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.

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.

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.

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.

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.

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.