Finding your next listening moment…
Library
86 ragas and devotional collections to return to. Browse by time of day or emotional colour, with recordings and classical sources close at hand.
Prahar Time of day
Showing 9 of 86 collections
Clear filtersOne of the simplest and most universal pentatonic ragas — found in Hindustani, Carnatic (Mohanam), and folk traditions across Asia. Evening raga of devotional stillness.
Sources draw on Sangita Ratnakara, Natya Shastra, and Bhatkhande’s Sangeet Paddhati. Dosha mappings from Charaka Samhita / Ashtanga Hridaya.
Carnatic-origin raga widely adopted in Hindustani concerts; radiant evening raga often used to open a performance. Pentatonic (omits Ma + Dha).
Head of the Marwa thaat, sung at sunset — komal Re and tivra Ma with Pa omitted entirely and Sa touched only sparingly, leaving the melody suspended without resolution. The classic dusk atmosphere of yearning and renunciation.
A major sandhi-prakash raga of the Purvi thaat sung at dusk — komal Re, komal Dha and tivra Ma give it a rich, intense sweetness that gathers the mind for evening worship.
The dusk raga that joins Puriya's poorvanga (komal Re, tivra Ma) to Kalyan's uttaranga (shuddha Dha-Ni) — sung just after sunset between Marwa's austerity and Yaman's warmth. Vadi conventions vary by gharana and are left unstated.
Head of the Purvi thaat and a solemn raga of the sunset sandhi-prakash — komal Re and Dha, both madhyamas, moving with deliberate stillness as day turns to night.
The quintessential sunset (sandhi-prakash) raga of the Purvi thaat. Komal Re and Dha paired with tivra Ma, on a vakra movement around Sa–Re–Pa, produce a grave, devotional twilight mood revered for its depth.
A stately raga of the early night joining Shyam's Kafi-anga echoes to Kalyan — both madhyamas, Re and Pa as pillars, Ga and Dha skipped while rising. Its name endears it to Krishna-bhakti; sung in the Yaman hours.