaras, no Ga, no Dha. Renunciation distilled into sound. Sa is absolute.

Mishra Bhairavi

Bhairavi Thaat · Sampurna · All Komal

Four komal swaras — Re, Ga, Dha, Ni. The raga that closes concerts. Karuna at its deepest: resigned, not aggressive.

Jogiya

Bhairav Thaat · Audav–Sampurna · Komal Re/Dha

The wandering ascetic's raga — Ga skipped in ascent, komal Ni deepening the fall. Vadi Ma; renunciation, not comfort.

Gunkali

Bhairav Thaat · Audav · Ga/Ni Varjit

A bare Bhairav pentatonic — Sa, komal Re, Ma, Pa, komal Dha. Plaintive and prayerful; vadi komal Dha.

Nat Bhairav

Bhairav Thaat · Sampurna · Shuddha Re/Ga · Komal Dha

Bhairav made bright — shuddha Re and Ga, only komal Dha holding the dawn's weight. Majestic, upright, vadi Ma.

Anand Bhairav

Bhairav Thaat · Sampurna · Komal Re · Shuddha Dha/Ni

Bhairav lit by Bilawal — komal Re remains, but shuddha Dha and Ni turn austerity into anand, joy.

Bilaskhani Todi

Bhairavi Thaat · Sampurna · Komal r g d n

Bilas Khan's lament for his father Tansen — a Todi in name, Bhairavi in flesh. The komal Dha (vadi) weeps.

Gujari Todi

Todi Thaat · Shadav · Tivra Ma · Pa Varjit

Miyan ki Todi with Pa removed entirely — hung on the naked gap where the fifth should be. Stark and hollow.

Alhaiya Bilawal

Bilawal Thaat · Sampurna · Dual Ni

The definitive morning Bilawal — bright and shuddha, with a signature komal Ni shadow in descent (D n D). Vadi Dha.

Saveri

Bhairav Thaat · Audav–Shadav · Ga Varjit

A Bhairav pentatonic close to Gunkali, with a komal Ni sliding in on descent. A soft, head-lowered morning.

Meghranjani

Bhairav Thaat · Audav · Pa/Ni Varjit

A rare five-note dawn raga — komal Re/Dha with shuddha Ga/Ma, no Pa or Ni. Shuddha Ga (vadi) glows, luminous.

Gauri

Poorvi Thaat · Shadav–Sampurna · Tivra Ma

A Poorvi-family dawn raga — komal Re/Dha with tivra Ma, built around a strong Pa (vadi). Tender, rose-grey.

Asavari

Asavari Thaat · Komal g d n

The parent of the Asavari thaat — komal Ga, Dha, Ni over shuddha Re. Ga and Ni weep in descent; komal Dha (vadi) is a seat of renunciation.

Komal Rishabh Asavari

Bhairavi Thaat · Komal r g d n

Asavari with a komal Re — four komal swaras and a hollow late morning. Grief made spare.

Sughrai

Kafi Thaat · Kanada-anga · Komal g n

A Kanada — the komal Ga folded from Ma back to Re (g M R S). Grave and columnar; vadi Pa.

Nayaki Kanada

Kafi Thaat · Kanada · Dha Varjit

A Kanada with Dha dropped entirely — six notes of sober, contained feeling; vadi Ma.

Suha

Kafi Thaat · Kanada-anga · Komal g n

A brighter cousin of Nayaki — the same komal Ga through Ma, quicker and more lyrical.

Barwa

Kafi Thaat · Komal g n

A soft, tender Kafi raga near the thumri world — komal Ga/Ni carried lightly over a strong Pa (vadi).

Sindhura

Kafi Thaat · Thumri · Komal g n

A folk-rooted, thumri-beloved raga — warm, swaying and sweet, with komal Ga and Ni; vadi Ma.

Kafi

Kafi Thaat · Komal g n

The parent of the Kafi thaat — earthy, warm, endlessly hospitable to the thumri, dadra and bhajan.

Bhupal Todi

Bhairavi Thaat · Audav · Ma/Ni Varjit

A five-note raga of grief — komal Re/Ga/Dha, no Ma or Ni. Bhupali's minor-keyed shadow; komal Ga aches.

Devgandhari

Asavari Thaat · Shuddha aroha · Komal d n

A Bilawal-faced, Asavari-hearted raga — bright shuddha climb, then komal Dha/Ni in descent. Sa is its still centre.

Miyan ki Sarang

Kafi Thaat · Sarang-anga · Dual Ni

Tansen's own Sarang — the blazing noon raga. Ga and Dha banished; shuddha Ni up, komal Ni down. Vadi Re.

Lankadahan Sarang

Kafi Thaat · Sarang · Tivra Ma

A Sarang set alight — tivra Ma makes it fierce. Named for the burning of Lanka; heroic where others are calm.

Nur Sarang

Khamaj Thaat · Sarang · Shuddha Dha/Ni

The 'radiant' Sarang — shuddha Dha and Ni brighten the noon, only Ga banished. Luminous; vadi Pa.

Sameer Sarang

Kafi Thaat · Sarang · Komal Ga touch

A Sarang cooled by a single komal Ga brushed in descent — 'sameer', the breeze. Broad ascent, soft fall.

Badhans Sarang

Khamaj Thaat · Sarang · Shuddha Ga

A Sarang that admits a shuddha Ga in ascent — brighter, more playful, komal Ni shading the descent.

Samant Sarang

Bilawal Thaat · Sarang · Vakra Sampurna

The fullest of the Sarangs — a near-complete Bilawal folded into the Re-Pa gravity. Stately, expansive.

Shuddha Nat

Bilawal Thaat · Shadav · All Shuddha

An all-shuddha noon raga, Dha set aside — straight, martial, upright, built on a strong Ma (vadi).

Megh Malhar

Kafi Thaat · Sarang-anga · Komal Ni

An ancient rain raga, kin to the Sarangs — five notes, said to summon the monsoon. Rolling like distant thunder.

Patmanjari

Kafi Thaat · Sampurna · Komal g n

A gentle Kafi raga of the middle day — komal Ga and Ni, unhurried and a little wistful. Vadi Pa.

Gaud

Bilawal Thaat · Vakra Shadav · All Shuddha

A shuddha Bilawal noon raga with a curving ascent that leans on Ga (vadi) and a sweet Ni. Settled and content.

Pilu

Kafi Thaat · Thumri · Komal g n

The great raga of thumri, dadra and ghazal — Kafi-based but so free it invites every shade. Warm, amorous, melting; vadi komal Ga.

Dhanashree

Kafi Thaat · Komal g n

A close relative of Bhimpalasi, sung in bhakti bhajans — komal Ga/Ni over a strong Pa (vadi). Afternoon light turning to prayer.

Gara

Khamaj Thaat · Thumri · Komal Ni

A light, sweet thumri raga — shuddha Ga over komal Ni, endlessly ornamented with murki. Playful, tender afternoon flirtation.

Vachaspati

Tivra Ma + Komal Ni · Sampurna

A luminous scale-raga — Kalyan's tivra Ma meeting Khamaj's komal Ni. Floats, bright yet restless; vadi Pa. Afternoon into evening.

Gaoti

Kafi Thaat · Audav · Ma/Ni Varjit

A folk-rooted pentatonic — the Bhupali frame sweetened by a single komal Ga, Ma and Ni set aside. Rustic and warm; vadi komal Ga.

Jhinjhoti

Khamaj Thaat · Komal Ni

A homely, affectionate Khamaj — shuddha Ga (vadi) sung with a caressing curve, komal Ni on descent. Unpretentious late-afternoon sweetness.

Tilang

Khamaj Thaat · Audav · Re/Dha Varjit

A bright, buoyant Khamaj with Re and Dha dropped — dual Ni, shuddha Ga (vadi). Light and cheerful, popular in film and bhajan.

Manj Khamaj

Khamaj Thaat · Dual Ni · Thumri

A rich, ornate Khamaj of the thumri world — dual Ni and a touch of Bageshri in descent. More serious than plain Khamaj; refined longing.

Hanskinkini

Kafi Thaat · Audav · Re/Dha Varjit

A spare, chiming pentatonic — komal Ga/Ni over Sa, Ma and Pa. Quiet and rounded, like a small bell in an empty afternoon room; vadi Ma.

Deepak

Poorvi Thaat · Reconstructed · The Fire Raga

The legendary raga of fire Tansen is said to have sung until lamps lit themselves — its exact form lost, reconstructed here in a blazing Poorvi frame. (Form approximate.)

Bhimpalasi

Kafi Thaat · Audav–Sampurna · Komal Ga · Komal Ni

Five notes ascending, seven descending — Re and Dha held back until the avaroha. The komal Ga oscillates around Ma. Afternoon light declining.

Shuddha Kalyan

Kalyan Thaat · Audav–Sampurna · Tivra Ma (avaroha)

Bhupali climbing, Yaman descending — a pure pentatonic ascent revealing tivra Ma and Ni only on the way down. Serene; vadi Ga.

Yaman Kalyan

Kalyan Thaat · Both Ma

Yaman touched by a gentle shuddha Ma on the descent (P M G R) — the longing rounded into something softer, more devotional. Vadi Ga.

Hameer

Kalyan Thaat · Both Ma · Vadi Dha

A stately Kalyan on a strong Dha — shuddha Ma rising, a flash of tivra Ma folding through Pa in descent. Broad, vakra, regal.

Kamod

Kalyan Thaat · Both Ma · Re→Pa leap

A buoyant Kalyan whose signature is a leap from Re straight to Pa. Both Mas colour it; vakra and dancing. Vadi Pa.

Chhayanat

Kalyan Thaat · Both Ma · Vakra

'The shadow of Nat' — a sparkling cousin of Kamod, quick vakra turns and the same Re-Pa buoyancy, brighter and more mercurial.

Shyam Kalyan

Kalyan Thaat · Sarang-anga · Dha Varjit

Kalyan meeting Sarang — a broad Re-Pa gait on a Kalyan frame, both Mas, Dha left out. Weighty yet flowing; vadi Pa.

Nand

Kalyan Thaat · Both Ma · Vadi Ma

Anandi Kalyan — a sweet, rounded raga on the shuddha Ma with an M-P-D-P swing, tivra Ma flashing as P-M^-P. Devotional, warm.

Maru Bihag

Kalyan Thaat · Bihag-anga · Both Ma

Bihag lifted by a prominent tivra Ma (P M^ G) — a luminous, floating romance. Re and Dha weak; vadi Ga, dusk into night.

Puriya

Marwa Thaat · Shadav · Pa Varjit

Marwa's inward sibling — komal Re, tivra Ma, no Pa, but built on a strong shuddha Ga (vadi) and Ni. Deep, absorbed, meditative sunset.

Poorvi

Poorvi Thaat · Sampurna · Komal Re/Dha · Tivra Ma

The parent of the Poorvi thaat — the very sound of the sun going down. Grave and devotional; the gravity from which Shree and Paraj descend.

Shree

Poorvi Thaat · Sampurna · Komal Re · Tivra Ma

Sunset as reckoning, not romance. The vadi komal Re oscillates always. Shree does not console — it confronts. Devout, grave, immense.

Puriya Dhanashree

Poorvi Thaat · Shadav–Sampurna · Pa Absent in Aroha

The sky still lit but the light already gone. Six notes ascending, Pa withheld — and then Pa arrives only in the descent, like a promise kept late.

Yaman

Kalyan Thaat · Sampurna · Tivra Ma

Tivra Ma — the evening raga of longing and romance. All shuddha swaras except the sharpened Ma which opens the sky.

Jaijaiwanti

Khamaj Thaat · Dual Ga & Ni

Sadarang's grand night raga — two Gas and two Nis. Shuddha Ga leads up; the plaintive komal-Ga fold (R g R Sa) is its signature. Vadi Re.

Tilak Kamod

Khamaj Thaat · Komal Ni

A light, endearing Khamaj of the night — the curl G-Sa-Re and the leap R-P, komal Ni shading the descent. Homely, quick, affectionate.

Rageshri

Khamaj Thaat · Shadav · Pa Varjit

A serene Khamaj with Pa dropped entirely — shuddha Ga (vadi) and komal Ni over an open, Pa-less frame. Absorbed depth of night.

Gorakh Kalyan

Khamaj Thaat · Audav · Ga Varjit

Open and spacious, Ga banished and Pa held lightly — komal Ni and a strong shuddha Dha (vadi). Folk-touched breadth; a Khamaj despite the name.

Jog

Khamaj Thaat · Audav · Dual Ga

A smoky, powerful raga of the deep night — Re/Dha banished, and a startling drop from shuddha to komal Ga before Sa (M G M g Sa). Brooding, unmistakable.

Durga

Bilawal Thaat · Audav · Ga/Ni Varjit

A clean, strong pentatonic — Sa Re Ma Pa Dha, no Ga or Ni. Upright and reassuring; the shuddha Ma (vadi) its steady tread.

Shankara

Bilawal Thaat · Shadav · Ma Varjit

Shiva's own raga — bright, shuddha and Ma-less, bold Ga-Pa-Dha-Ni triads giving an exalted, heroic sweep. Vadi Ga.

Kalavati

Khamaj Thaat · Audav · Re/Ma Varjit

A sweet, uncomplicated night pentatonic — shuddha Ga/Dha with komal Ni, Re and Ma absent. The strong Pa (vadi) gives an easy, rocking lilt.

Miyan ki Malhar

Kafi Thaat · Malhar-anga · Dual Ni

Tansen's great rain raga — the komal Ni rising to shuddha Ni (n-D-N-Sa') is the very sound of the gathering monsoon. Grave, rolling, majestic.

Gaud Malhar

Kafi Thaat · Malhar-anga · Mixed Ga

The gentlest Malhar — a Gaud frame carrying the rain-raga's signature, komal-Ga fold from Gaud, bright Dha-Ni from Bilawal. The fine rain, not the storm.

Kedar

Kalyan Thaat · Audav–Sampurna · Shuddha + Tivra Ma

The raga that uses two Mas. The movement Ma→Ma^ feels like one step higher than expected. Devotional, intimate, beloved.

Khamaj

Khamaj Thaat · Sampurna · Komal Ni · Vadi Ga

The most joyful of the night ragas. The komal Ni softens everything. Flows through Thumri and Khayal equally — Ga is the anchor, romance is the rasa.

Kaunsi Kanada

Bhairavi Thaat · Kanada-anga · Komal g d n

Malkauns wedded to Darbari — the komal-Ga/Dha/Ni climb of Malkauns, drawing in a shuddha Re and fleeting Pa in descent for Kanada's grave weight. Vadi Ma.

Shahana

Kafi Thaat · Kanada-anga · Dual Ni

A rich, ornate Kanada for the deep night — komal Ga with a curling fold, two Nis lending sweetness on the upper reaches. More decorative than Darbari; vadi Pa.

Abhogi

Kafi Thaat · Audav · Pa/Ni Varjit

A tender Carnatic-born pentatonic — komal Ga over Sa Re Ma Dha, Pa and Ni absent. The missing Pa gives a wistful, open ache; vadi Ma.

Bahar

Kafi Thaat · Komal Ga · Dual Ni

The raga of spring sung at night — komal Ga and the Malhar-like leap M-P-g-M-D-n. Bright and eager; often paired with Basant as Basant-Bahar. Vadi Ma.

Malgunji

Kafi Thaat · Dual Ga · Bageshri-anga

A layered raga braiding Bageshri, Rageshri and Jaijaiwanti — komal Ga climbing, shuddha Ga descending, two Gas in one night. Rich, slightly melancholy.

Shivaranjani

Kafi Thaat · Audav · Ma/Ni Varjit

A wistful moonlit pentatonic — shuddha Re/Dha with a single komal Ga, no Ma or Ni. Simple and heart-tugging; the komal Ga (vadi) its bittersweet ache.

Kirwani

Harmonic Minor · Komal g d · Shuddha Ni

The harmonic minor made raga — komal Ga/Dha with a shuddha Ni pulling sharply to Sa. Dark, cinematic sweetness, adored on the instrumental stage. Vadi Pa.

Charukeshi

Shuddha Re/Ga · Komal Dha/Ni · Sampurna

A scale-raga that starts major and ends minor — the turn from brightness to shadow at the fifth gives its unmistakable bittersweet pull. Vadi Pa.

Basant

Poorvi Thaat · Both Ma · Spring

The raga of spring sung deep in the flowering night — komal Re/Dha, tivra Ma leading, shuddha Ma folding back. Lives high near taar Sa, restless with blossom.

Pancham Malkauns

Bhairavi Thaat · Malkauns + Pa

Malkauns given a fifth — the midnight komal Ga/Dha/Ni pentatonic with Pa restored, a window in Malkauns's closed severity. Brighter, more mobile; vadi Ma.

Malkauns

Bhairavi Thaat · Pentatonic · Komal Ga · Dha · Ni

Komal Ga, Dha, Ni with the characteristic pull toward Ma. The raga of midnight gravitas and tantric severity.

Ahir Bhairav

Bhairav Thaat · Sampurna · Komal Re · Komal Ni

Komal Re of Bhairav meets the shuddha Dha and komal Ni of Kafi — dawn devotion softened by a tender, folk-touched warmth. The vadi Ma is the emotional home.

Miyan ki Todi

Todi Thaat · Sampurna · Komal r g d · Tivra Ma

The queen of morning ragas — austere and grief-touched, yet regal. Komal Dha (vadi) and komal Ga (samvadi) hold its aching centre.

Jaunpuri

Asavari Thaat · Komal g d n · Ga Varjit in Aroha

An Asavari raga of the late morning. Ga is skipped in ascent, appearing only in descent. Vadi komal Dha; measured, contemplative, quietly sorrowful.

Marwa

Marwa Thaat · Shadav · Komal Re · Tivra Ma · Pa Varjit

Pa is banished; Sa itself is nearly avoided. The komal Re (vadi) hovers unresolved against shuddha Dha — sunset as a dissolving of the self, not a romance.

Bhupali

Kalyan Thaat · Audav · Pentatonic · Ma & Ni Varjit

The pentatonic of Kalyan — five pure notes, a clear pond at dusk. The most serene of evening ragas. Vadi Ga, samvadi Dha.

Desh

Khamaj Thaat · Dual Ni · Monsoon

Shuddha Ni climbing, komal Ni falling — the raga of the monsoon and of longing for the homeland. Vadi Re, samvadi Pa.

Bihag

Bilawal Thaat · Ornamental Tivra Ma · Re & Dha Weak

Shuddha throughout, with a fleeting tivra Ma touching the shuddha Ma like a grace note. Vadi Ga, samvadi Ni — a raga of luminous night romance.

Hansadhwani

Bilawal Thaat · Audav · Pentatonic · Ma & Dha Varjit

A bright pentatonic of Carnatic origin — S R G P N. Often used to open a concert. The shuddha Ni leaping to taar Sa is its joyous signature.

Bageshri

Kafi Thaat · Komal Ga · Komal Ni · Pa & Re Weak

Pa is nearly silent; Re appears only in descent. The raga of a woman awaiting her beloved — tender, yearning, deeply feminine. Vadi Ma.

Darbari Kanada

Asavari Thaat · Sampurna · Andolit Komal Ga

The emperor of night ragas. Its komal Ga descends with a slow, wide aandolan — a note that bends the whole raga around it. Grave, vast, unhurried.

Lalit

Marwa Thaat · Both Ma · Komal Re · Pa Varjit

The last watch of night — both shuddha and tivra Ma a semitone apart, circling shuddha Ga. Pa is banished; komal Re deepens the pre-dawn ache.

Sohni

Marwa Thaat · Komal Re · Tivra Ma · Pa Varjit

A raga that lives in the upper octave — it climbs fast to taar Sa and lingers, looking down. Vadi Dha; Dha–Ni–Sa' is its longing as night thins.

Paraj

Poorvi Thaat · Komal Re & Dha · Tivra Ma

A bright, festive raga of the night's end — vibrant taar-Sa play sets it apart from the graver Poorvi ragas. The ascent to Sa' carries coming dawn.

Bibhas

Bhairav Thaat · Audav · Ma & Ni Varjit

A pentatonic Bhairav-thaat raga of daybreak — five notes, no Ma, no Ni. Komal Dha (vadi) leaning to Pa draws its quiet devotional arc.

Kalingda

Bhairav Thaat · Sampurna · Chanchal

Bhairav's lighter, quicker cousin — same komal Re and Dha, but sung fast and playful as the sky lightens, often to close a night concert. Vadi Pa.

Bhatiyar

Kalyan Thaat · Mishra · Both Ma · Vakra

A famously contested raga of the last dark hour, braiding Bilawal, Kalyan and Mand — both madhyams, the tivra leading up to Dha, the shuddha folding G-M-G-R-S back. Bhatkhande files it under Marwa, but its shuddha Re sits far better in Kalyan; gharanas differ.

Hindol

Kalyan Thaat · Audav · Re/Pa Varjit

The swing of first light — a Kalyan pentatonic of shuddha Ga, tivra Ma, Dha and Ni. The absent Pa lets Ma and Dha rock back and forth like a swing at sunrise; bright, buoyant. Vadi Dha.

Kabiri Bhairav

Bhairav-anga · Mixed · Dual Ga

A mystic, mixed Bhairav of the Kabir-panthi dawn singers — grave komal Re and Dha, but a fleeting komal Ga crosses the descent (M g M G r) like a Kafi shadow. Rare mixed form; vadi Ma.

Reva

Bhairav Thaat · Audav · Ma/Ni Varjit

The Bhairav family's pentatonic at dawn (Revagupti in the Carnatic world) — komal Re and Dha with a shuddha Ga over Sa r G P d. The bare five notes stand stark against the dark; vadi Ga.

Vibhas

Poorvi Thaat · Komal Re/Dha · Tivra Ma

The Poorvi-thaat Vibhas — distinct from its Bhairav-thaat cousin Bibhas — komal Re and Dha with a tivra Ma surfacing only in descent, the ascent skipping Ma. Pa is a still devotional centre; vadi Pa.

Jangula

Bhairav Thaat · Shadav · Ni Varjit

A lesser-known austere Bhairav-family raga for daybreak — komal Re and Dha with the Ni dropped, the octave reached from komal Dha. Kin to Jogiya but keeping shuddha Ga. Rare; forms vary. Vadi Ma.

Saurashtra Bhairav

Bhairav-anga · Dual Ni

A Bhairav-parivar raga of the western Saurashtra tradition (kin to the old Saurashtra Tank) — both Nis, the shuddha leading up, a komal Ni curling as a vivadi grace in descent. Regional; forms vary. Vadi Ma.

Bangal Bhairav

Bhairav-anga · Komal Re · Shuddha Dha

The Bengal reading of Bhairav — the tremulous komal Re kept, but the Dha raised to shuddha, sweetening the grave morning severity into something more tender and lyrical. A regional Bhairav-parivar form; vadi Ma.

Shivmat Bhairav

Bhairav-anga · Komal Re/Dha/Ni

A Shaiva-tinged Bhairav for the ascetic pre-dawn — Bhairav's komal Re and Dha, but the Ni also lowered, so the descent sinks toward Bhairavi's shadow. That darker Ni deepens the austerity into renunciation. Rare; vadi Ma.

Prabhat Bhairav

Bhairav-anga · Both Ma

Bhairav at the very moment of brightening (prabhat) — the grave komal Re and Dha, but a tivra Ma slips into the descent like the first flush of light entering a dark scale. The doubled madhyam is its glow. Rare; vadi Ma.

Bilawal

Bilawal Thaat · Sampurna · All Shuddha

The parent scale itself made music — all seven shuddha swaras, the reference against which every accidental is heard. Bright, wholesome morning ease.

Deshkar

Bilawal Thaat · Audav · Uttarang-pradhan

Bhupali's morning mirror — the same five notes, weighted to the upper tetrachord (Dha) and sung at daybreak. Vadi Dha.

Bhairavi

Bhairavi Thaat · Sampurna · All Komal

The great morning raga that closes a concert — all four komal swaras. Bhairavi dissolves rules; every emotion passes through it. Vadi Ma.

Brindavani Sarang

Kafi Thaat · Audav · Dual Ni

The bright noon raga — no Ga, no Dha; shuddha Ni climbing, komal Ni falling. Krishna and the heat of midday Brindavan. Vadi Re.

Shuddha Sarang

Kalyan Thaat · Both Ma · Ga Varjit

A Sarang with a Kalyan lift — both Ma around Pa, no Ga. Poised and bright at midday. Vadi Re, samvadi Pa.

Madhmad Sarang

Kafi Thaat · Audav · Komal Ni only

The plainest Sarang — five notes, only komal Ni. Pure Kafi-anga clarity at noon. The phrase n–P–M–R is its whole world.

Gaud Sarang

Kalyan Thaat · Vakra · Both Ma

An ornate, zig-zag raga of midday — vakra movement everywhere, both Ma, leaning phrases like G–R–M–G. Playful and intricate.

Bhinna Shadja

Bilawal Thaat · Audav · Re & Pa Varjit

A rarefied pentatonic — no Re, no Pa; shuddha Ga Ma Dha Ni. Clean, floating, austere yet luminous. Vadi Ma.

Multani

Todi Thaat · Komal r g d · Tivra Ma

Todi's afternoon face — komal Re Ga Dha, tivra Ma, but Re & Dha near-silent in ascent, giving a lean S–G–M^–P–N climb. Grave, searching.

Madhuvanti

Todi Thaat · Komal Ga · Tivra Ma

A modern, honey-toned raga — komal Ga and tivra Ma over a bright Pa, with shuddha Re and Dha. The phrase g–M^–P is its sweetness.

Dhani

Kafi Thaat · Audav · Komal Ga & Ni

Malkauns with a Pa — a pentatonic of komal Ga and Ni, brightened and made wistful by the perfect fifth. Light, folk-touched. Vadi Ma.

Patdeep

Kafi Thaat · Komal Ga · Shuddha Ni

A warm afternoon raga — komal Ga with a shuddha Ni, Dha omitted. Kin to Bhimpalasi but brightened by the Ni climbing to Sa'.

Ramkali

Bhairav Thaat · Tivra Ma in Avaroha

A stern Bhairav-family dawn raga with a secret — flashes of tivra Ma and komal Dha–Ni in the descent that Bhairav never allows. Vadi Pa.

Chandrakauns

Bhairavi Thaat · Audav · Shuddha Ni

Malkauns bathed in moonlight — komal Ga, Ma and komal Dha, but a shuddha Ni that lifts the midnight austerity toward the mystical.

Adana

Asavari Thaat · Kanada-anga · Drut

Darbari's quick, upper-register cousin — the same komal Ga Dha Ni, but sung fast and bright in the taar octave. Heroic and restless.

Raag Constellation

Network diagram showing musical closeness — by shared notes, thaat family, rasa, and prahar.

Raag Comparison

Side-by-side gravity weights, chromatic map, and phrase arc overlay for all raags.

Paltas · Alankars

Riyaaz exercises — basic, intermediate & advanced, with playback. Each raga page also has its own.

Rhythm & Taal

The tabla, its bols & konnakol, and 20 famous taals with visual khaali–taali cycles and playable theka.