Asavari
Asavari thaatAroh
SaReMaPaDhaSa
Avroh
SaNiDhaPaMaGaReSa
Pakad
MaPaDha,MaPaGaReSa
- Thaat
- Asavari
- Jati
- Audav - Sampoorna
- Vadi
- dha
- Samvadi
- ga
- Time
- Late morning
Pathos-filled morning raag.
Pathos-filled morning raag.
Romantic late-night raag with prominent Madhyam.
Devotional morning raag with andolit komal Re and komal Dha.
All komal swaras (Re Ga Dha Ni); traditionally ends a concert.
Pentatonic raag omitting Ma and Ni.
Uses both Madhyams; tivra Ma appears in avroh.
All shuddha swaras; the reference scale of Bhatkhande's thaat system.
Grave, majestic raag with andolit komal Ga and komal Dha.
Monsoon raag associated with the rainy season.
Bright pentatonic raag omitting Ga and Ni.
Vakra raag with both Madhyams.
Morning raag close to Asavari, with komal Ni in aroh.
Folk-flavoured raag with komal Ga and komal Ni, common in Holi and thumri.
Uses both Madhyams with characteristic Sa-Ma leap.
Light, romantic raag used in thumri and dadra.
Deep pentatonic raag without Re and Pa.
Restless sunset raag omitting Pa.
Afternoon raag; komal Re and Dha are weak in aroh.
Afternoon raag with komal Ga and shuddha Ni.
Evening raag of Poorvi thaat.
Bhupali-like aroh with Kalyan avroh.
Taar saptak oriented dawn raag.
Intense morning raag; Pa is used sparingly.
A serene evening raag using tivra Madhyam; one of the first raags taught.