Indian Classical Music —Archive

The Archive

A personal archive of Hindustani classical music recordings, organised by raga, artist, instrument, tradition and form.

  • Raga Shankarabharanam

    About the Raga

    Chalamela — Shankarabharanam — Swati Tirunal

    Raga Shankarabharanam is the 29th Melakarta raga of Carnatic music and is one of the major foundational ragas of the tradition. It has a bright, balanced and expansive character and provides considerable scope for melodic elaboration. Its scale corresponds closely to the major scale in Western music.

    RagaShankarabharanam
    Melakarta29
    JatiSampurna–Sampurna
    ArohaS R₂ G₃ M₁ P D₂ N₃ S′
    AvarohaS′ N₃ D₂ P M₁ G₃ R₂ S
    MadhyamaShuddha Madhyama
    TalaKhanda Jati Ata
    ComposerSwati Tirunal

    About the Artist

    The Alathur Brothers, Alathur Srinivasa Iyer and Alathur Sivasubramania Iyer, were one of the distinguished vocal duos of twentieth-century Carnatic music. They were celebrated for their precise vocal coordination, command over rhythm and sophisticated presentation of Carnatic compositions.

  • Raga Bhairavi

    About the Raga

    Raga Bhairavi is one of the major ragas of Carnatic music, known for its depth, richness and extensive scope for melodic elaboration. It employs both varieties of Dhaivata in its characteristic treatment, while its principal scale is associated with the 20th Melakarta, Natabhairavi. Bhairavi is frequently chosen for elaborate Ragam–Thaanam–Pallavi performances.

    RagaBhairavi
    MelakartaNatabhairavi (20)
    JatiSampurna
    ArohaS R₂ G₂ M₁ P D₂ N₂ S′
    AvarohaS′ N₂ D₁ P M₁ G₂ R₂ S
    MadhyamaShuddha Madhyama
    Characteristic featureBoth D₂ and D₁
    FormRagam–Thaanam–Pallavi

    About the Artist

    The Alathur Brothers, Alathur Srinivasa Iyer and Alathur Sivasubramania Iyer, were one of the distinguished vocal duos of twentieth-century Carnatic music. They were renowned particularly for their command of laya, complex rhythmic structures and their presentation of elaborate Ragam–Thaanam–Pallavi performances.

  • Raga Kalyani

    About the Raga

    Raga Kalyani is one of the major ragas of Carnatic music and corresponds to the 65th Melakarta. It is characterised by the use of the prati madhyama (Tivra Ma) and has a bright, expansive and majestic character. Kalyani allows extensive scope for melodic elaboration and is one of the most frequently rendered ragas in the Carnatic tradition.

    RagaKalyani
    Melakarta65
    JatiSampurna–Sampurna
    ArohaS R₂ G₃ M₂ P D₂ N₃ S′
    AvarohaS′ N₃ D₂ P M₂ G₃ R₂ S
    MadhyamaPrati Madhyama
    TalaAdi
    ComposerTyagaraja

    About the Artist

    The Alathur Brothers, Alathur Srinivasa Iyer and Alathur Sivasubramania Iyer, were one of the great vocal duos of twentieth-century Carnatic music. Trained under Alathur Venkatesa Iyer, they were particularly renowned for their mastery of laya, precise rendering of kritis and highly disciplined concert style. The duo received the Sangeetha Kalanidhi honour in consecutive years, 1964 and 1965.

  • Raga Jog

    About the Raga

    Raga Jog is a distinctive Hindustani raga associated with the late evening and night. Its characteristic use of both Shuddha and Komal Gandhar gives it a unique tonal colour, while its melodic movements can range from introspective and meditative to intensely expressive. The raga is particularly effective in slow, spacious elaboration.

    FeatureInformation
    RagaJog
    ThaatKafi
    JatiAudav–Sampurna
    ArohaS G m P n S′
    AvarohaS′ n P m G m g S
    VadiGa
    SamvadiNi
    Important FeatureBoth Shuddha & Komal Gandhar
    TimeLate evening / Night

    Artist: Ustad Zia Mohiuddin Dagar
    Instrument: Rudra Veena
    Form: Instrumental
    Tradition: Dagar Bani

    About the Recording

    This recording presents Raga Jog on the Rudra Veena by Ustad Zia Mohiuddin Dagar, one of the foremost instrumental exponents of the Dagar tradition. His deeply contemplative approach to the instrument makes this an especially valuable recording in the archive.

    About the Artist

    Ustad Zia Mohiuddin Dagar was one of the greatest twentieth-century exponents of the Rudra Veena and a major figure in the Dagar tradition. He played a significant role in bringing the instrument’s profound, meditative sound into the concert tradition.

  • Raga Kedar

    About the Raga

    Raga Kedar is a prominent Hindustani classical raga associated with the late evening. It is known for its distinctive treatment of Madhyam, using both Shuddha and Tivra Madhyam, and for its graceful, devotional and contemplative character. The raga has a strong melodic identity and is particularly suited to slow and detailed development.

    FeatureInformation
    RagaKedar
    ThaatKalyan
    JatiShadav–Shadav
    ArohaS M M P D P S′
    AvarohaS′ N D P M P M G R S
    VadiMa
    SamvadiSa
    Important FeatureBoth Shuddha & Tivra Madhyam
    TimeLate evening

    Artist: Ustad Rahimuddin Dagar
    Form: Dhrupad
    Tradition: Dagar Bani
    Raga: Kedar

    About the Recording

    This performance presents Raga Kedar in the Dhrupad tradition of Ustad Rahimuddin Dagar, offering an example of the spacious and deeply melodic approach associated with the Dagar Bani.

    About the Artist

    Ustad Rahimuddin Dagar was a distinguished member of the Dagar family and an important exponent of the Dhrupad tradition. His contribution forms part of the rich lineage of Dagar musicians who helped preserve and transmit Dhrupad through the twentieth century.

  • Raga Bhairavi

    About the Raga

    Raga Bhairavi is one of the most important and widely performed ragas of Hindustani classical music. Traditionally associated with the morning, it is also frequently heard as the concluding raga of a concert. Its characteristic use of the four komal swaras—Re, Ga, Dha and Ni—gives Bhairavi its distinctive expressive and deeply emotive character.

    FeatureInformation
    RagaBhairavi
    ThaatBhairavi
    JatiSampurna–Sampurna
    ArohaS r g M P d n S′
    AvarohaS′ n d P M g r S
    VadiMa
    SamvadiSa
    Komal SwarasRe, Ga, Dha, Ni
    TimeMorning
    TraditionDhrupad

    In actual performance, Bhairavi is quite flexible and can use shuddha swaras as vivadi/occasional notes, particularly in lighter treatments.

    Artist: Dagar Brothers
    Form: Dhrupad
    Tradition: Dagar Bani

    About the Recording

    This rendering of Raga Bhairavi forms part of the Dagar Brothers collection and presents the raga through the spacious and contemplative approach of the Dhrupad tradition.

    About the Artist

    The Dagar Brothers represent one of the most important lineages of twentieth-century Dhrupad. The Dagar tradition is particularly noted for its unhurried development of the raga, vocal depth and attention to subtle melodic detail.

  • Raga Darbari Kanada

    About the Raga

    Raga Darbari Kanada is a profound and majestic raga of Hindustani classical music, traditionally associated with the late-night hours. It is known for its deep, serious and contemplative character, with prominent use of komal Gandhar and komal Dhaivat. The raga particularly rewards slow and sustained melodic development.

    FeatureInformation
    RagaDarbari Kanada
    ThaatAsavari
    JatiSampurna–Sampurna
    VadiRe
    SamvadiPa
    Komal SwarasGa, Dha, Ni
    TimeLate night
    TraditionDhrupad

    Artist: Ustad Nasir Moinuddin Dagar
    Form: Dhrupad
    Tradition: Dagar Bani
    Raga: Darbari Kanada

    About the Performance

    This performance presents Raga Darbari Kanada through the Dhrupad tradition of Ustad Nasir Moinuddin Dagar. The recording reflects the spacious and deeply contemplative approach characteristic of the Dagar tradition.

    About the Artist

    Ustad Nasir Moinuddin Dagar was one of the great twentieth-century exponents of Dhrupad and a leading member of the Dagar family tradition. His performances with his brother, Ustad Nasir Aminuddin Dagar, became an important part of the recorded legacy of Dhrupad.

  • Raga Kamboji

    About the Raga

    Raga Kamboji is a graceful and majestic raga of the Hindustani classical tradition, particularly prominent in Dhrupad. Its expansive melodic character makes it especially suitable for the slow and detailed development characteristic of the Dagar tradition. The raga combines strength and lyricism, allowing both spacious alap and more structured rhythmic development.

    FeatureInformation
    RagaKamboji / Kambhoji
    TraditionDhrupad
    BaniDagar Bani
    JatiShadav–Sampurna
    VadiGa
    SamvadiNi
    TimeEvening
    FormDhrupad

    Artists: Ustad Nasir Moinuddin Dagar & Ustad Nasir Aminuddin Dagar
    Known as: Senior Dagar Brothers
    Form: Dhrupad
    Tradition: Dagar Bani
    Raga: Kamboji

  • Raga Chalnat

    About the Raga

    Raga Chalnat is a distinctive Hindustani raga that is particularly associated with the Dhrupad tradition. Its serious and majestic character provides considerable scope for slow, detailed melodic development. The raga is especially interesting in a Dhrupad setting, where the gradual unfolding of the melodic structure allows its tonal character to emerge with great depth.

    FeatureInformation
    RagaChalnat
    TraditionDhrupad
    BaniDagar Bani
    ArtistUstad Z. Fariduddin Dagar
    FormAlap, Jor, Jhala & Dhrupad
    AccompanimentPakhawaj

    About the Recording

    This recording presents Ustad Z. Fariduddin Dagar in Raga Chalnat, moving through alap, jor, jhala and Dhrupad in Chautal. It is part of the The Lyrical Tradition of Dhrupad series issued by Makar Records and provides an important example of the Dagar approach to extended raga development.

    About the Artist

    Ustad Z. Fariduddin Dagar was a major exponent of the Dagar tradition of Dhrupad and an influential teacher as well as performer. He was trained within the Dagar family tradition and became an important teacher to a later generation of Dhrupad musicians.

  • 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.

    FeatureInformation
    RagaJaijaiwanti
    ThaatKhamaj
    JatiSampurna–Sampurna
    ArohaS R g G M P D n S′
    AvarohaS′ n D P M G R g R S
    VadiRe
    SamvadiPa
    Important FeatureBoth Shuddha & Komal Ga and Ni
    TimeLate evening

    Artists: Ustad Faiyazuddin Dagar & Ustad Zahiruddin Dagar
    Form: Dhrupad
    Tradition: Dagar Bani
    Raga: Jaijaiwanti

    About 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.