Raag Deshkarदेशकार
Sourced · not yet reviewed by a musician
Bilawal thaat · Audav-Audav · Dawn
- Late night
- Dawn
- Morning
Swaras and phrases
Tap a lit note to hear it · Synthesized for study — not a recording
- 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 Ga Pa Dha Sa'
Source: AUTRIM +5
- AUTRIM, Deshkar page, opening description
- Artium Academy, Raag Deshkar page, aroha
- Darbar, Aaroh (ascent):
- Online Sangeet, Description / Aaroh
- Raga Junglism, Melodic summary / Aroha:
- Riyaz, Public glossary / Aaroh
- All 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' Dha Pa Ga Re Sa
- Sources split 2–2Other version, 2 sources:Sa' Dha Pa Ga Pa Dha Pa Ga Re Sa
- 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
- Ga Pa Dha ~; Pa Dha Sa \ Pa; Dha \ Ga
Source: AUTRIM
- AUTRIM, Deshkar page, characteristic phrases
- 6 versions in 6 sources
About Deshkar
Deshkar develops mainly in the upper middle and high registers, with a direct ascent and descent. Dha and Pa are important. Re is weak and never held, and Dha may be approached with a touch of 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.
Also called Deshkaar.
Source: SPMVV
- SPMVV, §5.4, Bilawal Thaat; printed p.41
Curriculum: Pracheen Kala Kendra's vocal syllabus prescribes it at Bhushan Final (as Deshkaar
).
Source: PKK
- PKK, printed p.7, list of prescribed raags
How it moves
AUTRIM describes the ascent as straightforward.
Source: AUTRIM
- AUTRIM, Deshkar page, opening description
AUTRIM describes the descent as straightforward.
Source: AUTRIM
- AUTRIM, Deshkar page, opening description
Learner focus
Bring out Dha and Pa, keep Re weak and short, and stay in the upper register.
Source: AUTRIM
- AUTRIM, Deshkar page, opening description
Caution
Bhupali shares the notes but uses slower glides, a lower register and a night-time setting.
Source: AUTRIM
- AUTRIM, Deshkar page, description
Study prompts
Short exercises that restate what the cited sources say.
Variants
- Dha can be approached with a touch of 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 Bhatkhande reports some musicians using Ni sparingly. It is a touch, not a sixth core note.
Source: AUTRIM
- AUTRIM, Deshkar page, opening description
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- Thaat4 of 4 sources agree
- JatiAll 5 sources agree
- Time5 of 6 sources agree
- ArohaAll 6 sources agree
- AvarohaSources split 2–2
- Pakad6 versions in 6 sources
- Vadi4 of 5 sources agree
- Samvadi4 of 5 sources agree
Sources differ
Notes where the cited sources describe the raagRaagA 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 differently. Field-by-field versions and their sources are under How the sources vote.
- Mood. The sources state this differently.
- AUTRIM, Deshkar page, description
- Lively
- Divya Music, raag notes, entry 24, Deshkar
- Deep
Similar raags named by the sources
Film songs
Film songs where a checked source names Deshkar. Each song shows whether a musician has reviewed it yet.
A song appears here once a checked source, such as the composer's own words, names this raagRaagA 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. Unchecked suggestions stay private.
Archive recordings
No archive recordings are linked to this profile yet. Browse all archive recordings.
Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
Separation in a short khayal
AUTRIM presents Ulhas Kashalkar singing a chhota khayal in Deshkar about separation from a loved one. Its lyric notes describe a restless speaker asking the beloved to think carefully and share what is in their heart.
Documented · Source: Ulhas Kashalkar performance: chhota khayal and separation lyric explanation
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.
- Deshkar: 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.
- Raag DeshkarArtium 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.
- 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.
- Deshkar - DarbarDarbar Arts Culture Heritage Trust · cited as DarbarRobots permits public raga pages; /tos reviewed (C-DARBAR-robots.txt, C-DARBAR-terms.txt). Copyright retained. Factual field transcriptions and cited paraphrases only; complete page evidence is local audit material, not for publication. Accessed 17 October 2026.
- Description of raag deshkar 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.
- Raag Deshkar — 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.
- Hindustani Music (242), Theory Book 1, Chapter 2: Elements of RagaNational Institute of Open Schooling · cited as NIOSDefines the jati terms used to label note counts. Accessed 7 October 2026. Located by printed page; paraphrased.
- Deshkar | SRGPDS | 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.
- Music and Dance Knowledge / Information: Hindustani raag profilesDivya Music · cited as Divya MusicMusic school's raag notes. 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.