Raga lessons

Thaat: Kalyan

S R G P D S’

S’ D P G R S

A pentatonic raga with an open, luminous sound. Start with clean shuddh swaras and give Ga and Dha a little emphasis without rushing the ascent.

Thaat: Kalyan

N R G M♯ D N S’

S’ N D P M♯ G R S

Yaman is a foundational evening raga built from all shuddh swaras except Tivra Ma. The characteristic lift into Tivra Ma should feel graceful rather than like a Western chromatic alteration.

Thaat: Bhairavi

S r g M P d n S’

S’ n d P M g r S

A deeply expressive raga using the four komal swaras Re, Ga, Dha and Ni. Performers often introduce other swaras in lighter or concluding forms, so this page begins with the basic teaching scale.

Thaat: Kafi

S R g M P D n S’

S’ n D P M g R S

Kafi has a warm, folk-connected colour. Its komal Ga and komal Ni are easy to hear when you alternate them with the neighbouring shuddh swaras.

Thaat: Bilaval

S R G M P D N S’

S’ N D P M G R S

Bilaval is a clear seven-note framework and a useful starting point for learning how shuddh swaras map between staff notation and Bhatkhande notation.

Thaat: Khamaj

S R M P N S’

S’ n D P M G R G S

Desh is known for a graceful ascent and a more colourful descent. The contrast between shuddh Ni in ascent and komal Ni in descent is an important listening point.

Thaat: Kafi

n S g M P n S’

S’ n D P M g R S

Bhimpalasi turns inward through its late-afternoon mood. The ascent begins from komal Ni and avoids Re and Dha, while the descent opens into a fuller line.

Thaat: Bhairavi

S g M d n S’

S’ n d M g S

Malkauns is a pentatonic late-night raga with a serious, meditative character. Its wide spaces make slow intonation more important than speed.

Thaat: Bhairav

S r G M P d N S’

S’ N d P M G r S

Bhairav opens the day with a serious, spacious movement. Its komal Re and komal Dha should be approached with patience, giving the oscillating colour time to settle in the ear.

Thaat: Kafi

n S g M D n S’

S’ n D M g R S

Bageshri has an inward, nocturnal pull. The ascent leaves space around Ma and the descent restores Re, making the two directions feel deliberately different.

Thaat: Khamaj

S R M P D S’

S’ D P M R S

Durga is a clear pentatonic raga whose omissions make every chosen swara easy to hear. It is a friendly bridge from scale practice into phrase-based learning.

Thaat: Bilaval

S R G P N S’

S’ N P G R S

Hansadhwani is bright and agile, with a clean five-note vocabulary. Its leap from Ga to Pa is a useful exercise in hearing space without losing the pulse.