Build a printable 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 handout.
Select 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, choose the teaching notes, and print a clean comparison sheet. This keeps Ragapedia useful before accounts and classrooms exist.
Ragapedia handout
Class comparison sheet
Review-ready starter material. Validate against teacher instruction before exam use.
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Yaman
Kalyan 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, early night (first praharPraharA roughly three-hour division used in traditional time-of-day associations for raags. These associations are conventions, not listening prohibitions.Source: N2 §2.2.10, p. 18. and 1 moreMore in the glossary of the night, about 6–9 pm), Sampurna-Sampurna
review-ready
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
.Ni Re Ga Ma(tivra) Pa Dha Ni Sa'
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(tivra) 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
Ma(tivra) Dha Ni Re \ Dha Sa; Ni Re Ga Ma(tivra) Pa \ Re Ga; Re Ga Ma(tivra) \ Re Ma(tivra) Ga; Ga Ma(tivra) Dha Ni Dha Pa
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
Ga / Ni
Sources: IGNOU OMU-001 (aroha, vadi, samvadi); KalaSudha (aroha, avaroha, vadi, samvadi); Prabhāta Saṃgiita (article by Kirit) (aroha, avaroha, vadi, samvadi); NIOS (avaroha, vadi, samvadi); Artium Academy (avaroha, vadi, samvadi); Krsna Kirtana Songs (avaroha, vadi, samvadi); Rāga Junglism / George Howlett (avaroha, vadi); Raag Hindustani / Sādhana (avaroha); Swaranjali Music School (avaroha, vadi, samvadi); AUTRIM (pakad). Full citations on the Ragapedia page /ragas/yaman.
Start rising phrases from lower Ni. Hold Ga and Ni, and let phrases rest on Pa.
Sing the phrase Ni Re Ga Ma(tivra) Pa slowly and let it rest on Pa.
Sing Ma(tivra) Dha Ni Re, then glide down to Dha and end on Sa.
AUTRIM says a direct descent leaves out Sa and Pa. Sing a descent from Ni that skips them.
AUTRIM notes that the direct descent leaves out Sa and Pa, though Sa and Pa can still end rising phrases.
Bhairav
Bhairav 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, early morning (first praharPraharA roughly three-hour division used in traditional time-of-day associations for raags. These associations are conventions, not listening prohibitions.Source: N2 §2.2.10, p. 18. and 1 moreMore in the glossary of the day, about 6–9 am), Sampurna-Sampurna
review-ready
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 Ma Pa dha Ni Sa'
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
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 Ma \ re ~ ~ Sa; Ma Pa Ga Ma dha ~ Pa
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
dha / re
Sources: NIOS (aroha, avaroha, vadi, samvadi); Artium Academy (aroha, avaroha, vadi, samvadi); Rāga Junglism / George Howlett (aroha, avaroha); AUTRIM (pakad); IGNOU OMU-001 (vadi, samvadi); Swaranjali Music School (vadi, samvadi). Full citations on the Ragapedia page /ragas/bhairav.
Oscillate slowly on 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. Sa, Ma and Pa are also held.
Sing Ga Ma, 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 Re, and oscillate it slowly before Sa.
Sing Ma Pa Ga Ma 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 the ascent once in full, then once leaving out Re and Pa, as some performers do.
Kalingda uses nearly the same notes but has no oscillation on Re or Dha. Ramkali adds 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 and sometimes 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.
Bhupali
Kalyan 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, early night (first praharPraharA roughly three-hour division used in traditional time-of-day associations for raags. These associations are conventions, not listening prohibitions.Source: N2 §2.2.10, p. 18. and 1 moreMore in the glossary of the night, about 6–9 pm), Audav-Audav
review-ready
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'
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
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 Re \ Dha Sa; Ga Re Pa \ Ga
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
Ga / Dha
Sources: NIOS (aroha, avaroha, vadi, samvadi); Artium Academy (aroha, avaroha, vadi, samvadi); Krsna Kirtana Songs (aroha, avaroha, vadi, samvadi); Rāga Junglism / George Howlett (aroha, avaroha, vadi, samvadi); Raag Hindustani / Sādhana (aroha, avaroha); AUTRIM (pakad); IGNOU OMU-001 (vadi, samvadi); Swaranjali Music School (vadi, samvadi). Full citations on the Ragapedia page /ragas/bhoopali.
Listen for Re, Ga and Dha approached from above, and for glides joining Ga and Dha on the way down.
Sing Sa Re Ga Pa Dha Sa' and back down without adding Ma or Ni.
Sing Ga Re, glide down to Dha, and come back to Sa.
Deshkar uses the same notes but stresses Pa and Dha and moves higher. Sing a Bhupali phrase low and slow, then the same notes higher with Re kept weak.
Deshkar has the same notes going up and down, but it stresses Pa and Dha, keeps Re weak and moves in a higher register.
