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Short description of Few Popular Raags (Raga) Sanskrut pronounciation is Raag and NOT Raga

(Alphabetical)

Name of Raag (Karnataki Resemblance)

Timing

Mood

Details

Aroha

Avroha

Vadi, Samvadi (Main Swaras)

Ahir Bhairav

(Chakravaka)

Morning

serious, devotional

It is a old raag obtained by the combination of two raags, Ahiri & Bhairav. It belongs to the Bhairav Thaat. Its first part (poorvang) has the Bhairav ang and the second part has kafi or harpriya ang. Jati is sampoorna - sampoorna. Similar raag in Hindustani music is Anand Bhairav.

Sa ri Ga Ma Pa Ga Ma Dha ni Så

Så ni Dha Pa Ma Ga ri Sa

(Ma, Sa)

Asavari

(Natabhairavi)

Morning

tenderness, renunciation

In Aroha ,ga & Ni are not used. The combination of Pa-ga and dha-ga is pleasing. The beauty of this raag lies in Avroha as it is Uttranga raag. Jati is Audava Sampoorna.

Sa Ri Ma Pa dha Så

Rï Ni dha Pa Ma ga Ri Sa

(dha, ga)

Bageshree

(Rithigowla)

Night

Pleasant

One of the pleasantest of night Raags. Its name in granthas is Vageeshwari. Placed under Kafi thaat. Jati is shadava sampoorna. Pa is used in vakra fashion and not in straight manner. e.g. Pa Dha Ma ga Ri Sa. Pa is not used in Aroha.

Sa Ri ga Ma Dha ni Så

Så ni Dha Ma Pa Dha Ma ga Ri Sa

(Ma, Sa)

Basant

(Vasantha)

At night; any time during season of Vasant Ritu

It is a mausami or seasonal raag. Belongs to Purvi Thaat. In Aroha, Pa is not used. Ang of Lalit is also introduced.This gives a beautiful effect. Ni should not be extended else it will sound like raga Paraj.

Sa Ga ma dha Ni Så

Så Ni dha ma Ga Ma Ga Ma Ga ri Sa

(Sa, Pa)

Bhairav

(Maya-malava- goula)

Morning

tenderness, invocation, devotional, peace.

It is called the "Adi Raag" or the first Raag. This raga is held in great reverence as it is believed to have emanated from the middle face of Lord Mahadeva. Andolan on ri and dha are diagnostic. Similar raga kalingda.

Sa ri Ga Ma Pa dha Ni Så

Så Ni dha Pa Ma Ga ri Sa

(dha, ri)

Bhairavi

(Hanuma-todi)

Early Morning

sadness, passion

One of the most popular raag. This is usually the raag with which, a music concert extending beyond midnight comes to a close. Belongs to Bhairavi That. Today it is sung as mixture of Bhairavi & Sindhu Bhairavi. Bilaskhani Todi resembles Bhairavi to some extent.

Sa ri ga Ma Pa dha ni Så

Så ni dha Pa Ma ga ri Sa

(Ma, Sa)

Bhupali

Early Morning

Charming, Soothing

One of the most popular raag due to its simple and uncontroversial structure. Five note scale is used popularly known as "anhemitonic pentatonic". Belongs to Kalyan Thaat.

Sa Ri Ga Pa Dha Så

Så Dha Pa Ga Ri Sa

(Ga, Dha)

Bihag

(Behag or Byag)

Between 9 p.m.- Midnight

melancholy, desire for enjoyment

Classic example of Raags in which one variety of a swara is gradually replaced by another variety for increasing pleasantness till the another variety becomes more important one. Today, use of Tivra ma is so common that without a liberal use of Tivra ma Bihag sounds dull. That Bilaval or Kalyan. Pa ma Ga Ma Ga is used quite often.

Ni Sa Ga Ma Pa Ni Så

Så Ni Dha, Pa ma Ga Ma Ga Ri Sa

(Ga, Ni)

Bilawal

Shankarabharana

Shudhh Bilawal is a Sampoorna Jati Raag originating from thaat Bilawal. Allaiya Bilawal is more popular than shuddh Bilawal.

Sa Ri Ga Ma Pa Dha Ni Så

Same in descent

(Dha, Ga)

Bilaskhani Todi

(Himandi)

2nd prahara of day.

Sadness, Divine.

When Tansen died, his sons assembled near his dead body and sang to please Tansen's soul. When his son Bilaskhan sang a new kind of Todi, Tansen's dead body is said to have shook its head in appreciation of the Raga. Hence this raag is called Bilaskhani Todi. It belongs to Bhairavi Thaat.

Sa ri ga Pa dha Så

rï ni dha Ma ga ri Sa

(dha, ga)

Charukeshi (south Indian raga

It is formed when Sa Ri Ga Ma of Bilawal thaat are combined with Pa dha ni Sa (uttranga) of Bhairavi Thaat.

Sa Ri Ga Ma Pa dha ni Så

Så ni dha Pa Ma Ga Ri Sa

Chaya Nat

(Saranga) Chayanat of Karnatak Music is different.

7 p.m. to 10 p.m.

Belongs to Kalyan thaat. Pa Ri Combination is frequently used and sounds beautiful. Komal ni is sometimes used. Tivra ma is used only in Aroha. In Avroha both Madhyam are used. Like raga's include, Hamir & Kamod.

Sa Ri - Ga Ma Pa - Ni Dha - Så

Så Dha Ni Pa - ma Pa Dha Pa - Ga Ma Ri Sa

(Pa, Ri)

Deepak

(Deepaka)

Evening "Lamp-lit" time.

Serious

It is an ancient raag. It is said that this raga had the power of creating fire. But no one is able to demonstrate its power today. Tansen is said to have performed this successfully by singing Deepak Raga and lighting the wicks. (Tansen was the famous court Musician of Akbar) It originates from poorvi thaat.

Sa ga ma Pa dha Ni Så

Så dha Pa ma Ga ri Sa

(Sa, Pa or Pa, Sa)

Des or Desh

(Kedaragaula)

9 p.m. to midnight.

It belongs to the khamaj thaat. It is an Audav Sampoorna Raga, and the sangati of Dha Ga sounds beautiful. Ga is elongated so that it may not seem like Tilak Kamod. It is a popular raga.

Sa Ri Ma Pa Ni Så

Så ni Dha Pa Ma Ga Ri Sa

(Pa, Ri)

Deshi or Desi Todi

(Huseni) (Desika todi is different)

2nd prahara of the day 9 am to midday.

It belongs to the Asavari thaat. Two types 1. Audava Sampoorna and 2. Shadav Sampoorna.

ni Sa Ri Pa ga -Ri Ma Pa - dha Pa Så Ni Så

Så ni dha Pa - Pa dha Ma - ga Ri - Ni Sa

(Pa, Ri)

Durbari Kanada

(Durbari Kanada)

Night

Majestic, enchanting, serious, peace.

It is one of the grandest of Hindustani Raags. Mia Tansen who was one of the nine gems of Akbar's court is said to have invented this raga and sung it in Akbar's Durbar, Hence it is called Durbari Kanada. It is full of majesty. Belongs to Asavari Thaat. Andolan on ga and elongation of dha give great charm to this raga. Combination of ni Pa & halt on Pa is pleasing.

Sa Ri ga - Ma Pa - dha ni Så

Så dha - ni Pa -Ma Pa - ga Ma - Ri Sa

(ga, dha)

Durga

(Suddha Saveri)

Morning

Belongs to Bilawal Thaat & is sung with Malhar Anga. Its jati is Audava-Audava. Swaras Ga & Ni are omitted both in Aroha and Avroha.

Sa Ri Ma Pa Dha Så

Så Dha Pa Ma Ri Sa

(Pa, Sa)

Gara

(Dhanakapi)

2nd Prahara of Night

Pleasing

It belongs to Khamaj Thaat. It is played mostly in mandra and madhya saptak. It is considered to be mixture of raags Pilu, Jhinjoti and Khamaj. It is meant for light songs.

Ma Pa Dha Ni Sa- Ri ga Ri - Ga Ma Pa - Pa Ma ga Ri - Sa ni Dha Pa Dha Ni Sa

(Sa, Pa)

Hamsadhvani

(Hamsadhvani)

First prahara of night

Love

Karnataki raga, placed under Bilawal Thaat. Its jati is Audava- Audava. Ma and Dha are omitted completely. Ri is a beautiful halting swara. It is not mentioned in ancient books.

Sa Ri Ga Pa Ni Så

Så Ni Pa Ga Ri Sa

Jayajayavanti

(Jeejavanti)

Night

Appealing, majesty

It is a popular raag belonging to khamaj thaat. Jati is Sampoorna- Sampoorna. Dha ni Ri is characteristic of this Raga. Two types 1 . with Bageshree Anga 2. with Desh Anga

Sa Ri ga Ri Sa - Dha ni Pa Ri Ga Ma Dha ni Så

Så Ni Dha Pa Dha Ma Ga Ri - Ri ga Ri - Sa

(Ri, Pa)

Jhinjoti

(Senchurutti)

Night

Love

It is a very pleasing raag. It is freely mixed with other ragas for rendering thumris. Rendering of this raga in mandra and madhya saptaks is very pleasing. Belongs to the khamaj thaat.

Sa Ri Ma Ga - Ma Pa ni Dha - Pa Dha Så

Så ni Dha Pa Ma Ga Ri Sa

(Ga, Ni)


Name of Raga

(Karnataki Resemblance)

Timing

Mood

Details

Aroha

Avroha

Vadi, Samvadi (Main Swaras)

Kafi

(Kharahara- priya)

Evening / Night

Passion

Kafi is a very popular raag. It belongs to Kafi thaat. Its jati is sampoorna sampoorna. Double swaras Sa Sa - Ri Ri ga ga Ma Ma Pa Pa are pleasing in this raga. Pure kafi is rarely sung at present. What is catered as kafi contains touches of Sindhura which resembles kafi closely. Kafi is mostly chosen for rendering Thumries, Bhajans Hori Tappa etc.

Sa Ri ga Ma Pa Dha ni Så

Same in descent

(Pa, Sa)

Kamod

(Saranga) Kamoda has no resembelence to Kamod

First prahara of night

Love

It belongs to kalyan thaat. Its jati is Shadava-Sampoorna. Combination of Ri Pa is very prominent and suggestive of Kamod. If Ga is omitted, then it becomes what is called Shudhh Kamod.

Sa Ga Ma Pa dha ni Så

Så ni Dha Pa Ma Ga Ri Sa

(Pa, Ri)

Khamaj

(Harikambodhi or Khamaj)

2nd prahar of night.

Devotional.

Belongs to khamaj thaat.It is a shadav sampoorna raag. Ri is omitted in Aroha. Combination of Dha Ga is frequently used. Beauty of this raga lies in the swaras Ga Ma Pa and Ni Tan's end on these swaras

Sa Ga Ma Pa Dha ni Så

Så ni Dha Pa Ma Ga Ri Sa

(Ga, Ni)

Lalit

(Suryakanta)

From midnight till 9 am.

tenderness

Belongs to marva thaat. Jati is shadav - shadav. Pa is omitted in this raga. Some musicians use only komal dha while some use both Komal and Shudhh dha. This is one of the few raags in which two Madhyam occur side by side as ma Ma.

Sa ri Ga Ma ma dha Ni Så

Same in descent

(Ma, Sa)

Malkauns

(Hindola)

Midnight, also midday

Peace, sublimity

Very old and popular raga. It is one of the pleasantest of ragas. It belongs to Bhairavi thaat. Jati is Audava Audava. Ri & Pa are omitted in this raga. In this raga, andolans on ga ni and dha are beautiful. Ma is kept isolated and sounds beautiful.

Sa ga Ma dha ni Så

Så ni dha Ma ga Sa

(Ma, Sa)

Mand

(Mand)

Any time (sarvakal raga).

Pleasing

It belongs to Bilaval thaat. Jati is sampoorna. Characterized by large no of irregular sancharis like Sa Ga, Re Ma, Ga Pa, Ma Dha, Pa Ni. It is not considered to be a high class raga. It is particularly suited for bhajans. In Aroha, Ri and Ni are weak (sometimes omitted).

Sa Ga Ma Pa Dha Så

Så Ni Dha Pa Ma Ga Ri Sa

(Sa, Ma)

Marwa

(Gamanapriya)

Last quarter of the day.

Roughness, uneasiness

It is the most important raag of Marwa thaat. Jati is shadav-shadav Pa is omitted. Combination of ri Dha & ma Dha are pleasing. Halts on ri & Dha give a characteristic charm to this raga. Ni should not be prominent else it will sound like raga Puriya.

Sa ri Ga ma Dha Ni Dha Så

ri Ni Dha ma Ga ri Sa

(ri, Dha)

Megh Malhar

Last quarter of the day.

Belongs to kafi thaat. Audava - Audava jati. It is a seasonal raag and sung as invitation to Rains. It is similar to Bridavan Sarang.

Sa - Ma Ri - Ma Pa Ni Så

Same in descent.

(Sa, Pa or Ma)

Mia Malhar

(Kanada)

9 p.m. & 12 p.m. . Seasonal raga and is sung in monsoon

It is supposed to be invented by Mia Tansen. However, there are some doubts about it as some believe that the Raga known as Malhar which was prevalent before Tansen is now known as Mia Malhar. Two nishads are used. Kafi thaat. High class raga like darbari kanda, malkaunsh etc.Jati shadav.

Sa - Ma Ri Pa - ni Dha Ni - Så

Så ni Pa - Ma Ga Ri Sa

(Pa, Sa)

Peelu

(Karnatak Devgandhari)

Evening

pity, sorrow

It belongs to the kafi thaat. It s jati is shadav-sampoorna. Ri is omitted in Aroha. It is fit only for light music, however, it is a very pleasing raga. Nowadays, nearly all musicians sing mishra peelu only. It is very much suited for Bhajans and Thoomries.

Ni Sa Ga Ma Pa - ni Dha Pa - Så

Så Ni dha Pa- Dha Pa Ma ga -Ri Sa

(Pa, ga)

Purvi

(Kamavardhani)

6pm to 9pm (when day & night meet)

Prayer

It belongs to the poorvi thaat. It s jati is sampoorna. Both madhyams are used. Shudhh Ma is used only in Avroha. Although Pa is not omitted in Aroha, it is kept weak to differentiate from Puriya Dhanashree.

Sa ri Ga ma Pa dha Ni Så

Så Ni dha Pa- ma Ga -ri Ma Ga - ri Ga ri Sa

(Ga, Ni)

Rageshree

(Ravichandrika)

Night

Love

It is a very pleasing raga belonging to khamaj thaat. Jati is Audava Shadava. Ri & Pa are omitted in Aroha. In Avroha, Pa is dropped. Originally it consists of two nishads but currently, most musicians use only komal Nishad. Combination of Dha Ma appear frequently.

Sa Ga Ma Dha Ni Så

Så ni Dha Ma Ga Ri Sa

(Ga, ni)

Todi (Mia Ki Todi)

(Jana Todi)

morning raga 7am-11am.

Devotional

It belongs to Todi Thaat. Combination of dha ga appear frequently. Pa is used sparingly and in a special manner as ma dha Pa. When halt is made on Pa after evading it for some time, it sounds beautiful. Similar ragas include Mooltani and Bahadur Todi.

Sa ri ga ma dha Ni Dha Så

Så Ni dha Pa ma ga ri Sa

(ga, dha)

Yaman

(Mecha-kalyani)

Second half of night

(Merriment)

It is also called kalyan. It belongs to kalyan thaat. Jati is Sampoorna. In Aroha combination of Ni Ri Ga & ma Dha Ni are used frequently leaving out Sa & Pa. It sounds beautiful.

Sa Ri Ga ma Pa Dha Ni Så

Same in descent.

(Ga, Ni)