Hindustani ragas

alt=|thumb|Melakarta ragas of Carnatic music. While ragas in Hindustani music are divided into thaats, ragas in Carnatic music are divided into melakartas. A raga ( ; , ; ) is a melodic framework for improvisation in Indian classical music akin to a melodic mode. It is central to classical Indian music. Each raga consists of an array of melodic structures with musical motifs; and, from the perspective of the Indian tradition, the resulting music has the ability to "colour the mind" as it engages the emotions of the audience.

Hindustani raga

Malkauns, known also as rag Malkosh, is a raga in Indian classical music. It is one of the oldest ragas of Indian classical music. The equivalent raga in Carnatic music is called Hindolam, not to be confused with the Hindustani Hindol.

Bhoopali, also known as Bhoop, Bhopali, or Bhupali, is a Hindustani classical raga. Bhupālī, is a raag in Kalyan Thaat. It is a pentatonic scale (uses 5 notes in ascending and descending scale). Most of the songs in this raga are based on Bhakti rasa. Since it uses 5 notes, belongs to the "Audav jaati" of ragas.

Hindustani raga

Raag Malhar, is an ancient raga with many variations, one variation known as Miyan Ki Malhar or Tansen Ki Malhar, was popularized by Sangeet Samrat Tansen. Malhar is a Hindustani classical raga. Malhar is associated with torrential rains.

Hindustani raga

Asavari () is a raga in Hindustani classical music. It is named for a minor character from the Stri Parva in Mahabharata, the love life of Karna but due to her father's arrogance, the marriage did not take place. She belongs to the Asavari thaat kingdom.

thumb|Bageshri Raga Bageshri or Bageshree () is a Hindustani raga. It is meant to depict the emotion of waiting for reunion with one's lover. Being a very melodic raga it has gained popularity over the centuries. Like all ragas, Raga Bageshri traces its origins to the Samaveda, a sacred Hindu text with roots that likely date back to around 1500 BCE, though its oral tradition could be much older.

Hindustani classical raga

Hindustani raga

Hindustani raga

Hindustani raga

Shivaranjani or Sivaranjani is a musical scale used in Indian classical music. There are two scales, one in Hindustani music and one in Carnatic music. The Hindustani rāga is a pentatonic scale, as is the Carnatic scale categorized as Audava-Audava (audava meaning 'of 5') resulting in 5 notes in the Arohanam and 5 in the Avarohanam.

Bhimpalasi or Bheempalasi (also known as Bheempalas or Bheempalashree) is a Hindustani classical raga. The Carnatic Music equivalent of this raga is Abheri.

Khamaj () is a Hindustani classical Music raga within the Khamaj thaat which is named after it.

Janya raga of Carnatic music, also used in Hindustani classical music

Janya raga of Carnatic music, also used in Hindustani classical music

Hindustani classical raga

Raga Bihag is a Hindustani classical raga (also spelled raag) belonging to the Bilawal thaat. Bihag uses all seven music swars, and both Madhyams (Shuddha and tivra) are used. The Shuddha Madhyam is more prominent; tivra Madhyama is only used with Panchama in the phrase PA MA' GA MA GA.

Hindustani raga

Jaijaivanti or Jaijaiwanti is a Hindustani classical raga belonging to Khamaj Thaat. According to the Guru Granth Sahib, this raga is a mixture of two others: Bilaval and Sorath. The raga appears in the latter section in Gurbani, as only four hymns were composed by Guru Tegh Bahadur, the ninth Sikh guru. These hymns were added by his son and successor Guru Gobind Singh in 1705 A.D. This raga is not mentioned in any Indian classical scriptures on music nor in the Ragmala.

Bilaval or Bilawal () is a raga and the basis for the eponymous thaat (musical mode) in Hindustani classical music. Raga Bilaval is named after Veraval, Gujarat.

Hindustani raga

Hindustani raga

Hindol is a Hindustani classical raga from the Kalyan Thaat.

It is a Hindustani classical raga

Patdeep or Patdip (पटदीप), is a Hindustani classical raga from the Kafi Thaat.

India musical raga

Puriya is a major hexatonic raga of Hindustani classical music.

form of Indian miniature painting

Purvi or Poorvi () is a raga in Hindustani classical music that exemplifies its own thaat, the Poorvi thaat. Purvi has a deeply serious, quiet and somewhat mystical character. It is uncommon in performances nowadays.

Hindustani raga

Hindustani raga

Hindustani raga

Hindustani raga

raga in Hindustani music

Hindustani classical raga

Hindustani raga

Hindustani raga

Bibhas is a Hindustani classical raga.

old North Indian raga

Hindustani raga

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Janya raga of Carnatic music, also used in Hindustani classical music

Rageshree is a raga in Indian classical music, popular in both Carnatic music and Hindustani music. It is from the Khamaj thaat. It is pentatonic in aaroha, hexatonic in avaroha. The main difference between Rageshree and the popular raga Bageshree is that Rageshree has Shuddha Gandhar whereas Bageshree has Komal Gandhar. Rageshree has a light romantic mood.

Kalavati or Kalawati is a modern pentatonic Hindustani classical raga. Svaras Re (the second tone) and Ma (the fourth tone) are strictly omitted (Varjya/Varjit). Kalavati belongs to the Khamaj Thaat.

thumb|Ravi Shankar performs Madhuvanti at the Shiraz Arts Festival in Iran in the 1970s Madhuvanti is a raga used in Indian classical music. It is a Hindustani music raga, which is reported to have been borrowed into Carnatic music, and is structurally similar to Multani.

A raga created by Mahesh Mahadev

Hindustani raga

Abhogi () is a raga in Carnatic music and has been adapted to Hindustani music. It is a pentatonic scale, an audava raga. It is a derived scale (janya raga), as it does not have all the seven swaras (musical notes). Ābhōgi has been borrowed from Carnatic music into Hindustani music and is also quite popular in the latter. In Hindustani music the raga has been classified under the Kafi thaat.

Hindustani raga