Raags/ ragas and Thaats: Hindustani
While the list of ThaaTs is comprehensive, the list of raags is not. |
Contents |
A pronunciation guide
Indians, indeed, South Asians, need not read this guide. They will immediately guess our system, even if they do not know Hindi-Urdu,
For others:
Diacritical marks above vowels double their sound.
A diacritical mark above an ‘ñ’ makes it a nasalised, ‘half’ n as in soNg, briNg, bruNt, caN’t, loNg, ENglish etc.
Capital T and D mean that the T and D are hard, as in the English language.
The capital N denotes a hard n, which non-Indians might find cumbersome. They can stick to the normal n.
Small t and d indicate the soft t and d of Spanish, French and Italian. The d sound is close to the English th (as in THere, THis, THat etc.)
An accentuated é should be pronounced as in French.
The ThaaTs and their raags
Bilãwal
S-R-G-m-P-D-N-S
Notes (swar) used: shuddha (i.e. all swar of the natural scale)
Shown in paintings as: sensuous
Some raags in the ठाट (ThãT) called बिलावल (Bilãwal)
अल्हैया बिलावल |
alhaiyã bilãwal |
Morning |
बिलावल शुद्ध |
bilãwal shuddh |
Morning |
देशकार |
désh kãr |
Morning |
देवगिरी बिलावल |
dév-girî bilãwal |
|
दुर्गा |
durgã |
Night |
हंसध्वनी |
hañsdhwani |
Evening |
हेमकल्याण |
hém kalyãN |
|
ककुभ |
kakubh |
|
लच्छासाख |
lachchhã sãkh |
|
मलुहा |
malûhã |
|
मांड |
mãñD |
All day |
नट बिलावल |
naT bilãwal |
|
नट राग |
naT rãg |
|
पहाड़ी |
pahãrhî |
Evening |
सरपर्दा |
sar pardã |
|
शंकरा |
shañkarã |
Evening |
शुक्लबिलावल |
shukl bilãwal |
|
विहाग |
vihãg |
|
यमनी |
yamanî |
|
Khamãj
S-R-G-m-P-D-n-S
Notes (swar) used: The notes of Bilawal, with Komal Nishad instead of Shuddha Nishad.
Mood/ flavour (ras): shriñgãr ras (amorous/ love)
Kinds of music used in: light classical (horî, kajrî, Tappâ, Thumrî)
Shown in paintings as: sensuous, romantic, playful
Some raags in the ठाट (ThãT) called खमाज (khamãj)
The a in dvitîya is almost silent
|
bhinn shãdjã |
Night |
देस, देश |
dés (sometimes dés[h]) |
Evening |
दुर्गा द्वितीय |
durgã dvitîya |
|
गारा |
gãrã |
|
गोरख कल्याण |
gorakh kalyãN |
Night |
जयजयवन्ती |
jaijaivañtî |
Night |
झिंझोटी |
jhiñjhoTi |
Night |
कलावती |
kalãvati |
Night |
खमाज |
khamãj |
Evening |
खम्बावती, खंबावती |
khambãvatî |
|
रागेश्री, रागेश्वरी |
rãgéshrî (sometimes rãgéshwarî) |
Night |
सोरठ |
soraTh |
|
तिलक कामोद |
tilak kãmod |
Night |
तिलंग |
tilãng |
Evening |
Kãfî
S-R-g-m-P-D-n-S
Notes (swar) used: The notes of Khamaj Thaat + Komal Gãñdhãr
The ‘f’ sound does not exist in Hindi or most Indian languages. They have the ‘ph’ sound instead. Thus, the Hindi word for ‘successful’ is ‘saphal’ and not ‘safal,’ as is almost invariably assumed. For the same reason, you will find some scholarly sites that use the transliteration kãphî (for काफी) instead. It is a mediæval rãg. By then the ‘f’ sound had reached India with the Persian language. Therefore, unless an authority tells us why not, Indpaedia will continue to use the popular pronunciation, which is kãfî. (We repeat: just because safal is the popular pronunciation it does not become correct.)
Some raags in the ठाट (ThãT) called काफ़ी (kãfî):
बागेश्री, बागेश्वरी |
bãgéshrî (sometimes bãgéshwarî) |
Night |
बहार |
bahãr |
Night |
बड़हंससारंग |
barh-hañs sãrañg |
|
भीमपलासी |
bhîm-palâsi |
Afternoon |
देव साख |
dév-sãkh |
|
धनाश्री |
dhanãshrî |
|
धानी |
dhãnî |
All day |
गौड मल्हार, गौड़मल्लार |
gaurh malhãr (colloquial: mallãr) |
The monsoons |
हंसकिंकिणी, हंसकंकणी |
hañs-kiñkiNî (colloquial: hañs-kañkaNî) |
|
काफी, काफ़ी |
kãphî, kãfî |
All day (Best: Late evening) |
मध्यमादि सारंग |
madhyamãdi-sãrañg |
Afternoon |
मालगुंजी |
mãlguñjî |
Night |
मल्हार, मल्लार |
malhãr (colloquial: mallãr) |
Night |
मेघ |
mégh |
|
मियाँ की मल्हार/ मल्लार |
miyãñ kî malhãr |
The monsoons |
मियाँ की सारंग |
miyãñ kî sãrañg |
|
नायकी कान्हड़ा, नायकी कन्ह्डा |
nãyakî-kãnharhã (or nãyakî-kanharhã) |
|
पटदीप |
paT-dîp |
Afternoon |
पटमंजरी |
paT-mañjarî |
|
पीलू |
pilû |
All day |
सैंधवी |
saiñdhvî |
|
सामंतसारंग |
sãmañt sãrañg |
|
शहाना |
shahãnã |
|
शिवरंजनी |
shivrañjini
|
Night |
शुद्ध मल्हार/ मल्लार |
shuddh malhãr |
|
शुद्ध सारंग |
shuddh sãrañg |
|
सिन्धुरा, सिंदूरा |
siñdhûrã, siñdûrã |
|
सुघराई |
sughrãî |
|
सूहा |
sûhã |
|
सूर मल्हार, सूरमल्लार |
sur malhãr |
|
वृन्दावनी सारंग |
vriñdãvanî sãrañg |
|
Ãsãvarî
S-R-g-m-P-d-n-S
Notes (swar) used: The notes of Kafi + Komal Dhaivat
Mood: austere, ascetic, renunciatory.
Some raags in the ठाट (ThãT) called आसावरी (ãsãvarî)
अडाणा |
aDãNã |
Evening/ night |
आसावरो |
ãsãvarî |
Late morning |
दरबारी कान्हड़ा |
darbãrî kãnharhã |
Evening/ night |
देसी |
désî |
Morning |
देव गन्धार |
dév gañdhãr |
|
जौनपुरी |
jaun-purî |
Morning |
कौशिक कान्हड़ा |
kaushik kãnharhã |
|
नायकी द्वितीय |
nãyakî dvitîya |
|
षट्राग |
shaT-rãg |
|
सिंधुभैरवी |
siñdhu bhairavi |
|
Bhairavî
S-r-g-m-P-d-n-S
Notes (swar) used: All the komal swars, dhaivat (A), gandhar (E), nishad (B), rishabh (D). All 12 notes are used in compositions in Bhairavi.
‘Gender’: Feminine
Mood: Solemn.
Shown in paintings as: Feminine, as the divine wife of Bhairav (Lord Shiv).
Some raags in the ठाट (ThãT) called भैरवी (bhairavî)
भैरवी |
bhairavî |
All day |
भूपाल तोडी |
bhûpãl toDî, bhûpãlî toDî |
Morning |
बिलासखानी तोड़ी |
bilãskhãnî torhî (toDî) |
Morning |
धनाश्री |
dhanãshrî |
|
कौसी कान्ह्डा |
kauñsî kãnharhã; kausî… |
|
मालकौंस |
mãlkauñs |
Night |
मालकौंस पंचम |
mãlkauñs pañcham |
Night |
Bhairav
S-r-G-m-P-d-N-S
Notes (swar) used: Komal Rishabh and Komal Dhaivat
Gender: masculine
Shown in paintings as: Ascetic, overwhelming
Some raags in the ठाट (ThãT) called भैरव (bhairav)
अहीर भैरव |
ahîr bhairav |
Morning |
आनंद भैरव |
ãnañd bhairav |
|
बैरागी भैरव |
bairãgi bhairav |
Morning |
बंगाल भैरव |
bañgãl bhairav |
|
भैरव |
bhairav |
Morning (see variations) |
गुणकली |
guN-kalî |
Morning |
जोगिया |
jogiyã |
Morning |
कालिंगड़ा |
kãliñgrhã |
Morning
|
मेघरंजनी |
mégh-rañjani |
|
नट भैरव |
naT bhairav |
Morning |
प्रभात |
prabhãt |
|
रामकली |
rãm-kali |
|
सौराष्ट्रटंक |
saurãshTr-Tañk |
|
शिवभैरव |
shiv bhairav |
|
विभाग |
vibhãg |
|
Some variants of Raag Bhairav: ahîr bhairav, alam bhairav, ãñañd bhairav, bairãgî bhairav, beehad bhairav, bhavmat bhairav, dévatã bhairav, gaurî bhairav, naT bhairav, shivmat bhairav.
Kalyãn
S-R-G-M-P-D-N-S
Distinguishing swar: teevr madhyam. (Indeed, it is teevr madhyam that differentiates evening/ night raags from dawn and sunset raags.
Mood: Feel-good
Some raags in the ठाट (ThãT) called कल्याण (kalyãN)
भूपाली |
bhûpãlî |
Evening |
बिहाग |
bihãg |
Night |
केदार |
chãñdnî kédãr |
Night |
चन्द्रकान्त |
chañdr-kãñt |
|
छाया-नट |
chhãyã-naT |
Night |
गौड़ सारंग |
gaurh sãrañg |
Afternoon |
हमीर |
hamîr |
Night |
हिन्डोल |
hiñDol |
Morning |
जयतकल्याण |
jayat kalyãN |
|
कामोद |
kãmod |
Evening |
केदार |
kédãr |
Night |
मालश्री |
mãl-shree |
|
मारू बिहाग |
mãru bihãg |
Evening |
नंद |
nañd
|
Night |
श्याम कल्याण |
shãm kalyãN |
Evening |
शुद्ध कल्याण |
shuddh kalyãN |
Evening |
शुद्ध सारंग |
shuddh sãrañg |
Afternoon |
श्याम |
shyãm |
|
यमन |
yaman |
Evening |
यमन कल्याण |
yaman kalyãN |
Evening |
Variations include: ãñañdî kalyãN, khém kalyãN, savani kalyãN.
Mãrwã
S-r-G-M-P-D-N-S
Notes (swar) used: kalyãN Thaat plus komal rishabh.
Mood: Dusk. The end of the day, the coming of the night.
Some raags in the ठाट (ThãT) called मारवा (mãrwã)
भंखार |
bhañkhãr |
Morning |
भटियार |
bhaTiyãr |
Morning |
जैत |
jait |
|
ललित |
laliT |
Morning |
मालीगौरा |
mãlîgaurã |
|
मारवा |
mãrwã |
Afternoon |
पंचम |
pañcham |
|
पूरिया |
pûriyã |
Evening |
साजगिरी |
sãjgirî |
|
सोहनी |
sohinî |
Morning |
वराटी |
varãTî |
|
विभास |
vibhãs; bibhãs |
Morning |
Poorvi
S-r-G-M-P-d-N-S
Notes (swar) used: mãrwã Thaat plus komal dhaivat.
Mood: Serious
Shown in paintings as: graceful.
Some raags in the ठाट (ThãT) called पूर्वी (pûrvî):
बसन्त |
basañt |
Night |
गौरी (भैरव अंग) |
gaurî |
|
जेतश्री |
jét-shrî |
|
मालश्री |
mãl-shrî |
|
परज |
paraj |
|
पुरिया धनाश्री, पूर्याधनाश्री |
pûriyã-dhanãshrî |
Evening |
पूर्वी |
pûrvî |
Afternoon |
श्रीराग |
shrî-rãg |
Afternoon |
टंकी |
Tañkî |
|
त्रिवेणी |
trivéNî |
|
ToDî
S-r-g-M-P-d-N-S
Mood: Serene, sylvan, musical.
Some raags in the ठाट (ThãT) called तोड़ी (torhî is invariably spelt toDî, therefore, Indpaedia has succumbed)
गुजरी तोडी |
gujari todi; gurjari toDî |
Morning |
मधुवन्ती |
madhuvañti |
Afternoon |
मियाँ की तोडी |
miyãñ ki todi, |
|
मुलतानी |
multãnî |
Afternoon |
तोड़ी |
toDî (14 varieties) |
Morning |
Other Raags
अभोगी कान्ह्डा |
abhogî kãnharhã |
|
बैरागी तोडी |
bairãgi toDî |
|
बसन्त मुखारी |
basañt mukhãrî |
Morning |
भीम |
bhîm |
|
चन्द्रकौन्स |
chañdr-kauñs |
Night |
चारुकेशी |
chãrûkéshi |
|
गोपिका बसन्त |
basañt |
|
हरिकौन्स |
hari-kauñs |
|
हेमश्री |
hém-shrî |
|
जलधर केदार |
jal-dhar kédãr |
|
|
jan-sammohini |
|
जोगेश्वरी |
jogéshwarî |
|
कौशिक ध्वनी |
kaushik dhwanî |
|
कीरवाणी |
kîrwãNî |
Night |
कोमल-रिषभ आसावरी |
komal rishabh ãsãvarî |
|
लंका-दहन सारंग |
lañkã-dahan sãrañg |
|
मधुमाद सारंग |
madhu-mãd sãrañg |
|
मोहन कौन्स |
mohan-kauñs |
|
नारायणी |
nãrãyaNî |
|
परमेश्वरी |
parméshwarî |
|
पटदीपकी |
paT-dîpakî |
|
पुरिया कल्याण |
puriyã kalyãN |
|
सरस्वती |
saraswatî |
|
सरस्वती केदार |
saraswatî kédãr |
|
शहाना कन्ह्डा |
shahãnã kanharhã |
|
शोभावरी |
shobhã-varî |
|
सुहासुघराई |
sûhã sughrãî |
|
सुन्दर कौन्स |
suñdar kauñs |
|
तिलंग बहार |
tilãng bahãr |
|
वाचस्पती |
vãchaspati |
|
Why this page?
This page was created in order to give laymen just the names and correct pronunciations of the Ten Thaats and the important raags/ ragas. (However, as the page grows it will have other information as well. It already does.)
Why should Indians, especially those who can read Hindi in Devanagari, need pronunciation guides to their own raags/ ragas?
Because of all the inaccurate information available in print and on the internet. Because of spellings like सिंदूरा (instead of सिन्धुरा), हिंदोल (instead of हिन्डोल), हामीर (instead of हमीर), जेजैवंती (instead of जयजयवन्ती or जैजैवंती; our problem is with the first जे, which should have been a जै), वसंत (instead of बसन्त), हंसकंकणी (instead of हंसकिंकिणी), मल्लार (instead of मल्हार), ललिट and Lalat (instead of ललित and Lalit), जैनपुरी (instead of जौनपुरी), र्गाधार (instead of गन्धार), देश (instead of देस), haunsdhwani (instead of hañsdhwani), रागेश्वरी (instead of रागेश्री) and बागेश्वरी (instead of बागेश्री). All these mistakes have been made by scholarly publications.
This tends to confuse even those who know the basics of Hindustani classical music.
Hence Indpaedia volunteers, who are not experts either, have constructed this page to the best of their ability. Please guide them through messages sent to the Facebook community, Indpaedia.com.
See also
Raags/ ragas and Thaats: Hindustani