Yaman
Kalyan thaat - Early night
A foundational evening raga built around tivra Ma and a clear Kalyan identity. It is often one of the first serious ragas a student studies.
- Jati
- Sampurna
- Vadi
- Ga
- Samvadi
- Ni
SaReGaMa(tivra)PaDhaNi
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Kalyan thaat - Early night
A foundational evening raga built around tivra Ma and a clear Kalyan identity. It is often one of the first serious ragas a student studies.
Bhairav thaat - Morning
A major morning raga shaped by komal Re and komal Dha. Its identity depends on controlled intonation and a serious melodic gait.
Kalyan thaat - Evening
A pentatonic raga using Sa, Re, Ga, Pa, and Dha. Its apparent simplicity makes phrase discipline especially important.
Kafi thaat - Late evening
A central raga and thaat reference shaped by komal Ga and komal Ni. It connects strongly to semi-classical and folk-inflected material.
Kafi thaat - Late night
A late-night raga with komal Ga and komal Ni, often taught through a restrained ascent and a deeply curved phrase language.
Asavari thaat - Late night
A serious late-night raga associated with deep andolan and Kanada-family movement. It demands patience and controlled weight.
Bhairavi thaat - Morning; often performed at the close of a concert
A major concluding raag whose core form uses komal Re, Ga, Dha, and Ni. Light and film treatments often admit additional swaras.
Often associated with Bilawal; treatment varies thaat - Flexible
A flexible melodic framework with strong hill-folk associations, widely used in light classical and film music.
Kafi-associated thaat - Flexible; common in light-classical forms
A flexible light-classical raag commonly heard in thumri, dadra, and film music, with both forms of several swaras available.
Khamaj thaat - Late evening
A central late-evening raag and thaat reference, usually using shuddha Ni in ascent and komal Ni in descent.
Kafi-associated thaat - Evening
A five-note raag built from Sa, Re, komal Ga, Pa, and Dha, strongly associated with pathos in concert and film settings.
Kalyan thaat - Night
A night raag dominated by Ma, with characteristic vakra movement and a controlled touch of tivra Ma.
Khamaj thaat - Late evening / monsoon association
A lyrical Khamaj-thaat raag with an audav ascent and both forms of Ni across its common movement.
Bhairavi thaat - Late night
A late-night pentatonic raag using komal Ga, Dha, and Ni while omitting Re and Pa.
Bilawal thaat - Evening
A pentatonic evening raag using Sa, Re, Ma, Pa, and Dha, with Ga and Ni absent.
Bhairav thaat - Morning
A morning raag combining Bhairav's komal Re with a komal Ni color often associated with Kafi or folk material.
Kafi thaat - Afternoon
An afternoon Kafi-thaat raag with a restrained ascent and komal Ga and Ni.
Bilawal thaat - Late evening / night
A luminous night raag with prominent Ga and Ni, vakra movement, and a characteristic touch of tivra Ma.
Kafi-associated thaat - Midday
A midday Sarang-family raag using Re, Ma, Pa, and both forms of Ni while omitting Ga and Dha.
Asavari-associated thaat - Night
A Hindustani adoption related to Carnatic Keeravani, using komal Ga and Dha with shuddha Ni.