Library

All 86 ragas

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.

Prahar

All (86)1 (8)2 (8)3 (6)4 (4)5 (9)6 (15)7 (10)8 (4)Ritual (22)

Rasa

All rasas Shanta Karuna Bhakti Shringara Vira Adbhuta

Bairagi
Prahar 1
बैरागी
Thaat
Bhairav
Rasa
shanta
Time
dawn
A pentatonic dawn raga of ascetic stillness (bairagi — renunciate): komal Re and komal Ni around Sa-Ma-Pa. Popularized in the twentieth century by Pt. Ravi Shankar and now a dawn staple; attributions follow modern pedagogy.
Bilawal
Prahar 2
बिलावल
Thaat
Bilawal
Rasa
shanta
Time
morning
Head of the Bilawal thaat and the archetype of the all-shuddha scale, sung in the second prahar of the morning. The common concert form is Alhaiya Bilawal, which omits Ma in ascent and touches komal Ni in descent.

Sources draw on Sangita Ratnakara, Natya Shastra, and Bhatkhande’s Sangeet Paddhati. Dosha mappings from Charaka Samhita / Ashtanga Hridaya.

Gaud Sarang

Prahar 3

गौड़ सारंग

Thaat: Kalyan
Rasa: shanta
Time: midday

The great vakra raga of midday — Kalyan-thaat swaras taken in curling, never-straight phrases (the signature S-G-R-M-G ascent). Both madhyamas appear; sung in the third prahar when the sun is high.

Shuddha Sarang

Prahar 3

शुद्ध सारंग

Thaat: Kalyan
Rasa: shanta
Time: midday

The midday Sarang taken with both madhyamas and no Ga — tivra Ma rising, shuddha Ma falling. Bright and poised, sung in the third prahar with the Sarang family's noon associations.

Bhoopali

Prahar 5

भूपाली

Thaat: Kalyan
Rasa: shanta
Graha: Venus
Time: evening

One of the simplest and most universal pentatonic ragas — found in Hindustani, Carnatic (Mohanam), and folk traditions across Asia. Evening raga of devotional stillness.

Shuddha Kalyan

Prahar 6

शुद्ध कल्याण

Thaat: Kalyan
Rasa: shanta
Time: night

Also called Bhoop Kalyan — ascends pentatonically like Bhoopali and descends with Kalyan's Ni and tivra Ma carried in meend. Sung in the first prahar of night; grave and consoling.

Abhogi

Prahar 7

आभोगी

Thaat: Kafi
Rasa: shanta
Graha: Mercury
Time: night

Pentatonic night raga of Carnatic origin, now standard in Hindustani repertoire. Meditative and clear, omits Pa and Ni entirely.

Miyan ki Malhar

Prahar 7

मियाँ की मल्हार

Thaat: Kafi
Rasa: shanta
Time: night

The grand raga of the rains, attributed to Miyan Tansen. A Kafi-family monsoon (varsha) raga using komal Ga and both nishads, with a characteristic rocking meend; sung at night to invoke and celebrate the monsoon. Legend credits Malhar with the power to summon rain.

Focus Radio

एकाग्रता

Rasa: shanta

Always-on ambient and lo-fi streams for thinking, work and study — a calm, unintrusive backdrop rather than a classical raga. Home for live focus-music streams.

Krishna Bansuri

कृष्ण बांसुरी

Rasa: shanta

Devotional bansuri (flute) renderings in the spirit of Krishna's vamshi — meditative alaap not announced under a single raga name. Restful at any time of day.

Sitar Meditation

सितार ध्यान

Rasa: shanta

Meditative sitar in the contemplative, healing idiom of the 'Sitar for Mental Health' tradition — devotional and folk-bhajan-rooted improvisation not announced under a single classical raga. Restful at any time of day.

Vachaspati

वाचस्पति

Rasa: shanta

The 64th Carnatic melakarta adopted into Hindustani concert practice (like Kirwani and Charukeshi) — Kalyan's body with komal Ni. Hindustani convention assigns it no settled prahar, so it is left untimed here.

Bairagi

Bilawal