Midday Sarang-family raga carrying the bhava of Vrindavan — Krishna playing among the gopis. One of the rare day-time ragas in this library.
Bhimpalasi
Prahar 4
भीमपलासी
Thaat
Kafi
Rasa
karuna
Graha
Jupiter
Time
Sources draw on Sangita Ratnakara, Natya Shastra, and Bhatkhande’s Sangeet Paddhati. Dosha mappings from Charaka Samhita / Ashtanga Hridaya.
afternoon
Deeply emotive afternoon raga, widely performed for its devotional bhakti-shringara bhava. Kafi-family with audava aaroha, sampurna avaroha.
Patdeep
Prahar 4
पटदीप
Thaat
Kafi
Rasa
karuna
Graha
Jupiter
Time
afternoon
Afternoon raga of gentle reflection. Uses komal Ga (distinguishing from Patbihag) but shuddha Ni in ascent.
Bhoopali
Prahar 5
भूपाली
Thaat
Kalyan
Rasa
shanta
Graha
Venus
Time
evening
One of the simplest and most universal pentatonic ragas — found in Hindustani, Carnatic (Mohanam), and folk traditions across Asia. Evening raga of devotional stillness.
Hansadhwani
Prahar 5
हंसध्वनि
Thaat
Bilawal
Rasa
shringara
Graha
Sun
Time
evening
Carnatic-origin raga widely adopted in Hindustani concerts; radiant evening raga often used to open a performance. Pentatonic (omits Ma + Dha).
Yaman
Prahar 5
यमन
Thaat
Kalyan
Rasa
shringara
Graha
Venus
Time
evening
Foundational Hindustani raga taught first to students. Sandhya-kala (twilight) raga of devotional longing; full-octave sampurna jati with characteristic tivra Ma.
Durga
Prahar 6
दुर्गा
Thaat
Bilawal
Rasa
vira
Graha
Jupiter
Time
night
Powerful, composed night raga (not to be confused with Mata Durga stuti songs). Pentatonic, omits G + N.
Kalavati
Prahar 6
कलावती
Thaat
Khamaj
Rasa
shringara
Graha
Venus
Time
evening
Pentatonic evening raga of romantic sweetness, omits Re and Ma. Attributed to modern composers but widely performed.
Marubihag
Prahar 6
मारू बिहाग
Thaat
Kalyan
Rasa
shringara
Graha
Venus
Time
night
Late-evening Kalyan-family raga combining both shuddha and tivra Ma. Romantic and longing in mood.
Tilak Kamod
Prahar 6
तिलक कामोद
Thaat
Khamaj
Rasa
shringara
Graha
Venus
Time
evening
Popular thumri-style evening raga with a playful, darting sanchara. Frequently closes a Hindustani concert.
Abhogi
Prahar 7
आभोगी
Thaat
Kafi
Rasa
shanta
Graha
Mercury
Time
night
Pentatonic night raga of Carnatic origin, now standard in Hindustani repertoire. Meditative and clear, omits Pa and Ni entirely.
Bageshree
Prahar 7
बागेश्री
Thaat
Kafi
Rasa
karuna
Graha
Saturn
Time
late-night
Late-night raga of viraha (longing in separation). Softly insistent, with the M-vadi carrying the weight of loneliness.
Chandrakauns
Prahar 7
चन्द्रकौंस
Thaat
Bhairavi
Rasa
adbhuta
Graha
Moon
Time
late-night
Modern variant of Malkauns with shuddha Ni (instead of komal n), evoking moonlit stillness. Deep meditation raga.
Darbari Kanada
Prahar 8
दरबारी कानड़ा
Thaat
Asavari
Rasa
karuna
Graha
Saturn
Time
late-night
The definitive deep-night raga of the Mughal court tradition, attributed to Tansen. Slow, grave, and meditative; Kanada-family.
Lalat
Prahar 8
ललित
Thaat
Purvi
Rasa
karuna
Graha
Jupiter
Time
pre-dawn
Sacred pre-dawn raga using BOTH shuddha and tivra Ma — creating characteristic emotional tension. Omits Pa. Among the most profound sandhiprakasha ragas.
Malkauns
Prahar 8
मालकौंस
Thaat
Bhairavi
Rasa
vira
Graha
Saturn
Time
late-night
One of the most ancient and powerful Hindustani ragas. Deep-night pentatonic; said to summon spirits and grant boons in legendary accounts (e.g. Tansen).
Rakshabandhan Garbh Samvad
रक्षाबन्धन गर्भ संवाद
Prenatal (garbh-samvad) recording intended for the mother to play to the child during the monsoon Rakshabandhan festival. Not a raga; included here so the audio and metadata live alongside the rest of the library.