Category Archives: Raagkosh

List and basic description of Hindustani Raags

A note on Thaats

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Many modern musicologists believe that there are only 10 usable Thaats in modern Northern Indian music. Although there are many popular Raags today, that do not comply with this theory. Pundit Bhatkhande devised a system to assign Thaats for such Raags based on their usage of the following notes:

‘r’ and ‘d’ komal
‘R’ and ‘D’ shudh
‘g’ and ‘n’ komal

The above division of Raags is born out of the ‘Raag-Time Theory’. This system works fine as long as one is well versed in both theories (Thaat system and Time Theory). Mathematically this system has no value. The Thaat System was devised on usage of notes in a certain fashion (mathematically). A Raag should not have any notes that do not exist in its parent Thaat. To find the solution to this problem, we are going back to the original Thaat system. According to which there are 32 Sampooran Thaats. This Ragkosh is based on that theory. Still,
special attention has been paid to mention the popular Thaat for those Raags which have been categorized under another than their original Thaat.

Back to the Thaat List.

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A note on Ragkosh

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Raags in each Jati and Thaats are categorized alphabetically. To write this list completely in plain text, some of the notation rules have been amended. Please use the following keys to read this list:

1. Natural notes: S R G m P D N S* represent “tone-tone-semitone-tone-tone-tone-semitone” (natural scale).
2. Vikrat Notes: Flats (Komals) are in lower case, such as: “r, g, d, n” and Sharp or Tivar Madhyam (only Madhyam is Vikrat when Tivar) is in upper case with an apostrophe such as: “M’”
3. Middle Suptak (Septave) Notes: these notes are written without any markings. S r R g G m M’ P d D n N
4. Lower Suptak Notes: These Notes are followed by a period, such as: N., d., P.
5. Upper Octave notes: These notes are followed by a star, such as: S*, r*, G*
6. Visit this post to read more about the Thaat system. And, reference to this post to view 32 Thaats.
7. Visit this post to find the definitions of various words used in this list.
8. Read about nine Jaites of Raags here.

Click here to pick a Thaat (parent Scale)
Click here to pick a Jati (note count)
Click here to see the entire list alphabetically

You may also use the search feature on this blog to find a Raag.

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List of Jaties

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Please pick one of 9 Jaties below. To read more about Jaties, read this post.

Click here to pick a Thaat (parent Scale)
Click here to pick a Jati (note count)
Click here to see the entire list alphabetically

You may also use the search feature on this blog to find a Raag.

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List of Thaats

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Thaats

Please read a note on Thaats here. Please pick a Thaat below:

  1. Asavari – S,R,g,m,P,d,n,S*
  2. Bakulabharan – S,r,G,m,P,d,n,S*
  3. Bhairav – S,r,G,m,P,d,N,S*
  4. Bhairavi – S,r,g,m,P,d,n,S*
  5. Bhavpirya – S,r,g,M’,P,d,n,S*
  6. Bilaval – S,R,G,m,P,D,N,S*
  7. Chakarvak (Ahir Bhairav) – S,r,G,m,P,D,n,S*
  8. Charukeshi – S,R,G,m,P,d,n,S*
  9. Dharamvati – S,R,g,M’,P,D,N,S*
  10. Dhenuka – S,r,g,m,P,d,N,S*
  11. Gauri Manohari – S,R,g,m,P,D,N,S*
  12. Hemvati – S,R,g,M’,P,D,g,S*
  13. Kafi – S,R,g,m,P,D,n,S*
  14. Kalian – S,R,G,M’,P,D,N,S*
  15. Khamaj – S,R,G,m,P,D,n,S*
  16. Kirvani – S,R,g,m,P,d,N,S*
  17. Kokilpirya – S,r,g,m,P,D,N,S*
  18. Latangi – S,R,G,M’,P,d,N,S*
  19. Marva/Gamanpirya – S,r,G,M’,P,D,N,S*
  20. Namnarayani – S,r,G,M’,P,d,n,S*
  21. Natakpirya – S,r,g,m,P,D,n,S*
  22. Pooravi – S,r,G,M’,P,d,N,S*
  23. Rampirya – S,r,G,M’,P,D,n,S*
  24. Rishavpirya – S,R,G,M’,P,d,n,S*
  25. Sahinder Madhyam – S,R,g,M’,P,d,N,S*
  26. Sarsangi – S,R,G,m,P,d,N,S*
  27. Shadvidhmargani – S,r,g,M’,P,D,n,S*
  28. Shanmukhpirya – S,R,g,M’,P,d,n,S*
  29. Suryakant – S,r,G,m,P,D,N,S*
  30. Swaranangi – S,r,g,M’,P,D,N,S*
  31. Todi – S,r,g,M’,P,d,N,S*
  32. Vachaspati – S,R,G,M’,P,D,n,S*

To see how thaats relate to each other, please visit this page:

Click here to pick a Thaat (parent Scale)
Click here to pick a Jati (note count)
Click here to see the entire list alphabetically

You may also use the search feature on this blog to find a Raag.

sangtar.com > Music Theory > Raagkosh

Raagkosh – Alphabetical list (S-Z)

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Please pick a letter:

A, B, C, D, E, F,
G, H, I , J, K, L,
M, N, O, P, Q, R,
S, T, U, V, W, X, Y, Z

 

S

T

U

V

W

X

Y

^ Top

Z

Click here to pick a Thaat (parent Scale)
Click here to pick a Jati (note count)
Click here to see the entire list alphabetically

You may also use the search feature on this blog to find a Raag.

sangtar.com > Music Theory > Raagkosh

Raagkosh – Alphabetical list (M-R)

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Please pick a letter:

A, B, C, D, E, F,
G, H, I , J, K, L,
M, N, O, P, Q, R,
S, T, U, V, W, X, Y, Z

M

N

O

P

Q

R

^ Top

Click here to pick a Thaat (parent Scale)
Click here to pick a Jati (note count)
Click here to see the entire list alphabetically

You may also use the search feature on this blog to find a Raag.

sangtar.com > Music Theory > Raagkosh

Raagkosh – Alphabetical list (G-L)

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Please pick a letter:

A, B, C, D, E, F,
G, H, I , J, K, L,
M, N, O, P, Q, R,
S, T, U, V, W, X, Y, Z

 

 

G

H

I

J

^ Top

K

L

Click here to pick a Thaat (parent Scale)
Click here to pick a Jati (note count)
Click here to see the entire list alphabetically

You may also use the search feature on this blog to find a Raag.

sangtar.com > Music Theory > Raagkosh

Raag Bilaval

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Raag Bilaval

Bilaval has the luster
of the blue lotus.
Arranging jewels
upon her body,
she makes secret signs
to her lover.
How can she forget
for one moment,
her chosen deity,
the God of Love?
Sangeet Darpan

Raag Bilaval is a Sampooran-sampooran Raag of Bilaval Thaat. All notes in this Raag are natural. Its Vadi note is Dhaivat so it is a morning Raag. In practice it sometimes sounds just like Kalyaan (Yaman) therefore, it is also known as morning’s Kalyaan.

Nishad (ni) and Gandhar (Ga) are Vakar (played by jumping one note).
There is another version of this Raag, which is called Alyhia Bilaval. Alyhia Bilaval is a chchadav-sampooran Raag (6-7). Madhyam is omitted in ascending. In addition, Alyhia Bilaval has both Nishads (Ni natural and komal).

Thaat: Bilaval
Jati: Sampooran-sampooran (7-7)
Vadi Svara: Dhaivat (Dha)
Samvadi Svara: Gandhar (Ga)
Vikrat Svaras: None (Nishad in Alyhia)
Virjit Svaras: None
Time: Morning

Bilaval “Aroh- Avroh”
Lakshan Geet Raag Bilaval:

Raag Bilaval Lakshan Geet
Here is the same composition in Staff Notation:
Raag Bilaval Lakshan Geet- Staff

Click here to pick a Thaat (parent Scale)
Click here to pick a Jati (note count)
Click here to see the entire list alphabetically

You may also use the search feature on this blog to find a Raag.

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Raag Yaman

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Pilgrims going to Mecca' by Leon Belly, French. Oil, 1861Yaman is a beautiful Raag. It is a simple Raag, thus it is easy to learn and hard to break. It can be accepted as the asharya (first) Raag of Kaliaan thaat, as it is a Sampooran/Sampooran Raag. Yaman is found in two versions. The second version is called Yaman Kaliaan. Although Yaman Kalian should have some use of Komal Madhyam (Natural Fourth).

Thaat: Kalian
Jati: Sampooran-Sampooran (7-7)
Vadi Svara: Gandhar (Ga)
Samvadi Svara: Nishad (Ni)
Vikrat Svaras: Ma Tivar (Fourth Sharp)
Verjit Svaras: None
Time: Evening
Yaman-Aroh/avroh
Composition:

Yaman-lakshn Geet Aik Taal

Here is the same Composition in Staff Notation

Raag Yaman Lakshan Geet Staff Notation

Sangtar’s music blog:: Melody Practice

Raag: Chaal, Bandish & Lakshan Geet

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Now it is the time to start posting Raags. I wrote a post about ‘properties of a Raag‘ a while ago. You may revise that post. As described in that post, each Raag will be posted with the following information:
1. Raag Name
2. Modern Thaat Association
3. Jati (7-6-5 notes etc.)
4. Vadi and Samvadi Notes
5. Vikrat and/or Verjit Notes
6. Time of performance
7. Aroh (Ascending) and
8. Avroh (Descending)

These elements are essential to learn ‘about’ a Raag. However, to perform a Raag, the following are also necessary:

Chaal (flow): Many Raags share notes. Every Raag has its unique flow of notes, however. I call this "essential phrases." One must know these phrases to perform a Raag properly. The first and the minimum requirement would be to know a Raag’s ‘Pakad’, the catch phrase of the Raag. I will start with the ‘Pakads’. Later on, we will get into detailed Chaals.

Bandish (composition): There is no better way to learn a Raag than learning a tune in it. It is easier to see the rules of a Raag illustrated in a composition. I will post at least one composition for each Raag.

Lakshan Geet: Many classical composers created songs about Raags and then composed them in that Raag. By learning the composition and the words, the Raag is fully revealed. These words explain the chaal, vadi/samvadi notes and other essential information about the Raag. Wherever possible, I will post a Lakshan Geet. Although, this may not have any value for those who don’t understand Hindi or Brij.

First, I will post the first Raag from each Thaat, also know as Ashirya Raag. Then the randomness will follow. Enjoy.

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