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 Asa is an Indian raga (composition) that emerged in the Sikh tradition from Northern India. It is part of the Gurmat Sangeet musical tradition, which includes ragas used by Sikh Gurus for Gurbani. It is used in the Guru Granth Sahib, the Sikh holy scripture. It is not used in other Indian traditions. "Majh Khamaj" raga appears in Hindustani Sangeet, but it does not resemble the Asa of Gurmat Sangeet. "Asa" is part of the daily prayers conducted in Sikh Gurdwaras. In composing a tune, every raga follows rules that govern the number of notes that can be used, which notes can be used, and their interplay.
Basant or Vasant is a Hindustani classical raga.
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.
Puriya Dhanashree is a raga in Hindustani classical music. It belongs to the Purvi thaat and has been derived from the defining raga of that thaat – Raga Purvi.
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.
Asavari is a minor character from the Mahabharata, the love life of Karna but due to her father’s arrogance, the marriage did not take place. She belongs to the Asavari thaat kingdom.
Bhimpalasi or Bheempalasi is a Hindustani classical raga.
Raga Bihag is a Hindustani classical raga belonging to the Bilawal thaat. It is a melodious Raga for beginners as well as experts. Raga Bihag uses all seven music swars. In Bihag, both the Madhyams are used. The Shuddha Madhyam is more prominent; TeevraMadhyama is only used with Panchama in the phrase PA MA' GA MA GA.
Kafi is a raga in Hindustani classical music. It corresponds to Kharaharapriya in Carnatic music and Dorian mode in Western music
Tilang is a raga in Indian classical music, that belongs to the Khamaj Thaat.
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 "Sampurn Sampurn". "Vadi Svar" is Dhaivat and Samvadi Swar is Gandhar.
Raga Kedar, also known as Kedara, is a Hindustani classical raga. Named after Lord Shiva, the raga occupies a high pedestal in Indian classical music. It is characterised by many melodious turns. This raga is the repetition of the swaras सा and म. It is generally accepted that it displays much thermal energy and is regarded as the Raagini of Raag Deepak. While preceding from Shuddha Madhyam (m) to Pancham (P), a touch of Gandhar (G) or a smooth passage from Gandhar (G) to Pancham (P) expressed as m G P is the more common way of instant raga manifestation.
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.
Jaijaivanti or Jaijaiwanti is a Hindustani classical raga belonging to Khamaj Thaat. According to the Guru Granth Sahib, this raga is a mixture of two others: Bilaval and Sorath. The raga appears in the latter section in Gurbani, as only four hymns were composed by Guru Tegh Bahadur, the ninth Sikh guru. These hymns were added by his son and successor Guru Gobind Singh in 1705 A.D. This raga is not mentioned in any Indian classical scriptures on music nor in the Ragmala.
Patdeep or Patdip (पटदीप), is a Hindustani classical raga from the Kafi 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 colloquial version of the word yogi.
