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Pentatonic night raga of Carnatic origin, now standard in Hindustani repertoire. Meditative and clear, omits Pa and Ni entirely.
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Clear filtersPentatonic night raga of Carnatic origin, now standard in Hindustani repertoire. Meditative and clear, omits Pa and Ni entirely.
Sources draw on Sangita Ratnakara, Natya Shastra, and Bhatkhande’s Sangeet Paddhati. Dosha mappings from Charaka Samhita / Ashtanga Hridaya.
Late-night raga of viraha (longing in separation). Softly insistent, with the M-vadi carrying the weight of loneliness.
Modern variant of Malkauns with shuddha Ni (instead of komal n), evoking moonlit stillness. Deep meditation raga.
The signature raga of the Kafi thaat (komal Ga and komal Ni), and the seat of light-classical thumri, dadra and Holi songs. Tender, amorous and folk-rooted; associated with the spring (vasanta) season.
A deep-night jod raga that joins Malkauns' meditative frame with Darbari Kanada's curved komal-Ga treatment. Its blended chalan varies by gharana, so jati and vadi are left unstated.
Carnatic melakarta 21 (Kiravani) adopted wholesale into Hindustani concert practice, especially by instrumentalists — the harmonic-minor scale. Its late-night placement is modern performance convention, not an old-text prahar assignment.
The grand raga of the rains, attributed to Miyan Tansen. A Kafi-family monsoon (varsha) raga using komal Ga and both nishads, with a characteristic rocking meend; sung at night to invoke and celebrate the monsoon. Legend credits Malhar with the power to summon rain.
A tender raga of the deep night, Bageshri's near twin with shuddha Ga in place of komal — Pa omitted entirely, komal Ni in both directions. Sung after midnight in the Bageshri hours.
A Kanada-anga night raga (Shahana) with a richly vakra, ornamental gait; a Carnatic ragam of the same name is its cousin. Hindustani codification is loose and gharana-bound, so the scale rows are left unstated.
A pentatonic late-night raga on the Kafi thaat's komal Ga — Bhoopali's frame with the third flattened, turning calm into ache. Its codification is comparatively recent (it flowered in twentieth-century light-classical and film music), so time and vadi attributions are conventional rather than ancient — vadi/samvadi are left unstated here.