In various treatises and scholarly studies on Hindustani classical music, the names of over 1,800 rāgas can be found. With careful research, it is often possible to locate at least one or two recordings of many of these. However, such a vast number primarily reflects theoretical richness; in practical performance, only a limited selection of rāgas is regularly rendered.
In reality, even eminent scholars and maestros typically attain deep mastery over approximately twenty to twenty-five rāgas throughout their lifetime, focusing their performances on this refined repertoire. In earlier times, different gharanas (musical lineages) preserved and practised a wide range of rare and lesser-known rāgas. In the present day, however, this tradition has diminished considerably. Most artists now concentrate on performing the more established and popular rāgas.
With this practical context in mind, an attempt has been made here to compile notes based on a selection of commonly practised rāgas. In due course, and as time permits, the names of less common rāgas will also be included.
Some Widely Practised Rāgas
- Raga Adana
- Raga Ahir Bhairav
- Raga Kafi
- Raga Kedar
- Raga Kirwani
- Raga Khamaj
- Raga Bageshree
- Raga Lalit
- Raga Basant
- Raga Bhairavi
- Raga Sindhu Bhairavi
- Raga Bhairav
- Raga Bilaskhani Todi
- Raga Darbari and Darbari Kanada
- Raga Jaunpuri
- Raga Malkauns
- Raga Megh and Megh Malhar
- Raga Miyan Malhar
- Raga Pahadi
- Raga Pilu
- Raga Shahana
- Raga Shankara
- Raga Yaman and Yaman Kalyan
- Raga Miyan ki Todi
- Raga Puriya Kalyan
- Raga Bhatiyar
- Raga Hamir
- Raga Puriya
- Raga Purvi
- Raga Deepak
- Raga Bhimpalasi
- Raga Desh
- Raga Rageshree
- Raga Puriya Dhanashree
- Raga Shuddha Kalyan
Table of Contents
Some Less Common Rāgas
- Raga Chandni Kedar
- Raga Basanti Kedar
List of Hindustani Classical Ragas:
| Raga Name | Description / Notes |
| Adi | An ancient, foundational raga mentioned in early scriptures. |
| Adi Basant | An archaic form of Raga Basant, usually associated with the Marwa Thaat. |
| Adambari Kedar | A rare variation of Raga Kedar, incorporating specific melodic phrases from the Adambari style. |
| Adana | A powerful and celebrated raga of the Asavari Thaat, often sung in the late night. |
| Adana Bahar | A compound raga (Jod Raga) blending the structures of Adana and Bahar. |
| Adana Malhar | A monsoon raga combining the characteristics of Adana and Malhar. |
| Adbhut Kalyan | A unique raga of the Kalyan family that omits both the Madhyam ($Ma$) and Pancham ($Pa$). |
| Adbhut Ranjani | A modern, rare raga known for its unusual and captivating scale. |
| Aghali | An obscure raga primarily found in ancient musical treatises. |
| Ahir Bhairav | One of the most popular morning ragas; a beautiful blend of Bhairav and Kafi Thaat. |
| Ahir Kanada | A majestic blend of the Ahir and Kanada melodic structures. |
| Ahir Lalat | A complex dawn raga merging the morning mood of Ahir and Lalat. |
| Ahiri | An ancient raga/ragini known for its deeply melancholic and devotional mood. |
| Ahiri Malhar | A seasonal raga that infuses the Malhar structure with the pathos of Ahiri. |
| Ahiri Todi | A morning raga combining the Todi scale with the movement of Ahiri. |
| Ahimohini | A rare ragini noted for its serpentine and intricate melodic movements. |
| Abhiri | An ancient folk-based ragini, historically associated with the Abhir community. |
| Abhiri Todi | A Todi-ang raga with influences from the ancient Abhiri melody. |
| Abhogi | Originally a Carnatic raga, it has become highly popular in Hindustani music (Kafi Thaat). |
| Abhogi Kanada | A sophisticated blend of Abhogi with the traditional Kanada ‘ang’ or phrasing. |
| Achob | A very rare and difficult raga, often preserved in the dhrupad traditions. |
| Ajad | A rare and heroic raga, sometimes associated with the Bilawal or Kalyan family. |
| Ajad Hindol | A patriotic or nationalistic interpretation of the festive Raga Hindol. |
| Alhaiya | A fundamental and bright raga of the Bilawal Thaat, rarely performed alone. |
| Alhaiya Bilawal | One of the most common and beloved morning ragas; it adds a subtle Komal Nishad ($n$) to the Bilawal scale. |
| Alamgiri | A rare ragini attributed to the era of Aurangzeb (Alamgir), known for its sober mood. |
| Amba Manohari | A melodic raga borrowed from the Carnatic system, often used in light-classical music. |
| Ambika Sarang | A variation of the midday Sarang family, incorporating phrases from Raga Ambika. |
| Amari | A rare and ancient ragini, occasionally mentioned in medieval texts. |
| Amiri Kauns | A modern creation (Vachaspati-ang) associated with the legendary Ustad Amir Khan. |
| Amir Khani Kauns | Another name for the majestic Vachaspati-ang Kauns, dedicated to the Indore Gharana’s style. |
| Amrit Kalyan | A celebratory raga of the Kalyan family, often used in auspicious ceremonies. |
| Amritvarshini | A mystical raga believed to possess the power to bring rain (Carnatic origin). |
| Ananda | Historically categorized as a “son” (putra) raga in ancient classification systems. |
| Ananda Bhairav | A joyful and devotional morning raga, blending Bhairav and Bilawal characteristics. |
| Ananda Leela | A rare, playful raga depicting the “divine play” (leela) of the spirit. |
| Ananda Malhar | A monsoon raga that evokes a sense of spiritual bliss (Ananda) amidst the rains. |
| Anandi | An ancient and sweet ragini, primarily sung in the early night. |
| Anandi Bahar | A combination of the playful Raga Anandi with the spring-themed Raga Bahar. |
| Anandi Kedar | A sophisticated blend of the Kedar structure with the melodies of Anandi. |
| Andhri | An archaic raga of the Jati tradition, now largely obsolete in modern concerts. |
| Andiyali | A rare and forgotten ragini found in traditional Ragams (musical manuscripts). |
| Anuranjani | A modern raga known for its pleasing and melodic flow, often used in instrumental music. |
| Araj | A very rare and difficult raga belonging to the Marwa family/ang. |
| Arun Malhar | A morning monsoon raga named after the rising sun (Arun). |
| Asa | A very old and sacred raga, prominently featured in the Guru Granth Sahib. |
| Asa Bhairav | A morning raga combining the devotional depth of Bhairav with the sweetness of Asa. |
| Asa Kafi | A folk-influenced blend of the Asa and Kafi melodic structures. |
| Asa Mand | A light-classical raga blending the Mand folk style with Raga Asa. |
| Asa Todi | A complex morning raga merging the Todi scale with the flow of Asa. |
| Asa Asavari | A cross-blend of two very similar early-morning ragas. |
| Asavari | A pillar raga of Hindustani music (Asavari Thaat), performed in the morning (uses Shuddha Rishabh). |
| Asavari Todi | Also known as Komal Rishabh Asavari; the version of Asavari that uses the flat second ($r$). |
| Aslekhi | A rare and obscure ragini mentioned in older musicological treatises. |
| Averi Bhairavi | A variation of Bhairavi with influences from the South Indian Raga Abheri. |
| Raga Name | Description / Notes |
| Audav | A generic term for any raga that uses five notes ($S, R, G, M, P, D, N$ – two omitted). |
| Audav Bhairav | A pentatonic version of the morning Raga Bhairav, typically omitting $Ma$ and $Ni$. |
| Audav Bilawal | A five-note version of the bright morning Raga Bilawal. |
| Audav Devagiri | A rare ragini belonging to the Devagiri family, rendered in a pentatonic scale. |
| Audav Dhanashree | A five-note variation of the popular Raga Dhanashree, often found in ancient texts. |
| Audav Gandhar | A pentatonic raga focusing on the third note (Gandhar) as its melodic soul. |
| Audav Girija | A rare and spiritual raga dedicated to the Goddess Girija (Parvati). |
| Audav Kauns | A pentatonic raga of the Kauns family, distinct from the seven-note variations. |
| Audav Shuddha Kalyan | A five-note version of the majestic evening Raga Shuddha Kalyan. |
| Anjan Kalyan | A beautiful raga of the Kalyan Thaat, often used in light-classical compositions. |
| Anjan Todi | A Todi-ang raga that incorporates specific “shadow” notes to create its mood. |
| Amiri Kauns | (Re-listed for clarity) A modern masterpiece created by Ustad Amir Khan using the Vachaspati scale. |
| Amir Khani Kauns | Specifically refers to the rendition style of the Indore Gharana for the Kauns family. |
| Amrit Kalyan | (Re-listed) A celebratory evening raga known for its “nectar-like” (Amrit) sweetness. |
| Amritvarshini | A mystical raga associated with inducing rainfall through specific vibrations. |