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Svara or swara is a Sanskrit word that connotes simultaneously a breath, a vowel, the sound of a musical note corresponding to its name, and the successive steps of the octave or saptak. More comprehensively, it is the ancient Indian concept about the complete dimension of musical pitch. Most of the time a svara is identified as both musical note and tone, but a tone is a precise substitute for sur, related to tunefulness. Traditionally, Indians have just seven svaras/notes with short names, e.g. saa, re/ri, ga, ma, pa, dha, ni which Indian musicians collectively designate as saptak or saptaka. It is one of the reasons why svara is considered a symbolic expression for the number seven.
Raga Ramkali is an early morning raga in Hindustani classical music which belongs to Bhairav Thaat. In this raga, as in Bhairav, second degree (rishabh) and sixth degree (dhaivat) are flat, but the sharp madhyama and the flat nishad are added. The vadi-samvadi are P and S. 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 an Indian 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.
Khamaj is a Hindustani classical Music raga within the Khamaj thaat which is named after it.
Darbari Kanada, or simply Raga Darbari,, is a raga in the Kanada family, which is thought to have originated in Carnatic music and brought into Hindustani classical music by Miyan Tansen, the legendary 16th-century composer in emperor Akbar's court. This tradition is reflected in the name itself; Darbar is the Persian derived word in Hindi meaning "court." As the most familiar raga in the Kanada family, it may sometimes also be called Shuddha Kanada or pure Kanada. It belongs to the Asavari thaat. This raag is called raaga Kaanada in Yakshagana.
Abhogi is a raga in Carnatic music and has been adapted to Hindustani music. It is a pentatonic scale, an audava raga. It is a derived scale, as it does not have all the seven swaras. Ābhōgi has been borrowed from Carnatic music into Hindustani music and is also quite popular in the latter.
Ahir Bhairav is a Hindustani classical raga. It is a mixture of Bhairav and the ancient, rare raga Ahiri or Abhiri, or perhaps a mixture of Bhairav and Kafi.
Bhimpalasi or Bheempalasi is a Hindustani classical raga.
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.
Purvi or Poorvi is a raga in Hindustani classical music that exemplifies its own thaat, the Poorvi thaat. Purvi has a deeply serious, quiet and somewhat mystical character. It is uncommon in performances nowadays.
Marva or Marwa is a hexatonic Indian raga; Pa is omitted. Marva is the eponymous raga of the Marva thaat.
Yaman is a heptatonic (Sampurna) Indian classical raga of Kalyan Thaat.
Tilang is a raga in Indian classical music, that belongs to the Khamaj Thaat.
Jogiya, or Jogia, is a raga in Hindustani classical music. It is based on Bhairav Thaat. It is played at the 1st Prahar of the day, dawn time. The name Jogiya came from Jogi, a corruption of yogi.
Khamaj is one of the ten thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.
Niṣāda, also known as Nishada or Nishad, is the seventh svara from the seven svaras of Hindustani music and Carnatic music. Nishada is the long form of the syllable नी. For simplicity in pronouncing while singing the syllable, Nishada is pronounced as Ni. It is also called as निषाद in the Devanagri script.
Gara is a Hindustani classical raga belonging to the Khamaj Thaat. This raga is similar to raga Jaijaiwanti. Both ragas i.e. raga Jaijaiwanti and raga Gara, have the same svaras. Gara is a rare raga. It is rendered in the late evening. The raga uses all the seven notes, six in the ascent and seven in the descent. Therefore the Jati of the raga is Shaadav-Sampurna. While some say that seven svaras are played in the ascent and seven in the descent. Therefore the Jati then becomes Sampurna-Sampurna. It uses both, the Komal (flat) and Shuddha (full) Nishad, and all other notes are Shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. Gara belongs to a family of melodic entities, which were apparently derived from folk melodies, and entered art-music in association with the thumri genre. This family includes ragas like Kafi, Piloo, Jangula, Barwa, and Zilla, along with several others. This raga expresses the feeling of happiness and satisfaction of achievement, however it simultaneously conveys the sadness of losing. This raga is also a vivacious and romantic one.