# Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Jog **Raga :** Jog **Thaat :** Kafi **Samay :** Late Evening **Description :** # Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Nayaki Kanhada **Raga :** Nayaki Kanhada **Thaat :** Kafi **Samay :** Night **Description :** # Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Dhaani **Raga :** Dhaani **Thaat :** Kafi **Samay :** Dusk **Description :** # Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Mian Malhar **Raga :** Mian Malhar **Thaat :** Kafi **Samay :** Late Evening **Description :** # Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Kafi **Raga :** Kafi **Thaat :** Kafi **Samay :** Late Evening **Description :** # Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Bhimpalasi **Raga :** Bhimpalasi **Thaat :** Kafi **Samay :** Late Afternoon **Description :** # Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Piloo **Raga :** Piloo **Thaat :** Kafi **Samay :** Evening **Description :** # Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Barwa **Raga :** Barwa **Thaat :** Kafi **Samay :** Dusk **Description :** # Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Ramdasi Malhar **Raga :** Ramdasi Malhar **Thaat :** Kafi **Samay :** Late Evening **Description :** Samay - Late Evening # Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Patdeep **Raga :** Patdeep **Thaat :** Kafi **Samay :** Dusk **Description :** # Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Bahar **Raga :** Bahar **Thaat :** Kafi **Samay :** Late Evening **Description :** # Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Brindavani Sarang **Raga :** Brindavani Sarang **Thaat :** Kafi **Samay :** Afternoon **Description :** # Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Chandrakauns **Raga :** Chandrakauns **Thaat :** Kafi **Samay :** Night **Description :** # Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Abhogi **Raga :** Abhogi **Thaat :** Kafi **Samay :** Night **Description :** # Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Surdasi Malhar **Raga :** Surdasi Malhar **Thaat :** Kafi **Samay :** Late Evening **Description :** # Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Shuddha Sarang **Raga :** Shuddha Sarang **Thaat :** Kafi **Samay :** Afternoon **Description :** # Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Shahana **Raga :** Shahana **Thaat :** Kafi **Samay :** Midnight **Description :** # Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Bageshri **Raga :** Bageshri **Thaat :** Kafi **Samay :** Night **Description :** # Kafi Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat ## Megh **Raga :** Megh **Thaat :** Kafi **Samay :** Evening **Description :** # Bhairav Raga Bhairav belongs to Bhairav Thaat. It is an early morning Raga, using all seven notes in the ascent and in the descent. Rishabh and Dhaivat are komal (flat) and the other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bhairav Thaat. ## Nat Bhairav **Raga :** Nat Bhairav **Thaat :** Bhairav **Samay :** Morning **Description :** # Bhairav Raga Bhairav belongs to Bhairav Thaat. It is an early morning Raga, using all seven notes in the ascent and in the descent. Rishabh and Dhaivat are komal (flat) and the other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bhairav Thaat. ## Kalingada **Raga :** Kalingada **Thaat :** Bhairav **Samay :** Early Morning **Description :** # Bhairav Raga Bhairav belongs to Bhairav Thaat. It is an early morning Raga, using all seven notes in the ascent and in the descent. Rishabh and Dhaivat are komal (flat) and the other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bhairav Thaat. ## Ahir-Bhairav **Raga :** Ahir-Bhairav **Thaat :** Bhairav **Samay :** Morning **Description :** # Bhairav Raga Bhairav belongs to Bhairav Thaat. It is an early morning Raga, using all seven notes in the ascent and in the descent. Rishabh and Dhaivat are komal (flat) and the other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bhairav Thaat. ## Jogia **Raga :** Jogia **Thaat :** Bhairav **Samay :** Early Morning **Description :** # Bhairav Raga Bhairav belongs to Bhairav Thaat. It is an early morning Raga, using all seven notes in the ascent and in the descent. Rishabh and Dhaivat are komal (flat) and the other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bhairav Thaat. ## Ramkali **Raga :** Ramkali **Thaat :** Bhairav **Samay :** Early Morning **Description :** # Bhairav Raga Bhairav belongs to Bhairav Thaat. It is an early morning Raga, using all seven notes in the ascent and in the descent. Rishabh and Dhaivat are komal (flat) and the other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bhairav Thaat. ## Bhairav **Raga :** Bhairav **Thaat :** Bhairav **Samay :** Early Morning **Description :** # Bhairav Raga Bhairav belongs to Bhairav Thaat. It is an early morning Raga, using all seven notes in the ascent and in the descent. Rishabh and Dhaivat are komal (flat) and the other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bhairav Thaat. ## Gauri **Raga :** Gauri **Thaat :** Bhairav **Samay :** Evening **Description :** # Bhairav Raga Bhairav belongs to Bhairav Thaat. It is an early morning Raga, using all seven notes in the ascent and in the descent. Rishabh and Dhaivat are komal (flat) and the other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bhairav Thaat. ## Gunkali **Raga :** Gunkali **Thaat :** Bhairav **Samay :** Early Morning **Description :** # Bhairav Raga Bhairav belongs to Bhairav Thaat. It is an early morning Raga, using all seven notes in the ascent and in the descent. Rishabh and Dhaivat are komal (flat) and the other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bhairav Thaat. ## Vibhas **Raga :** Vibhas **Thaat :** Bhairav **Samay :** Morning **Description :** # Todi Raga Todi belongs to Todi Thaat. It is a morning Raga, and uses all seven notes in the ascent and descent. Rishabh, Gandhar and Dhaivat are komal (flat), Madhyam is Tivra while Nishad is Shuddha. The derivative ragas out of this structure are grouped under the broad head of Todi Thaat. ## Madhuvanti **Raga :** Madhuvanti **Thaat :** Todi **Samay :** Dusk **Description :** # Todi Raga Todi belongs to Todi Thaat. It is a morning Raga, and uses all seven notes in the ascent and descent. Rishabh, Gandhar and Dhaivat are komal (flat), Madhyam is Tivra while Nishad is Shuddha. The derivative ragas out of this structure are grouped under the broad head of Todi Thaat. ## Todi **Raga :** Todi **Thaat :** Todi **Samay :** Morning **Description :** # Todi Raga Todi belongs to Todi Thaat. It is a morning Raga, and uses all seven notes in the ascent and descent. Rishabh, Gandhar and Dhaivat are komal (flat), Madhyam is Tivra while Nishad is Shuddha. The derivative ragas out of this structure are grouped under the broad head of Todi Thaat. ## Gurjari Todi **Raga :** Gurjari Todi **Thaat :** Todi **Samay :** Morning **Description :** # Todi Raga Todi belongs to Todi Thaat. It is a morning Raga, and uses all seven notes in the ascent and descent. Rishabh, Gandhar and Dhaivat are komal (flat), Madhyam is Tivra while Nishad is Shuddha. The derivative ragas out of this structure are grouped under the broad head of Todi Thaat. ## Multani **Raga :** Multani **Thaat :** Todi **Samay :** Dusk **Description :** # Todi Raga Todi belongs to Todi Thaat. It is a morning Raga, and uses all seven notes in the ascent and descent. Rishabh, Gandhar and Dhaivat are komal (flat), Madhyam is Tivra while Nishad is Shuddha. The derivative ragas out of this structure are grouped under the broad head of Todi Thaat. ## Lilavati **Raga :** Lilavati **Thaat :** Todi **Samay :** Morning **Description :** # Bilawal Raga Bilawal is derived from Bilawal Thaat. It is a morning Raga, and uses all the seven notes in the ascending and descending order. All notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bilawal Thaat. ## Kaushik Dhwani **Raga :** Kaushik Dhwani **Thaat :** Bilawal **Samay :** Night **Description :** # Bilawal Raga Bilawal is derived from Bilawal Thaat. It is a morning Raga, and uses all the seven notes in the ascending and descending order. All notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bilawal Thaat. ## Durga **Raga :** Durga **Thaat :** Bilawal **Samay :** Late Evening **Description :** # Bilawal Raga Bilawal is derived from Bilawal Thaat. It is a morning Raga, and uses all the seven notes in the ascending and descending order. All notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bilawal Thaat. ## Hemkalyan **Raga :** Hemkalyan **Thaat :** Bilawal **Samay :** Late Evening **Description :** # Bilawal Raga Bilawal is derived from Bilawal Thaat. It is a morning Raga, and uses all the seven notes in the ascending and descending order. All notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bilawal Thaat. ## Nat Bihag **Raga :** Nat Bihag **Thaat :** Bilawal **Samay :** Late Evening **Description :** # Bilawal Raga Bilawal is derived from Bilawal Thaat. It is a morning Raga, and uses all the seven notes in the ascending and descending order. All notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bilawal Thaat. ## Bihagada **Raga :** Bihagada **Thaat :** Bilawal **Samay :** Night **Description :** # Bilawal Raga Bilawal is derived from Bilawal Thaat. It is a morning Raga, and uses all the seven notes in the ascending and descending order. All notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bilawal Thaat. ## Hamsadhwani **Raga :** Hamsadhwani **Thaat :** Bilawal **Samay :** Evening **Description :** # Bilawal Raga Bilawal is derived from Bilawal Thaat. It is a morning Raga, and uses all the seven notes in the ascending and descending order. All notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bilawal Thaat. ## Deshkar **Raga :** Deshkar **Thaat :** Bilawal **Samay :** Late Morning **Description :** # Bilawal Raga Bilawal is derived from Bilawal Thaat. It is a morning Raga, and uses all the seven notes in the ascending and descending order. All notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bilawal Thaat. ## Shankara **Raga :** Shankara **Thaat :** Bilawal **Samay :** Night **Description :** # Bilawal Raga Bilawal is derived from Bilawal Thaat. It is a morning Raga, and uses all the seven notes in the ascending and descending order. All notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bilawal Thaat. ## Alahiya-Bilawal **Raga :** Alahiya-Bilawal **Thaat :** Bilawal **Samay :** Late Morning **Description :** # Bilawal Raga Bilawal is derived from Bilawal Thaat. It is a morning Raga, and uses all the seven notes in the ascending and descending order. All notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bilawal Thaat. ## Bihag **Raga :** Bihag **Thaat :** Bilawal **Samay :** Night **Description :** # Asavari Raga Asavari belongs to Asavari Thaat. It is a late morning Raga, and uses all seven notes, five in the ascent and seven in the descent. Gandhar, Dhaivat and Nishad are komal (flat) and the other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Asavari Thaat. ## Kaunsi Kanhada **Raga :** Kaunsi Kanhada **Thaat :** Asavari **Samay :** Night **Description :** # Asavari Raga Asavari belongs to Asavari Thaat. It is a late morning Raga, and uses all seven notes, five in the ascent and seven in the descent. Gandhar, Dhaivat and Nishad are komal (flat) and the other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Asavari Thaat. ## Dev Gandhar **Raga :** Dev Gandhar **Thaat :** Asavari **Samay :** Late Morning **Description :** # Asavari Raga Asavari belongs to Asavari Thaat. It is a late morning Raga, and uses all seven notes, five in the ascent and seven in the descent. Gandhar, Dhaivat and Nishad are komal (flat) and the other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Asavari Thaat. ## Asavari **Raga :** Asavari **Thaat :** Asavari **Samay :** Late Morning **Description :** # Asavari Raga Asavari belongs to Asavari Thaat. It is a late morning Raga, and uses all seven notes, five in the ascent and seven in the descent. Gandhar, Dhaivat and Nishad are komal (flat) and the other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Asavari Thaat. ## Jaunpuri **Raga :** Jaunpuri **Thaat :** Asavari **Samay :** Late Morning **Description :** # Asavari Raga Asavari belongs to Asavari Thaat. It is a late morning Raga, and uses all seven notes, five in the ascent and seven in the descent. Gandhar, Dhaivat and Nishad are komal (flat) and the other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Asavari Thaat. ## Adana **Raga :** Adana **Thaat :** Asavari **Samay :** Midnight **Description :** # Asavari Raga Asavari belongs to Asavari Thaat. It is a late morning Raga, and uses all seven notes, five in the ascent and seven in the descent. Gandhar, Dhaivat and Nishad are komal (flat) and the other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Asavari Thaat. ## Desi **Raga :** Desi **Thaat :** Asavari **Samay :** Late Morning **Description :** # Asavari Raga Asavari belongs to Asavari Thaat. It is a late morning Raga, and uses all seven notes, five in the ascent and seven in the descent. Gandhar, Dhaivat and Nishad are komal (flat) and the other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Asavari Thaat. ## Darbari Kanhada **Raga :** Darbari Kanhada **Thaat :** Asavari **Samay :** Midnight **Description :** # Bhairavi Raga Bhairavi belongs to Bhairavi Thaat. It is a late morning Raga, and traditionally is the last raga performed at a session. Shuddh Bhairavi uses all the seven notes in the ascending and descending order, Rishabh, Gandhar, Dhaivat and Nishad being komal (flat) and Madhyam being shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bhairavi Thaat. ## Bhairavi **Raga :** Bhairavi **Thaat :** Bhairavi **Samay :** Late Morning **Description :** # Bhairavi Raga Bhairavi belongs to Bhairavi Thaat. It is a late morning Raga, and traditionally is the last raga performed at a session. Shuddh Bhairavi uses all the seven notes in the ascending and descending order, Rishabh, Gandhar, Dhaivat and Nishad being komal (flat) and Madhyam being shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bhairavi Thaat. ## Bilaskhani Todi **Raga :** Bilaskhani Todi **Thaat :** Bhairavi **Samay :** Late Morning **Description :** # Bhairavi Raga Bhairavi belongs to Bhairavi Thaat. It is a late morning Raga, and traditionally is the last raga performed at a session. Shuddh Bhairavi uses all the seven notes in the ascending and descending order, Rishabh, Gandhar, Dhaivat and Nishad being komal (flat) and Madhyam being shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bhairavi Thaat. ## Malkauns **Raga :** Malkauns **Thaat :** Bhairavi **Samay :** Midnight **Description :** # Bhairavi Raga Bhairavi belongs to Bhairavi Thaat. It is a late morning Raga, and traditionally is the last raga performed at a session. Shuddh Bhairavi uses all the seven notes in the ascending and descending order, Rishabh, Gandhar, Dhaivat and Nishad being komal (flat) and Madhyam being shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bhairavi Thaat. ## Bhupal Todi **Raga :** Bhupal Todi **Thaat :** Bhairavi **Samay :** Late Morning **Description :** # Bhairavi Raga Bhairavi belongs to Bhairavi Thaat. It is a late morning Raga, and traditionally is the last raga performed at a session. Shuddh Bhairavi uses all the seven notes in the ascending and descending order, Rishabh, Gandhar, Dhaivat and Nishad being komal (flat) and Madhyam being shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bhairavi Thaat. ## Komal Rishabh Asavari **Raga :** Komal Rishabh Asavari **Thaat :** Bhairavi **Samay :** Morning **Description :** # Poorvi Raga Poorvi belongs to Poorvi Thaat. It is a Sandhiprakash Raga, and is rendered at dusk, that is the time when the day ends. It uses all seven notes in the ascent and the descent. Rishabh and Dhaivat are komal (flat), Madhyam is both shuddha and tivra while Gandhar and Nishad are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Poorvi Thaat. ## Paraj **Raga :** Paraj **Thaat :** Poorvi **Samay :** Pre-dawn **Description :** # Poorvi Raga Poorvi belongs to Poorvi Thaat. It is a Sandhiprakash Raga, and is rendered at dusk, that is the time when the day ends. It uses all seven notes in the ascent and the descent. Rishabh and Dhaivat are komal (flat), Madhyam is both shuddha and tivra while Gandhar and Nishad are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Poorvi Thaat. ## Basant **Raga :** Basant **Thaat :** Poorvi **Samay :** Late Evening **Description :** # Poorvi Raga Poorvi belongs to Poorvi Thaat. It is a Sandhiprakash Raga, and is rendered at dusk, that is the time when the day ends. It uses all seven notes in the ascent and the descent. Rishabh and Dhaivat are komal (flat), Madhyam is both shuddha and tivra while Gandhar and Nishad are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Poorvi Thaat. ## Puriya Dhanashri **Raga :** Puriya Dhanashri **Thaat :** Poorvi **Samay :** Evening **Description :** # Poorvi Raga Poorvi belongs to Poorvi Thaat. It is a Sandhiprakash Raga, and is rendered at dusk, that is the time when the day ends. It uses all seven notes in the ascent and the descent. Rishabh and Dhaivat are komal (flat), Madhyam is both shuddha and tivra while Gandhar and Nishad are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Poorvi Thaat. ## Shree **Raga :** Shree **Thaat :** Poorvi **Samay :** Dusk **Description :** # Poorvi Raga Poorvi belongs to Poorvi Thaat. It is a Sandhiprakash Raga, and is rendered at dusk, that is the time when the day ends. It uses all seven notes in the ascent and the descent. Rishabh and Dhaivat are komal (flat), Madhyam is both shuddha and tivra while Gandhar and Nishad are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Poorvi Thaat. ## Poorvi **Raga :** Poorvi **Thaat :** Poorvi **Samay :** Dusk **Description :** # Poorvi Raga Poorvi belongs to Poorvi Thaat. It is a Sandhiprakash Raga, and is rendered at dusk, that is the time when the day ends. It uses all seven notes in the ascent and the descent. Rishabh and Dhaivat are komal (flat), Madhyam is both shuddha and tivra while Gandhar and Nishad are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Poorvi Thaat. ## Lakshmi Kalyan **Raga :** Lakshmi Kalyan **Thaat :** Poorvi **Samay :** Evening **Description :** # Poorvi Raga Poorvi belongs to Poorvi Thaat. It is a Sandhiprakash Raga, and is rendered at dusk, that is the time when the day ends. It uses all seven notes in the ascent and the descent. Rishabh and Dhaivat are komal (flat), Madhyam is both shuddha and tivra while Gandhar and Nishad are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Poorvi Thaat. ## Lalit **Raga :** Lalit **Thaat :** Poorvi **Samay :** Dawn **Description :** # Marwa Raga Marwa is derived from Marwa Thaat. It is a dusk/ early evening Raga which uses six notes in the ascent and in the descent. Pancham is not used. Marwa uses Tivra ( **sharp** ) Madhyam **and Komal (flat) Rishabh**. All other notes are Shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Marwa Thaat. ## Bhatiyar **Raga :** Bhatiyar **Thaat :** Marwa **Samay :** Dawn **Description :** # Marwa Raga Marwa is derived from Marwa Thaat. It is a dusk/ early evening Raga which uses six notes in the ascent and in the descent. Pancham is not used. Marwa uses Tivra ( **sharp** ) Madhyam **and Komal (flat) Rishabh**. All other notes are Shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Marwa Thaat. ## Lalit **Raga :** Lalit **Thaat :** Marwa **Samay :** Late Morning **Description :** # Marwa Raga Marwa is derived from Marwa Thaat. It is a dusk/ early evening Raga which uses six notes in the ascent and in the descent. Pancham is not used. Marwa uses Tivra ( **sharp** ) Madhyam **and Komal (flat) Rishabh**. All other notes are Shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Marwa Thaat. ## Bhankar **Raga :** Bhankar **Thaat :** Marwa **Samay :** Dawn **Description :** # Marwa Raga Marwa is derived from Marwa Thaat. It is a dusk/ early evening Raga which uses six notes in the ascent and in the descent. Pancham is not used. Marwa uses Tivra ( **sharp** ) Madhyam **and Komal (flat) Rishabh**. All other notes are Shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Marwa Thaat. ## Vibhas **Raga :** Vibhas **Thaat :** Marwa **Samay :** Morning **Description :** # Marwa Raga Marwa is derived from Marwa Thaat. It is a dusk/ early evening Raga which uses six notes in the ascent and in the descent. Pancham is not used. Marwa uses Tivra ( **sharp** ) Madhyam **and Komal (flat) Rishabh**. All other notes are Shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Marwa Thaat. ## Sohini **Raga :** Sohini **Thaat :** Marwa **Samay :** Pre-dawn **Description :** # Marwa Raga Marwa is derived from Marwa Thaat. It is a dusk/ early evening Raga which uses six notes in the ascent and in the descent. Pancham is not used. Marwa uses Tivra ( **sharp** ) Madhyam **and Komal (flat) Rishabh**. All other notes are Shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Marwa Thaat. ## Puriya **Raga :** Puriya **Thaat :** Marwa **Samay :** Evening **Description :** # Marwa Raga Marwa is derived from Marwa Thaat. It is a dusk/ early evening Raga which uses six notes in the ascent and in the descent. Pancham is not used. Marwa uses Tivra ( **sharp** ) Madhyam **and Komal (flat) Rishabh**. All other notes are Shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Marwa Thaat. ## Puriya Kalyan **Raga :** Puriya Kalyan **Thaat :** Marwa **Samay :** Evening **Description :** # Marwa Raga Marwa is derived from Marwa Thaat. It is a dusk/ early evening Raga which uses six notes in the ascent and in the descent. Pancham is not used. Marwa uses Tivra ( **sharp** ) Madhyam **and Komal (flat) Rishabh**. All other notes are Shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Marwa Thaat. ## Marwa **Raga :** Marwa **Thaat :** Marwa **Samay :** Dusk **Description :** # Kalyan Raga Kalyan belongs to Kalyan Thaat. It is an evening Raga. It uses all the seven notes, five of them in the ascent and seven of them in the descent. It uses tivra (sharp) Madhyam and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kalyan Thaat. ## Chandni Kedar **Raga :** Chandni Kedar **Thaat :** Kalyan **Samay :** Late Evening **Description :** # Kalyan Raga Kalyan belongs to Kalyan Thaat. It is an evening Raga. It uses all the seven notes, five of them in the ascent and seven of them in the descent. It uses tivra (sharp) Madhyam and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kalyan Thaat. ## Shuddha Kalyan **Raga :** Shuddha Kalyan **Thaat :** Kalyan **Samay :** Evening **Description :** # Kalyan Raga Kalyan belongs to Kalyan Thaat. It is an evening Raga. It uses all the seven notes, five of them in the ascent and seven of them in the descent. It uses tivra (sharp) Madhyam and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kalyan Thaat. ## Yaman **Raga :** Yaman **Thaat :** Kalyan **Samay :** Evening **Description :** # Kalyan Raga Kalyan belongs to Kalyan Thaat. It is an evening Raga. It uses all the seven notes, five of them in the ascent and seven of them in the descent. It uses tivra (sharp) Madhyam and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kalyan Thaat. ## Hameer **Raga :** Hameer **Thaat :** Kalyan **Samay :** Evening **Description :** # Kalyan Raga Kalyan belongs to Kalyan Thaat. It is an evening Raga. It uses all the seven notes, five of them in the ascent and seven of them in the descent. It uses tivra (sharp) Madhyam and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kalyan Thaat. ## Hindol **Raga :** Hindol **Thaat :** Kalyan **Samay :** Morning **Description :** # Kalyan Raga Kalyan belongs to Kalyan Thaat. It is an evening Raga. It uses all the seven notes, five of them in the ascent and seven of them in the descent. It uses tivra (sharp) Madhyam and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kalyan Thaat. ## Bhupali **Raga :** Bhupali **Thaat :** Kalyan **Samay :** Late Evening **Description :** # Kalyan Raga Kalyan belongs to Kalyan Thaat. It is an evening Raga. It uses all the seven notes, five of them in the ascent and seven of them in the descent. It uses tivra (sharp) Madhyam and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kalyan Thaat. ## Kedar **Raga :** Kedar **Thaat :** Kalyan **Samay :** Late Evening **Description :** # Kalyan Raga Kalyan belongs to Kalyan Thaat. It is an evening Raga. It uses all the seven notes, five of them in the ascent and seven of them in the descent. It uses tivra (sharp) Madhyam and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kalyan Thaat. ## Kamod **Raga :** Kamod **Thaat :** Kalyan **Samay :** Late Evening **Description :** # Kalyan Raga Kalyan belongs to Kalyan Thaat. It is an evening Raga. It uses all the seven notes, five of them in the ascent and seven of them in the descent. It uses tivra (sharp) Madhyam and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kalyan Thaat. ## Gaud Sarang **Raga :** Gaud Sarang **Thaat :** Kalyan **Samay :** Afternoon **Description :** # Kalyan Raga Kalyan belongs to Kalyan Thaat. It is an evening Raga. It uses all the seven notes, five of them in the ascent and seven of them in the descent. It uses tivra (sharp) Madhyam and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kalyan Thaat. ## Chhayanat **Raga :** Chhayanat **Thaat :** Kalyan **Samay :** Late Evening **Description :** # Kalyan Raga Kalyan belongs to Kalyan Thaat. It is an evening Raga. It uses all the seven notes, five of them in the ascent and seven of them in the descent. It uses tivra (sharp) Madhyam and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kalyan Thaat. ## Shyam Kalyan **Raga :** Shyam Kalyan **Thaat :** Kalyan **Samay :** Evening **Description :** # Kalyan Raga Kalyan belongs to Kalyan Thaat. It is an evening Raga. It uses all the seven notes, five of them in the ascent and seven of them in the descent. It uses tivra (sharp) Madhyam and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kalyan Thaat. ## Yaman Kalyan **Raga :** Yaman Kalyan **Thaat :** Kalyan **Samay :** Evening **Description :** # Kalyan Raga Kalyan belongs to Kalyan Thaat. It is an evening Raga. It uses all the seven notes, five of them in the ascent and seven of them in the descent. It uses tivra (sharp) Madhyam and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kalyan Thaat. ## Nand **Raga :** Nand **Thaat :** Kalyan **Samay :** Late Evening **Description :** # Khamaj Raga Khamaj belongs to Khamaj Thaat. It is rendered in the late evening and uses all seven notes, six in the ascent and seven in the descent. It uses both komal (flat) and shuddha (full) Nishad, and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. ## Jhinjhoti **Raga :** Jhinjhoti **Thaat :** Khamaj **Samay :** Late Evening **Description :** # Khamaj Raga Khamaj belongs to Khamaj Thaat. It is rendered in the late evening and uses all seven notes, six in the ascent and seven in the descent. It uses both komal (flat) and shuddha (full) Nishad, and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. ## Tilang **Raga :** Tilang **Thaat :** Khamaj **Samay :** Late Evening **Description :** # Khamaj Raga Khamaj belongs to Khamaj Thaat. It is rendered in the late evening and uses all seven notes, six in the ascent and seven in the descent. It uses both komal (flat) and shuddha (full) Nishad, and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. ## Gorakh Kalyan **Raga :** Gorakh Kalyan **Thaat :** Khamaj **Samay :** Late Evening **Description :** # Khamaj Raga Khamaj belongs to Khamaj Thaat. It is rendered in the late evening and uses all seven notes, six in the ascent and seven in the descent. It uses both komal (flat) and shuddha (full) Nishad, and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. ## Sorat **Raga :** Sorat **Thaat :** Khamaj **Samay :** Late Evening **Description :** # Khamaj Raga Khamaj belongs to Khamaj Thaat. It is rendered in the late evening and uses all seven notes, six in the ascent and seven in the descent. It uses both komal (flat) and shuddha (full) Nishad, and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. ## Kalavati **Raga :** Kalavati **Thaat :** Khamaj **Samay :** Late Evening **Description :** # Khamaj Raga Khamaj belongs to Khamaj Thaat. It is rendered in the late evening and uses all seven notes, six in the ascent and seven in the descent. It uses both komal (flat) and shuddha (full) Nishad, and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. ## Saraswati **Raga :** Saraswati **Thaat :** Khamaj **Samay :** Night **Description :** # Khamaj Raga Khamaj belongs to Khamaj Thaat. It is rendered in the late evening and uses all seven notes, six in the ascent and seven in the descent. It uses both komal (flat) and shuddha (full) Nishad, and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. ## Gawati **Raga :** Gawati **Thaat :** Khamaj **Samay :** Late Evening **Description :** # Khamaj Raga Khamaj belongs to Khamaj Thaat. It is rendered in the late evening and uses all seven notes, six in the ascent and seven in the descent. It uses both komal (flat) and shuddha (full) Nishad, and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. ## Tilak Kamod **Raga :** Tilak Kamod **Thaat :** Khamaj **Samay :** Late Evening **Description :** # Khamaj Raga Khamaj belongs to Khamaj Thaat. It is rendered in the late evening and uses all seven notes, six in the ascent and seven in the descent. It uses both komal (flat) and shuddha (full) Nishad, and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. ## Khamaj **Raga :** Khamaj **Thaat :** Khamaj **Samay :** Late Evening **Description :** # Khamaj Raga Khamaj belongs to Khamaj Thaat. It is rendered in the late evening and uses all seven notes, six in the ascent and seven in the descent. It uses both komal (flat) and shuddha (full) Nishad, and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. ## Desh **Raga :** Desh **Thaat :** Khamaj **Samay :** Late Evening **Description :** # Khamaj Raga Khamaj belongs to Khamaj Thaat. It is rendered in the late evening and uses all seven notes, six in the ascent and seven in the descent. It uses both komal (flat) and shuddha (full) Nishad, and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. ## Jayjaiwanti **Raga :** Jayjaiwanti **Thaat :** Khamaj **Samay :** Late Evening **Description :** # Khamaj Raga Khamaj belongs to Khamaj Thaat. It is rendered in the late evening and uses all seven notes, six in the ascent and seven in the descent. It uses both komal (flat) and shuddha (full) Nishad, and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. ## Rageshri **Raga :** Rageshri **Thaat :** Khamaj **Samay :** Late Evening **Description :** # Khamaj Raga Khamaj belongs to Khamaj Thaat. It is rendered in the late evening and uses all seven notes, six in the ascent and seven in the descent. It uses both komal (flat) and shuddha (full) Nishad, and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. ## Jog **Raga :** Jog **Thaat :** Khamaj **Samay :** Late Evening **Description :** # Khamaj Raga Khamaj belongs to Khamaj Thaat. It is rendered in the late evening and uses all seven notes, six in the ascent and seven in the descent. It uses both komal (flat) and shuddha (full) Nishad, and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. ## Gaud Malhar **Raga :** Gaud Malhar **Thaat :** Khamaj **Samay :** Late Evening **Description :** # Khamaj Raga Khamaj belongs to Khamaj Thaat. It is rendered in the late evening and uses all seven notes, six in the ascent and seven in the descent. It uses both komal (flat) and shuddha (full) Nishad, and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. ## Gara **Raga :** Gara **Thaat :** Khamaj **Samay :** Late Evening **Description :**