Raga Descriptions

This page lists the main characteristics of a number of selected ragas found in Prabhat Samgiita.

Kirit is teaching us these ragas, especially in our intensive trainings. If you like, you can access the page of each of these events and access the booklets used, including materials and Prabhat Samgiita songs studied in each of these ragas.

Click on the year to go to the page of the event:

  • 2011: intensive training on raga Bhairavi
  • 2012: intensive training on ragas Darbari Kanada and Desh
  • 2013: intensive training on ragas Bhairavi, Darbari Kanada and Yaman
  • 2014: intensive training on raga Bhairavi
  • 2015: intensive training on ragas Bhairavi and Desh
  • 2016: intensive training on ragas Bhairavi, Desh and Darbari Kanada

The information contained below is of a somewhat technical nature. Please refer to the Glossary about the terminology used here.


  1. Raga Darbari Kanada:

Aaroha: Sa, Re, ga. Ma, Pa, dha, ni, Sa”

Avaroha: Sa”, dha, ni, Pa, Ma, Pa, ni, ga, Ma, Re Sa

Vadi: Re

Samvadi: Pa

Jati: Vakra sampurna

Pakad: Pa ni Ma Pa ni ga, ga Ma Re Sa, Re ni’ Sa Re dha’, ni’ Re Sa

Thaat: Asawari

Rasa: Devotion, Seriousness

Time: Midnight

Notes: ni is vakra in avaroha; Pa ni ga meend. ga Ma Re Sa pattern used because it is kanada type, and helps differentiate from Asawari raga. ga is sung with andolan from Ma, and dha is sung with andolan from ni.


2. Raga Bhairavi:

Aaroha: Sa, re, ga, Ma, Pa, dha, ni Sa”

Avaroha: Sa”, ni, dha, Pa, Ma, ga, re, Sa

Vadi: Pa or Ma

Samvadi: Sa

Pakad: Sa, re ga Ma, ga re Sa dha’ ni’ Sa

Thaat: Bhairavi

Rasa: Romantic, yearning, devotion

Jati: Sampurna

Time: Morning

Note: Bhairavi allows all 12 notes if used properly. Suited for Bhajan, thumari and light music


3. Raga Bageshri:

Aaroha: Sa, ga, Ma, Dha, ni, Sa”

Avaroha: Sa”, ni, Dha, Ma, Pa, Dha, Ma, ga, Re, Sa

Vaadi: Ma

Samvadi: Sa

Pakad: Dha’ ni’ Sa Ma Dha ni Dha, Ma ga Re Sa

Thaat: Kafi

Jati: Odav-Sampurna

Time: late night

Note: Pancham used very very scarcely and in avaroha only.


4. Raga Asawari:

It has two forms; Asawari (refers to Shuddha Re Asawari) uses shuddha Re, and Komal Rishabh Asawari uses “re”.

Aaroha: Sa, Re, Ma, Pa, dha, Sa”

Avaroha: Sa” ni dha Pa, Ma Pa dha Ma Pa ga, Re Sa

Vaadi: dha

Samvadi: ga

Pakad: Ma Pa dha Ma Pa ga Re Sa

Thaat: Asawari

Rasa: Devotion

Jati: Odav-Sampurna

Time: Morning second prahar

Note: Must go straight from dha to Sa; intermediate effect of ni will feel like raga Jaunpuri.


5. Raga Yaman

Aaroha: Ni’ Re Ga ma Pa Dha Ni Sa”

Avaroha: Sa” Ni Dha Pa ma Ga Re Sa

Vaadi: Ga

Samvadi Ni

Pakad: Ni’ Re Ga, ma Ga, Pa ma Ga, ma, Re, Ni’ Re Sa

Thaat: Kalyan

Rasa: Peace

Jati: Sampurna

Time: Night first prahar


6. Raga Desh

Aaroha: Sa, Re, Ma, Pa, Ni, Sa”

Avaroha: Sa”, ni, Dha, Pa, Ma, Ga, Re, Ga, Sa

Vaadi: Re

Samvaadi: Pa

Pakad: Re Ma Pa Ni Dha Pa, Ma Ga Re, ni’ Sa

That: Khamaj

Rasa: Romantic, light and seasonal compositions

Jati: Odav-Sampurna

Time: Night, Second prahar