Indian Classical Music Archive
A non-commercial cultural preservation initiative safeguarding historical recordings, private mehfils, rare gharana lineages, and documented 20th-century masters.
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Raga Jaijaiwanti
About the Raga
Raga Jaijaiwanti is a graceful and highly expressive raga of Hindustani classical music. It is characterised by the interplay of Shuddha and Komal Gandhar and Shuddha and Komal Nishad, giving it a distinctive mixture of sweetness and emotional depth. The raga is generally associated with the late evening and is capable of both introspective and romantic expression.
Feature Information Raga Jaijaiwanti Thaat Khamaj Jati Sampurna–Sampurna Aroha S R g G M P D n S′ Avaroha S′ n D P M G R g R S Vadi Re Samvadi Pa Important Feature Both Shuddha & Komal Ga and Ni Time Late evening Artists: Ustad Faiyazuddin Dagar & Ustad Zahiruddin Dagar
Form: Dhrupad
Tradition: Dagar Bani
Raga: JaijaiwantiAbout the Recording
This recording presents Raga Jaijaiwanti in the distinctive Dhrupad tradition of the Dagar Brothers. Faiyazuddin Dagar and Zahiruddin Dagar were among the prominent exponents of the Dagar tradition during the twentieth century.
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Raga Bhairavi
About the Raga
Raga Bhairavi is one of the most widely performed ragas of Hindustani classical music. Although traditionally associated with the morning, it is often used as a concluding raga in concerts and can express a wide range of emotional shades. Its characteristic use of the four komal swaras—Re, Ga, Dha and Ni—gives it a distinctive, deeply expressive colour.
Feature Information Raga Bhairavi Thaat Bhairavi Jati Sampurna–Sampurna Aroha S r g M P d n S′ Avaroha S′ n d P M g r S Vadi Ma Samvadi Sa Komal Swaras Re, Ga, Dha, Ni Time Morning / Traditionally concluding raga Artist: Dagar Brothers
Form: Dhrupad
Tradition: Dagar BaniAbout the Recording
This rendering of Raga Bhairavi forms part of the Dagar Brothers collection in the archive and represents the contemplative Dhrupad approach to this widely performed raga.
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Raga Bageshree — Taraana
About the Raga
Raga Bageshree is a late-evening raga of Hindustani classical music, known for its romantic, introspective and expressive character. Its melodic identity is shaped particularly by the use of komal Gandhar and komal Dhaivat, with Madhyam playing an important role in its development. The raga is capable of both contemplative elaboration and lively rhythmic treatment.
Feature Information Raga Bageshree Thaat Kafi Jati Audav–Sampurna Aroha S g M D n S′ Avaroha S′ n D M P D M g R S Vadi Ma Samvadi Sa Komal Swaras Ga, Dha, Ni Time Late evening / Night Artist: Dagar Brothers
Form: Taraana
Tradition: Dagar BaniAbout the Recording
This performance presents Raga Bageshree in Taraana form, bringing the raga’s melodic character into a more rhythmically animated setting. It forms part of the archive’s collection of recordings associated with the Dagar tradition.
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Raga Bageshree — Dhrupad
About the Raga
Raga Bageshree is a prominent Hindustani raga associated with the late evening and night. It has a deeply expressive and introspective character, with a distinctive emphasis on komal Gandhar and Dhaivat. The raga lends itself particularly well to slow, meditative elaboration as well as lyrical compositions.
Feature Information Raga Bageshree Thaat Kafi Jati Audav–Sampurna Aroha S g M D n S′ Avaroha S′ n D M P D M g R S Vadi Ma Samvadi Sa Komal Swaras Ga, Dha, Ni Time Late evening / Night Artist: Dagar Brothers
Tradition: Dagar Bani
Form: Dhrupad
About the Recording
This Dhrupad rendering of Raga Bageshree is presented as part of the archive’s collection of historically significant Hindustani classical recordings.
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Raga Megh
About the Raga
Raga Megh is a monsoon-associated raga of Hindustani classical music, known for its calm, spacious and evocative character. It is traditionally connected with the rainy season and has a distinctive melodic movement that creates a sense of depth and serenity. The raga is particularly suited to slow and expressive development.
Feature Information Raga Megh Thaat Kafi Jati Audav–Audav Aroha S R M P N S′ Avaroha S′ N P M R S Vadi Sa Samvadi Pa Time / Season Monsoon / Night Artist – Nasir Moinuddin Dagar & Nasir Aminuddin Dagar
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Raga Shuddha Sarang
About the Raga
Raga Shuddha Sarang is an important afternoon raga of Hindustani classical music and belongs to the Sarang family. Its distinctive character comes from the use of both Shuddha and Tivra Madhyam, combined with characteristic Sarang melodic movements. The raga has a bright, serene and graceful character and provides considerable scope for melodic elaboration. It is traditionally performed during the afternoon.
Feature Information Raga Shuddha Sarang Thaat Kalyan Jati Audav–Shadav Aroha Ṉ S R M P N S′ Avaroha S′ N D P M P m R S Vadi Re Samvadi Pa Important Feature Both Shuddha & Tivra Madhyam Time Afternoon Artist – Pt. Ram Narayan
Instrument – Sarangi
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Raga Madhuvanti
About the Raga
Raga Madhuvanti is a graceful raga of Hindustani classical music traditionally associated with the late afternoon. It is characterised by the combination of komal Gandhar and Tivra Madhyam, creating a distinctive blend of sweetness and poignancy. The raga is generally classified as an Audav–Sampurna raga and has a lyrical, romantic and contemplative character. It allows considerable scope for expressive melodic development.
Feature Information Raga Madhuvanti Thaat Todi* Jati Audav–Sampurna Aroha N S g M^ P N S′ Avaroha S′ N D P M^ g R S Vadi Pa Samvadi Sa Komal Swara Ga Tivra Swara Ma Time Late Afternoon * Note: Madhuvanti is sometimes classified differently in different traditions.
Artist – Pt. Brij Narayan
Instrument – Sarod
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Raga Bhimpalashi
About the Raga
Raga Bhimpalashi is an afternoon raga of Hindustani classical music associated with the Kafi thaat. It uses komal Ga and komal Ni and has an Audav–Sampurna structure. The raga has a distinctive melodic movement centred around Madhyam and is known for its introspective and expressive character. Traditionally performed in the afternoon, Bhimpalashi offers considerable scope for melodic elaboration.
Feature Information Raga Bhimpalashi Thaat Kafi Jati Audav–Sampurna Aroha ṇ S g M P n S′ Avaroha S′ n D P M g R S Vadi Madhyam (Ma) Samvadi Shadja (Sa) Komal Swaras Ga, Ni Time Afternoon The basic aroha–avaroha and classification are consistent across the reference sources, although exact performance phrases can vary between traditions.
Artist – Pt. Brij Narayan
Instrument – Sarod
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Raga Shuddha Sarang
About the Raga
Raga Shuddha Sarang is an important afternoon raga of Hindustani classical music and belongs to the Sarang family. Its character is bright, serene and graceful, with the distinctive use of both Shuddha and Tivra Madhyam. The raga has considerable scope for melodic elaboration while retaining the characteristic colour of the Sarang family. It is heard particularly in the early afternoon and is associated with a feeling of freshness, tranquillity and quiet joy.
Feature Information Thaat Kalyan Jati Audav–Shadav Aroha Ṉ S R M P N S′ Avaroha S′ N D P M P m R S Vadi Re Samvadi Pa Pakad / Chalan N S R M M P – M P M m R – R N N S Time Afternoon Selected Recordings
1. Amjad Ali Khan — Raga Shuddha Sarang
Instrument: Sarod
Performance: Alap, Madhyalaya & Drut2. Bhimsen Joshi — Raga Shuddha Sarang
Artist: Bhimsen Joshi
Instrument: Vocal -
Raga Shuddh Sarang — Alap, Madhyalaya & Drut
Raga: Shuddh Sarang
Artist: Amjad Ali Khan
Instrument: Sarod
Duration: 30:37
Recording: Alap, Madhyalaya & DrutThis recording presents Raga Shuddh Sarang in an extended performance moving through alap, madhyalaya and drut.
About Raga Shuddha Sarang
Shuddha Sarang belongs to the Sarang family of Hindustani ragas and is traditionally associated with the afternoon. Its character is bright, peaceful and expansive, with the use of both Shuddha and Tivra Madhyam giving the raga its distinctive colour. The raga allows considerable scope for melodic elaboration, while retaining the characteristic Sarang flavour created through its movements around Re, Pa and the two Madhyams.
Musical Framework
Feature Information Raga Shuddha Sarang Thaat Kalyan Jati Audav–Shadav Aroha Ṉ S R M P N S′ Avaroha S′ N D P M P m R S Vadi Re Samvadi Pa Pakad / Chalan N S R M M P – M P M m R – R N N S Time of Performance Afternoon Rasa / Mood Serene, devotional, bright and uplifting Important Swaras / Features Both Madhyams;
characteristic Sarang movementsFamous Bandish Ja Re Bhanwara Door; Ab Mori Bata Note: Shuddha Sarang is also classified under Kafi by some traditions. Although Sarang ragas are generally associated with Kafi, Shuddha Sarang is logically placed in Kalyan because of its use of Teevra Ma.