Filter by prahar (time of day) or rasa (emotional colour). Every card links to the full shastra-grounded detail page with every available recording. Guided practices live under Meditations.
One of the simplest and most universal pentatonic ragas — found in Hindustani, Carnatic (Mohanam), and folk traditions across Asia. Evening raga of devotional stillness.
Hansadhwani
Prahar 5
हंसध्वनि
Thaat
Bilawal
Rasa
shringara
Graha
Sun
Time
evening
Sources draw on Sangita Ratnakara, Natya Shastra, and Bhatkhande’s Sangeet Paddhati. Dosha mappings from Charaka Samhita / Ashtanga Hridaya.
Carnatic-origin raga widely adopted in Hindustani concerts; radiant evening raga often used to open a performance. Pentatonic (omits Ma + Dha).
Marwa
Prahar 5
मारवा
Thaat
Marwa
Rasa
karuna
Time
evening
Head of the Marwa thaat, sung at sunset — komal Re and tivra Ma with Pa omitted entirely and Sa touched only sparingly, leaving the melody suspended without resolution. The classic dusk atmosphere of yearning and renunciation.
Puriya Dhanashri
Prahar 5
पूरिया धनाश्री
Thaat
Purvi
Rasa
bhakti
Graha
Venus
Time
evening
A major sandhi-prakash raga of the Purvi thaat sung at dusk — komal Re, komal Dha and tivra Ma give it a rich, intense sweetness that gathers the mind for evening worship.
Puriya Kalyan
Prahar 5
पूरिया कल्याण
Thaat
Marwa
Rasa
gambhir
Time
evening
The dusk raga that joins Puriya's poorvanga (komal Re, tivra Ma) to Kalyan's uttaranga (shuddha Dha-Ni) — sung just after sunset between Marwa's austerity and Yaman's warmth. Vadi conventions vary by gharana and are left unstated.
Purvi
Prahar 5
पूर्वी
Thaat
Purvi
Rasa
gambhir
Time
evening
Head of the Purvi thaat and a solemn raga of the sunset sandhi-prakash — komal Re and Dha, both madhyamas, moving with deliberate stillness as day turns to night.
Shree
Prahar 5
श्री
Thaat
Purvi
Rasa
bhakti
Time
evening
The quintessential sunset (sandhi-prakash) raga of the Purvi thaat. Komal Re and Dha paired with tivra Ma, on a vakra movement around Sa–Re–Pa, produce a grave, devotional twilight mood revered for its depth.
Shyam Kalyan
Prahar 5
श्याम कल्याण
Thaat
Kalyan
Rasa
bhakti
Time
evening
A stately raga of the early night joining Shyam's Kafi-anga echoes to Kalyan — both madhyamas, Re and Pa as pillars, Ga and Dha skipped while rising. Its name endears it to Krishna-bhakti; sung in the Yaman hours.
Yaman
Prahar 5
यमन
Thaat
Kalyan
Rasa
shringara
Graha
Venus
Time
evening
Foundational Hindustani raga taught first to students. Sandhya-kala (twilight) raga of devotional longing; full-octave sampurna jati with characteristic tivra Ma.