Indian Classical Raags with Examples
Indian classical music is deeply rooted in the concept of Raag (Raga)—a melodic framework that defines the mood, structure, and emotional essence of a composition. Each raag is not merely a scale but a carefully crafted arrangement of notes with prescribed movements, dominant tones, and expressive possibilities. Below are the top 10 most important Indian classical raags, explained with their characteristics and practical examples.
1. Raag Bhairav
Thaat: Bhairav
Time: Early morning (Dawn)
Mood: Serious, devotional, introspective
Raag Bhairav is one of the oldest and most revered raags in Indian classical music. It uses komal Re and komal Dha, giving it a grave and meditative character.
Example:
“Mohe Bhool Gaye Sanwariya” – Traditional Bhairav bandish
Often heard in temple prayers and morning renditions
2. Raag Yaman
Thaat: Kalyan
Time: Evening (After sunset)
Mood: Peaceful, romantic, devotional
Raag Yaman is based on teevra Ma, which gives it a bright and uplifting quality. It is commonly used to introduce beginners to Hindustani classical music.
Example:
“Eri Ali Piya Bin” – Classical bandish
Frequently used in semi-classical and film music
3. Raag Bhimpalasi
Thaat: Kafi
Time: Afternoon
Mood: Yearning, emotional, introspective
This raag conveys longing and tenderness, often associated with separation and devotion.
Example:
“Bansuri Bajaiyya Re” – Classical composition
Popular in ghazals and light classical forms
4. Raag Darbari Kanada
Thaat: Asavari
Time: Late night
Mood: Majestic, serious, profound
Known for its deep and heavy mood, Darbari Kanada was traditionally sung in royal courts and is technically demanding.
Example:
“Anokhi Ladli” – Classical bandish
Used in films to depict gravity or power
5. Raag Kafi
Thaat: Kafi
Time: Spring season / Evening
Mood: Folk, romantic, playful
Raag Kafi is closely associated with folk music and Holi compositions. It uses both komal Ga and komal Ni.
Example:
“Aaj Rang Hai” – Amir Khusro
Widely used in thumri and bhajans
6. Raag Malkauns
Thaat: Bhairavi (Pentatonic)
Time: Late night
Mood: Mystical, meditative, intense
Malkauns is a five-note (audav) raag with no Re or Pa. It creates a powerful and hypnotic atmosphere.
Example:
“Man Karo More Girdhari” – Classical bandish
Frequently used in fusion and instrumental music
7. Raag Bageshree
Thaat: Kafi
Time: Late night
Mood: Romantic, introspective, longing
Raag Bageshree expresses emotional depth, often associated with quiet devotion and inner reflection.
Example:
“Ja Re Badra” – Classical bandish
Popular in film songs with emotional undertones
8. Raag Todi (Miyan ki Todi)
Thaat: Todi
Time: Morning
Mood: Serious, intense, contemplative
This raag uses multiple komal swaras and requires careful handling. It conveys profound seriousness and emotional weight.
Example:
“Langar Kankariya” – Classical bandish
Rare but powerful in film music
9. Raag Hamsadhwani
Thaat: Kalyan
Time: Evening
Mood: Auspicious, joyful, energetic
A pentatonic raag widely used in concerts as an opening piece due to its bright and positive character.
Example:
Popular varnams and kritis in Carnatic music
Frequently used in devotional and fusion compositions
10. Raag Desh
Thaat: Khamaj
Time: Night / Monsoon
Mood: Patriotic, romantic, serene
Raag Desh is closely associated with monsoon themes and patriotic expression.
Example:
“Vande Mataram” – Based on Raag Desh
“Kadam Kadam Badhaye Ja” – Patriotic composition