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Raag Bihag
Swar Notations
Swaras Rishabh and Dhaivat forbidden (Varjya) in Aaroh, Both Madhyam. Rest all Shuddha Swaras.
Jati Audhav-Sampurna Vakra
Thaat Kalyan
Vadi/Samvadi Gandhar/Nishad
Time (9 PM - 12 AM): 2nd Prahar of the Night : Ratri ka Dwitiya Prahar
Vishranti Sthan S; G; P; N; - S'; N; P; G;
Mukhya-Ang ,N S G ; G m G ; P M P G m G ; P M G m G R S;
Aaroh-Avroh S G m P N S' - S' N DP M P G m G RS, S' N D P M G m G R S;
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Raag Bhoopali
Swar Notations
Swaras Madhyam and Nishad forbidden (varjya). Rest All Shuddha Swaras.
Jati Audhav-Audhav
Thaat Kalyan
Vadi/Samvadi Gandhar/Dhaivat
Time (6 PM - 9 PM): 1st Prahar of the night: Ratri ka Pratham Prahar: Sandhi Prakash Time
Vishranti Sthan S; R; G; P; - P; G; R; S;
Mukhya-Ang G R G; P G; D P; S' D P G; P G R G; G R S;
Aaroh-Avroh S R G P D S' - S' D P G R S R ,D S;
Raag Description: It is a tranquil soft melody that fills up a new life force in the environment with the dominant Gandhar strengthened by the Swayambhu Gandhar (Consonent longitudinal vibrations) from the Kharja tonic of the drone (Tanpura). This Raag belongs to Kalyan Thaat. This Raag is also known as Raag Bhoop.
In Raag Bhoopali, one should be very careful not to use Dhaivat as a resting note and not give much prominence to Dhaivat, otherwise Raag Deshkar will come into existence which has the same set of Notes as Raag Bhoopali. While taking a Meend from Shadj to Dhaivat or from Pancham to Gandhar, one should be very careful about not using Nishad and Madhyam respectively as a Kan-Swar, otherwise Raag Shuddha-Kalyan will come into existence. Gandhar-Dhaivat Sangati is very important in Bhoopali and Rishabh is the Nyas Swar.
This Raag is popular as Raag Mohan in Carnatic Music. This is a Poorvang Pradhan Raag and is mostly sung in Madhya and Mandra octaves. It creates a deep and soothing atmosphere. The following illustrative combinations clearly bring out the melodic format:
S ; S ,D S R G ; R G S R ,D S ; S R G P ; P G R G ; R P G ; G S R ; R ,D S ; G R G ; P G ; P D P P ; D P ; G P R G R S ,D S ; S R G R G P D S' ; P D P S' ; S' S' ; R' S' D S' ; D S' R' G' R' S' ; D S' D P G R G ; P R G R S ; R ,D S ;
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Raag Kalawati
Swar Notations
Swaras Rishabh, Madhyam Varjya. Nishad Komal. Rest all Shuddha Swaras.
Jati Audhav - Audhav
Thaat Khamaj
Vadi/Samvadi Pancham/Shadj
Time Midnight
Vishranti Sthan G D - D G
Mukhya-Ang S G P D ; P D n D ; D P ; G P D S n ; D n S ; n P ; D G ; P G S ; n D S ;
Aaroh-Avroh S G P D n S' - S' n D P G P G S ; ,n ,D S ;
Raag Description: Raag Kalawati is a simple but melodious Raag. One has to be careful while singing as it has Rishabh and Madhyam forbidden. Following combinations are illustrative of the raag:
S G P D ; G P D ; P D P S' ; n D D ; n D P ; G P D ; G D P ; G P G S ; ,n ,D S ;
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Raag Yaman
Swar Notations
Swaras Madhyam Teevra. Rest all Shuddha Swaras.
Jati Sampurna-Sampurna
Thaat Kalyan
Vadi/Samvadi Gandhar/Nishad
Time (6 PM - 9 PM) : 1st Prahar of the night : Ratri ka Pratham Prahar
Vishranti Sthan S; G; N; - S'; N; P; G;
Mukhya-Ang ,N R G ; ,N R M G ; M P ; M D P N D P M R G R ; ,N R ,D ,N S;
Aaroh-Avroh ,N R S - N R G M P D N S' - S' N D P M G R S ,N R S
Raag Description: This Raag is rendered at the time when lights are put on. Its original name is Raag Kalyan and only during the Mughal's rule the name Yaman was introduced and became current.
Aaroh with Nishad (N) is preferred and heightens the beauty of this melody. The following combinations are representative of the Raag:
,N R ; ,N R G ; ,N R ,N G ; R G ; ,N M G R S ; ,N R G ; M R G M P ; M D P ; M D N ; M D M N ; G M G ; N D P ; M R G ; ,N R S ; ,D ,N ,D S ; ,D ,N R G ; ,N R G ; G R G ; ,N R ,N G ; ,N R G M R M G ; G R M G ; M P ; G M P R S ; ,N R S ; ,N R G M P ; M P M P ; P M D P M P ; M D M N ; N D P ; M G ; G M D N M D N ; N D P M G R S ; ,N R S ;
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Raag Des
Swar Notations
Swaras Gandhar & Dhaivat Varjya in Aaroh, Both Nishad. Rest all Shuddha Swaras.
Jati Audhav - Sampurna Vakra
Thaat Khamaj
Vadi/Samvadi Rishabh/Pancham
Time (9PM - 12 Night) : 2nd Prahar of the night : Ratri ka Dwitiya Prahar
Vishranti Sthan R P N S'; S' P R
Mukhya-Ang D s m G R; G ,N s S; R m P N; S' R' n D P
Aaroh-Avroh S R m P N S' - S' n D P D m G R G ,N S
Raag Description : This Raag is a very sweet melody that announces itself with the combination D s m G R - G ,N s S. The musical compositions in this Raag bear the Shadja-Pancham (S-P) and Shadja-Madhyam (S-m) Bhava and therefore very pleasing and essentially melodic. The following combinations are illustrative:
R R m G R s; D P n D P s; R' R' m' G' R' s; G' N s S' s; D s m s P; N N N S'
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Raag Pilu
Swar Notations
Swaras Rishabh, Dhaivat Varjya in Aaroh. Both Gandhars, Both Dhaivats and Both Nishads. Rest all Shuddha Swaras.
Jati Audhav - Sampurna
Thaat Kafi
Vadi/Samvadi Gandhar/Nishad
Time 3rd Prahar of the Day
Vishranti Sthan S; G; P; N; - n; P; g;
Mukhya-Ang G m P N S' ; n D P ; m P N d P ; m g R S ; P g R S ,N ; S g R S ;
Aaroh-Avroh S G m P N S' - S' n D P m g R S ; ,N S g R S ;
Raag Description: In Raag Pilu, ,P ,N S g ; g R S ,N ; ,N S - are the Raag Vachak notes. In this Raag nyas on Komal Gandhar and Shuddha Nishad of Mandra Saptak, at once creates the Raag mood. In this Raag Komal Nishad is used with Shuddha Dhaivat and Shuddha Nishad is used with Komal Dhaivat.
The mood of this Raag is light and thus apt for Thumri and Bhajans. This Raag is full of devotion and piety. This Raag is expandable in Mandra and Madhya Octaves. Following are the illustrative combinations of the Raag:
S; g R S ,N ; ,m ,P ,N S g R S ; S ,N ,d ,P ; ,P ,N S g ; g m P (m)g ; g (R)S ,N ; S ; S G ; G m g (R)S ; S G m P ; n D P ; G m D P g R S ,N ; S ,N S R ; S ,N ,D ,P ; ,m ,P ,N ,N S ;
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Raag Darbari Kanada
Swar Notations
Swaras Gandhar, Dhaivat and Nishad Komal. Rest all Shuddha Swaras.
Jati Sampurna - Sampurna Vakra
Thaat Asawari
Vadi/Samvadi Rishabh/Pancham
Time 3rd Prahar of the Night
Vishranti Sthan S; R; P; - S'; P; R;
Mukhya-Ang S R g (R)g ; m P d (P)d n P ; n m P S' ; S' (n)d n P m P (m)g m R S ; ,d ,n S;
Aaroh-Avroh S R g m P d n S' - S' d n P m P g m R S;
Raag Description : The Raag Darbari Kanada, said to be created by Miya Tansen, results in a sweet and heavy atmosphere.
In this Raag, Gandhar and Dhaivat are the two prominent notes which have oscillating character. In Aaroh, Gandhar is rendered with a Kan of Rishabh and Dhaivat is rendered with a Kan of Pancham. Whereas in Avroh, Gandhar is rendered with a Kan of Madhyam and Dhaivat with Kan of Nishad.
Dhaivat is skipped in Avroh like S' (n)d n P. This is a Gamak and Meend Pradhan Raag and is generally expanded in Mandra and Madhya Saptaks. The following notations are considered illustrative in Raag manifestation:
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Raag Bhairavi
Swar Notations
Swaras Rishabh, Gandhar, Dhaivat, Nishad Komal. Madhyam Shuddha.
Jati Sampurna - Sampurna
Thaat Bhairavi
Vadi/Samvadi Madhyam/Shadj
Time 1st Prahar of the day (Sunrise), Sarv Kalik
Vishranti Sthan S; m; P; - S'; P; m;
Mukhya-Ang g S r S ; g m P ; d m d n S' ; r' S' d P g m r S;
Aaroh-Avroh S r g m P d n S' - S' n d P m g r S;
Raag Description: Any one who claims to know or appreciate music cannot be unaware of the queen of melodies i.e. Raag Bhairavi. The soft (Komal) notes and their smooth rendering with pleasing touches - Khatke, Jhatke and Murkiyan simply mesmerizes the audience. A pleasant sobering atmosphere full of love and piety is created and one feels so close to the Supreme. Its compositions include several Thumris, Bhajans, Ghazals, Songs etc. Since it is an ocean of immense possibilities the melodic combitions can include all the twelve notes with skill.
Raag Bhairavi is an early morning Raag, but it is also used as a concluding piece in the concerts at any time. Illustrative combinations include:
r g r g S r S ; g m P ; P d P ; P d n d m ; d P g m ; P m g m r r S ; ,d S ; S g m P ; P d P ; m M m ; g r S ; S g r m g ; S g P m g S r S ; ,n r ,n ,d ,n ,d ,P ,P ,d ,n ,d S;