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 15 of 86 collections
Clear filtersA beloved night raga of the Bilawal thaat, serene and romantic in mood. It moves on shuddha Ma in ascent and touches tivra Ma in descent (the signature M'-P-G phrase), omitting Re and Dha while rising.
Sources draw on Sangita Ratnakara, Natya Shastra, and Bhatkhande’s Sangeet Paddhati. Dosha mappings from Charaka Samhita / Ashtanga Hridaya.
A grand night raga joining the shades ('chhaya') of Nat to Kalyan — shuddha swaras with tivra Ma flashing in descent, the leap from Pa to Re its signature. Sung in the first prahar of night.
A beloved night raga of the Khamaj thaat associated with the monsoon — shuddha Ni rising, komal Ni falling, Ga and Dha omitted in ascent. Carries shringara and the fragrance of rain; the melody of countless thumris and of Vande Mataram.
Powerful, composed night raga (not to be confused with Mata Durga stuti songs). Pentatonic, omits G + N.
A grand night raga of the Khamaj thaat using both gandhars and both nishads — the signature R-g-R-S phrase gives a tender, regal joy. Sung in the second prahar of night; also honoured as a raga of the Guru Granth Sahib.
A sweet light raga of the Khamaj thaat rooted in folk melody — shuddha notes rising, komal Ni falling. A favourite of thumri, dhun and kirtan singers; vadi attributions vary and are left unstated.
A powerful night raga that plays shuddha and komal Ga against each other and omits Re and Dha. Famous for its dramatic, almost blues-like descending resolution (G-M-g-S); intense and heroic.
Pentatonic evening raga of romantic sweetness, omits Re and Ma. Attributed to modern composers but widely performed.
A serene night raga of the Kalyan thaat built on the Sa-Ma axis, moving vakra through both madhyams with Ga nearly absent. Beloved of bhajan singers — Meera's 'Payoji maine Ram Ratan' is traditionally sung in Kedar. Its vakra chalan resists a simple jati label.
Head of the Khamaj thaat, a light-classical night raga beloved of thumri and bhajan — shuddha Ni in ascent, komal Ni in descent, Re omitted while rising. Many kirtan and bhajan melodies rest on its easy sweetness.
Late-evening Kalyan-family raga combining both shuddha and tivra Ma. Romantic and longing in mood.
A vigorous night raga of the Bilawal thaat named for Shiva — vakra, upper-tetrachord-dominant phrases (G-P-N-D-S') carry its heroic energy. Vadi/samvadi attributions vary across sources and are left unstated.
Also called Bhoop Kalyan — ascends pentatonically like Bhoopali and descends with Kalyan's Ni and tivra Ma carried in meend. Sung in the first prahar of night; grave and consoling.
Popular thumri-style evening raga with a playful, darting sanchara. Frequently closes a Hindustani concert.