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86 ragas and devotional collections to return to. Browse by time of day or emotional colour, with recordings and classical sources close at hand.
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Showing 8 of 86 collections
Clear filtersA dawn raga of the Bhairav thaat that joins Bhairav's komal Re to a komal Ni traditionally traced to Ahiri folk melody. Serene and prayerful, sung in the first prahar as the day begins.
Sources draw on Sangita Ratnakara, Natya Shastra, and Bhatkhande’s Sangeet Paddhati. Dosha mappings from Charaka Samhita / Ashtanga Hridaya.
A pentatonic dawn raga of ascetic stillness (bairagi — renunciate): komal Re and komal Ni around Sa-Ma-Pa. Popularized in the twentieth century by Pt. Ravi Shankar and now a dawn staple; attributions follow modern pedagogy.
Among the oldest ragas of the tradition and head of the Bhairav thaat — the archetypal sunrise raga. Komal Re and komal Dha taken with slow, wide andolan give it an austere, purifying gravity; sung in the first prahar at dawn.
The 'queen of ragas' — a sampurna morning raga of the Bhairavi thaat using komal Re, Ga, Dha and Ni. So flexible that all twelve swaras may appear in practice; sung in devotion and surrender, and traditionally offered to close a concert.
A daybreak sandhi-prakash raga of the Marwa family with Bhairav touches, sung as night gives way to dawn. It blends both madhyams and a vakra, wandering sanchara into a solemn, awakening mood. (Treatment varies by gharana.)
A rare Bilawal-anga morning raga preserved mainly in dhrupad and temple singing. Its note-forms are taught with real variation across gharanas, so the scale is left unstated here rather than fixed wrongly.
A dawn raga (prabhat = daybreak) drawing on the Bhairav family — komal Re and Dha lend a prayerful, meditative serenity to the first light. A less widely codified name; this metadata reflects its Bhairav-family dawn character.