From the dry dusty terrain of Western India, to the lush forests of the East. From the first day of breaking dawn, to the intense darkness of midnight. From the courts of emperors and conquerors, to our humdrum, everyday lives. Ragas capture so many different nuances of emotion, mood, and meaning. One calls upon the clouds to rain down upon us, while another seeks out the brightness of light. Raga by raga, you can discover the whole of life being described.
Khamaj : The Flirtatious Raga
Aarohana : S - G - m - P - D - N - S' Avarohanam : S' - n - D - P - m - G - R - S
The Khamaj raga is a popular romantic raga. Often described as sensual and flirtatious, it is the basis for a wide variety of ghazals and thumris. The late evening raga is suited to semi-classical and lighter styles of composition.
Dharbari : The Grand Raga
Aarohana : S-R-g, m-P-d, n-S’ Avarohanam : S’-d-n-m-P, m-P-n-g-m-R-S
Raga Darbari is one of the grandest ragas in Hindustani classical music, befitting of the King's court, the darbar. Majestic, enchanting and serious, it is believed to have been invented by Tansen, and sung at Emperor Akbar's darbar. This grand raga fills its listeners with a sense of peace.
Hindol : The Soothing Raga
Aarohana : S - G - M - D - S' Avarohanam : S' - (N) D - M - G - S
Raga Hindolam is a raga in Carnatic music, whose equivalent in Hindustani music is Malkauns. Beautiful and soothing to listen to, it is perfectly symmetrical in ascending and descending scales. Shades of these raga can be found in Chinese and East Asian music, which also uses pentatonic scales.
Pahadi : The Mountain Raga
Aarohana : 'P-'D-S-R-G-P-D-S' Avarohanam : S'-N-D-P-m-G-R-s-'n-'d-'P-'d-S
The Pahadi raga is one much loved by flautists. Is clear fresh notes evoke the cool, crisp air of the mountains. Best suited to the hours of late evening and night, 6pm to 9pm are the most appropriate hours for its playing.
Hamsadhwani : The Swan Raga
Aarohana : S - R - G - P - N - S' Avarohanam : S' - N - P - G - R - S
The Hamsadhwani raga takes its name form "the sound of swans". It is a raga in Carnatic music, that is also used extensively in Hindustani music. A raga that fills its listener with positive energy and a sense of well-being. It is sung in the evening hours ,after sunset.
Aarabhi : The Energetic Raga
Aarohana : S - R - m - P - D - S' Avarohanam : S' - N - D - P - m - G - R - S
The Aarabhi raga belongs to the school of carnatic music and dates all the way back to 7 AD. Very energetic, it lands itself to creativity in brighas. Ancient tamil music referred it as pazhanthakkam.
Yaman : The SunDown Raga
Aarohana : ’N-R-G-M-D-N-S’ Avarohanam : S’-N-D-P-M-G-R-S
Raga Yaman is one of the first ragas taught to students of music.Its serene, haunting quality evokes an environment suffused with bhakthi. To be performed at the sunset hours, from 6pm to 9pm, raga yaman is a lyrical expression of the deep, complex mood of dusk.
Malahar : The Monsoon Raga
Aarohana : S,R,g,M,P,DHA,N,SA Avarohanam :SA,n,DHA,P,M,g,R,S
Malahar, the ancient raga in Indian classical music, is believed to be so powerful that rain falls from the sky when it is sung. Legend has it that artists from medieval times like Tansen, Baiju Bawra and Meera have started the rain by singing variations of raga Malhar
Megh: The Cloud Raga
Aarohana : S - R - m - P - n - S' Avarohanam : S' - n - P - m - R - S
Raga Megh is a popular evening raga, that is usually depicted as a cloud filled sky. One of the oldest ragas in Indian classical music, it is commonly associated with the monsoon season.
Sarang : The Romantic Raga
Aarohana : S R M P N S Avarohanam : S n P M R S
Raga Sarang is a noon raga capturing the emotions of love and romance. Said to have originated in Uttar Pradesh, this raga is the musical depiction of the romance between Radha and Krishna in the forest haven of Brindavan
Kapi : The Mystical Raga
Aarohana : S - R - g - m - P - D - n - S' Avarohanam : S' - D - P - m - R - g - m - R - S
The Kapi raga is a popular raga in the Carnatic music, that is typically performed at slow and medium speeds. Said to induce a mood of deep, mystical devotion in the listeners. Kapi is known for its intriguing complexity and unfathomable quality.
Kedar : The Damru Raga
Aarohana : S m, m(G)P, MPDN S' Avarohanam : S' ND P, MPD(n)DP - MP DP m, SRS
The kedar raga is rich, and characterful. Taking its name from Lord Shiva, it is played on his musical instrument of choice, the damru. This much-loved raga describes a kaleidoscope of complex melodic gestures and conduct.
Bageshri : The Midnight Raga
Aarohana : S - g - m - D - n - S' Avarohanam : S' - n - D - m, m - P - D - m - g, R - S
Raga Bageshri is meant to be played at midnight, until 3 am. Represented as moon and stars, it captures the poignant emotions of a woman waiting to be reunited with her lover. Legend has it that it was first sung by Tansen at Akbar's court.
Neelambari : The Wedding Raga
Aarohana : S G3 M1 P N3 S Avarohanam : S N3 P D2 N2 P M1 G3 R2 M1 G3 S
The Neelambari raga is a calming, soothing scale, best suited for lullabies, and wedding songs. Designed to evoke bhakthi, karuna and vatsalya rasam, it is very popular raga.
Poorvi : The Dusk Raga
Aarohana : 'N - r - G - M - d - N - S' Avarohanam : S' - N - d - P - M - G - m - r - G, M - G - r - S
The poorvi raga is rendered at sunset, when the day ends. It is an uncommon raga, with a quiet mystical and deeply series character. Often visualised as a girl it uses all seven notes in the ascent & the descent.
Bhairavi : The Finale Raga
Aarohana : S - r - g - m - P - d - n - S' Avarohanam : S' - n - d - P - m - g - r - S
Raga bhairavi is the morning raga in hindustani classical music. However, as many performances used to last all night, it is usually performed at the finale. Even today , it is usually the concluding piece of a concert. The defining raga of its thaat, it reflects a peaceful, serious mood
Todi : The Adoration Raga
Aarohana : S R1 G2 M1 P D1 N2 S Avarohanam : S N2 D1 P M1 G2 R1 S
Raga Todi is a late morning raga. The thaat of the same name is described as the king of all thaats. It describes a mood of charmed adoration and devotion. It is traditionally visualized as a beautiful women in a forest, holding a veena, with a deer next to her.
Kamboji : The Majestic Raga
Aarohana : S - R - G, P, D - S' Avarohanam : S' - n, D - P, m - G - R - S
The Kamboji raga is a sublime classical raga, well known for its majesty and feminine grace. It is accepted as a great gift from ancient Kambojas to the world of music, and it is to be played in the first quarter of the night. Often described as a beautiful, young girl Kambojika, it expresses the glorious and splendorous.
Charukeshi : The Devotional Raga
Aarohana : S - R - G - m - P - d - n - S' Avarohanam : S' - n - d - P - m - G - R - S
The Charukeshi raga is also known as Tarangini in the Muthuswami Dikshitar school of Carnatic music. Known to incite feelings of piety, pathos and devotion in the listener, Charukeshi means "with beautiful hair"
Lalit: The Serene Raga
Aarohana : ,N r G M d N S' Avarohanam : S' N d; M d M m; G M G r S
The Lalit raga belongs to Hindustani classical music, and is often described as serene and devotional. Usually performed at dawn, it is a hexatonic raga. It is considered difficult to play for Western classical musicians because of its scale.
Desh : The Patriotic Raga
Aarohana : 'N - S - R - m - P - N - S' Avarohanam : N - S' - R' - n - D - P - D - m - G - R - G - 'N - S
Raga Desh is a Hindustani classical raga that lends itself to some of the most melodious tunes in music. Frequently used in patriotic compositions, it is recognized in the form of India's national song,Vande Mataram
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