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Gauri is an India musical raga that appears in the Sikh tradition from northern India and is part of the Sikh holy scripture called Sri Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. there are Gouris of the Bhairav, Poorvi and Marwa thats with additional qualifiers such as the Shree-anga Gouri, Bhairav-anga Gouri, Poorvi-anga Gouri and so on. These are not considered ‘big’ ragas.
Raga Ramkali is an early morning raga in Hindustani classical music which belongs to Bhairav Thaat. In this raga, as in Bhairav, Rishabh and Dhaivat are Komal(flat), but the Teevra and the flat nishad are added. The vadi-samvadi are Pancham and Shadja. The aroha is S r G M P, G M d N S' and the avroha is S' N d P m P, d (N)d P, G M r S. Flat nishad and sharp madhyama are used often.
Bilaval or Bilawal is a raga and the basis for the eponymous thaat in Hindustani classical music. Raga Bilaval is named after Veraval, Gujarat.
Bhairav is a Hindustani classical raga of Bhairav thaat. It is a sampurna raga that is traditionally performed in the morning and also as the beginning piece in concerts. It is the defining raga of its own Thaat.
Raga Malgunji is a Hindustani classical raga from the Khamaj Thaat. Some say it is a part of the Kafi Thaat too.
Bhairavi is a Hindustani Classical heptatonic (Sampurna) raga of Bhairavi thaat. In Western musical terms, raga Bhairavi employs the notes of the Phrygian mode, one of the traditional European church modes.
Raga Bihag is a Hindustani classical raga belonging to the Bilaval Thaat. It is a melodious Raaga for beginners as well as experts. Raga Bihag uses all seven music swars. In Bihag, both the Madhyams are used. The Shuddha Madhyam is the prominent one while Teevra Madhyama is only used with Panchama in Phrase PA MA' GA MA GA. In Avaroha, Rishabh and Dhaivat are not used as resting notes however they are used in Meend. In this Raag, Nishad is a prominent note and Aalaps or Taans are generally started from this note.
Brindavani Sarang or Brindabani Sarang, also known as raga Sarang, is a Hindustani classical raga. It is also called Vridavani Sarang. This raga falls under the category of Sarang ragas.
Kafi is a raga in Hindustani classical music. It corresponds to Kharaharapriya in Carnatic music.
Hameer is a nocturnal Hindustani classical raga nominally placed in Kalyan thaat. All the (shuddha swaras along with (teevra madhyam are used in it. Generally, its vaadi swar is dhaivat and the samavaadi swar is gandhar. However, some exponents consider the vaadi swar to be pancham as Hameer is mainly sung in the upper half of an octave and is nocturnal. Pancham is not taken in the aaroh but is taken in avroh. Its jati is "Shadav Sampurn". "Vadi Svar" is Dhaivat and Samvadi Swar is Gandhar.
Durga is a raga in Hindustani Classical music. It shares some features with Shuddha Saveri of Carnatic music, but is significantly different from it in terms of the sancharas of the raga.
Multani is a Hindustani classical raga. The newer raga Madhuvanti was inspired by Multani. Multani belongs to Todi Thaat. It is generally sung in the third prahar of the day, that is, around 1 PM to 4 PM.
Swaralipi is any system used in sheet music in order to represent aurally perceived music through the use of written notes for Indian classical music.
Nat Bhairav is a Hindustani classical heptatonic (Sampurna) raga of Bhairav Thaat. Traditionally it is a morning raga. It is one of the most important ragas of the Bhairav anga.
Rishabh is the second svara out of the seven svaras of Hindustani music and Carnatic music. Rishabh is the long form of the syllable रे for simplicity while singing the syllable. Rishabh is pronounced as Re and Ri. It is also called as ऋषभ in the Devanagri script.
Gandhar is the 3rd svara from the seven svaras of Hindustani music and Carnatic music. Gandhar is the long form of the syllable ग. For simplicity in pronouncing while singing the syllable, Gandhar is pronounced as Ga. It is also called as गान्धार or गंधार in the Devanagri script.
Pancham is the fifth svara from the seven svaras of Hindustani music and Carnatic music. Pancham is the long form of the syllable प. For simplicity in pronouncing while singing the syllable, Pancham is pronounced as Pa. It is also called as पंचम in the Devanagri script.
Dhaivat is the sixth svara from the seven svaras of Hindustani music and Carnatic music. Dhaivat is the long form of the syllable ध. For simplicity in pronouncing while singing the syllable, Dhaivat is pronounced as Dha. It is also called as धैवत in the Devanagri script.
Nishad is the seventh svara from the seven svaras of Hindustani music and Carnatic music. Nishad is the long form of the syllable नी. For simplicity in pronouncing while singing the syllable, Nishad is pronounced as Ni. It is also called as निषाद in the Devanagri script.
Shadja is the first svara out of the seven svaras of Hindustani music and Carnatic music. Shadja is the long form of the syllable सा. For simplicity in pronouncing while singing the syllable, Shadja is pronounced as Sa. It is also called as षड्ज in the Devanagri script.
