JOGKAUNS
In this raga, both the notes Gandhar and Dhauvat are rendered softly while the remaining notes sound pure. Sometimes the soft Nishad is used in a curved form (e.g., "Dhu Nidhpagam"). In the ascent, "Re-Pa" remains invariable; however, in the extension of the antara, "Re" is used sparingly to enhance the raga’s colour. In the descent, Rishabh is used, classifying the raga as Audav-Shadav. The vaadi note is Madhyam and the samvaadi is Shadja. The raga is performed during the first and second quarters of the night.
Ascent-Descent Example: Ni sa gam-dhuni sa. Sanidha-ma pa ga-ma-sa ga-sa.
Form: Saani M Saagu Maga Sa Ni-Dhu Ni Sa, Saag-Ga-Ma pa ga-Ma-Sa ga ma pa ga Pa ga, Ma Ni Ma Ni Ma Saaga-Saani. (Additional variants: “Saag Madhu Nidhu Ma-Pa-, Gam, Dhu-Ni-Saan-Nivi-Gam Nidhu-So-, Saan Ni Ni Ti-Dhu-Ma pa ga dha-Ni-Saan-, Saan Ni Dha Ni Dhu-M-Pa-, Ga M Dha Ni Sa-Rensaan Niso Ni Ma Ni Yu-Pam Pa-Ga-Ma-, Sadhu-Ni Sa.”)
JAUNPURI
This raga of Asavari Thaat features soft Ga, Dha, and Ni while the remaining notes are pure. In the ascent, Gandhar is omitted and the descent is complete (jaati: Audav-complete). The vaadi is Chhauvat and the sambadi is Gandhar. It is performed during the second quarter of the day. To preserve the character of Asavari, the fifth note is borrowed from remp or paremap groups.
Structural Notation
| विश्रांति स्थान | रे; प; ध१; सा'; - ध१; प; ग१; रे; |
|---|---|
| मुख्य अंग | रे म प ; ध१ म प सा' ; रे' नि१ ध१ प ; म प नि१ ध१ प ; ध१ म प ग१ रे म प ; |
| आरोह - अवरोह | सा रे म प ध१ नि१ सा' - सा' नि ध१ म प ग१ रे सा; |
Form: Ma Pa Ni Dha Pa, Ga Re Ma Pa.
ZHINJHOT
This raga of the Khamaj ang requires that both Nishad and the remaining notes be pure. In the ascent, “Nudh” is used and in the descent, Komal Nishad is employed. The jati is complete; the vaadi is Gandhar and the samvaadi is Vaivat. Owing to its minor nature, it is particularly favored by Thamariyas. The singing time is in the second quarter of the night.
Structural Notation
| विश्रांति स्थान | सा; प; ध; - सा'; प; ग; |
|---|---|
| मुख्य अंग | ,ध सा रे म ग ; रे ग सा रे ,नि१ ,ध ,प ,ध सा ; ,प ,ध सा रे ग म ग ; म ग रे सा ; रे ,नि१ ,ध सा; |
| आरोह - अवरोह | सा रे म प ध सा' - सा' नि१ ध प म ग रे ग सा; |
Additional note: “Swaroop dhas re mag, pamgar, sa nidhap. Taking the ascending Rishabh of 'Khamaj' and expanding it in the lower octave clarifies the raga.”
TILAKKAMOD
Produced from Khamaj Thaat, Tilakkamod features all pure notes. In this raga, Gandhar and Dhaivat are rendered in a curved style. Some consider its caste as Odav-Sampoorna while others term it Vakra Gar. The raga incorporates chords such as Gas, Rep, Pasam, Samp, and Dhama. The vaadi is Rishab and the samvaadi is Pancham. It is performed during the second prahar of the night. Although Nisam can be used, most singers prefer Ma Pa Sam to form “Se Para.”
Ascent-Descent Example: Sa Re Ga Sa, Re Ma Pa Dha Ma Na Sa Ma Pa, Dha Ma Ga, Sa Re Ga Sa Ni.
Additional info: “Swaroop Pa Ni Sareg Sa, Rep Mag, Sareg, Ni. This is a mixture of two ragas 'Tilak' and 'Kamod' – with Re Pa from Kamod and the remainder from Tilak.”
TILANG
This is a Khamaj Baat raga. In Tilang, both Nishad and the remaining notes are pure. Rishab and Hauvat are emphasized (Vajit), and its jati is Audaav-Audaav with Komal Nishad used in both ascent and descent. Rishab may appear in the Taar Saptak. The vaadi is Gandhar and the samvaadi is Nishad. It is performed during the second prahar of the night.
Ascent-Descent Example: Sa Ga Ma Pa ni Sa ni Pa Ma Ga Sa.
Swaroop: Ga Ma Pa Ni Pa Ma Ga.
BREAK
This raga forms the base of Todi Thaat. In BREAK, Rishab, Gandhar, and Dhaivat are rendered softly while Madhyam is sharp. Its jati is complete, and the singing time is the second prahar of the day. The vaadi is Hauvat and the samvaadi is Gandhar. In the first half, Gandhar is emphasized; in the second half, Hovat is prominent. Pancham is used subtly – when used as Pancham vaadi, it is known as 'Gujri Todi'. Gandhar is rendered with a particle of Rishab.
Ascent-Descent Example: Sa Re Gurm Pa Dha Ni Sam. Sam Ni Dhoop Ma Gare Gurre Se.
Additional description: “Swarup-Dhu Ni Sa Re Ga, Re Ga Ma Ga Re Sa.”
COURTIER
A raga of Asavari Thaat, Courtier features a pure Rishabh with the remaining notes rendered softly. In the descent, Dhaivat is omitted, making its jaati Sampoorna-Padav. This raga is typically performed in the lower octave; clarity is achieved when Gandhar and Dhaivat are momentarily paused in the ascent, and the middle octave Rishabh is immediately followed by the lower octave Dhaivat. In the descent, Gandhar is rendered as a subtle "vakk."
Ascent-Descent Example: sare ऽ mapa dhॐ nisam (e.g., nisare, dhॐ ni pa, madhuॐ nis).
Swaroop: Ni Sa re ga Mare Ṛesa, Nisa Resa Dha Ni Pa, Ma Pa Dha Ni Sa.
COURT CANADA
This raga, from Asavari Thaat and classified as an Aashray raga of the Kanada type (as per Bhaavbhatt), features soft Gandhar, Hauwat, and Nishad. The vaadi is Rishabh and the samvaadi is Pancham. Its jaati is Sampoorna Shadav, and it is performed in a serious mood at midnight. In the ascent, Gandhar is weak (often omitted in fast passages), while in the descent, Dhauvat dominates. Tansen is said to have sung 'Darbari-Kanada' to please Akbar.
Ascent-Descent Example: Ni Sa, Re Ga Re Ga, Ma Pa, Dha, Ni Pa Ma Re Sa.
Form: Ga Ga, Re Ga Sa, Dha Ni Pa, Re Sa, Ma Pa, Dha, Ni, Pa, Ma Pa Ga Ma, Re Ga, Re Ga Re Ga Re Sa.
DURGA
Derived from Bilaval Thaat, Durga features Vajit Gandhar-Nishad while the remaining notes remain pure. Its jaati is Audaav-Audaav, the vaadi is Madhyam, and the samvaadi is Padaj. The singing time is the second quarter of the night, and clarity is achieved when the note stops on Dhauvat in the ascent and Rishabh Pa in the descent.
Ascent-Descent Example: Sa Re Ma Pa Dha Saan | Saan Dha Mare, Sa
Form: Ma Pa Dha, Ma Re, Dha, Sa.
DEVAGIRI BILAWAL
A variant of Bilaval, Devagiri Bilawal emphasizes Madhyam in the ascent and uses a form known as Manga in the Abroh, classifying the raga as Padav-Sampoorna. The vaadi is Shadja and the samvaadi is Pancham in the Yaman style. Deviations occur when pure Madhyam is replaced with “Kalyaan” in the ascent, yielding variations such as 'Nire Niggare'.
Ascent-Descent Example: S Re Ga Pa Dha Ni San. Sannidhap Magares.
Singing time: Second hour of the day.
Swaroop: Sa Ni Dha Sa, Re Ga, Pa Re, Ga Re, Ma Ga Ma Re Sa.
DEVGANDHAR
A raga of Audaav Sampoorna Jati derived from Asavari, Devgandhar features soft Gandhar, Dhauvat, and Nishad. In the ascent, Rishabh and Dhauvat are pronounced strongly. Dhauvat serves as the badi and Gandhar as the samvaadi. The performance time is the second quarter of the day. Two variations exist: one employing both Gandhars (similar to Jaunpuri) and another with a pure Gandhar ascent (often referred to as “Dhanashree” in the first part and “Jaunpuro” in the second).
Ascent-Descent Example: Sa Ga Ma Pa Ni Pa Sa | Sa, Ni Dha Pa Ma Ga Re Sa.
Alternate form: “Dham, Pa Dha, Ma Sa, Pa Dha Ma Pa Ga, Re, Pa Pa Ga, Re, Ga Sa, Ni Sa, Sa Re Ga, Ma, Pa Ga, Re, Ga Sa.”
COUNTRYMAN
A raga of Bilaval Thaat, Countryman emphasizes Vajit Madhyam and Nishad. Its jaati is Audaav-Audaav. Dhauvat serves as the vaadi and Gandhar as the samvaadi. The raga accentuates a strong Uttarang (upper octave) by moving from Madhya Sa to Dhauvat. It is performed during the second quarter of the day.
Ascent-Descent Example: Sa, Dha, Pa, Ga Pa Dha Pa, Ga Re Sa.
COUNTRY
Belonging to Khamaj Thaat, Country is characterized by pure Nishad and the remaining notes. In the ascent, Gandhar and Dhauvat are rendered, making its jaati Audaav-Sampoorna. The vaadi is Rishabh and the sambadi is Pancham. Its performance time is in the second quarter of the night. This raga resembles 'Sorat', but with a more pronounced Gandhar.
Ascent-Descent Example: Nisare, Mpa Nisam. Sam Nidhi Pa, Magre, Ga Sa
Swaroop: Re Ma Pa, Ni Dha Pa, Pa Dha Pa Ma, Ga Re, Ga Sa.
NATIVE
Originally from Asavari Thaat, Native now uses both variants of Dhauvat (while sometimes omitting Asavari elements). It resembles 'Barwa' due to adjustments in the aaroha. In the ascent, from Pancham the raga starts directly on "pakj sa" and in the descent is rendered in a vak style. Gandhar and Hauvat are omitted in the ascent and Nishad is often omitted in the descent, classifying it as Baudva-Pas. The vaadi is Pancham and the sambadi is Rishabh. It is performed during the second prahar of the day.
Ascent: sare m p, dhamap, sam.
Swaroop: Pa Ga, Re Ga Sa Re Ni Sa.
DHANASHREE
A raga of Audaav-Sampoorna Jati derived from Kaafi Thaat, Dhanashree features soft Nishad and Gandhar. Pancham is the vaadi and Shadja is the samvaadi. In the ascent, Rishabh is rendered with a strong Dhauvat quality. Its performance time is in the third prahar of the day.
There are five classes of special ragangas derived from Kaafi Thaat (including Dhanashree, Kaafi, Sarang, Kanada, and Malhar). In the presented form, Rishabh is weak while Sap and Ma are strong; the rise typically starts from Nishad with the remainder on Pancham.
Ascent-Descent Example: Saga Mapanisaan | Saan Ni Dha Ma Pa Maga Resa.
Swaroop: Nisa, Ga, Mapa, Dhapa Nidhapa Maga, Mapaga, Gare Sa, Nisa, Panisa, Re Sa, Ga Re Sa.
DHANI RAAG
A raga of the Kaafi part, Dhani Raag renders Gandhar and Nishad softly while the remaining notes remain pure. Rishab and Dhauvat are omitted (though sometimes Rishab appears in the descent), classifying it as Audaav-Audaav. The vaadi is Gandhar and the sambadi is Nishad. Its singing time is in the evening.
Ascent-Descent Example: Ni Sa Ga Ma Pa Ni Sa. Ni Pa Ma Ga Sa
Swaroop: Ga Ma Pa Ga Sa Ni Sa.
Conclusion 🎵
This extensive collection of raga descriptions provides an in-depth look into the structural intricacies, tonal qualities, and unique characteristics of various ragas in Indian classical music. Whether derived from Asavari, Khamaj, or Bilaval thaats, each raga offers a distinct emotional palette and performance nuance, making them invaluable for both students and seasoned musicians.
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