Browse Hindustani raags

A dramatic and powerful late-night raag with intense komal Ga treatment and forceful expression.

An early-morning raag blending Bhairav's komal Re with shuddh Ni, creating a warm devotional color.

A late-evening raag often described as intimate, shaded, and romantic.

A night raag combining elements of Bageshree and Kanada into a deep, compound melodic identity.

A devotional dawn raag combining Bhairav's komal Re and Dha with an ascetic, renunciate quality.

A late-evening raag associated with spring, featuring komal Re, tivra Ma, and komal Dha.

A grave dawn raag with devotional weight and characteristic komal Re and Dha treatment.

The 'queen of raags,' traditionally a dawn raag but performed at any time, with all komal notes available.

A rare dawn raag from the Marwa thaat with komal Re and tivra Ma, conveying profound solemnity.

A warm afternoon raag often linked with yearning, repose, and shaded lyricism.

A rare and enigmatic late-night raag where Sa is treated with unusual ambiguity and instability.

A bright pentatonic evening raag using Sa Re Ga Pa Dha, known for clarity and approachability.

A romantic late-evening raag using tivra Ma in ascent, known for lyrical sweetness and grace.

A deeply moving Todi variant attributed to Tansen's son Bilas Khan, with komal Dha replacing shuddh Dha.

A bright afternoon raag from the Kafi thaat associated with warmth and pastoral beauty.

A pentatonic late-night raag with komal Ga, komal Dha, and komal Ni, evoking moonlit stillness.

A late-evening raag of Carnatic origin with komal Dha and komal Ni, known for dramatic expressiveness.

A deep night raag known for gravity, slow expansion, and weighty phrase treatment.

A monsoon raag blending the lyrical warmth of Desh with the rain imagery of the Malhar family.

A graceful and evocative raag often linked with monsoon, patriotism, and lyrical warmth.

A folk-rooted late-evening raag from the Asavari thaat with earthy, expressive character.

A pentatonic raag often heard as bright, devotional, and uncluttered in movement.

A rare morning raag emphasizing Ga as its central swara, with a contemplative and refined character.

An expansive late-morning raag from the Bilawal thaat combining Gaud and Sarang melodic elements.

A monsoon raag combining Gaud and Malhar elements, evoking the drama and beauty of the rainy season.

A gentle evening raag from the Kalyan thaat with tivra Ma and a serene, contemplative quality.

A morning Todi variant with a distinctive Re-Ga oscillation and a contemplative, inward character.

A sparse early-morning raag from the Bhairav thaat with komal Re and komal Dha, evoking austere dawn stillness.

A majestic night raag from the Kalyan thaat using both forms of Ma with regal grandeur.

A bright pentatonic raag often used for energetic openings and devotional freshness.

A serene evening raag associated with the early winter season, combining warmth and gentle melancholy.

A gentle late-morning raag from the Asavari thaat with komal Dha and komal Ni.

A versatile late-evening raag using both Gas and both Nis, known for its wide emotional range.

A light and playful late-evening raag from the Khamaj thaat, popular in semi-classical music.

A devotional dawn raag from the Bhairav thaat evoking the wandering ascetic and temple atmosphere.

A flexible raag family color often associated with folk warmth and expressive ease.

A rare and beautiful late-evening raag from the Khamaj thaat with a gentle, expressive character.

A joyful evening raag with a characteristic Sa-Re-Pa leap and bright, celebratory character.

A deep late-night raag from the Kanada family with introspective gravity and komal Ga treatment.

A devotional evening raag using both forms of Ma, associated with prayer and spiritual depth.

A dramatic late-evening raag of Carnatic origin with komal Ga and komal Dha.

A grave late-morning raag from the Asavari thaat with komal Re adding extra weight to the Asavari framework.

A luminous dawn raag with both Mas and no Pa, creating an atmosphere of awakening and devotion.

A sweet afternoon raag from the Todi thaat with komal Re, komal Ga, and tivra Ma.

A lyrical and romantic late-evening raag from the Khamaj thaat with a gentle, flowing character.

A pentatonic late-night raag often described as meditative, grave, and inwardly powerful.

A lyrical late-evening raag blending Marwa and Bihag elements with tivra Ma and distinctive sweetness.

A profoundly serious evening raag without Pa, where Sa itself becomes unstable and elusive.

A pentatonic afternoon raag of the Malhar family, evoking the anticipation and beauty of monsoon clouds.

A night raag of the Malhar family attributed to Tansen, evoking monsoon depth with both Ni variants.

The most widely performed Todi variant, attributed to Tansen, with deeply expressive komal swara treatment.

An afternoon raag of the Todi family with a distinctive ascending leap and intense melodic character.

A joyful night raag from the Kalyan thaat with tivra Ma and a celebratory, expansive character.

A bright and playful late-morning raag from the Bilawal thaat with both forms of Ma.

A gentle afternoon raag from the Kafi thaat with komal Ga and komal Ni.

A compound late-evening raag blending Piloo's folk flexibility with Barowa's distinctive phrase structure.

A flexible late-evening raag with folk-adjacent character, admitting a wide range of swara variations.

A serious evening raag without Pa, built on komal Re and tivra Ma with deep melodic gravity.

A majestic evening raag combining the gravity of Puriya with the presence of Pa.

A romantic late-evening raag from the Khamaj thaat with a gentle, lyrical melodic character.

A monsoon raag attributed to Swami Ramdas, combining devotional gravity with rain imagery.

A rare and devotional evening raag named after the goddess of learning, with a serene and luminous quality.

A devotional and lively evening raag with a pentatonic structure emphasizing Pa.

A majestic evening raag with komal Re, tivra Ma, and komal Dha, conveying regal grandeur.

A serene evening raag differing from Bilawal only by its tivra Ma, creating a gentle luminosity.

A bright afternoon raag of the Sarang family using both Ni variants and prominent Re.

A highly flexible variant of Bhairavi popular in film music, admitting virtually all swara alterations.

A monsoon raag attributed to the poet Surdas, combining Kafi and Malhar elements with devotional warmth.

A sweet evening raag from the Kalyan thaat, closely related to Kamod with a gentle, ornamental quality.

A sweet evening raag from the Khamaj thaat with komal Ni and a lyrical, accessible character.

A serious and meditative late-morning raag with deeply nuanced intonation and a contemplative atmosphere.

A compound raag blending Todi and Bhairavi elements, creating an atmosphere of intense devotional gravity.

A luminous early-morning pentatonic raag from the Bhairav thaat with komal Re and komal Dha.

A foundational evening raag known for luminous breadth and the use of tivra Ma.

An evening raag blending Yaman and Kalyan elements, using both forms of Ma for distinctive color.