(Mata Sarasvati Shardha)
* ~*~* Table of some Indian Raags *~*~*
| 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 |
Adapted by Parmjeet Sarkar M.A.
End of July 2006