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.
- Raga Darbari Kanada:
Aaroha: Sa, Re, ga. Ma, Pa, dha, ni, Sa”
Avaroha: Sa”, dha, ni, Pa, Ma, Pa, ni, ga, Ma, Re Sa
Jati: Vakra sampurna
Pakad: Pa ni Ma Pa ni ga, ga Ma Re Sa, Re ni’ Sa Re dha’, ni’ Re Sa
Rasa: Devotion, Seriousness
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
Pakad: Sa, re ga Ma, ga re Sa dha’ ni’ Sa
Rasa: Romantic, yearning, devotion
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
Pakad: Dha’ ni’ Sa Ma Dha ni Dha, Ma ga Re Sa
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
Pakad: Ma Pa dha Ma Pa ga Re Sa
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
Pakad: Ni’ Re Ga, ma Ga, Pa ma Ga, ma, Re, Ni’ Re Sa
Time: Night first prahar
6. Raga Desh
Aaroha: Sa, Re, Ma, Pa, Ni, Sa”
Avaroha: Sa”, ni, Dha, Pa, Ma, Ga, Re, Ga, Sa
Pakad: Re Ma Pa Ni Dha Pa, Ma Ga Re, ni’ Sa
Rasa: Romantic, light and seasonal compositions
Time: Night, Second prahar