SYLLABUS - ABGMM (English)
SYLLABUS - ABGMM (Hindi)
रागों का विवरण - Raaga Details
Raaga Chart - That, Vadi Samvadi, Aroh Avroh Pakad
Definitions
ALANKAAR (Year wise)
TAAL
Hindustani Classical Music – Thaat
S (sa) – Derived from buzzing sound of honey bee
R (re) – Dervied from the sound of Bull
G (ga) – Derived from the sound of Donkey
M (ma) – Derived from the sound of peacock
P (pa) – Derived from the sound of Koel
D (dha) – Derived from the sound of frog
N (ni) – Derived from the sound of the raging elephant
Thaat
Following are the ten Thaats and some of the derived ragas in Hindustani Classical
Music :-
1) Bilawal - Thaat Bilawal is the most basic of all the Thaats in Hindustani Classical
Music. It consists of all the seven sudha swaras
S R G M P D N
2) Kalyan – Thaat Kalyan is characterized by tivra Ma (M̍). There are many
evening ragas derived from Kalyan Thaat. The use of tivra madhyam (M̍) separates the
evening ragas from morning ragas.
S R G M̍ P D N
3) Khamaj – Thaat Khamaj is obtained by replacing sudha Ni of Thaat Bilawal by
komal Ni (N)
S R G M P D N
4) Bhairav - Thaat Bhairav makes use of komal Re (R) and komal Dha (D).
S R G M P D N
5) Marwa - Thaat Marwa is obtained by adding komal Re (R) to Thaat Kalyan.
S R G M̍ P D N
S R G M̍ P D N
7) Kaafi - Thaat Kaafi consists of komal Ga (G) and komal Ni (N)
S R G M P D N
8 ) Asavari - Thaat Asavari can be obtained from Thaat Kaafi by adding komal Dha (D) .
S R G M P D N
9) Bhairavi - Thaat Bhairavi uses all the komal swaras in Indian Classical Music that is
Re (R), Ga (G), Dha (D), Ni (N)
S R G M P D N
10) Todi – Thaat Todi consists of komal Re (R), komal Ga (G), tivra Ma (M̍),
Dha (D).
S R G M̍ P D N
Notation for lower octave notes should have a dot below.
Raag
|
Thaat
|
Vadi
|
Samvadi
|
Jati
|
Rasa
|
Raagsamay
|
Remarks
|
Abhogi
|
Kafi
|
Sa
|
Ma
|
5/5
|
Hasya
|
after sunset
|
Tune Tanpoora to Ma,because Pa is varjit !
|
Ahir Bhairav
|
Bhairav
|
Ma
|
Sa
|
7/7
|
Bhakti
|
towards sunrise
|
|
Asavari
|
Asavari
|
dha
|
ga
|
5/7
|
Shingar
|
after sunrise
|
|
Anjani Todi
|
Todi
|
dha
|
ga
|
7/7
|
Bhakti
|
after sunrise
|
Dha and Ni both shudh & komal, Ga komal
|
Adaana
|
Asavari
|
Sa
|
Pa
|
6/7
|
Shant
|
after sunset
|
Ni both shudh & komal
|
Bageshwari
|
Kaafi
|
Ma
|
Sa
|
5/7
|
Hasya
|
after sunset
|
Tune Tanpoora to Ma
|
Basant Mukhari
|
Poorvi
|
Sa
|
Pa
|
5/7
|
Karuna
|
towards sunset
|
Dedicated to the end of Spring season, both Ma
|
Baradi
|
Marwa
|
Ga
|
Dha
|
6/7
|
Karuna
|
towards sunset
|
|
Bengali Bhairav
|
Bhiarav
|
dha
|
re
|
6/6
|
Shingar
|
towards sunrise
|
|
Bhankar
|
Marwa
|
Pa
|
Sa
|
5/7
|
Karuna
|
towards sunset
|
|
Bahaduri Todi
|
Todi
|
-dha
|
ga
|
7/6
|
Veer
|
towards sunrise
|
|
Bahar
|
Kaafi
|
Ma
|
Sa
|
6/6
|
Hasya
|
after sunset
|
both Ni are used,Re in Aroha and Dha in Avroha are varjit
|
Barva
|
Kaafi
|
Re
|
Pa
|
6/7
|
Shant
|
midday
|
Ni, Re and Dha should be komal (but beyond knowledge !
|
Basant
|
Poorvi
|
Sa
|
Pa
|
5/7
|
Karuna
|
towards sunset
|
Both Ma-suits into spring season preferably
|
Bihag
|
Bilawal
|
Ga
|
Ni
|
5/7
|
Shingar
|
after sunset
|
Addition of Teevar Ma enhances its beauty !
|
Bhairav
|
Bhairav
|
dha
|
re
|
7/7
|
Shingar
|
towards sunrise
|
sounds enchanting at the beginning of winter season
|
Bhairavi
|
Bhairavi
|
Ma
|
Sa
|
7/7
|
Veer
|
towards sunrise
|
Tanpoora at Ma eliminates Karuna rasa! Alltime Raag
|
Bhatyar
|
Marwa
|
ma
|
Sa
|
5/7
|
Shant
|
after sunset
|
both Ma are used
|
Bhimpalasi
|
Kaafi
|
Ma
|
Sa
|
5/7
|
Shant
|
after highnoon
|
Pa is very dominant and Dha is varjit in Aroh !
|
Bhopali
|
Kalyan
|
Ga
|
Dha
|
5/5
|
Shingar
|
after sunset
|
|
Bhopali Todi
|
Bhairavi
|
dha
|
ga
|
5/5
|
Veer
|
towards sunrise
|
|
Bilaskhani Todi
|
Bhairavi
|
dha
|
Ga
|
7/7
|
Veer
|
towards sunrise
|
|
Bilawal
|
Bilawal
|
Dha
|
Ga
|
7/7
|
Bhakti
|
after sunrise
|
one of the easiest Raags for beginners, all Surs are shudh!
|
Brindabani Sarang
|
Kaafi
|
Re
|
Pa
|
5/5
|
Shant
|
after highnoon
|
Komal Ni only in Aroha !
|
Chanchal Malhar
|
Kaafi
|
Ma
|
Sa
|
5/6
|
Hasya
|
after sunset
|
g should be shown just as a meend to Re
|
Chanderkauns
|
Kaafi
|
Sa
|
Ma
|
5/5
|
Hasya
|
after sunset
|
S, -n-D-M-D-nS, MgS
|
Chanderkant
|
Kalyan
|
Ga
|
Ni
|
6/7
|
Shant
|
towards sunset
|
S,GG,
mGn, mPG, R-n, RG
|
Char Ji ki Malhar
|
Kaafi
|
Ma
|
Sa
|
6/6
|
Hasya
|
after sunset
|
Re 'could' be komal acc.Ram Avtar Vir,Ga in Aroh and Ma in Avroh varjit
|
Chaayanat
|
Kalyan
|
Pa
|
Re
|
7/7
|
Shant
|
towards sunset
|
both Ma, Ni komal in Avroh is allowed !
|
Chaaya Tilak
|
Bilawal
|
Ga
|
Pa
|
7/7
|
Shant
|
after high noon
|
S,
R, G, RG, MP, M, PG, SRG, MRG
|
Darbari (Kanhada)
|
Asavari
|
Re
|
dha
|
7/6
|
Bhakti
|
midnight
|
Advisably to be performed in mandar saptak whereas ga should be
andolit!
|
Deepak
|
Poorvi
|
Sa
|
Pa
|
6/6
|
Rudra
|
towards sunset
|
'Raag of fire'.Musicians should have created fire with it! They say...
|
Des
|
Khamaj
|
Pa
|
Re
|
5/7
|
Shant
|
first period of night
|
Ni is shudh in Aroha but komal in Avroha!
|
Desi
|
Asavari
|
Pa
|
Re
|
5/7
|
Bhakti
|
after sunset
|
|
Deskar
|
Bilawal
|
Dha
|
Ga
|
5/5
|
Hasya
|
after sunrise
|
Ma and Ni are (strictly) varjit. Emphasis on Dha as vadi sur.
|
Devaranjini
|
Bhairav
|
Sa
|
Ma
|
5/5
|
Shingar
|
towards sunrise
|
Sometimes teevar Ma in Aroha !
|
Dhanashree
|
Bhairavi
|
Pa
|
Sa
|
5/7
|
Veer
|
towards sunrise
|
|
Dhani
|
Kaafi
|
ga
|
ni
|
5/5
|
Shingar
|
after high noon
|
|
Durga
|
Bilawal
|
Ma
|
Sa
|
5/5
|
Shingar
|
after sunrise
|
also called Shudh Saveri - Tanpoora should be at Ma!
|
Gandhari
|
Asavari
|
dha
|
ga
|
5/7
|
Shingar
|
after sunrise
|
There is another Raag'Dev Gandhari' using Ga and Ni also in komal way.
|
Gara
|
Khamaj
|
Re
|
ni
|
7/7
|
Karuna
|
anytime
|
Ga and ni are used shudh and varied!
|
Gaud
|
Kaafi
|
Pa
|
Sa
|
7/6
|
Hasya
|
after sunset
|
P,
MPg, MRS
|
Gaud Sarang
|
Kalyan
|
Ga
|
Dha
|
7/7
|
Veer
|
high noon
|
Ma in both of its modes is used G R MG P RS, GM RG RMG
|
Gauri
|
Bhairav
|
ra
|
Pa
|
5/7
|
Bhakti
|
towards sunset
|
Ni is shudh in Aroh but komal in Avroh!
|
Gopi Ka Basant
|
Asavari
|
Sa
|
Pa
|
6/6
|
Veer
|
as the sun rises
|
|
Gaud Malhar
|
Khamaj
|
Ma
|
Sa
|
7/7
|
Hasya
|
after sunset
|
Lovingly rendered during rainy season, tenderness & wait...
|
Gunkali
|
Bilawal
|
Sa
|
Pa
|
6/6
|
Hasya
|
after sunrise
|
Ma is varjit both in Aroh and Avroh.
|
Gujari
|
Todi
|
dha
|
re
|
6/6
|
Bhakti
|
first part of day
|
S,
rg, r, S, -d, -d-NS, -d-NrS
|
Hameer
|
Kalyan
|
Dha
|
Ga
|
6/7
|
Shant
|
prior to sunset
|
Ma is both shudh & teevar.U can take komal Ni to emphasize Dha as
vadi!
|
Hans Kankani
|
Kaafi
|
Pa
|
Sa
|
5/7
|
Shant
|
after sunset
|
Re and Dha are varjit in Aroha.Beauty lies in the togetherness of Sa, Ma
and Pa!
|
Hansadhwani
|
Bilawal
|
Ga
|
Pa
|
5/5
|
Shingar
|
after sunset
|
It is a soft and cheerful Raag preferably for female voice.
|
Hem
|
Bilawal
|
Sa
|
Pa
|
6/6
|
Shant
|
first part of night
|
+SDP,
DM, MRS
|
Hindol
|
Kalyan
|
Dha
|
Ga
|
5/5
|
Veer
|
high noon
|
supposed to be rendered during spring, has the chirping of the birds...
|
Hussaini Kanhda
|
Kaafi
|
Sa
|
Pa
|
6/7
|
Hasya
|
after sunset
|
MPDn+S,
gMRS
|
Jaijaivanti
|
Khamaj
|
Re
|
Pa
|
7/7
|
Shant
|
after sunset
|
Ga and Ni are shudh in Aroha but komal in Avroha - pains of separation !!
|
Jangla
|
Bhairavi
|
Ma
|
Sa
|
5/6
|
Shingar
|
as the sun rises
|
Sometimes mentioned as Jangla Bhairavi! A famous Ghazal from Farida
Khanum-Hai yahan naam ishaq ka lena...
|
Jait
|
Marwa
|
Pa
|
Sa
|
5/5
|
Bhakti
|
towards sunset
|
SGP,
DGP, GRG, PDGrS
|
Jait Kalyan
|
Kalyan
|
Pa
|
Sa
|
5/5
|
Shingar
|
after sunset
|
|
Jaitshree
|
Poorvi
|
Ga
|
Ni
|
5/7
|
Bhakti
|
late evening
|
the only evening Raag without re and dha in Aroh!!
|
Jhinjhoti
|
Khamaj
|
Ga
|
ni
|
7/7
|
Hasya
|
as the sun sets..
|
Ni is shudh in Aroha but komal in Avroha
|
Jogiya
|
Bhairav
|
Ma
|
Sa
|
5/6
|
Shingar
|
towards sunrise
|
|
Jaunpuri
|
Asavari
|
dha
|
ga
|
6/7
|
Shingar
|
first period of day
|
This Raag has the same scale as Darbari but the chalan differs!! ga is
varjit in Aroh..
|
Kaafi
|
Kaafi
|
Pa
|
Sa
|
7/7
|
Hasya
|
after sunset
|
|
Kalingda
|
Bhairav
|
d
|
Ga
|
7/7
|
Shingar
|
towards sunrise
|
Ma can be used both shudh and teevar.
|
Kalyan
|
Kalyan
|
Pa
|
Re
|
7/7
|
Shant
|
towards sunset
|
|
Kamod
|
Kalyan
|
Pa
|
Re
|
5/7
|
Shant
|
evening tide
|
Ma teevar only in Aroha.Also komal Ni allowed.
|
Kaukub
|
Bilawal
|
Ma
|
Sa
|
6/7
|
Hasya
|
after sunrise
|
SRR, DP,
MPDP, GRRS
|
Kaushik Kanhda
|
Asavari
|
Ma
|
Sa
|
5/7
|
Bhakti
|
after sunset
|
|
Kedara
|
Kalyan
|
Ma
|
Sa
|
5/7
|
Shant
|
first part of night
|
Shudh Ma in Aroha and komal Ni decently could be used.
|
Khamaj
|
Khamaj
|
Ga
|
ni
|
6/7
|
Hasya
|
after sunset
|
Shudh Ni can be used. Re only as Meend from and to Ga.
|
Khambavati
|
Ga
|
Dha
|
6/6
|
Hasya
|
after sunset
|
Ga in Aroha and Re in Avroha are varjit.
|
|
Komal Rishav Asavari
|
Asavari
|
dha
|
ga
|
5/7
|
Shingar
|
after sunrise
|
|
Komal Desi
|
Asavari
|
Pa
|
Re
|
5/7
|
Shingar
|
after sunrise
|
Komal Re in Aroha due to beauty of audibility.
|
Kaunsi Kanhada
|
Kaafi
|
Ma
|
Sa
|
6/7
|
Hasya
|
first period of night
|
Kumari
|
Poorvi
|
re
|
Pa
|
6/6
|
Bhakti
|
sunset
|
|
Lalit
|
Poorvi
|
Ma
|
Sa
|
6/6
|
Shant
|
as the sun sets
|
Both Ma are used. Pa is varjit.
|
Lalit gauri
|
Marwa
|
re
|
Pa
|
7/7
|
Bhakti
|
towards sunset
|
|
Lalit Pancham
|
Bhairav
|
Ma
|
Sa
|
6/7
|
Shingar
|
as the sun rises
|
To be rendered in mandar and madhya saptak.Ma also teevar and a slight Pa
in Avroha could be used!
|
Lankadehan Sarang
|
Kaafi
|
Re
|
Pa
|
6/6
|
Shingar
|
after sunrise
|
|
Madhmadh
|
Kaafi
|
Re
|
Pa
|
5/5
|
Shingar
|
high noontide
|
|
Manjh Khamaj
|
Khamaj
|
Ga
|
ni
|
6/6
|
Hasya
|
after sunset
|
Re varjit and use of Ni (sometimes) makes this Raag more lovely and
charming.
|
Malgunji
|
Kaafi
|
Pa
|
Sa
|
6/7
|
Shingar
|
after sunrise
|
Ga and Ni in both forms, Pa varjit in Aroha.
|
Maligauda
|
Marwa
|
re
|
Pa
|
7/7
|
Bhakti
|
towards sunset
|
|
Malkauns
|
Bhairavi
|
Ma
|
Sa
|
5/5
|
Veer
|
end of night
|
Tanpoora is to be tuned to Ma as Pa is varjit.
|
Maloha
|
Bilawal
|
Sa
|
Pa
|
5/7
|
Hasya
|
after sunrise
|
|
Malsari
|
Kalyan
|
Pa
|
Sa
|
5/5
|
Shant
|
high noon
|
They say it is a Raag with only 3 Swars.Sa, Ga and Pa as dominant and ma
and Ni only through meends !!
|
Malvi
|
Poorvi
|
re
|
Pa
|
6/6
|
Bhakti
|
towards sunset
|
|
Mand
|
Bilawal
|
Sa
|
Pa
|
7/7
|
Shingar
|
anytime
|
This Raag is derived from a Folksong in Gujrat/Kathiawad.It is performed
in many styles.The dance that goes hand in hand with this Raag is Garba.
|
Manohar
|
Poorvi
|
Ga
|
dha
|
6/7
|
Karuna
|
anytime
|
|
Maru Bihag
|
Kalyan
|
Ga
|
Ni
|
5/7
|
Shingar
|
after ssunset
|
Ma is shudh in Aroha and komal in Avroha !
|
Marwa
|
Marwa
|
re
|
Dha
|
6/6
|
Karuna
|
as the sun sinks
|
|
Megh Malhar
|
Kafi
|
Sa
|
Pa
|
5/5
|
Raudra
|
cloudy weather
|
It is basically a Raag of Rain having water as its main element.
|
Megh Ranjini
|
Bhairav
|
Ma
|
Sa
|
5/5
|
Shingar
|
as the sun rises
|
Ma can be used in teevra form sometimes.The combination of Ni and Ma is
conspicuous.
|
Mian Ki Malhar
|
Kafi
|
Sa
|
Pa
|
6/6
|
Shingar
|
rainy season
|
ga is omitting in Aroha and Dha in Avroha.Ni is komal in Aroha and shudh
in Avroha !
|
Mirabai Ki Malhar
|
Kafi
|
Ma
|
Sa
|
6/7
|
Hasya
|
after sunset
|
|
Mian Ki Sarang
|
Kafi
|
Re
|
Pa
|
6/6
|
Shingar
|
noontide
|
|
Mulla
|
Bilawal
|
Sa
|
Ma
|
5/7
|
Shingar
|
after sunset
|
|
Nag Soravi
|
Khamaj
|
Ma
|
Sa
|
5/5
|
Hasya
|
anytime
|
Komal Ni is permissible in Avroha and takes this Raag into Khamaj Thaat.
|
Naiki Kanhada
|
Kafi
|
Ma
|
Sa
|
6/6
|
Hasya
|
after sunset
|
Komal Ni should be used only very slightly...
|
Narayani
|
Khamaj
|
Re
|
Pa
|
5/6
|
Hasya
|
after sunset
|
|
Neelambari
|
Kafi
|
Pa
|
Sa
|
6/7
|
Shingar
|
as the sun has arisen
|
|
Nat
|
Bilawal
|
Ma
|
Sa
|
7/7
|
Shingar
|
after sunset
|
There are some other Nat variations like Nat Bihag,Nat Kamod and Nat
Kedara
|
Nat Bilawal
|
Bilawal
|
Ma
|
Sa
|
7/7
|
Hasya
|
as the sun grows
|
|
Nat Malhar
|
Kafi
|
Ma
|
Sa
|
7/7
|
Shant
|
rainy season
|
|
Odav Devgiri
|
Bilawal
|
Sa
|
Pa
|
5/5
|
Shanta
|
high noon
|
Compared to Raag Devgiri-the same ras with 5 Surs !
|
Pahadi
|
Bilawal
|
Sa
|
Pa
|
5/5
|
Shingar
|
anytime
|
originally a Raag of the mountain areas loved by Thumari and Ghazal
singers.Remembers u of hills & rivulets !
|
Paraj
|
|||||||
Pardeepaki
|
|||||||
Patmanjari
|
|||||||
Peeloo
|
Kafi
|
ga
|
Ni
|
7/7
|
Shant
|
high noon
|
One can use all the 12 Surs
|
Palasi
|
|||||||
Prabhat
|
|||||||
Poorvi
|
|||||||
Pooriya
|
|||||||
Pooriya Dhanashree
|
Poorvi
|
Pa
|
re
|
7/7
|
Bhakti
|
towards sunset
|
|
Pooriya Kalyan
|
Marwa
|
Ga
|
Ni
|
7/7
|
Shant
|
towards sunset
|
|
Rageshwari
|
Khamaj
|
Ma
|
Sa
|
5/6
|
Hasya
|
after sunset
|
Re is omitting in Aroha.Both forms of Ni are used.
|
Ramdasi Malhar
|
|||||||
Ramkali
|
|||||||
Sarparda
|
Savant Sarang
|
|||||||
Saveri
|
|||||||
Shahana
|
|||||||
Shankara
|
|||||||
Shivmat Bhairav
|
|||||||
Shree
|
Poorvi
|
re
|
Pa
|
5/7
|
Bhakti
|
towards sunset
|
Ga and Dha are omitting in Aroha
|
Shreeranjini
|
Kafi
|
Ma
|
Sa
|
5/6
|
Hasya
|
after sunset
|
|
Shudh Kalyan
|
Kalyan
|
Ga
|
Dha
|
5/7
|
Shant
|
after sunset
|
|
Shudh Malhar
|
|||||||
Shudh Sarang
|
Kalyan
|
Re
|
Pa
|
6/6
|
Veer
|
high noon
|
Ma is teevra in Aroha and shudh in Avroha !
|
Shyam Kalyan
|
|||||||
Sindh Bhairavi
|
Asavari
|
dha
|
ga
|
7/7
|
Karuna
|
anytime
|
According to Shri Ram Avtar both forms of Re are permissible contrary to
the philosophy of Gandharav Veda!
|
Sindhavi
|
|||||||
Sindhoora
|
|||||||
Sohini
|
Marwa
|
Dha
|
Ga
|
5/6
|
Karuna
|
deep night
|
'Sameness' to Raag Hindol.Pa is omitting !
|
Sorath
|
|||||||
Suha
|
|||||||
Sur Malhar
|
|||||||
Surdasi Malhar
|
|||||||
Tilak
|
|||||||
Tilak Kamod
|
Khamaj
|
Re
|
Pa
|
6/7
|
Hasya
|
after sunset
|
Tilang
|
|||||||
Triveni
|
|||||||
Todi
|
|||||||
Uttar Gunkali
|
|||||||
Yaman
|
Kalyan
|
Ga
|
Ni
|
7/7
|
Shant
|
evening time
|
Mostly the very first Raag to be learnt by the music students.
|
Zeelaf
|
Bhairav
|
Ga
|
dha
|
5/5
|
Karuna
|
high noon
|
Great depth of information!
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