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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 12 of 86 collections
Clear filtersA 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.
Sources draw on Sangita Ratnakara, Natya Shastra, and Bhatkhande’s Sangeet Paddhati. Dosha mappings from Charaka Samhita / Ashtanga Hridaya.
Head of the Bilawal thaat and the archetype of the all-shuddha scale, sung in the second prahar of the morning. The common concert form is Alhaiya Bilawal, which omits Ma in ascent and touches komal Ni in descent.
The great vakra raga of midday — Kalyan-thaat swaras taken in curling, never-straight phrases (the signature S-G-R-M-G ascent). Both madhyamas appear; sung in the third prahar when the sun is high.
The midday Sarang taken with both madhyamas and no Ga — tivra Ma rising, shuddha Ma falling. Bright and poised, sung in the third prahar with the Sarang family's noon associations.
One of the simplest and most universal pentatonic ragas — found in Hindustani, Carnatic (Mohanam), and folk traditions across Asia. Evening raga of devotional stillness.
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.
Pentatonic night raga of Carnatic origin, now standard in Hindustani repertoire. Meditative and clear, omits Pa and Ni entirely.
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.
Always-on ambient and lo-fi streams for thinking, work and study — a calm, unintrusive backdrop rather than a classical raga. Home for live focus-music streams.
Devotional bansuri (flute) renderings in the spirit of Krishna's vamshi — meditative alaap not announced under a single raga name. Restful at any time of day.
Meditative sitar in the contemplative, healing idiom of the 'Sitar for Mental Health' tradition — devotional and folk-bhajan-rooted improvisation not announced under a single classical raga. Restful at any time of day.
The 64th Carnatic melakarta adopted into Hindustani concert practice (like Kirwani and Charukeshi) — Kalyan's body with komal Ni. Hindustani convention assigns it no settled prahar, so it is left untimed here.