Indian Classical Music —Archive

The Archive

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

  • 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.

    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 / Traditionally concluding raga

    Artist: Dagar Brothers
    Form: Dhrupad
    Tradition: Dagar Bani

    About 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.

  • 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.

    FeatureInformation
    RagaBageshree
    ThaatKafi
    JatiAudav–Sampurna
    ArohaS g M D n S′
    AvarohaS′ n D M P D M g R S
    VadiMa
    SamvadiSa
    Komal SwarasGa, Dha, Ni
    TimeLate evening / Night

    Artist: Dagar Brothers
    Form: Taraana
    Tradition: Dagar Bani

    About 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.

  • 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.

    FeatureInformation
    RagaBageshree
    ThaatKafi
    JatiAudav–Sampurna
    ArohaS g M D n S′
    AvarohaS′ n D M P D M g R S
    VadiMa
    SamvadiSa
    Komal SwarasGa, Dha, Ni
    TimeLate 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.

  • 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.

    FeatureInformation
    RagaMegh
    ThaatKafi
    JatiAudav–Audav
    ArohaS R M P N S′
    AvarohaS′ N P M R S
    VadiSa
    SamvadiPa
    Time / SeasonMonsoon / Night

    Artist – Nasir Moinuddin Dagar & Nasir Aminuddin Dagar

  • 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.

    FeatureInformation
    RagaShuddha Sarang
    ThaatKalyan
    JatiAudav–Shadav
    ArohaṈ S R M P N S′
    AvarohaS′ N D P M P m R S
    VadiRe
    SamvadiPa
    Important FeatureBoth Shuddha & Tivra Madhyam
    TimeAfternoon

    Artist – Pt. Ram Narayan

    Instrument – Sarangi

  • 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.

    FeatureInformation
    RagaMadhuvanti
    ThaatTodi*
    JatiAudav–Sampurna
    ArohaN S g M^ P N S′
    AvarohaS′ N D P M^ g R S
    VadiPa
    SamvadiSa
    Komal SwaraGa
    Tivra SwaraMa
    TimeLate Afternoon

    * Note: Madhuvanti is sometimes classified differently in different traditions.

    Artist – Pt. Brij Narayan

    Instrument – Sarod

  • 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.

    FeatureInformation
    RagaBhimpalashi
    ThaatKafi
    JatiAudav–Sampurna
    Arohaṇ S g M P n S′
    AvarohaS′ n D P M g R S
    VadiMadhyam (Ma)
    SamvadiShadja (Sa)
    Komal SwarasGa, Ni
    TimeAfternoon

    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

  • 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.

    FeatureInformation
    ThaatKalyan
    JatiAudav–Shadav
    ArohaṈ S R M P N S′
    AvarohaS′ N D P M P m R S
    VadiRe
    SamvadiPa
    Pakad / ChalanN S R M M P – M P M m R – R N N S
    TimeAfternoon

    Selected Recordings

    1. Amjad Ali Khan — Raga Shuddha Sarang
    Instrument: Sarod
    Performance: Alap, Madhyalaya & Drut

    2. 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 & Drut

    This 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

    FeatureInformation
    RagaShuddha Sarang
    ThaatKalyan
    JatiAudav–Shadav
    ArohaṈ S R M P N S′
    AvarohaS′ N D P M P m R S
    VadiRe
    SamvadiPa
    Pakad / ChalanN S R M M P – M P M m R – R N N S
    Time of PerformanceAfternoon
    Rasa / MoodSerene, devotional, bright and uplifting
    Important Swaras / FeaturesBoth Madhyams;
    characteristic Sarang movements
    Famous BandishJa 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.

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