Raag Patdeepपटदीप
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Kafi thaat · Audav-Sampurna · Afternoon
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- Afternoon
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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 ga Ma Pa Ni Sa'
Source: Artium Academy +3
- Artium Academy, Raag Patdeep page, aroha
- Riyaz, Public glossary / Aaroh
- Raagist, Arohi
- Online Sangeet, Description / Aaroh
- 4 of 5 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: Artium Academy +2
- Artium Academy, Raag Patdeep page, avaroha
- Raagist, Avrohi
- Online Sangeet, Description / Avaroh
- 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
- Ni Sa ga Sa Re - Sa; ga Ma Pa Ni Dha Pa; Ni Sa Dha Pa; Dha Ma Pa \ ga ~
Source: AUTRIM
- AUTRIM, Patdip page, characteristic phrases
- 4 versions in 4 sources
About Patdeep
Patdeep gives 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 Ni weight and can rest on Pa. Its direct ascent leaves out Dha, and oscillated 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 Ga and the glide from Ma Pa down to Ga are characteristic.
Source: AUTRIM +2
How it moves
AUTRIM says Dha is left out of the direct ascent.
Source: AUTRIM
- AUTRIM, Patdip page, opening description
AUTRIM gives the descent as Sa' Ni Dha Pa or Ni Sa' Dha Pa, and the closing movement includes Ma ga ~ Sa Re Sa.
Source: AUTRIM
- AUTRIM, Patdip page, opening description
Learner focus
Keep weight on Ni, 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 Ga, and touch Sa when you sing Re.
Source: AUTRIM
- AUTRIM, Patdip page, description
Caution
Without the Ga oscillation and the Sa touch on Re, a phrase may sound like Pilu. Using tivra MaTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary instead of 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 Ma gives Madhuvanti.
Source: AUTRIM
- AUTRIM, Patdip page, description
Study prompts
Short exercises that restate what the cited sources say.
- Sing Ni Sa ga Sa Re Sa, touching Sa around Re.
- Sing Dha Ma Pa, glide 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 Ga, and oscillate it.
- Without the Ga oscillation and the Sa touch on Re, a phrase can suggest Pilu. Sing a phrase both ways and listen.
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- ThaatAll 4 sources agree
- Jati3 of 4 sources agree
- Time4 of 6 sources agree
- Aroha4 of 5 sources agree
- Avaroha3 of 5 sources agree
- Pakad4 versions in 4 sources
- VadiAll 4 sources agree
- SamvadiAll 4 sources agree
Similar raags named by the sources
- Bhimpalasi: Similar structure, but Patdeep uses 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 Ni.
Source: AUTRIM
- AUTRIM, Patdip page, opening description
- Pilu: Without Ga oscillation and a Sa touch on Re, a phrase can suggest Pilu.
Source: AUTRIM
- AUTRIM, Patdip page, description
- Madhuvanti: Replacing natural Ma with sharp Ma gives Madhuvanti.
Source: AUTRIM
- AUTRIM, Patdip page, description
Not stated in our sources yet
The sources we cite do not state: other names. RagaPedia leaves these blank rather than guess.
Film songs
Film songs where a checked source names Patdeep. Each song shows whether a musician has reviewed it yet.
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.
Holi colours in Patdeep
AUTRIM presents Ram Deshpande singing a hori in Patdeep. Its lyric notes describe Krishna, Radha and the women of Brij spraying colour on one another during Holi.
Documented · Source: Ram Deshpande performance: hori and Holi 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.
- Patdip: 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 PatdeepArtium 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 PatdeepRaagist · 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.
- Patdeep 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.
- Raag Patdeep — 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.
- Patdeep | SRgmPDNS | 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.