Raag Asavari (komal Re form)आसावरी
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Swaras and phrases
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- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa re Ma Pa dha Sa'
Source: Artium Academy +4
- Artium Academy, Raag Komal Rishabh Asawari page, aroha
- Raagist, Arohi
- Online Sangeet, Description / Aaroh
- Raga Junglism, Melodic summary / all versions / explicitly komal-re ascent
- Chandraveena, Vakra Raga / explicitly ascending scale
- 5 of 6 sources agree
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' ni dha Pa Ma ga re Sa
Source: Raagist +2
- Raagist, Avrohi
- Riyaz, Public glossary / Avaroh
- Chandraveena, Vakra Raga / explicitly descending scale
- 3 of 5 sources agree
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- re Ma Pa dha ~ Pa; dha \ Ma ga re ~ Sa
Source: AUTRIM
- AUTRIM, Asavari (komal Rishabh) page, characteristic phrases
- 2 versions in 2 sources
About Asavari (komal Re form)
This profile is the komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re form of Asavari, which AUTRIM calls the more common form today. Ga and Ni are normally left out going up, and komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re and komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Dha are stressed and slowly oscillated.
Source: AUTRIM +1
Also called KomalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary rishabh asavari, KomalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary asavari.
Source: AUTRIM
- AUTRIM, Asavari (komal Rishabh) page, opening description
Curriculum: Pracheen Kala Kendra's vocal syllabus prescribes it at Bhushan I (as Asawari
; form unspecified).
Source: PKK
- PKK, printed p.3, list of prescribed raags
How it moves
AUTRIM says Ga and Ni are left out of the ascent, though some musicians use komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni in rising phrases, especially fast ones.
Source: AUTRIM
- AUTRIM, Asavari (komal Rishabh) page, opening description
AUTRIM says the descent includes slides from komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re down to komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni and from komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Dha down to Ma.
Source: AUTRIM
- AUTRIM, Asavari (komal Rishabh) page, opening description
Learner focus
Oscillate komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re and komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Dha, and learn the descending slides from komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re to komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni and from komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Dha to Ma.
Source: AUTRIM
- AUTRIM, Asavari (komal Rishabh) page, opening description
Caution
The shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re form of Asavari and Jaunpuri-related forms are separate raagsRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary. The PKK syllabus does not say which Asavari it means.
Source: AUTRIM
- AUTRIM, Asavari (komal Rishabh) page, opening description
Study prompts
Short exercises that restate what the cited sources say.
- Sing re Ma Pa dha, oscillate komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Dha, and rest on Pa.
- Sing dha, slide down to Ma, then ga re, and oscillate komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re before Sa.
- Sing an ascent without Ga and Ni.
Based on: AUTRIM +5
- AUTRIM, Asavari (komal Rishabh) page, characteristic phrases
- Artium Academy, Raag Komal Rishabh Asawari page, aroha
- Raagist, Arohi
- Online Sangeet, Description / Aaroh
- Raga Junglism, Melodic summary / all versions / explicitly komal-re ascent
- Chandraveena, Vakra Raga / explicitly ascending scale
Variants
- Bhatkhande reports shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re in Maharashtra and komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re elsewhere.
Source: AUTRIM
- AUTRIM, Asavari (komal Rishabh) page, opening description
- The selected komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary-Re form is explicitly called KomalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary rishabh asavari or KomalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary asavari and described as more common today.
Source: AUTRIM
- AUTRIM, Asavari (komal Rishabh) page, opening description
- Some musicians include Ni in the ascent, especially in faster passages.
Source: AUTRIM
- AUTRIM, Asavari (komal Rishabh) page, opening description
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- Thaat4 of 5 sources agree
- Jati3 of 6 sources agree
- Time6 of 7 sources agree
- Aroha5 of 6 sources agree
- Avaroha3 of 5 sources agree
- Pakad2 versions in 2 sources
- Vadi4 of 5 sources agree
- SamvadiSources split 2–2
Similar raags named by the sources
- Jaunpuri: Related melodic structure; source records confusion with shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary-Re Asavari.
Source: AUTRIM
- AUTRIM, Asavari (komal Rishabh) page, opening description
- Deshi: Shares the ascending Sa re (or Re) Ma Pa dha pattern and other features.
Source: AUTRIM
- AUTRIM, Asavari (komal Rishabh) page, opening description
- Gandhari: Shares the ascending pattern and other melodic features.
Source: AUTRIM
- AUTRIM, Asavari (komal Rishabh) page, opening description
- Devgandhar: Shares the ascending pattern and other melodic features.
Source: AUTRIM
- AUTRIM, Asavari (komal Rishabh) page, opening description
- Bhairavi: Same scale but different ascent/descent and melodic character.
Source: AUTRIM
- AUTRIM, Asavari (komal Rishabh) page, description
- Bilaskhani Todi: Same scale but different melodic characteristics.
Source: AUTRIM
- AUTRIM, Asavari (komal Rishabh) page, description
Not stated in our sources yet
The sources we cite do not state: mood. RagaPedia leaves these blank rather than guess.
Film songs
Film songs where a checked source names Asavari (komal Re form). Each song shows whether a musician has reviewed it yet.
These sources name Asavari without saying which Re it uses, so these songs are not confirmed examples of the komal-re Asavari described on this page.
Archive recordings
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Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
Why Asavari has more than one form
AUTRIM relays Bhatkhande's account that musicians in Maharashtra used natural Re in Asavari, while musicians elsewhere used flat Re. The page calls its flat-Re form KomalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Rishabh Asavari and describes it as the more common form at the time of writing.
As told by AUTRIM/NCPA, citing Bhatkhande, KPM II (1952), p.312; AUTRIM publication date not stated · Source: Opening discussion of regional variants and the Komal Rishabh Asavari label
Sources for this profile
ThaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary, time, vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, arohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary, avarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary and pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary show the version the most independent publishers print; the sources page lists every version and who prints it. Other facts follow the source cited beside them. No musician has reviewed this profile yet.
- Asavari (komal Rishabh): raag profileMusic in Motion: AUTRIM (NCPA and University of Amsterdam) · cited as AUTRIMRaag profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
- MAMUD4.1 Research and Contemporary Music, Musicologists, §5.4 THAAT SYSTEMSri Padmavati Mahila Visvavidyalayam · cited as SPMVVUniversity course material listing raags under each thaat (printed pp.41–42). All rights reserved: cited by locator and paraphrased, never reproduced. Accessed 7 October 2026.
- Raag Komal Rishabh AsawariArtium Academy · cited as Artium AcademyA private music academy's raag page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
- Raagist -Raag Komal Rishabh AsavariRaagist · cited as RaagistPublic page read without login. robots.txt returned HTTP 404 (no rules file); no terms link found on the public raag/index pages. No open licence assumed. Only factual field transcriptions and cited paraphrases are intended for use; saved page/HTML is local audit evidence. Accessed 17 October 2026.
- Komal Rishabh Asawari Raag Bandish 16 Matras Allap Taan Music Notes In EnglishOnline Sangeet · cited as Online SangeetRobots allows public articles and excludes /wp-admin/ (C-ONLINESANGEET-robots.txt). Public footer/privacy policy reviewed; no separate terms link or automated-access restriction found there. No open licence assumed. Use cited factual data/paraphrases; full fetched page remains local audit evidence. Accessed 17 October 2026.
- Asavari | SrRgmPdnS | Hindustani Raga Index | 365+ RagasGeorge Howlett / Raga Junglism · cited as Raga JunglismRobots checked: public /ragas/<name>/ pages allowed; filter-result paths excluded. About page describes open-access noncommercial musicology (C-RAGAJUNGLISM-about.txt); no redistribution licence assumed. Factual fields and short cited paraphrases only. Attributed borrowed material is flagged per statement. Accessed 17 October 2026.
- Raag Komal Rishabh Asavari — Aaroh, Avaroh, Pakar & Samay | RiyazRiyaz / myriyaz.com · cited as RiyazRobots explicitly allows all crawlers (C-RIYAZ-robots.txt). Only public static glossary pages read, without account creation or the gated deep-dive feature. Public pages/home have no terms link; no open licence assumed. Factual transcriptions only. Several entries have internal inconsistencies, preserved in notes; this is a public-web vote, not a reliability endorsement. Accessed 17 October 2026.
- Chandraveena | Raga Komal Rishabh Asavari - A new identity to an old RagaS. Balachander / Chandraveena · cited as Chandraveenarobots.txt returned HTTP 404 (no rules file). Site terms reviewed (C-CHANDRAVEENA-terms.txt): CC BY-NC-ND 4.0 unless otherwise noted. Preserve attribution and link; local unmodified page retained for audit. This file extracts factual musical assertions; it does not grant commercial reuse or permission to redistribute adapted prose/audio. Accessed 17 October 2026.
- Komal Rishabh / Komal Asavari AsavariSwarGanga Music Foundation · cited as SwarGangaMusic foundation's profile of the komal-Re form of Asavari. No open licence: cited and paraphrased only. Accessed 7 October 2026.
- Vocal Music syllabus: Prarambhik to BhushanPracheen Kala Kendra · cited as PKKOfficial examination syllabus. It shows the year a raag is prescribed, not how the raag is sung. Accessed 7 October 2026. Located by printed page.