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Healing properties of ragas

Ragas are said to have healing properties, if sung properly. Emperor Akbars great court
singer, Tansen, is said to have been able to light oil-lamps, bring rain and even save
lives with his music. There is also a historical reference to how he brought a dead man
to life by singing a particular raga.
Ragas in Indian music are known to have healing properties. While ragas like Sahana
heal the body of mild ill-health, Todi relieves severe sinus headaches. Singing the
Carnatic ragas Bharavi and Athana restore sagging spirits and bestow a feeling of wellbeing both on the singer and his audience.

he raga-ragini (male-female raga) classification can be traced right since the time of the
treatise, Ragatarangini, written by Lochana Kavi. This book discusses in detail several
songs of the Maithila dialect of the Hindi language. These songs were set to many ragas
and raginis prevalent during that time. In his book, Lochana Kavi has dealt with both
regional and local ragas and raginis of Mithila during that time.
The raga-ragini classification of ragas is created with the following principle:
There are 6 principal male ragas, namely Bhairav, Malkauns, Hindol, Deepak, Shri and
Megh ragas.
These ragas have five wives or raginis each and these raga-ragini couples also have 8
children or raga putras each. This gives us a total of 84 ragas.
Mentioned below is a detailed list of the ragas, raginis and their children:

raga Bhairav
Raag Bhairav is known to be the first raga, that emanated from Siva himself. A simple
and common raga, this is seldom heard in concerts today, as it is deemed as a morning
raga.
raginis Bhairavi, Punyaki, Bilawali, Aslekhi, Bangli
putra ragas Harakh, Pancham, Disakh, Bangal, Madhu, Madhava, Lalit, Bilawal

raga Malkauns
Malkauns is one very beautiful raga, derived from the Bhairavi Thaat. This raga is said
to have been created from Sivas Taandav (cosmic dance), so it has a vigour and energy
about it.
raginis - Gaundkari, Gandhari, Seehute, Devagandhari, Dhanasri
putra ragas - Mustang, Maru, Mewara, Khokhat, Parbal, Chand, Bhora, Nad

raga Hindol
This raga depicts love and personifies kaama or love and the beauty that is Krishna. A
simple raga to sing, it is also very pleasing to the ears.
raginis - Telangi, Devkari, Basanti, Sindhoori, Aheeri
putra ragas - Surmanand, Bhasker, Chandra-Bimb, Mangalan, Ban, Binoda, Basant,
Kamoda

raga Deepak
Tansen, one of the navaratnas in Emperor Akbars court, is said to have lighted lamps
with this strong, vibrant raga.
raginis - Kachheli, Patmanjari, Todi, Kamodi, Gujri
putra ragas - Kaalanka, Rama, Kuntal, Kamal, Kusum, Gaura, Champak, Kanra
raga Shri
This is a very old raga, taken from the Poorvi Thaat. As the name suggests, it is also a
very auspicious raga.
raginis - Bhairavi, Gauri, Karnati, Sindhavi Asavari
putra ragas - Salu, Sagra, Sarag, Gund, Gaund, Kumbh, Hamir, Gambhir
raga Megh
As the name of the raga suggests, it lets us envision monsoon in all its primitive force
and lets us conjure up images of thick clouds, thunder and lightning.
raginis - Sorath, Asa, Gaundi-Malari, Gunguni, Sooho
putra ragas - Biradhar, Kedara, Gajdhar, Jablidhar, Jaldhara, Nut, Sankar, Syama
This system of raga-ragini classification was also accepted and upheld by the Tansen
school of thought.
The raga-ragini classification had not accepted very easily by scholars at that time.
Many musicologists argued that this basis for classification of ragas was merely
imaginary and nothing to do with the actual ragas.

But the raga-ragini theory started gaining importance when the scientific principle of
the male-female raga elements showed up in the Vadi-Samvadi swaras or notes. VadiSamvadi notes are notes showing the male and the female character of the swara.

THE ANCIENT RAGA-RAGINI PARIVARA SYSTEM

In actuality, the raga-ragini parivara (family) system is believed to have existed many
centuries ago, much before the bifurcation of Indian music into Hindustani and Carnatic
music.
Indain music was one before the 13th Century, that is, till the Moghul invasion. It was
after this that there was such a clear line of distinction between north Indian and south
Indian music. Though both systems are similar even to date, the difference lies in the
way the notes are treated and sung.
The ancient raga-ragini system too had six main ragas, each with 5 wives or raginis.
Each of these raga-raginis had 8 sons or putras and 8 daughters-in-law or vadhus. So
then the ragas totaled to 132.
There is no unanimity among the different schools of Hindustani music regarding what
the main ragas are and who their respective raginis are either. There is another school of
thought that names six other ragas as the main ragas. According to them, the six major
ragas are Kanada, Vasanta, Mallara, Vibhashaka, Gandhara and Dipaka. According to
this school, Kanadas raginis are Mayuri, Todi, Gaudi, Varati, Vilolika and Dhanasri.
This school of thought also points out to the existence of dasa and dasi (male and
female servant) ragas and dhoota and dhooti ragas too, giving them certain specific
characteristics.
The raga Kanadas raginis, Mayuri and Todi have been mentioned to have dasi ragas
like Shyama, Vaya, Vagiswari, Saradi and Vrindavani. Paraj, according to them, is also
a male dasa raga of these ragas. This raga-ragini ambiguity lasted for a long time, but
disappeared as soon as the MelakartA and Thaat (parent raga) systems came into being
in Carnatic and Hindustani music respectivel

Melluko Sringara (Raga: Malayamarutham)


Radha Madhava (Raga: Ragesri)
Ammamma (Priya Sisters) (Raga: Bhairavi)
Vasudha Chooda (Raga: Amrutha Varshini)
Gaaline Poya (Raga: Gurjari Todi)
Garuda Gamana (Raga: Hindolam)
Kanti Akhilanda (Raga: Brindavana Saranga)
Narayanathe Namo (Raga: Behag)
O Pavanatmaja (Raga: Sri)
Jo Achyutananda (Raga: Navaroj)
Deva Eethagavu (Raga: Saveri)
Sakalam Hey Sakhi (Raga: Sindhu Bhairavi)

Ttulo: RAGA SADHANA


Autor: Sangeet Kaur Khalsa, Harjinder Singh Gill
Early Daw Mantras for the Aquarian Age
(Set to classical Indian ragas)
Mantras para el amanecer en la Era de Acuario

raga for cure disease


Atha Dhyanam : Melodic Meditation - "SONA RUPA
CD: Santoor by Pandit Ulhas Bapat. Naadyoga through
exploration of sound. Contains PRATA DHYANA - Raag Ahir
Bhairav 30.23 min The Raga Ahir Bhairav is one of the
most moving morning melodies. Its origin lies in the sacred
Vedic chants. The note komal Re gives a touch of
divinity to the raga. The septatonic character of the raga
gives it a caste expanse. The raga Ahir Bhairav comes
closest to the chanting of Vedic Mantras, which have a
transforming power. Listening to this raga in the morning
brings a state of inner purity., NISHA DHYANA - Raag
Kaushi Kanada 31.13 min. The Raga Kaushi Kanada is
one of our most beautiful compound ragas. It generates a
philosophical mood. There is a touch of sombreness to the
note komal Ga. Late night is the time when one reflects
upon the deeds of the day and gives and account to ones
conscience. The state of dhyanam is nothing else but
reflection. The Raga Kaushi Kanada opens our hearts
and elevates us to a higher realm of awareness. In these
times of heavy stress, Yoga and Meditation can play a
very important part in people's lives. This unique has been
specially designed to assist meditation - creating a true sense of calmness
and peacefulness. "

/www.onenessforall.com/index.php?option=com_content&task=view&id=395&Itemid
=282

www.ayurvedacollege.com/themysteriouspinealgland.htm

Abhogi

Ahir Bhairav

AlhaiyaBilawal

Bageshri
Bhimpalasi

Chandrakauns

Darbari Kanada

GujariTodi

Hamir

Jaijaiwanti

Jaunpuri

Kafi Kanada

Kafi

Kambhoji/Kambodhi
Kaushi Bhairav

Kamod
Kaushik
Dhwani

Khamaj

Khambavati
Khamaj
Khokar

Khat/Shat

Bairagi
Bhupali

Basant
Bihag

Desh

Durga

Kalavati or
Kalavati Kalyan
Kamod
Kedar Bahar

Khambavati
Kirwani

Bhairav
Bilaskhani Todi

Bhatiyar

Kaligra

Kalyan/Yaman

Kanada Bahar
Kedar Nat

Kanada Malhaar
Kedar

Khat Todi
(shuddha m)
Kukhub Bilaval
(I)

Kedar
Khat Todi
Kukhub Bilaval (II)

Kukhub Bilaval (III)


L

Lacchsakh
Lachari Todi (I) Lachari Todi (II)
Lalit Bhairav
Lalit/Lalat
Lalit
Lankadahan Sarang
Lankeshri
Latangi
(II)

Madhmad Sarang
Madhuvanti
Malati Basant
Maligaura (II)
Manjh
Megh
Multani

Madhukauns Madhukauns (II) Madhuranjani


(I)
Malashree (I) Malashree (II)
Malashree (III)
(Popular type)
Malav
Malavi
Malgunji
Malkauns
Malkauns
Maluha Kedar
Maru Bihag Marwa Marwa Megh Malhar (I)
Mirabai ki Miya ki Malhar Miya ki Sarang
Malhar
Multani

Nagasvaravali or
Nageshvari

Nand or
Anandi or
Ananda Kalyan

Nand

Nat or Nata (I)

Nat or Nata
(II)
Nata Kedar

Nata Bhairav

Nata Bilwal

Lajvanti
Lalita Gauri

Nayaki Kanada or
Nayaki

Neelambari

Pahadi

Pancham (I)

Nandkauns

Nata Bihag (I)


(Popular)
Nata Malhar (I) Nata Malhar (II)

Pancham (II)

Pancham

Lakshmi Todi
Lankadahan Sarang (I)

Madhuvanti, Ambika,
Madhumalati
Malashree (IV)
Maligaura (I)
Mand
Megh Malhar (II)
Miyan ki Malhar

Narayani

Nata Bihag (II)


Natanarayani or
Natanarayana

Paraj Bahar

Paraj or Paraju

Pata bihag

Piloo

Pooria
Dhanashree
Prabhat
Bhairav (I)

Poorvi Kalyani

Malkosh or
Panch Kauns
Patadeep
Patamanjari (I)
Patamanjari (II)
(Popular)
Pooria
Poorvi (I) (only Poorvi (II) (both M and m
M is used)
are used) Popular
Prabhat Bhairav Pradeepaki /
Puriya
(II)
Patadeepaki

PuriyaDhanashri
R

Rageshree /
Rageshwari
Ramdasi Malhar (III)
Ramkali

Saheli Todi

Rageshree
Bahar
Ramdasi
Malhar (IV)
Rasaranjani

Rageshri

Ramdasi Malhar
(I)
Ramkali (I)
Ramkali (II)
Popular
Rewa (Poorvi
Rewa (Shree
Ang)
Ang)

Salagavarali Samanta Sarang

Saranga Malhar
Savani Kalyan
Shanmukhpriya
Shree (II)
Shuddh Bilaval (I)
(Same as
Shankarbharana)
Shuddha Kalyan

Sampoorna
Malkauns
Sarparda
Shankara
Shobhavari

Saranga
Saraswati
Savani
Saveri
Sharavati
Shivaranjani
Shree Kalyan
ShreeRaag
Shuddh Bilaval Shuddh Sarang ShuddhKalyan
(II)

Ramdasi Malhar (II)


Ramkali (III )

Sanjh / Sanjh ka Hindol


Savani Bihag
Shankarabharana
Shree (I)
Shuddha Bhairavi

Shuddha
Shuddha Malhar Shuddha Nata
Shuddha Sarang
Malhar
Shukla Bilaval (I)
Shukla Bilaval Shyam Kalyan Shyam Kedar Simhendramadhyamam
(II)
Sindh/Sindhu
Sindhu
Sohani (M is Sohani/(II) (m is Sohani (III) (m and M both
Bhairavi
used) Popular
used)
are used)
Sohani (IV) (m and d
Sugharai
Suha / Suha
Suha / Suha
Suha Sugharai
are used)
Kanada (I)
Kanada (II)
Sur Malhar (I)
Sur Malhar (II)
T

Tilak Kamod

Yaman

Zilla Kafi

TilakKamod

Tilang

Todi

> List Of Ragas Handled


1.
2.
3.
4.
5.
6.
7.
8.
9.
10.

Abheri
Abhogi
Agni Kopam
Amirtha Varshini
Anandha Bhairavi
Anandha Rupa
Arabhi
Asaveri
Atana
Bahar

11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.
44.
45.
46.
47.
48.
49.
50.
51.
52.
53.
54.
55.
56.
57.
58.
59.
60.
61.
62.
63.
64.
65.
66.
67.
68.
69.
70.
71.

Bahudhari
Bala Nandini
Basanth
Behag
Bhageshri
Bhairavi
Bilahari
Bouli
Brindhavana Saranga
Budha Ranjani
Chakravagam
Chala Nattai
Chandra Jyothi
Chandrakauns
Charukesi
Chitrambari
Darbar
Darbari Kanada
Desh
Deva Gandhari
Dhanyasi
Dharmavathi
Dheeramathi
Dhenuka
Dvijavanthi
Ganitha Vinodhini
Gopika Vasantham
Gowlai
Gowri Manohari
Hamir Kalyani
Hamsadhwani
Hamsanadham
Hamsanandhi
Hari Kambhodhi
Hema Bhushani
Hemavathi
Hindholam
Huseni
Indrabharanam
Janaranjani
Jayantha Sena
Jhankaradhwani
Jog
Jonpuri
Kalasaveri
Kalyana Vasantham
Kalyani
Kamas
Kambodhi
Kanada
Kanakangi
Kapi
Karaharapriya
Karna Ranjani
Karnataka Kamas
Kathyayini
Kedhara Gowlai
Kedharam
Keeravani
Kosalam
Kunthala Varali

72.
73.
74.
75.
76.
77.
78.
79.
80.
81.
82.
83.
84.
85.
86.
87.
88.
89.
90.
91.
92.
93.
94.
95.
96.
97.
98.
99.
100.
101.
102.
103.
104.
105.
106.
107.
108.
109.
110.
111.
112.
113.
114.
115.
116.
117.
118.
119.
120.
121.
122.
123.
124.
125.
126.
127.
128.
129.
130.
131.
132.

Kurinji
Kusumadharini
Lalitha
Lathangi
Lavanthika
Madhukauns
Madhuvanthi
Madyamavathi
Mahathi
Malahari
Malayamarutham
Malgunji
Mand
Manirangu
Manji
Maran
Mayamalava Gowlai
Mohana Kalyani
Mohanam
Mukhari
Nadha Namakriya
Naga Nandhini
Nalinakanthi
Natabhairavi
Nataka Priya
Natakurinji
Nattai
Navarasa Kannada
Navaroj
Nayaki
Neelambai
Neethimathi
Pahadi
Panthuvarali
Paraz
Piloo
Poorna Chandrika
Poorvi Kalyani
Punnagavarali
Pushpalathika
Ragavardhini
Rageshri
Ramapriya
Ranjani
Rasika Priya
Rasika Ranjani
Rathipathi Priya
Rathnangi
Reethi Gowlai
Revagupthi
Revathi
Rishabha Priya
Rishivani
Sahana
Saindhavi
Sallabam
Sama
Samudra Priya
Sankarabharanam
Saramathi
Saranga

133.
134.
135.
136.
137.
138.
139.
140.
141.
142.
143.
144.
145.
146.
147.
148.
149.
150.
151.
152.
153.
154.
155.
156.
157.
158.
159.
160.

Sarasangi
Savithri
Senjuruti
Shanmugapriya
Simhendra Madyamam
Sindhu Bhairavi
Siva Ranjani
Sri
Sri Ranjani
Srothasvini
Subha Panthuvarali
Suddha Dhanyasi
Suddha Sarang
Suddha Saveri
Thilang
Thodi
Vachaspathi
Vagulabharam
Valaji
Varali
Vasantha
Vasantha Bhairavi
Vasantha Mukhari
Vasantha Shri
Vasanthi
Vijaya Nagari
Yadhukula Kambhodhi
Yamuna Kalyani
/www.carnatica.net/queryinquiry.htm

http://calcuttaglobalchat.net/calcuttablog/indian-raga/
sikhiwiki.org/index.php/Ragas
www.namdhari-music.co.uk/classical/listofragas.htm
ayurveda-foryou.com/music/raga.html

Sound has its negative effects as well. Noise pollution is causing diseases
like anxiety neurosis, high blood pressure, increase in brain sugar level,
heart problems, severe headaches, loss of hearing etc.; this has been proved
medically. Only musical sounds can have positive effects. Such positively
forceful sounds are found in maximum numbers in the Vedas known as ved
mantras . Regular recitation of the ved mantras benefits not only the one
who recites, but humanity as a whole as well. Famous singer Baiju Bawara
made stone melt like wax when he recited raga Malkos . The great
musician Tansen made the lamps burn when he sung raga Deepak and
made it rain when he sung raga Megh Malhar .
The incredible miracles of music were witnessed by the people of the time
and are today recorded in history. Headaches can be cured by one
raga Asavari . It is even said that the kolhoo (traditional Indian oil
expeller) started moving on its own when raga Bhairav was played. Raga
Hindola when recited in the middle of night is said to be capable of making

a hindola (swinging seat suspended from a tree used for amusement) swing
on its own. Then there is raga Sarang . This raga is meant for the rainy
season, and is to be recited during the noontime when it helps to cure all
types of seasonal fevers. This gives complete tranquility and relief. It
makes the atmosphere peaceful and soothing. Raga Vrindavani Sarang is
slightly different from raga Sarang . When this is recited to the
accompaniment of drizzling rain, it gives a particular type of joy to the
mind and the ears, by creating particular waves in the mind and the heart.
Such magical music can never be ignored. It is never too late to appreciate
the therapeutic value of music apart from its inherent aesthetics. Music is
the greatest painless, sweet sedative. It is a great science, eternally
ensconced in eternity.
Music can play an effective role in helping us lead better, fruitful lives. Listening to
specific kinds of music at specific times of the day has been shown to be helpful in
maintaining good health. Indian music, with its many Ragas, is known to be particularly
therapeutic value. The curative power of music emanates from the resonance of certain
ragas on hormonal and glandular functions which produce secretions that keep the body
balanced and infection free.
RAG-MALA

Raga
Ahir Bhairav
Asavari
Bageshri
Basant Bahar
Bhairavi
Bhim palas
Brindabani Sarang
Chandrakauns
Darbari
Darbari Kanada

Deepak
Gujari Todi
Gunakali

Disease(s) it helps cure


Indigestion
Rheumatic Arthritis
Hypertension
to build confidence
insomnia
Gall Stones (Cholecystitis)
Rheumatic Arthritis
Sinusitis
encourages detachment
Anxity, Hypertension
Depression
Anorexia
Sedetive
Headache
Asthama
Indigestion
Anorexia
Hyperacidity
Gall Stones(Cholecystitis)
Cough
Rheumatic Arthritis

Hindol

Jaunpuri

Jaijawanti
Kafi
Kausi Kanada

Kedar
Khamaj
Madhuvanti
Malkauns
Malhar
Marwa
Nat Bhairav

Puriya
Puriya Dhanashri
Ramkali

Shree

Shudh Sarang
Shyam Kalyan
Sohani
Yaman

Constipation
Headache
Piles or Hemorrhoids
Rheumatic Arthritis , Spondilitis
Backache
Hypertension
Intestinal Gas
Diarrhoea
Constipation
Rheumatic Arthritis
Diarrhoea
Headache
Sleep disorders
Hypertension
Common Cold
Headache
Common Cold
Cough
Asthma
Sleep disorders
Piles or Hemorrhoids
Intestinal Gas
Asthma
Indigestion
Hyperacidity
Indigestion
Rheumatic Arthritis
Colitis
Colitis
Anaemia
Hypertension
Anaemia
Colitis
Piles or Hemorrhoids
Anorexia
Common Cold
Cough
Asthma
Anorexia
Gall Stones (Cholecystitis)
Cough
Asthma
Headache
Rheumatic Arthritis

One of the unique characteristics of Indian music is the assignment of definite times of the
day and night for performing Raga melodies.To know more about this CLICK HERE.

One of the unique characteristics of Indian music is the assignment of definite times
of the day and night for performing Raga melodies. It is believed that only in this period
the Raga appears to be at the height of its melodic beauty and majestic splendor. There
are some Ragas which are very attractive in the early hours of the mornings; others
which appeal in the evenings, yet others which spread their fragrance only near the
midnight
hour.
This connection of time of the day or night, with the Raga or Raginis is based on
daily cycle of changes that occur in our own body and mind which are constantly
undergoing subtle changes in that different moments of the day arouse and stimulate
different
moods
and
emotions.
Each Raga or Ragini is associated with a definite mood or sentiment that nature
arouses in human beings. The ancient musicologists were particularly interested in the
effects of musical notes, how it effected and enhanced human behavior. Music had the
power to cure, to make you feel happy, sad, disgusted and so on. Extensive research
was carried out to find out these effects. This formed the basis of time theory as we know
it
today.
It is believed that the human body is dominated by the three Doshas - Kaph , Pitta
and Vata . These elements work in a cyclic order of rise and fall during the 24 hour
period. Also, the reaction of these three elements differ with the seasons.Hence it is said
that performing or listening to a raga at the proper allotted time can affect the health of
human beings.
Raga and Day Time
The following schedule will summarize the specific time periods.
The 24 hour period is divided into 8 beats(Prahar) each three hours long, as follows:
1.
2.
3.
4.
5.
6.
7.
8.

4 a.m. - 7 a.m. 4th beat of the night. Early Dawn; Dawn (before sunrise);
7 a.m. - 10 a.m. first beat of the day. Daybreak; Early Morning; Morning;
10 a.m. - 1 p.m. 2nd beat of the day. Late Morning; Noon; Early Afternoon;
1 p.m. - 4 p.m. 3rd beat of the day. Afternoon; Late Afternoon;
4 p.m. - 7 p.m. 4th beat of the day. Evening Twilight; Dusk (sunset);
7 p.m. - 10 p.m. first beat of the night. Evening; Late Evening;
10 p.m. - 1 a.m. 2nd beat of the night. Night; Midnight;
1 a.m. - 4 a.m. 3rd beat of the night. Late Night

Simillarly Everyday two cycles of change pass through our body, each bringing a
Vata, Pitta, or Kapha predominance.
The approximate times of these cycles are as follows:
First cycle:

6 A.M. to 10 A.M. - Kapha


10 A.M. to 2 P.M. - Pitta
2 P.M. to 6 P.M. - Vata

Second cycle:

6 P.M. to 10 P.M. - Kapha


10 P.M. to 2 P.M. - Pitta
2 A.M to 6 P.M. - Vata

Raga and Ritu(Seasons)

There are Ragas associated with the rainy season,Varsha (Raga Megha and Raga
Malhar), the autumn season,Basant (Raga Basant) and the spring season (Raga Bahar).
Seasonal Ragas can be sung and played any time of the day and night during the season
allotted to them. The obligation of time in case of such melodies is relaxed.
Vasanta Ritu (Spring Season)
In this season, increased kapha is liquified by the heat of sun which causes diminished
agni (digestive activity) causing diseases
Grishma Ritu (Summer Season)
In this season, Sunrays become powerful. Kapha decreases vata increases day by day
Sharat Ritu (Autumn Season)
Sudden exposed to sunlight after cold season aggravates pita.

Dosha
Kapha
Pitta
Vata

Accumulation
Shishir
Grishma
Varsha

Vitiation
Vasant
Varsha
Sharad

Diminution
Grishma
Sharad
Hemant

Raga and Ritu(Seasons) Association :-

Raga

Ritu

Bhairav

Shishir

Hindol

Vasant

Deepak

Grishma

Megh

Varsha

Malkans

Sharad

Shree

Hemant

Verious Ragas and there Performance Timings:


Raaga

Thaat

Performance
Time

Piloo

Kafi

Any Time

Kafi

Kafi

Any Time

Mand

Bilawal

Any Time

Dhani

Kafi

Any Time

Bhairavi

Bhairavi

Any Time

Gaud Malhar

Kafi

Monsoon

Miyan Malhar

Kafi

Monsoon

Deshkar

Bilawal

Morning

Gunkri

Bhairav

Morning

Ahir Bhairav

Bhairav

Morning

Asavari
Bhankar

Morning
Bhairav

Morning

Bairagi Bhairav

Bhairav

Basant Mukhari

Morning
Morning

Basant

Poorvi

Morning

Bhoopali Todi

Bhairavi

Morning

Bhatiyar

Bhairav

Morning

Bilawal

Bilawal

Morning

Bilaskhani Todi

Bhairavi

Morning

Bhairav

Bhairav

Morning

Desi

Asavari

Morning

Sohni

Marwa

Morning

Gurjari Todi

Todi

Morning

Nat Bhairav

Bhairav

Morning

Kalingada

Bhairav

Morning

Lalit

Poorvi

Morning

Jogiya

Bhairav

Morning

Jaunpuri

Asavari

Morning

Hindol

Kalyan

Morning

Todi

Todi

Morning

Vibhas

Bhairav

Morning

Vrindavani Sarang Kafi

Afternoon

Shuddh Sarang

Kalyan

Afternoon

Poorvi

Poorvi

Afternoon

Patdeep

Afternoon

Madhyamad
Sarang

Kafi

Afternoon

Madhuvanti

Todi

Afternoon

Bhimpalasi

Kafi

Afternoon

Gaud Saarang

Kalyan

Afternoon

Multani

Todi

Afternoon

Bhoopali

Kalyan

Evening

Kamod

Kalyan

Evening

Desh

Khamaj

Evening

Yaman Kalyan

Kalyan

Evening

Hansdhwani

Bilawal

Evening

Khamaj

Khamaj

Evening

Sham Kalyan

Kalyan

Evening

Yaman

Kalyan

Evening

Tilang

Khamaj

Evening

Shuddh Kalyan

Kalyan

Evening

Shankara

Bilawal

Evening

Maru Bihag

Kalyan

Evening

Puriya Dhanashri

Poorvi

Evening

Puriya

Marwa

Evening

Pahadi

Bilawal

Evening

Jana Sammohini

Evening

Marwa

Marwa

Evening

Shree

Poorvi

Evening

Bahar

Kafi

Night

Tilak Kamod

Khamaj

Night

Bageshri

Kafi

Night

Charukeshi

Night

Malhar

Kafi

Night

Raageshri

Khamaj

Night

Nand

Kalyan

Night

Malkauns Pancham Bhairavi

Night

Malkauns

Bhairavi

Night

Bhinna Shadja

Khamaj

Night

Shivranjani

Kafi

Night

Malgunji

Kafi

Night

Jhinjhoti

Khamaj

Night

Kirwani
Chandani Kedar

Night
Kalyan

Chandrakauns

Night
Night

Kedar

Kalyan

Night

Chhayanat

Kalyan

Night

Darbari

Asavari

Night

Kalavati

Khamaj

Night

Adana

Asavari

Night

Durga

Bilawal

Night

Jaijaiwanti

Khamaj

Night

Gorakh Kalyan

Khamaj

Night

Hamir

Kalyan

Night

Bihag

Kalyan

Night

MORE ON RAGA -TIME ASSOCIATION


Time

Raga

Raga Bhairavi
4am - 7am Raga Bhairava
Ragas Ramakali & Jogiya

Benefit
emotional strength ,Devotion and
Peace
Peace Integration, Compassion
Peace & Serenity

7am 10am

Raga Komala Rishabha


Asawari
Raga Deshkara
Raga Jaita
Raga Gurjari Todi
Raga Todi
Raga Alahiya Bilavala

serenity
Increased Energy
Dynamism
Compassion ,Patience
Joy
Peace and Happiness

10am 1pm

Ragas Gauda & Vrindavani


Saranga
Raga Shuddha Saranga
Raga Ahir Lalita
Raga Vrindavani Saranga

wisdom
Success, Knowledge
Joyfulness
Greater Energy

Raga Multani
Raga Madhuvanti
1pm - 4pm
Raga Samanta Saranga
Raga Bhimapalasi

Achievement, Affuence
Happiness
Creativity
Life

Ragas Kafi & Madhuvanti


Raga Mishra Pilu
4pm - 7pm Raga Puriya Dhanashri
Raga Marwa
Raga Puriya Kalyana

Creativity and Happiness


Celebration & Joyfulness
Relaxation
Coherence ,Happiness
Harmony

7pm 10pm

Ragas Puriya & Rageshri


Raga Hansadhwani
Raga Maru Bihaga
Raga Desh
Raga Durga
Raga Maru Bihaga

Harmony and Rejuvenation


Celebration & Happiness
Compassion
Joy
Integration
Compassion

10pm 1am

Raga Darbari-Kanhra
Raga Bageshvari
Raga Gunji Kanada
Raga Abhogi
Raga Malkaunsa

Restful Quality of Sleep


Relaxation & Rest
Better Sleep
Peaceful Slumber
Restful Sleep ,Tranquility

Raga Sohini & Bhatiyara


Raga Basanta
1am - 4am Raga Sindhu Bhairavi
Raga Lalita
Raga Nata Bhairava

Healthy Mind and Body


Love & Happiness
Gentleness
Peace & Tranquillity
Serenity

Raga:
Raga in Sanskrit means passion. It is also linked to Sanskrit word Ranj,
which means, color. It refers to melodic modes used in Indian Classic
music. Raga specifies the rules of melody. A very special thing about raga
based songs is that it can be used to cure various diseases!!!!!
Effect of ragas:
Raga Bageshri: - Gives stability to life & brings calmness. This raga is also
used in treatment of diabetes and hypertension.
Ragas BhupatiTodi, Ahir-Bhairav & Kalyan : - Provides relief to patients
of high blood pressure.
Ragas Malkans & Asawari: -Provides relief to patients of low blood
pressure.
Raga Chandrakauns: - Useful in treatment of heart ailments and diabetes.
Ragas DarbariKanara, TilakKamod, Hansdhwani, Kalawati & Durga: This raga eases tension and provides relaxation.
Raga Puriya Dhanashri: -This raga keeps the mind stable and prevents
acidity.
Raga Bhairavi: -Provides relief from Sinus, cold, phlegm, toothache.
Ragas Bihag, Bahar, Kafi & Khamaj: - Useful in the treatment of sleep
disorders.
Raga Malhar: - Useful in the treatment of asthma and sunstroke.
Raga Todi, Poorvi & Jayjaywanti: - Provides relief from cold and
headache.
Ragas Hindol & Marava: - This raga is useful in blood purification.
Raga Mohana: - Useful for the treatment of migraine headache.

Raga Shivaranjani: -Useful for memory problems.

Amazing facts:
1. Music therapy yields fast remedial effects for psychosomatic disorders
like hypertension, migraine headache, anxiety and insomnia.
2. According to Dr.W.H.J.Wales Indian classical music can cure jaundice!!!!!
3. The rhythmic sounds of temple bells and shankha (conch) can destroy
bacteria and germs in their surroundings!!!!!!!!!
4. High beat music can be detrimental to health in general.
5. Music therapy provides relief to nausea and vomiting.
6. Music therapy can be used as an aid in Psycho-oncology!!!
7. Autistic and retarded children respond to certain kinds of music.
8. Everyone has different tastes in music. If you listen the type of music
with which you are not comfortable, it can alleviate stress instead of
reducing it!!!!!
9. Playing music in the background while we are working, seemingly unaware
of the music itself, has been found to reduce the stress and increase pour
performance.
10. Listening to sounds of nature like the waves of ocean or the calm of
deep forest can provide instant relief to stress.

The Mantra is OM AIM HREEM SHREEM SHIVA RAAMA ANAGHA


DATTAAYA NAMHA.
Chant this Mantra. May good happen to you all.
Jaya Guru Datta
As I am conversant with both Hindusthani and Carnatic styles I have an affinity for ragas that find a place
in both forms.

Raga Yaman is one such. It corresponds to Kalyani in Carnatic. Reasons?


Vast scope, extraordinary musical phrases and pleasant and serene mood of
More than this, music has curative powers. Assorted people and organizations are still
working at various levels to scientifically chronicle the curative powers of the music.
Yet, there is a conviction among many that music does have a healing power. "I have
heard from people that Ananda Bhairavi helps to reduce blood pressure. Likewise,
Atana helps to reduce the blood sugar, Jayashri says, pointing to people who have

experienced it. In fact, Apollo Hospital has a music therapy wing in Chennai to treat
certain types of ailments.
All different forms of these melodies (ragas) are believed to affect various " chakras"
(energy centers, or "moods") in the path of the Kundalini. However, there is little
mention of these esoteric beliefs in Bharat's Natyashastra, the first treatise laying...

Title:
A dose of music for those without hope
Are you too stressed out? Lie down on the sofa or strech out on the bed and listen
to kapi raga. It is guaranteed to beat the stress from your body and rejuvenate
you. If you are suffering from hypertension then the Todi Raga is right for you.

blog.360.yahoo.com/blogjKw1O9k8bqgCnFuAezjBVvmyvw--?
cq=1&p=2239
http://blog.360.yahoo.com/blog-jKw1O9k8bqgCnFuAezjBVvmyvw--?cq=1&p=2239

Some Therapeutic Ragas


Puriya
Hypertension, phobia, heart disorder

Jaunpuri
Apan disease, constipation, Intestinal Gas Urinary tract
infection, colic pain

Darabari Kanada

Headache (Acute), Migraine, mind concentration, Grief,


Mental shock

Puriya Kalyan
Anxiety, Leucorroea, Dysmenorrhoea, Abdominal pain

Kedar
Insomnia, Mental retardation, Memory impairment,
tonsitis, Rhinitis, Upper respiratory infections

Bhairav
Specifying three dosh diseases, Insomnia, Heart
disorder

Shyam Kalyan
Anger, three dosh disorder

Malkauns
Three dosh disorder, fever

Kalavati Rag

Labour pains (Acute), Insomnia, (women delivered safely


without strain)

Sam Ved Richa


Labour pain, Insomnia general debility, tissue building

Hindol
Body pain, low backache, musculo-skeletal and neuralogic
pain, vat diseases, Rheumatoid arthritis

Deepak
Indigestion, less gastric fire, Hyperacidity

Pata Manjiri
Vomiting, less gastric fire, Anorexia

Megh Malhar
Irritation of Skin, Rakt Pitt, Leprosy, leucoderma, High
gastric fire (bhasmaka)

Vasant bahar
Pitt diseases, fever

Asavari

Infertility, impotency, Apan disorder and habitual


abortion

Shree
Kaph diseases, swelling, Asthama, common cold
weakness.

Bhairavi
Arthritis, Rheumatic disorder, muscular & joins pain,
heaviness

Lalit
Rasayan, Vaikaran (improve sex emotion) Nervous break
down

Sohani
Shock.

Kaphi
Vat Pitt diseases , mainly eye problems.

Jay-Jayvanti
Pain reliever, kaph & vat pacify, bring happiness.

Conclusion

There is a growing awareness that ragas could be a safe


alternative for many medical interventions.Simple
iterative musical rhythms with low pitched swaras, as in
bhajans and kirtans are the time-tested sedatives,
which can even substitute the synthetic analgesics,
which show many a side-effect. They are capable of
leading to relaxation, as observed with the alpha-levels
of the brain waves. They may also lead to favourable
hormonal changes in the system.
These excerpts are from Rag Sindhu Bhairavi, a morning raga.

Scale or Mode
Tal(Rhythm Structure)
Alap (Introduction)
Ghatt (Melody)
Improvisation excerpt

Greetings!

I'm looking for the ideal listening times for these raags:
raga saraswati
Raag Nand
Pallavi
Sujani Malhar
Raga Ramdas-Malhar
Mishra Tilang
Ragam Sarasvatipriya
raga haripriya kanhra
Raga Palas Kafi
Raga Malika
Raag Ahir Lalit
Raga Mishra Pilu
Raag Kala Ranjan
Aaja Sajana Sanga
Raga Mishra Kafi
Raag Bairagi
Raga Mishra bhairavi
Raga Bairagi Todi
Raga Darbari
I have "Googled" some sites with lists of ragas and their
times, yet not all ragas were included and some were vague.

I am rather new to Carnatic music... the last four years I've


been listening much, discovering and having much joy from
this treasure trove.
Thank you kindly
Ron Gang
painter-artist - Kibbutz Urim, Israel
web site- http://www.iarc.org/~4x1mk/

Email: gang@urim.org.il
www.diabetesmellitus-information.com/diabetes-mellitus-music-therapy.htm
/www.namdhari-music.co.uk/classical/listofragas.htm
//kksongs.org/raga/list/raga_list.html
/www.carnatica.net/queryinquiry.htm
vozme.com/webmasters.php?lang=es
www.vibrasdigitales.com/

www.speakcomputers.com/Texto-a-Voz.aspx

The raga Vasantapriya ("Dear to Spring") is very close contextually to raga


Vasantha. That the raga Sarasvatipriya is not the same as raga Sarasvati,
with a bit of modification in the Ragam Tanam Pallavi, as one goes through
the entire stretch of the piece, would be obvious ("Chettinadu Chinna
Magane").

"Raga Sarasvatipriya" is basically "Raga Sarasvati," but with some slight


modifications. Similarly, "Raga Vasantapriya" is essentially "Raga
Vasanta."

http://www.sacredscience.com/archive/Westbrook1.htm

The Doshas and the Cycles of Time


It is of great significance for our study of music that Ayurveda also has its own theory of
time. We can refer to the Caraka Samhita (Sharma,1981: 384):

Time is the year as well as the status of the patient. The year is divided into two, three,
six, twelve or even more parts according to the nature of action (to be taken). Now,
dividing it into six, the action will be said. Hemanta (early winter), grisma (summer)
and varsa (rainy season) these are the three seasons characterized by cold, heat and
rains. In between them there are other three seasons having common characters such
as-pravrt (early rains), sarad (autumn) and vasanta (spring).
The text goes on to relate these time values to the treatment of patients (Sharma, 1981:
385-386):
The status of the patient is also called as timely or untimely in relation to the act being
performed or not such as, in a certain condition one drug is untimely, and the other one
is timely. . . . The therapy being administered after or before the (opportune) time is not
effective because time determines the sufficiency of the administration of therapy.
On the basis of this principle, Ayur Veda recognizes multiple cycles of time and
distinguishes the specific balance between the doshas existing in each segment of each
cycle. These factors are taken into account in diagnosis and treatment as well as the
recommendations for preventing disease. During the diurnal cycle, each dosha is found
to predominate twice. The sequence is approximately thus:(7)
6 - 10 a.m.- kapha
10 - 2 p.m. - pitta
2 - 6 p.m. - vata
6 - 10 p.m. - kapha
10 - 2 a.m. - pitta
2 - 6 a.m. - vata
It does not end there, however. A tridosha balance is specified for every kind of cycle,
days of the week, months of the year, the main stages of life, the steps of digestion, the
seasons, the nakshatras or cycles of the moon etc. Of considerable importance in this
scheme are the seasons. This is not only because seasonal imbalances are an important
feature of Ayur Veda theory, but also because, according to an ancient text, the diurnal
cycle is, at least in part, based on the seasonal one (Bhishagratna,1981: 51):
. . . the features which specifically mark the different seasons of the year are observed
to characterize the different parts of a complete day and night, [or in other words]
traits peculiar to spring time exhibit themselves in the morning; the noon is marked by
all the characteristics of summer; the evening by those of the rainy season; the midnight
by those of autumn; and the hours before dawn by those of Hemanta. And similarly, like
the seasons of the year, the different parts of the day and night are marked by
variations of heat, cold, etc, [or in other words] the deranged bodily humours such as
wind, bile. etc. naturally and spontaneously accumulate, aggravate, or subside during
the different parts of the day as they do in the different seasons of the year [represented
by those parts of the day and night as stated above].

This relationship between the seasons and the diurnal cycle is mirrored in the area of
music. Ancient music theories recognized six basic ragas and the six seasons. O.C.
Gangoly suggests (1989: 80) that "It is quite possible that the assignation of ragas to
particular seasons may be older than the Sangta-makaranda," that is, prior to its earliest
discussion in terms of the diurnal cycle. He goes on to suggest that these seasonal
associations originated from the customs surrounding certain seasonal festivals, a notion
that parallels the ideas of Gosvami and Nijenhuis quoted earlier. Of great significance to
the present study is that the historical development of the diurnal cycle concept from the
seasonal one is similar both Ayur Veda and in music.
The link between diurnal and seasonal cycles is only one piece of evidence for the
connection between Ayur Veda and Gandharva Veda. Prof. P.V. Sharma of Benares
Hindu University and editor of the Caraka Samhita cites Sarngadeva's involvement in
Ayur Veda and the inclusion of musicians in the list of hospital staff members in ancient
Ayurvedic texts. He also addresses the connection between the time theory and rasa
aspects of raga performance by citing the connection between the doshas of Ayur Veda
and the gunas, or primary constituents ofnature, of Samkhya philosophy. The following
is from a discussion I had with Professor Sharma during a research visit to India in
1994:
Q) So, do you see any relationship between doshas and swaras (notes)?
A) Certainly. The approach is psychosmomatic - a mind/body approach. The doshas the
physiological humors interact with the psychological ones, sattva, rajas, tamas. We can
correlate sattva with pitta, tamas with kapha and rajas with vata. They are both
unstable.
Q) So it would come as no surprise to you that the time aspect of music is related to
Ayur Veda?
A) Certainly, because it affects the physiological humors. So a morning raga will sooth
kapha in the body because it eliminates tamas in the mind. Music is concerned with the
mind. But the mind is in the body. Until you know the physiology of the body how can
you know the effect of music? It is not possible.
Professor Sharma also supports the idea that the effect of music on the physiology can
be learned through experimental methods built around Ayurvedic pulse diagnosis, a
highly sophisticated methodology used by Ayurvedic doctors to assess the balance of
the doshas within the physiology. Some small pilot studies which have been conducted
at Maharishi Vedic University show that such effects can be clearly demonstrated. It has
been noted, for example, that the doshas are often brought sharply into balance when an
individual listens to Sama Veda and other kinds of Vedic recitation. The effect of music
is more complex, however, and requires more sophisticated study for which funds have
not, thus far, been available.
One goal of such research would be to show whether vata, pitta or kapha responses
occur during vata, pitta or kapha periods of the day. It must be evident, however, that
there is a discrepancy between such periods and the eight praharas of current music
theory. These can be reconciled by considering the broad interpretation of Pandit
Bhatkhande's raga classification vis-a-vis time of performance and scale forms as set

forth by Harold Powers. In a recent article (1992: 9-51), Harold Powers divides the day
into six, rather than eight, segments and relates them to the thats as follows:
Before noon (suddha MA) or midnight (tivra MA) for kalyan, bilaval and khamaj thats.
Around dawn (suddha MA) or dusk (tivra MA) for bhairav, purvi and marva thats.
After noon (suddha DHA) or midnight (komal DHA) for kafi, asavari and bhairavi
thats.
While it may appear that this scheme does not exactly overlap the divisions of the day
from Ayur Veda, it is important to note that a major concern in Ayur Veda is helping the
physiology to make transitions smoothly from one period to another. Difficulty in doing
this results in symptoms and disease and Ayurvedic practitioners routinely prescribe
changes in routine, diet and medications during different seasons, for example, in order
to prevent this. From this viewpoint, music's influence can be seen as a form of therapy
in assisting such transitions. It is, in fact, used as a treatment modality in exactly this
way at Maharishi Ayur Veda medical centers. Maharishi Mahesh Yogi (1991: 12)
explains as follows:
Every level of creation is a frequency. One frequency melts in to the other and this is
how the process of evolution takes place. The night comes to an end and the dawn
begins. At dawn, when the darkness and dullness of the night is over, some inspiring
freshness comes and there is a different frequency in the whole atmosphere. At midday
there is another big change in frequency; at evening, a different frequency; at midnight
a different. This cycle of change is perpetual, and because everything is a frequency
there is sound at every stage.
From morning to morning the melody of nature is changing, changing. Gandharva
music goes with the time, setting its melodies according to the changing nature. It sets
forth those very natural melodies which match with the process of evolution. It provides
a powerful harmonizing influence in the whole atmosphere to balance imbalances in
nature.
Thus, for example, the period defined as "before noon" comprises a transition from
kapha to pitta time. Dawn involves the transition from vata to kapha, as does the spring
period, and so on. Music therapy designed for such periods influences the physiology in
such a way as to facilitate these transitions. To understand this process would require
knowledge of the effects of different note patterns and rhythms on the physiology.
Some scholars believe that such knowledge exists. Writing as long ago as 1935,
Gangoly, (1989: 83), reported that "...some music scholars have recently discovered
some physiological basis in the structure of the ragas which seem to offer some rational
explanation for assigning particular melodies to particular hours." Similarly, Alain
Danilou wrote to me in 1992. "There exists a relation between various scales and the
humours of the body. Any one expert in the music therapy of the Ayur Veda should be
able to find out."
Whether or not such expertise exists in India is the subject of ongoing enquiry. In the
interim, a research study utilizing pulse diagnosis can test many of the hypotheses
which emerge out of the theoretical constructs outlined above and could prove to be a

valuable first step in understanding the phenomenon of time in musical performance. If


we take the view that the theory of Gandharva Veda, or music, can only emerge from
the full value of Vedic thought, we have to consider all the aspects of Vedic literature
which deal with cycles of time. Of these, however, Ayur Veda is one of the most
significant, and there appears to be considerable evidence linking it with musical
performance in ancient times
The reader will recall the verse from the Sanigta-makaranda, quoted at the beginning of
this paper.

On the basis of this principle, Ayur Veda recognizes multiple cycles of time and
distinguishes the specific balance between the doshas existing in each segment of each
cycle. These factors are taken into account in diagnosis and treatment as well as the
recommendations for preventing disease. During the diurnal cycle, each dosha is found
to predominate twice. The sequence is approximately thus:(7)
6 - 10 a.m.- kapha
10 - 2 p.m. - pitta
2 - 6 p.m. - vata
6 - 10 p.m. - kapha
10 - 2 a.m. - pitta
2 - 6 a.m. - vata
It does not end there, however. A tridosha balance is specified for every kind of cycle,
days of the week, months of the year, the main stages of life, the steps of digestion, the
seasons, the nakshatras or cycles of the moon etc. Of considerable importance in this
scheme are the seasons. This is not only because seasonal imbalances are an important
feature of Ayur Veda theory, but also because, according to an ancient text, the diurnal
cycle is, at least in part, based on the seasonal one (Bhishagratna,1981: 51):

/trumpet.sdsu.edu/M345/Music_of_India1.html

Kriti
A Kriti is a composed composition set to a certain Raga and a fixed tala. There are three
sections in a Kriti: Pallavi, Anupallavi, and Charanam.

Ragam, Tanam, Pallavi

Ragam
Ragam consists of free improvisation (without rhythmic accompaniment) based on a
particular Raga. The soloist develops the Raga in stages, staying within the framework
of the Raga. There are certain rules which must be observed and some restrictions that
apply. Each Raga is based on a scale of five, six or seven notes. There are certain notes
in the Raga which are more important than the other notes. These are called Vadi and
Samvadi and are stressed more than the others during the improvisations. The soloist
will not use notes that are not in the Raga (vivadi swaras). If there are any microtones
incorporated with any of the notes, they must be used. There are certain typical phrases
or usages of certain phrases in some Ragas which make them easily distinguishable.
Ragas are derived from Melakartas or parent scales (see under Some Important
Concepts of Indian Music for a more detailed explanation.) The Raga Alapana or
delineation of the Raga starts slowly bringing out the beauty and mood of the Raga and
is slowly built up ending with Pharans (fast runs) where the performer can demonstrate
his virtuosity and technical prowess.

Tanam
Tanam is the second phase of the Ragam, Tanam, Pallavi where the performer continues
to improvise, still without any rhythmic accompaniment. Though there is no drum
accompaniment, this section introduces an element of rhythmic pulse as opposed to the
Ragam wherein the improvisation is free. At the end of each phrase section a
stereotypical rhythmic cadence pattern is used to indicate the end of that particular
section.

Pallavi
Pallavi consists of a short precomposed melodic theme, with words, which is usually set
to one cycle of Tala. The theme is played two or three times in its simple form (without
variations) during which the drummer familiarizes himself with it and enters. The
Pallavi has the following main features: 1. NeravaI This literally means filling up or
spreading; in other words, filling up portions of the Pallavi line with new, fresh and
creative music. The soloist improvises new melodies built around the words of the
Pallavi keeping the rhythmic structure constant. (Note: This type of improvisation is
also used with the Kriti form where a line of the Kriti is taken as the theme for Neraval
improvisation.) 2. Tri-Kalam In this section the Pallavi is played in three Tempi keeping
the Tala or rhythmic cycle constant: i.e. (1) usually twice as slow as the original tempo,
(2) the original tempo and (3) twice as fast as the original tempo. 3. Swara Kalpana This
improvised section is performed using swaras (solfa syllables) in medium and fast
speeds. Each swara kalpana passage returns to the beginning of the Pallavi theme. The
possibilities are endless in this type of improvisation and are only limited by the
creative capacity, technical and musical abilities of the individual performer. 4.
Ragamalika The Pallavi usually ends with this section, which literally means, "Garland
of Ragas." The soloist improvises freely in different Ragas and at the end of each Raga
comes back to the rhythmic theme of the original Pallavi.
Pallavi The first section of a composition

Sama The third of the four Vedas. The origin of music can be traced back to this Veda.
Bhajan
Bhajans are also, like Ghazals, considered to be light music and do not have to be
confined to a particular Raga. They are devotional songs that are set to music. They are
always in praise of deities like Rama, Krishna, et al. Bhajans written by the saint poets
of the 16th century like Mirabai, Tulsidas, Surdas, Kabirdas, et al are still very popular
in India today.
Thumri
Thumri is a light-classical form. It is usually sung in Ragas like Desh, Khamaj, Pilu,
Bairavi, et al. It is not rigid like the Khyal and allows for a lot of artistic and creative
freedom. In this form the performer has the license to occasionally use notes that do not
belong to the Raga. It is usually sung in a medium tempo. This form originated in the
courts of the Nawabs of Lucknow. There are three famous styles of Thumri singing Lucknow, Benares and the Punjab styles. The Talas normally used are Dadra, Keherwa
and Deepchandi. The emphasis, in this form, is on the emotion and the lyrics. The
theme is usually that of a lover pining for her beloved or for the love of Krishna. It is a
very lyrical style.

http://www.ecse.rpi.edu/Homepages/shivkuma/persona
l/music/manodharma/index.html
www.maharishi.co.uk/gv/MaharishiGandharvaVedaRagas.htm

The Health Benefits of Different Ragas


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Gandharva Veda Music Therapy, Raga


Chikitsa the health benefits of different
ragas
According to Swara Shastra the 72 melakarta ragas (parent ragas) control the 72000
important nadis, which transmit life energy. Ragas performed with due devotion, in
accord with raga lakshana (norms), and shruti shuddhi (pitch purity) will affect the
nadis in a favourable manner.
The Health Benefits of Different Ragas
Raga

Effect

Time

Artist

Product

Traditional

code

Abhogi

Peaceful sleep

22-01

H.P
Chaurasia
Vol 9.7

Ahir Bhairav

Compassion

04- 07

S. Mukherjee 61010
A. Nath Vol
3.1

health claims
for each Raga
(not yet
confirmed by an
MAV authority)

64016

64002
60006

Helps maintain
good digestion,
healthy joints, and
normal blood
pressure.

Pawar Bros
Alb. 8
Ahiri Lalita

10-13

H.P.
Chaurasia
Vol. 16.3

64022

Asavari

07-10

Pawar Bros

60006

Builds confidence

Bageshri

22-01

Anita Roy

61011

Supports natural
sleep

22-01

S.K. Sharma
Vol. 17.7

64116

Bageshvari

Joy

Relaxation &
rest

60006
Pawar Bros
Alb. 8
Basanta

Love &
happiness

01-04,
any
time in
spring

S.K. Sharma
Vol. 17.8

64117
60006

Pawar Bros
Alb.8

Basant Bahar

Bhairagi
Bhairava

Helps maintain
the health of the
gall bladder
Peace

04-07

Mishra Bros
Vol 7A

62003
64020

H.P
Chaurasia
Vol. 16.1
Bhairavi

Emotional
strength

04-07

D Chaudhuri
Vol 6.1

ANY
Celebration,

64102
62006

D. Chaudhuri

Supports joint
health, health of
nasal sinuses.
Encourages

Peace and
happiness

mental coherence
and detachment.

/ A. Lal Vol.
ANY

12.1

64029

04-07

B.B.
Goswami
Vol. 22.1

60006

Pawar Bros
Alb.8
Bhairav
Bhairava

04-07
Devotion &
peace

H.P.
Chaurasia
Vol. 9.1

64010
64110

S.K. Sharma
Vol. 17.1
Bhatiyara

Healthy mind
& body

01-04

D. Chaudhuri 64101
Vol. 6.8

Bhimpalasi

Success in life

13-16

Mishra Bros
Vol. 7A

62003
64005

Amar Nath
Vol 3.4

Helps maintain
mental balance
and normal blood
pressure

60006

Pawar Bros
Alb.8
Bhupali

Peace &
Happiness

19-22

S. Guha Vol.
24

62008

Bilawala

Peace and
Happiness

07-10

B.B.
Goswami
Vol. 22.1

64029

Brindavani
Sarang

Wisdom

10-13

Mishra Bros
Vol 7A

62003

Greater Energy

Helps uplift the


emotions

64104
D Chaudhuri
Vol. 6.3

64012

H.P.
Chaurasia
Vol. 9.3

Chandrakauns

Helps to gain
normal weight

Darbari

Helps settle
mental activity

Darbari Kanada

Supports head
comfort, mental
ease and calmness
and normal
breathing.

Darbari Kanhra Restful quality 22-01


of sleep

D. Chaudhuri 64108
Vol. 6.7

Deepak

Helps maintain
good digestion
and normal
stomach acidity
and healthy gall
bladder, supports
normalisation of
weight.

Deshi

Joy

19-22

H.P
Chaurasia
Vol 9.6

64015

Deshkara

Increased
energy

07-10

S.K. Sharma
Vol. 17.2

64111

Durbari Kanada

Supports head
comfort

Durga

Integration

19-22

Amar Nath
Vol. 3.6

64007

Gauda

Wisdom

10-13

D Chaudhuri
Vol. 6.3

64104

Gujari Todi

Compassion,
patience

07-10

Mishra Bros
Vol 7A

62003
64011

H.P
Chaurasia
Vol. 9.2

Supports health of
upper respiratory
tract.

64120

A. Lal / D.
Shankar Vol.
11.2
Gunakali

Supports good
digestion,
digestive motility,
head comfort,
healthy joints and
health of the

lower digestive
tract.
Gunji Kanada

Better sleep

Hameer
Hansadhwani

Celebration &
happiness

22-01

H.P.
Chaurasia
Vol. 16.7

19-22

Mishra Bros
Vol 7

19-22

S.K. Sharma
Vol. 17.6

64115

Hindol

Supports joints
and back health
and normal blood
pressure

Hindolam

Helps maintain
temperature
balance

Jaunpuri

Helps maintain
normal digestive
gas and digestive
motility.

Jaijawanti

Supports joint
health, normal
digestive motility
and head comfort

Jaita

Dynamism

07-10

H.P.
Chaurasia
Vol. 16.2

64021

Jogiya

Peace &
serenity

04-07

A. Lal/D
Shankar Vol.
11.1

64119

07-10

Pawar Bros

60006

Jonpuri
Kafi

Creativity

16-19

D Chaudhuri
Vol. 6.5

64106

Supports natural
sleep

Kalyan

Compassion

19-22

D.N
Majoomdar
Alb. 1

60001

Helps maintain
healthy joints

Kamboji

01-04

Pawar Bros
Alb. 8

60006

Kaunshi
Kanhra

22-01

Sunil
Mukherjee

61010
62004

Mishra Bros

Vol. 7B
Kausi Kanada

Supports normal
blood pressure
and health of
upper respiratory
tract

Kedar

Helps maintain
comfort of the
head, health of
upper respiratory
tract and normal
breathing.

Khamaj

Supports mental
ease and calmness
and natural sleep

Komala
Rishabha
Asawari

Serenity

07-10

D Chaudhuri
Vol 6.2

64103

Lalita

Peace &
tranquillity

01-04

Mishra Bros
Vol. 7B

62004
64001

A. Nath Vol
3.8
Madha Madh
Madhuvanti

Happiness

10-13

Pawar Bros

16-19

D. Chaudhuri 64106
Vol 6.5
64006
Amar Nath
Vol 3.5
64113

13-16

60006
Supports health of
the lower
digestive tract.

S.K. Sharma
Vol. 17.4
Malhar
Malkaunsa

Supports normal
breathing
Restful Sleep,
tranquillity

22-01

Amar Nath
Vol. 3.7

64008
64125

A. Lal /D.
Shankar Vol.
11.7
Malshree
Maru Bihaga

Compassion

19-22

Mishra Bros

62004

19-22

A. Lal / D.
Shankar Vol.

64124

Helps maintain
normal digestive
gas and body
temperature.

11.6
64025
H.P.
Chaurasia
Vol. 16.6

64030

B.B.
Goswami
Vol. 22.2
Marwa

Coherence

16-19

Mishra Bros
Vol. 7b

62004
64006

Amar Nath
Vol. 3.5
H.P
Chaurasia
Vol 9.5

64014
60001

Supports
digestion,
balanced stomach
acidity and helps
maintain
resistance to
malaria.

60006

D.N.
Majoomdar
Alb. 1
Pawar Bros
Megha

Increased
ANY
Energy & Bliss

A. Nath Vol.
19

63001

Multani

Achievement

D Chaudhuri
Vol. 6.4

64105

13-16

Affluence

64013
H.P
Chaurasia
Vol. 9.4

Achievement

64122

A. Lal / D.
Shankar Vol.
11.4
Mishra Pilu

Celebration &
joyfulness

Nanda
Nata Bhairav

Punnagavarali

16-19

S.K. Sharma
Vol. 17.5

64114

A. Lal / D.
Shankar Vol.
11.8

64126

19-22
Serenity

01-04

Supports
digestion, joints
and health of
digestive tract.
Helps maintain
emotional
coolness and

balance
Puriya

Harmony &
peace

19-22

D Chaudhuri
Vol. 6.6

64107
60006

Pawar Bros
Alb. 8

Puriya
Dhanashri

Relaxation

16-19

H.P.
Chaurasia
Vol. 16.5

64024

Puriya Kalana

Harmony

16-19

A. Lal / D.
Shankar Vol.
11.5

64123

Rageshri

Rejuvenation
& longevity

19-22

D Chaudhuri
Vol. 6.6

64107

P. Kalyana

Harmony

16-19

Ramakali

Peace &
serenity

04-07

A. Lal / D.
Shankar Vol.
11.2

64120

Sahana

Samanta
saranga

Helps maintain
the health of
digestive tract,
normal blood iron
levels, blood
pressure, mental
ease and
calmness.
Helps maintain
normal levels of
iron in the blood

Helps maintain
health of the
digestive tract and
lower digestive
tract.
Helps maintain
emotional
coolness and
balance.

Creativity

Saranga

13-16

H.P
Chaurasia
Vol. 16.4

64023

10-13

Pawar Bros
Alb. 8

60006

Shree

Helps to gain
normal weight,
supports health of
upper respiratory
tract and normal
breathing.

S Bhatiyara

Healthy mind
& body

01-04

Shuddha
Saranga

Knowledge

10-13

Anita Roy
Amar Nath

61011

Helps to gain
normal weight and
maintain health of

gall bladder.
Success

Vol 3.3

64004

Success

A. Lal / D.
Shankar Vol.
11.3

64121

S.K. Sharma
Vol 17.3

62003

64112

Mishra Bros
Vol. 7A
Shuddha
Vasanta

Love &
happiness

Shuddha
Kalyan

01-04

H.P.
Chaurasia
Vol. 16.8

64027

19-22

Mishra Bros
Vol. 7B

62004
60006

Pawar Bros
Alb. 8
Sindu Bhairavi

Gentleness

01-04

H.P.
Chaurasia
Vol. 9.8

64017

Sohani

Helps maintain
head comfort.

Sohini

Healthy Mind
& Body

01-04

D. Chaudhuri 64101
Vol. 6.8

Sura malhara

Celebration

ANY

D. Chaudhuri 62007
/ A. Lal Vol
12.2

Todi

Joy

07-10

A. Nath Vol
3.2

Vasant Saranga Energy

10-13

Vrindavani
Saranga see
Brindavani
Saranga

10-13

Yaman -see
Kalyan

Supports health of
upper respiratory
tract and normal
breathing.

Compassion

19-22

64003

Helps maintain
head comfort

Helps maintain
normal blood
pressure

Helps maintain

Raga Hindol ('swing') embodies Kama, the god of love, or Krishna. It is an ancient
spring raga in which both Re and Dha were omitted. However, from the 16th century
onwards, Hindol omits Re and Pa. There is a similarity in contour between the
Hindustani raga Hindol and its South Indian namesake. However, the northern Hindol
has all natural notes and the southern all flat notes, like the Hindustani raga Malkauns.
In ragamala paintings Hindol always portrays Krishna on a swing, surrounded by pretty
young women moving the swing to and fro.
Dha and Ga are strong notes in Hindol. Ni should be treated as a grace note, used in an
oblique and delicate manner, as in G M sharp D - N M sharp D / S. In some compositions Ni
is avoided altogether. Many artists make use of a distinct type of ornamentation
(gamak) in Hindol, which in a sense imitates the movement of the 'swing.'
If Ni were used in the ascent of Hindol, it would sound similar to raga Sohini. Therefore
it is best to avoid Ni, or treat it as a very weak note, if Hindol is to retain its own
identity.
Time: After midnight or, according to some, early morning. Time: Early night, 9 - 12.

"... in penance, adorned, grey [with ashes] and dark, a young man beauteous in every limb, [this is]
Kedar raga."

Kedar is a serious and contemplative raga. It is commonly portrayed as an ascetic who


worships Shiva and is deeply absorbed in music or meditation. His renown and holiness
attract royal visitors.
In its medieval form Kedar was a pentatonic raga, omitting Re and Pa. It was based on
the major scale. Judging from the Sahasras (early 17th century), it was one of the main
ragas performed by the Mughal court musicians. In addition to the natural notes, today's
Kedar uses sharp Ma (for which reason Bhatkhande classified it in Kalyan that) and
sometimes flat Ni. However, in old dhrupad compositions these additional notes often
do not appear.
The melodic movements are very oblique in Kedar. Whereas Re is omitted in the
ascent, Ga appears obliquely between Ma and Pa. Natural Ma is the most articulated
note, and sharp Ma usually appears between two Pa's. Similarly, flat Ni may appear
between two Dha's, although not all musicians take this path. The phrase S M - M G P M sharp
P - M sharp P D P \ M brings out the typical mood of Kedar.
Time: Early night, 9 - 12.

"A scarf round his neck and fanned by the fair-hipped one, a golden seat has been made for the king of
the gandharvas. Handsome and wealthy, Shri Malav is known as the fifth Malav."

Malkauns (or Malkosh) was also referred to as Malav kaushika or Kaushik in the past. It
is a majestic and somewhat introverted pentatonic raga, which seems to have undergone
quite a transformation over the centuries. In ragamala paintings Malkauns is frequently
portrayed as a heroic lord taking pan. Superstitious musicians describe it as a raga with
supernatural powers, and some believe that it can attract evil spirits.
Ma is the pivotal tone of this raga, and the tone in which the first string of the tanpura is
usually tuned. Ga, Dha and Ni may be slightly oscillated. Malkauns should be
performed in a slow and dignified manner, and to bring out its ethos the notes should be
linked by glides, in particular N \ D, D \ M and M \ G.
We have seen that raga Chandrakauns has the same scale as Malkauns except for Ni,
which is natural. Sampurna malkauns is an older variety of Malkauns which includes
natural Re and Pa in descent. Elements of Malkauns have been combined with several
other ragas, resulting in ragas such as Kaunsi kanada, Madhukauns and Jogkauns.
Time: Late night, 12 - 3.

Ramkali (or Ramakri) is a raga of sunrise with old roots. Its ancient precursor Ramakriti
had almost the same scale as today's raga, that of Bhairav (S R G M P D N). The
augmented fourth was probably added to it in the early 17th century, although many old
dhrupad compositions in Ramkali do not include sharp Ma. The raga is frequently
portrayed as a proud lady who is enraged with her lover, and rejects him. In ragamala
paintings this rejection is dramatised by the remorse of the gentleman who sits beside
the lady.
Ramkali movements are slow and focused in the upper tetrachord. Sa and Pa are strong
notes. Sharp Ma often stands between two Pa's, and flat Ni between two Dha's. Contrary
to Bhairav, Ramkali's Re and Dha do not have a pronounced oscillation. Moreover, the
presence of sharp Ma and flat Ni give Ramkali its own particular character and
expression.
Ramkali was frequently performed at the beginning of this century, but recently, this
raga has lost much of its former glory.
Time: At daybreak.

Terapia de msica Atharva Vdica


formuladopor Sri Selvam "Siddhar"
Musicoterapia es una cientficamtodo de curas eficaces de la enfermedad mediante el
poder de la msica. Restaura, mantiene y mejora emocional,physiologiCal y
psychologiCAL bien ser. La articulatide, lanzamiento, el tono y el arrangemen
especficot de swars (notas) en un particular.estimula raga, aliviay curas diversas
dolencias inducir electro magntica cambiar en el cuerpo.
Musicoterapia tiene una larga historia que data de la antigua escuela rficos en Grecia.
PythagorusPlatn y Aristteles,todos eran conscientes de la prophylactIC y therapeutic
poderes de la msica. Incluso el testimonio de la edad menciona musicoterapia donde se
dice Rey David para que se han curado de una enfermedad por jugar en el arpa.
Hippocrates, el padre de la medicina moderna, de utilizar msica para curar
enfermedades humanas. En el antiguo Egipto la msica se utiliz para disminuir el
dolor de las mujeres durante el parto. Ibn Sina, un famoso escritor rabe, ha escrito en
detalle sobre este tema. En la India leyenda tiene Thyagaraja, el famoso msico de sur
de la India, ante una persona muerta volver vida cantando el composition naa Jeevan
Dhara en raga Bihari. En 1729 Richard Browne, un mdico escribi el texto famoso
Musica de medicina que describe el uso de la msica como la medicina. El Dr. Burnell
ha mencionado un manuscritoChikistsa de raga con nombre en la coleccins de
biblioteca Mahal Saraswati Thanjvr que aborda los ragas diferentes que pueden
utilizarse para curar dolencias diversas. Qu es msica? Las es de msica"una especie
de inarticulate, unfathomable discurso que nos lleva al borde de la infinito y nos por un
momento mirada que permite"observ Carlyle. Msica es bsicamente un sonido o
generar ndaparticularlas vibracionesque se mueve por medio de ter presente en la
atmsferay efectos en el cuerpo humano. Sarangdev se menciona en su Sangeet
Ratnakar que los ahata nda o msica siempre es producida por sacando o aghata por
una vida est en un instrumentode cualquier tipo. Por lo tanto la msica es una potencia
o energa universal en la forma de ragas.
Matanga (9-10 siglo) fue el escritor lo antes posible para definir raga. Segn l "raga es
ese tipo de sonido compositioque consiste en nde los movimientos meldicos que tiene
el efecto de pintar el corazn de los hombres". "Hay cuatro fuentes de raga: canciones
folklricas, poesa, devotionalcanciones de msticos y compositioNS de msicos
clsicas.Mientras que armona es la characteriSTIC de msica occidental, msica de
India es pura meloda. El trmino general para la meloda en la India es raga o ragini".
(Kangra Ragmala--Randhawa de maestra).
Sinfonasde raga tener un efecto calmante definido en la mente, as como en el cuerpo.
Repite escuchar la particularraga ser elegido para un particularenfermedad produce una
red de vibraciones del sonido.Los msculos, nervios y los cakras de la parte afectada
son contratadosCuando un impulso es dado y relajado durante el intervalo entre dos
impulsos. Por lo tanto, durante la contraction del tejido, notas musicales que la sangre
de salir de ese particularrea y en el intervalo hay relajaciny un estado de la reduccin

de la presin se produce en estas reas. Por lo tanto, la sangre de la zona adyacente


fluir all. Este proceso se repite una y otra vez y el flujo de sangre y la energa de flujo
en esa parte es mayor. Esto hace rpido, rpido de curacin. Energa de URF
(universalcampo de la energa) a transmitte HEF (campo de energa humana)d por los
trazos de los diferentes tonos de raga afecta a la CNS (sistema nervioso de central)
porque las races de los nervios auditivo son que ms ampliamente distribuird y tienen
ms de conexins que cualquier otros de los nervios en el cuerpo. Ritmos de msica
tienen un relationsh muy cercaIP con mangas de corazn. Msica tener 70-75 latidos
por minuto equivalenteal ritmo cardaco normal de 72 tiene un efecto muy calmante.
Asimismo anticipan los ritmos que son ms lentos que 72 latidos por minuto crear una
suspensin positivo en la mente y cuerpo desde el cuerpo de mente complejass que
acelerar la msica y esto restaurado la energa vital da una relajacin profundaen el
cuerpo. Enerve de ritmos que son ms rpidos que la frecuencia cardaca y
rejuvenecerel cuerpo.
Hindi/ clsicamusical considera ragas como que el estado de nimo especfico. Un
appropriates ser evoc en de la escucha humor emente antes de iniciarel tratamiento
musical.Kafi Raga evoca un estado de nimo hmedo, fresco, calmante y profunda
mientras raga Pooriya Dhanasri evoca dulce, profundo, pesado, nublado y estable estado
de nimo. Raga Mishra mand tiene un muy agradable, actualizando, luz y dulce tocan al
Bageshwaridespierta un sentimiento de la oscuridad, estabilidad,profundidad y
calmness.
Se considera la msicala mejor tranquilisER en das modernos de ansiedad, tensin y la
presin arterial alta. Se considera Darbari ragamuy eficaz en aliviar la tensin. Es una
noche raga compuesto por Tansen para Akbar aliviar su tensin despus agitada de
programacin de la vida diaria de la Corte. Este raga pertenece a Asavari que y es que
contiene un completo ragatodas las siete notas. Las siete notas se toman de diversos
sonidos naturales de aves y animales. De Pandit Jasaraj RAM Ko Sumiran Kar en
Vilambil Ek tal es una de las grabaciones mejores disponiblesde este majestuoso raga.
De Pandit Raghunath Seth raga Darabari (instrumental) en una terapia de msica es
especialmente cassette llamado Tanavcompuesto para aliviar la tensin.
Dr. Balaji Tambe ha demostrado a travs de su cientficainvestigacin dan Bhupali
Raga y Todi enormealivio a los pacientes de hipertensin arterial. Ahir-Bhair ragaAv
supone mantener chords que automatically lleva hacia abajo de la presin arterial. Este
raga es un combination de Kafi y Bhairav. De Pandit Jasaraj AJ a anand anand en DrutiadolescenteTal es uno de la mejor performanc vocales de este hermoso raga.
Raga Malkauns y Asawari raga ayuda a curar la presin arterial baja. Malkauns y
Asawari raga ayuda a curar la presin arterial baja. Malkauns un raga muy prominente
de Bhairavi que compositi (en de notas musicales en el que se origina el raga) es uno de
las ragas ms antiguos de la India de msica clsica. Re y pa estn ausentes en esta raga,
todas las otras notas utilizadas son komal (suave). El performanc intemporale por Pandi
Onkarnath Thakur en much ghunghroo baje mira nache est es uno de los ejemplos ms
conocidos de esta raga.
Para el dolencias de corazn Chandrakau ragase considera NSmuy til. Algunos otros
prominentes ragas para relajarsey aliviar la tensin son raga Tilak-kamod,

HansdhwaniKalavati, Drgn. Evocan un efecto muy agradable en los nervios. Para los
pacientes sufren de insomnio y la necesidad de un sueo sonora Pacfico, raga Bihag y
de la Bahar tienen efectos maravillosos.

Ragas son estrechamente relacionados con diferentes partes del da segn a


los cambios en naturaleza y el desarrollot de un particular.emocin, el
estado de nimo o el sentimiento en la mente humana. Bhairav es cantado
una hora antes del amanecer, Ramkali al amanecer, Vilavali al amanecer,
Sarang a las 12.00 horas, nata y Malava en las tardesGaud en las noches,
Kalyan por la noche, Kedara, Chandra y Bihag tarde en la noche.
Tratamiento de terapia de msica se realiza temprano en la maana, tarde o noche. Uno
debe evitar sesiones de msica largo en el estmago vaco. Sesiones de la msica deben
ser de una duracin de hora con dos o tres sesiones cortas con saltos.
Sri Selvam Siddhar
www.hindutempleofgeorgia.orgTEL: PEAJE LIBRE EN ESTADOS UNIDOS @ 888
232 1818

Sahaja Music, Ragas for Chakras


Raag means a
sweet yet mindblowing sound
arrangement
(Swara-rachana)
made in proper
restrictions &
rules. The
music, which
Kundalini hears
and gives
response to that, is called "Sahaj
Music".
Name of the Sound
Chakra
(Swar)

Raag

Mooladhara "Sa"

Bilawal,
Shehenai
Shyamkalyan

Left
Swadishthan
Centre &
Right
Swadishthan

Komal
"Re"

Todi

Shuddh
Yaman
"Re"

Instrument

Veena
Veena

Komal
Bhatiyar
"Ga"
Center &
Shudda
Abhogi
Right Nabhi "Ga"
Bhavasagar
.
Malkauns
(Void)
Left Heart .
Bhairava
Left &
Shudda
.
Center Heart "Ma"
Center &
.
Durga
Right Heart
Tivra
Right Heart
.
"Ma"
JayVishuddhi "Pa"
Jayawanti
Komal
Left Agnya
Bageshri
"Dha"
Center &
Shuddha
Bhoop
Right Agnya "Dha"
Komal
&
Sahasrara
Darbari
Shudda
"Ni"
Left Nabhi

Santoor
Santoor

Damaroo
TablaDrums
TablaDrums

Flute
Sarod
Sarod

Sitar

Music for health


Music can play an effective role in helping us
lead better, fruitful lives. Listening to specific
kinds of music at specific times of the day has
been shown to be helpful in maintaining good
health. Indian music, with its many Raags, is
known to be particularly therapeutic. One vital
point is that actually singing the raga will help
more than listening to it.
Raag

Disease(s) it helps cure


Indigestion, Rheumatic Arthritis,
Ahir Bhairav
Hypertension
Basant Bahar Gall Stones (Cholecystitis)
Bhairavi
Rheumatic Arthritis
Chandrakauns Anorexia
Darbari
Headache
Kanada
Indigestion, Anorexia,
Deepak
Hyperacidity, Gall
Stones(Cholecystitis)

Gujari Todi

Cough
Rheumatic Arthritis,
Gunakali
Constipation, Headache, Piles or
Hemorrhoids
Rheumatic Arthritis, Backache,
Hindol
Hypertension
Intestinal Gas, Diarrhoea,
Jaunpuri
Constipation
Rheumatic Arthritis, Diarrhoea,
Jaijawanti
Headache
Kausi Kanada Hypertension, Common Cold
Headache, Common Cold,
Kedar
Cough, Asthma
Madhuvanti
Piles or Hemorrhoids
Malkauns
Intestinal Gas
Marwa
Indigestion, Hyperacidity
Indigestion, Rheumatic Arthritis,
Nat Bhairav
Colitis
Puriya
Colitis, Anaemia, Hypertension
Puriya
Anaemia
Dhanashri
Ramkali
Colitis, Piles or Hemorrhoids
Anorexia, Common Cold,
Shree
Cough, Asthma
Anorexia, Gall Stones
Shudh Sarang
(Cholecystitis)
Shyam Kalyan Cough, Asthma
Sohani
Headache
Yaman
Rheumatic Arthritis

Indian Raga for beginners

Raga Abhogi (early night) - Hariprasad Chaurasia (tintal_


303).mp3
Raga Adana (late night) - Buddhadev Das Gupta (tintal_
335).mp3

Raga Ahir Bhairav (daybreak) - Buddhadev Das Gupta


(tintal_ 436).mp3
Raga Alhaiya Bilaval (late morning) - Shruti Sadolikar
Katkar (Which way has he gone - tintal_ 4.mp3
Raga Asaveri (late morning) - Hariprasad Chaurasia
(tintal_ 552).mp3
Raga Bageshri (midnight) - Buddhadev Das Gupta
(tintal_ 559).mp3
Raga Bahar (midnight_ any time Spring season) Buddhadev Das Gupta (tintal_ 438).mp3
Raga Basant (any time Spring season) - Hariprasad
Chaurasia (tintal_ 509).mp3
Raga Bhairav (daybreak) - Hariprasad Chaurasia (tintal_
417).mp3
Raga Bhairavi (morning_ any time) - Hariprasad
Chaurasia (tintal_ 352).mp3
Raga Bhatiyar (early morning) - Shruti Sadolikar Katkar
(My lover has not come to my place - tint.mp3
Raga Bhimpalasi (early afternoon) - Shruti Sadolikar
Katkar (Seeing your fair face pleases my hea.mp3
Raga Bhupal Todi (morning) - Hariprasad Chaurasia
(jhaptal_ 340).mp3
Raga Bhupali (early night) - Hariprasad Chaurasia
(ektal_ 335).mp3
Raga Bibhas (daybreak) - Vidyadhar Vyas (Krishna, let
go of my arms - ektal_ 433).mp3
Raga Bihag (late night) - Buddhadev Das Gupta (tintal_
413).mp3
Raga Bilaskhani Todi (morning) - Hariprasad Chaurasia
(tintal_ 415).mp3
Raga Brindabani Sarang (early afternoon) - Buddhadev
Das Gupta (dhamar & tintal_ 527).mp3
Raga Chandrakauns (late night) - Vidyadhar Vyas
(Please let me sleep - tintal_ 434).mp3
Raga Chayanat (early night) - Buddhadev Das Gupta
(tintal_ 339).mp3
Raga Darbari Kanada (midnight) - Buddhadev Das Gupta
(tintal_ 616).mp3
Raga Desh (late night) - Hariprasad Chaurasia (tintal_
440).mp3
Raga Deshi (late morning) - Shruti Sadolikar Katkar (Go,
crow, go - tintal_ 343).mp3
Raga Dhani (any time) - Shruti Sadolikar Katkar (My
lover is with me - tintal_ 334).mp3
Raga Durga (late night) - Shruti Sadolikar Katkar (Come,
clever beautiful one - tintal_ 403).mp3

Raga Gaud Malhar (any time Rainy season) - Buddhadev


Das Gupta (tintal_ 432).mp3
Raga Gaud Sarang (early afternoon) - Shruti Sadolikar
Katkar (My lover is nowhere to be seen - ti.mp3
Raga Gorakh Kalyan (early night) - Vidyadhar Vyas
(tarana - tintal_ 450).mp3
Raga Gujari Todi (late morning) - Shruti Sadolikar Katkar
(Oh beautiful bride - tintal_ 349).mp3
Raga Gunakri (daybreak) - Vidyadhar Vyas (The damaru
resounds in Haras hand - rupak tal_ 419).mp3
Raga Hamir (early night) - Buddhadev Das Gupta (tintal_
336).mp3
Raga Hansadhvani (early night) - Vidyadhar Vyas (Lover,
dont go to my rivals house - tintal_ 4.mp3
Raga Hindol (after midnight or early morning) Vidyadhar Vyas (Oh dark one, stop playing holi wi.mp3
Raga Jaijaivanti (late night) - Buddhadev Das Gupta
(tintal_ 506).mp3
Raga Jaunpuri (late morning) - Buddhadev Das Gupta
(tintal_ 455).mp3
Raga Jhinjhoti (any time_ late night) - Buddhadev Das
Gupta (tintal_ 439).mp3
Jog - Buddahadev DasGupta/Devendra Kanti
Chakrabarty.mp3
Jogiya - Hariprasad Chaurasia/Ted De Jong.mp3
Kafi - Hariprasad Chaurasia/Ted De Jong.mp3
Kamod - Buddahadev DasGupta/Devendra Kanti
Chakrabarty.mp3
Kedar - Buddahadev DasGupta/Devendra Kanti
Chakrabarty.mp3
Khamaj - Buddahadev DasGupta/Devendra Kanti
Chakrabarty.mp3
Kirvani - Hariprasad Chaurasia/Shib Shankar Ray.mp3
Lalit - Hariprasad Chaurasia/Shib Shankar Ray.mp3
Madhuvanti - Shruti Sadolikar-Katkar/Madhukar
Kothare/Anant Krishnaji Kunte.mp3
Malkauns - Hariprasad Chaurasia/Shib Shankar Ray.mp3
Manj Khamaj - Hariprasad Chaurasia/Shib Shankar
Ray.mp3
Maru Bihag - Shruti Sadolikar-Katkar/Madhukar
Kothare/Anant Krishnaji Kunte.mp3
Marva - Vidyadhar Vyas/Sandip Bhattacharya.mp3
Megh - Vidyadhar Vyas/Sandip Bhattacharya.mp3
Miyan Ki Malhar - Vidyadhar Vyas/Sandip
Bhattacharya.mp3
Miyan Ki Todi - Vidyadhar Vyas/Sandip
Bhattacharya.mp3

Multani - Shruti Sadolikar-Katkar/Madhukar


Kothare/Anant Krishnaji Kunte.mp3
Nayaki Kanada - Shruti Sadolikar-Katkar/Madhukar
Kothare/Anant Krishnaji Kunte.mp3
Patdip - Shruti Sadolikar-Katkar/Madhukar
Kothare/Anant Krishnaji Kunte.mp3
Pilu - Hariprasad Chaurasia/Shib Shankar Ray.mp3
Puriya - Vidyadhar Vyas/Sandip Bhattacharya.mp3
Puriya Dhanashri - Hariprasad Chaurasia/Shib Shankar
Ray.mp3
Puriya Kalyan - Hariprasad Chaurasia/Shib Shankar
Ray.mp3
Purvi - Vidyadhar Vyas/Sandip Bhattacharya.mp3
Rageshri - Buddahadev DasGupta/Devendra Kanti
Chakrabarty.mp3
Ramkali - Shruti Sadolikar-Katkar/Madhukar
Kothare/Anant Krishnaji Kunte.mp3
Shahana - Buddahadev DasGupta/Devendra Kanti
Chakrabarty.mp3
Shri - Vidyadhar Vyas/Sandip Bhattacharya.mp3
Shuddh Kalyan - Buddahadev DasGupta/Devendra Kanti
Chakrabarty.mp3
Shuddh Sarang - Shruti Sadolikar-Katkar/Madhukar
Kothare/Anant Krishnaji Kunte.mp3
Shyam Kalyan - Buddahadev DasGupta/Devendra Kanti
Chakrabarty.mp3
Sur Malhar - Buddahadev DasGupta/Devendra Kanti
Chakrabarty.mp3
Tilak Kamod - Shruti Sadolikar-Katkar/Madhukar
Kothare/Anant Krishnaji Kunte.mp3

Indian raga Guide


Part 1:

Bairagi-Shashanka Teentaal.mp3
Bhatiyali.mp3
Bhatiyali Dhun.mp3
Kaushi Bhairav - Teental.mp3
Mishra Pilu - Tivra Taal.mp3
Teentaal.mp3

Part 2

Dhun - Roopak Taal - Ramanarain.mp3


Madhuwanti - Shiv Kumar Sharma.mp3
Maluha Kalyan - Nikhil Banerjee.mp3

Pahadi Dhun - Shiv Kumar Sharma.mp3


Ras Mohini-Roopak Taal - Sultan.mp3
Sindhu Gandhar - Ranadhir Roy (.mp3
Teentaal - Karamatullah Khan (T.mp3
Teentaal - Samta Prasad (Tabla).mp3

Part 3

Poorbi Dhun - Bismallah Khan (S.mp3


Chaiti - Bismallah Khan (Shenai.mp3
Dhamaar Taal - Arjun Shejwal (P.mp3
Sanjh Tarini - Hafiz Ali Khan (.mp3
Hamaeer-Gat Drut Teentaal - N..mp3

Part 4

Chandra Kauns - Teentaal.mp3


Nand.mp3
Poorvi Dhun - Keharwa Taal.mp3
Sulfakta Tal.mp3

Mixed Indian Classical

ali_akbar_khan_piloo.mp3
allaudin_khan_zila_kafi.mp3
Amjad_Ali_Khan__Bengali_and_Assamese_Folk_Songs.mp3
Amjad_Ali_Khan_-_Raga_Bapu_Kauns.mp3
AmjadAliKhanRaga_Miyan_Ki_Malhar.mp3
AmjadAliKhanRaga_Megh_Malhar.mp3
HariPrasad -Brindabani_Sarang.mp3
Pt.JasrajNat_Narayan.mp3
RaagTodi-Ustad Bismillah Khan.mp3
rag-bhairavi.mp3
raga-chandni-kedar.mp3
raga-hansadhwani (santoor).mp3
raga-jaijaiwanti(flute).mp3
raga-marva (flute).mp3
raga-yaman (sarod).mp3
Ustad Sabri KhanJhala.mp3
Ustad Sabri KhanAochar.mp3
Ustad Sabri KhanVilambit.mp3
Ustad Sabri KhanDrut.mp3

/www.reversespins.com/health.html
What is music?
"Music is a kind of inarticulate, unfathomable speech which leads us to the edge of the
infinite and lets us for a moment gaze in that" ...
Matanga (9-10th century AD) was the earliest writer to define raga. According to him
"raga is that kind of sound composition consisting of melodic movements which has the
effect of colouring the hearts of men". "There are four sources of raga: folk songs,
poetry, devotional songs of mystics and compositions of classical musicians. While
harmony is the characteristic of Western music, Indian music is pure melody. The
general term for melody in India is raga or ragini
The muscles, nerves and the chakras of the affected part are contracted
when one impulse is given and relaxed during the interval between two
impulses. Thus, during contraction of the tissue, musical notes make the
blood flow out from that particular area and in the interval there is
relaxation and a state of reduced pressure is produced in these areas.
Thus the blood from the adjacent area will flow there. This process is
repeated again and again and the blood flow and energy flow in that part
is enhanced. This makes quick, fast healing.

Raga Jogiya, Bhairavi, Malhar, Darbari are no longer just


music to the ears, but also a form of treatment, recovery,
prevention and improvement The melodious Indian
Classical music is being used to affect miraculous cures, for
quicker post operative recovery, treating infertility, preventing
natal handicaps in new-born as also to develop concentration
and memory in youth and children.
Different ragas are used to cure different ailments. Dr Sucheta
Rakshit, music therapist practising at a hospital here informs
that she studies the history of each patient

/yoga2ayurveda4healing.googlepages.com/mantras-spiritual-songs

www.holisticjunction.com/displayarticle.cfm?ID=7752

The power of Sankarabaranam is incredible. It cures mental illness, soothes the


turbulent mind and restores peace and harmony. Sankarabaranam, if rendered with total

devotion for a stipulated period, can cure mental disorders said to be beyond thescope of
medical treatment. Arunachala Kavirayar, Muthuthandavar, Suddhananda Bharathi,
Marimutha Pillai and Mayooram Vedanayakam Pillai, have rendered many sweet
compositions in the raga. Sankarabaranam has the power to shower wealth. Papanasam
Sivans `Mahalakshmi Jaganmatha is a gem in this raga. Muthuswamy Dikshithar
equates Sankarabaranam with `Akshayapathram, which supplies endless bounty in all
forms. `Akshaya Linga Vibo composed by him is a popular kriti.
SHANMUGAPRIYA
Shanmugapriya has the effect of sharpening the intellect of the singer as well that of the
listener. It instills courage in ones mind and replenishes the energy in the body. This is
not surprising. Shanmugapriya being the beloved raga of Shanmuga, who was born out
of the blazing wisdom-eye of Shiva. I would attribute the success and prosperity I have
attained in life to the constant chanting of Shanmuga stothrams in the Murugan temple
of Kunnakkudy. Parvathi nayakane, Saravanabhava Ennum Thirumanthiram of
Papanasam Sivan are known for their sparkling verses. Harikesanallur Muthaiah
Bhagavathars Vallinayakane is another example. Shanmugapriya was beautifully
used to make the song Maraindirundu Paarkum in the classic Thillana Mohanambal
immortal.

BHILAHARI
BHILAHARI is associated with love. Naajeevadara of Tyagaraja in this raga has
always been popular. The saint, it is said, composed this in order to alleviate the acute
stomach pain a man was suffering from. His prayer was answered and the man had
relief. Krishnaleela Tarangini of Narayana Tirtha has the song `Poorayamamakamam
in Bhilahari. The saint cries out, Hey! Gopala, bestow me with all the goodness so that
I can continue to sing your praise. This Bhilahari song ensures one vigour and good
health.
In Konjum Salangai Ramalinga Adigalars bakthi verses Orumayudan Unadhu set
in Bhilahari and rendered by Sulamangalam Rajalakshmi was a popular hit. Another
popular song is Unnai Kandu Naan Ada Ennai Kandu Nee Aada from
Kalyanaparisu. Thalaiva Thavapudhalva, the song I composed for the film
Agathiyar was set in this raga. The Hindi song Korakagaz (Aradhana) owes its
melody to the charm of Bhilahari.
RATHIPATHIPRIYA
Rathipathipriya adds strength and vigour to a happy wedded life. This five-swara raga
has the power to eliminate poverty. The very prayoga of the swaras can wipe off the
vibrations of bitter feelings emitted by ill wills. Jagajanani Sukavani Kalyani
composed by M. M. Dhandapani Desikar is a very popular song in this raga. Singing or
listening to Rathipathipriya bestows on one happiness and has a stimulating effect.

/www.icompositions.com/music/song.php?sid=93576

http://elportaldelcel-uncursodemilagros.blogspot.com/

http://brainwavelab.ning.com/video/sonido-la-senal-del-amor

www.experiencefestival.com/raga
/waveofmp3.com/ragas/alb25006/#postform
/www.holisticonline.com/Remedies/Depression/dep_ayv_treatment_kapha.htm
www.itcsra.org/sra_others_samay_index.html
/www.hare-krishna.org/articles/633/1/A-Day-in-the-Life-of-Krishna-AMusical/Page1.html
www.theosophy-nw.org/theosnw/arts/ar-rooke.htm
www.rediff.com/dirsrch/html_out/music/indian/classical/index.htmlwww.india4u.com/i
ndmusic/carnatic_ragas.asp
ragasacredart.com/healing_wands.html
/www.esnips.com/web/Bilawal/
indianraga.wordpress.com/2008/06/
The name Basant is from Sanskrit vasant meaning spring, and during that season of the
year Basant may be performed at any time of the day or night. Otherwise, it is reserved
for the night between 9 p.m. and midnight. The Ragmala gives Basant as a putra (son)
of Hindol, also a spring raga. Today it belongs to the Purvi thata. The only variant noted
in the Holy Book is Basant-Hindol. Basant is a very old raga dating from the 8th
century. Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh
Bahadur composed sabdas to this raga. Performed in slow tempo, this gentle melody
depicts quiet joy. The descending scale is usually found at the beginning of a
composition with the ascending form following later.

TIMING FOR GURBANI RAAGS


DAY

NIGHT

6 - 9 am

9 - 12 pm

12 - 3 pm

3 - 6 pm

Period 1 (D1)
Bhairari
Devgandhari

Period 2 (D2)
Sarang
Suhi
Bilaval
Gujri
Gond
Todi

Period 3 (D3)
Vadhans
Maru
Dhanasari

Period 4 (D4)
Maajh
Gauri
Tilang
Tukhari

6 - 9 pm

9 - 12 am

12 - 3 am

3 - 6 am

Period 2 (N2)
Period 3 (N3)
Bihaagara
Nat-Naraayan
Sorath
Malaar
Kaanra
Jaijawanti
Musical Instruments

Period 4 (N4)
Aasa
Raamkali
Bhairaav
Parbhati

Period 1 (N1)
Sri Raag
Basant
Maali-Gaura
Jaitasari
Kedaara
Kalyaan
Gurbani RaagsIndex

/www.searchgurbani.com/raags

Gurbani Raag: Bhairav


Bhairon was an important raga at the time of Guru Nanak and has
continued to retain its significance and popularity. Bhairon (not to
be confused with Bhairavi) appears in the Rdgrnala as husband of
Bhairavi and four other rdginis. Today it is the head rdga for one of
the ten thatas. The Rdga Sdgara, a treatise of circa 8th century,
describes this rdga as awe-inspiring and as expressing the
"fulfilment of the desire of worship." Mesakarna (1509) calls this
morning melody of the autumn season one of awesome grandeur.
Performed before sunrise, this raga was used by Guru Nanak, Guru
Amar Das, Guru Ram Das, and Gurft Arjan for 99 hymns.

Taals Index

Ramkali is not given in the Ragmala but is one of the most important rdgas of the Guru
Granth Sahib. All Gurus, including Guru Tegh Bahadur, have composed verses to this
rdga. The total number of sabdas comes to over three hundred. Ramkali is a morning
rdga performed after sunrise usually during the hot season. The mood is such as to
inspire lofty thoughts. In the Guru Granth Sahib, a number of hymns in Rainkah
expound True Yoga and other spiritual issues. Some celebrated compositions such as
Sidha Gosti, Anandu, Sadd, Oarikdr and the Vdr by Satta and Balvand are composed to
this raga. Some of the verses also contain analogies to music and musical instruments.
Four forms of this raga are recognized, although only two are in general use today. The
raga belongs to the Bhairav thata.
BILAVAL (ancient name Velavali) Bilaval had become the basic scale for North Indian
music by the early part of the 19th century. Its tonal relationships are comparable to the
Western C- major scale. Bilaval appears in the Ragmala as a ragini of Bhairava, but
today it is the head of the Bilaval thata. The Ragmala gives Bilaval as a putra (son) of
Bhairav, but no relation between these two ragas is made today. Bilaval is a morning
raga to be sung with a feeling of deep devotion and repose, often performed during the
hot months. Over 170 hymns were composed to this raga by Guru Nanak, Guru Amar
Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadur.
Literally, Bilaval means delight and therefore this raga is often sung in the spring
season. Guru Arjan sings of the bliss which spiritual fulfilment brings:
I am blessed with great destiny for my God is my Bridegroom.
In His court plays the spontaneous celestial strain.
Night and day, I abide in bliss, listening happily to musical instruments;
Disease, sorrow and pain harass not here, nor is there birth or death.

/www.downmelodylane.com/ragas12.html#shiv

www.rso.cornell.edu/spicmacay/spicmacay_files/home_files/raga.
html
HEALING Holistic medicine aims at self-healing. It is the mindbody-medicine. The
goal is to accomplish the healing process that is physical and mental. Healing using
cosmic energy as is done in Reiki brings about miraculous recovery. When healing
cardiac problems, since Ajna chakra has control over all the chakras, Mooladhara for
survival, and heart chakra specifically for the heart, Manipura chakras for control of
emotions, these chakras are healed. All the chakras are brought to balance by
channelising cosmic energy and automatically heart chakra works in harmony with
other chakras thus restoring health.
In some cardiac problems warranting surgery like infarct, coronary blocks, valvular
degeneration or emotional disturbances psychic surgery is done. In psychic surgery, the
patient is taken to deep level of relaxation. By autosuggestion, the patient identifies the
negative energy that is causing the disease and the healer with his psychic power

removes the negative force that is surfacing. In psychic surgery, the patients physical
body is not even touched by the healer.
In majority of the cases which are treated by using a combination of crystals
programmed with reiki, and Acupuncture/Acupressure duration of the treatment is cut
short.

www.pslalitha.com/articles.htm
/profile.myspace.com/index.cfm?
fuseaction=user.viewprofile&friendid=22955658

SCIENTIFIC ANALYSIS OF "MANTRA"


The scientific analysis of a Mantra is given below, as to how it attracts power when
chanted by someone.
Everything has a particular vibratory frequency. Every thought, every word and every
emotion. How we feel, think and speak defines our particular vibration. And we create
our world based upon that vibration. Sound is an incredibly powerful vibration. Man
means mind, tra means wave or projections. Therefore mantra is the projection of the
mind through sound vibrations.
The basic structure of the universe is the atom, and the basic structure of our bodies is
the cell; each cell is made of billions of atoms and each atom is made of a positive
nucleus and negative electrons rotating around it; because of this rotation, an
electromagnetic field is generated similar to fields generated by an engine.
Every single atom is vibrating in a specific frequency, whether this atom is part of
metal, water, cell, or anything else. So every thing in this universe is vibrating, this is a
given scientific fact.
A small pebble thrown in a pond creates numerous ripples reaching quite far, in the
same pond itself. Same way, the words, which we pronounce, creates vibrations and
waves in our mind, which awaken subtle powers in us. Thus the Effects of whatever
Words we speak, falls on our self, our society, and even on the universe.

Realizing this fact, that SOUND is the most powerful element; our ancient sages
developed the science of Music or Sound (SHABDA) Therapy, called Bio-waves or
Mantra and a collection of Mantras called a STOTRA, which being related to Ether
(which is very subtle), becomes very powerful as the power of SUBTLE

(SUKSHAMA) is greater than the GROSS (STHOOLA). When atoms are isolated, it
creates great energy & become more powerful, although it is so small that it is
impossible to see it, with our naked eyes, likewise when a person focuses on every
single syllable and letter emanating from the Shabda Brahma (Mantra) or the nada (the
vibration) it is said to have profound effects on the psyche as well as ones physical self.
Mantra or Stotras are those scientifically made sound combinations that affect our
subtle Nerves SHAT CHAKRAS and POWER CENTRES directly in such a way,
that it awakens our 'powers', which otherwise lie dormant. As a result these Nerves
become active and the person chanting is blessed with different powers (SIDDHI).
In fact, (STOTRA SADHANA) is nothing else, but the Power of Sound. These Sanskrit
Mantra letters contain both Emotions and Meanings. The permutation and combinations
of these letters have the power to create wonders.
Sound being the base of the Mantra, makes it very powerful.

"When a Mantra is pronounced repeatedly, like a dynamo the Sound waves are
transformed into electrical energy or vibrations & if coupled with deep emotions,
becomes more powerful. These vibrations are in the shape of a Ring which rises up
with great speed, through the medium of Ether, moving directly towards the
presiding Deity of that Mantra. When it reaches its Deity, it combines with the
power of that Deity before bouncing back along with the subtle but now manifold
powers of that Deity back to re-enter the source of its origin which is the subtle
body of the one chanting the Mantra. The Stronger the Faith, Will-power and
Emotion attached with the Mantra, the Stronger will be the attraction of the
powers of the Deity. Its like a Dynamo effect, the more who keep repeating a
Mantra continuously the more you get charged up with Divinity .This phenomenon
is so subtle & so fast that the person chanting the Mantra does not even realize it
as these sound waves or vibrations moving in the air in about 340m/sec have their
own frequency while humans can hear only from 20 frequencies per second to
20000 frequencies per second & not outside of this range."
On the physically level the science of Sound works with the movement of the
tongue in the mouth. The hard upper palate forms the roof of the mouth where there
are 84 meridian points located. While pronouncing the Mantra, the movement of the
tongue stimulates these meridian points which in turn stimulate the hypothalamus to
secrete neurotransmission fluids. As these different chemical liquids are secreted to
different parts of the brain, messages are transmitted throughout as well.
Simultaneously, these Mantra sound vibrations are also received by the ear & are turned
into electrical signals which move along the acoustic nerve towards the acoustic bark in
the Brain, whose cells then correspond to these waves and move into the various parts
of the brain especially the frontal part. All these parts work together corresponding to
the signals and translating them to a language the human understands. And as, as our
body is made up of at least 70 per cent water, our bodies become an excellent conductor
of sound vibrations thus every cell in our body acts as a sound resonator. So finally, the
brain analyses these signals and gives orders to the various parts of the body to
correspond to these signals.

The signs of this charged Mantra, re-entering the subtle body of the person
chanting it, are in the different types of Vibrations or Emotions that can move one to
tears, lift his spirits up, bring back beautiful memories, make him deliriously happy, or
rouse violent emotions, sensations of energy flowing from the head to the base or goose
bumps too.
The mantra may be chanted out aloud, or repeated silently, or resonated in the mind
(Japa) and should be recited from the base of the stomach which represents the seat of a
persons dormant power. There is a lot of hidden shakti here. It produces subtle
vibrations in the fine nerves of the brain, thereby empowering the brains 108 centers
and quelling their inactivity.
If Mantras are pronounced correctly, following the rules and regulations, given in the
Scriptures it can undoubtedly cure many a diseases.
So, the Success of the Mantra lies in its correct pronunciation. Unless the pronunciation
is correct, it does not have the desirable effects on our Nerves.
JAPA and DHYANA, are similar to NAADA (Sound) and BINDU SAADHANA
(Concentration on a point), which can pierce the greater or the subtlest particle.
EXAMPLES The Gayatri Mantra
GAYATRI MANTRA when repeatedly chanted, creates ring shaped sound waves
which rises up with great speed, through Ether and goes towards the Sun, and after
touching the surface of the SUN, it returns back along with the subtle powers of the
Sun, like Heat, Light, Electrical etc. Thus the Mantra combined with all these powers of
the Sun re-enters the subtle body of the one chanting it. Who, therefore is regarded
blessed by Gayatri Mata.
POWER OF MANTRA
Tansen the famous court-musician of Emperor Akbar, could make the clouds pour down
by singing the Raga MEGH MALHAAR, and could lit the lamps by singing RAGA
DEEPAK.
POWER OF SOUND VIBRATIONS
Two scientists by the name of GRAHAM and NEIL did a experiment in a crowded
street, in Australia's Melbourne city. The experiment was done to show the 'POWERS
OF SOUND'. The medium of the experiment was a Motor-Car. They wanted to move
the car, according to their commands. The car followed their command when they said
'START' and again when they commanded 'GO', the car started moving and stopped
when they said 'HALT'. People thought it to be a magic, which in reality, it was not. It
was merely an experiment, which showed the 'Power of Sound'. But how did it happen?
Graham had a Transmitter in his hands; the function of the Transmitter was to convert
the command into a fixed frequency of electrical power, and send it to the control unit,
which was fitted in the dashboard of the car. Another device named 'CAR RADIO' was
fitted in front of the Control-unit.

When the electro-magnetic frequencies transmitted by the Transmitter, dashed against


'CAR RADIO' the cars engine started and even began to move, and ultimately stopped.
The source of all these happenings was the 'SOUND WAVES'.
The causes and effects of the 'MANTRAS' and 'STOTRAS' could not be analyzed till
date, because they are based on Ultrasonic Sounds, which, we can neither see, nor hear.
But if these are pronounced with clarity and emotion, than it can do wonders.
"In a Disco, your Mind makes you Dance,
In a Satsang, you Make your Mind to Dance."

The correct time of day and night for a few ragas:


6-9 a.m.
Ragas of Bilawal
such as Alahya Bilawal, Shuddh Bilawal, Devgiri Bilawal, Shukla Bilawal,
Kukubh Bilawal; Gunakali and Sarpada;
Ragas of Bhairav
such as Ahir-Bhairav; Ramkali, Jogiya Bhairav-Bahar;
Ragas of Bhairavi
such as Bhairavi, Bhupali-Todi, Bilaskhani Todi;
Ragas of Kalyan
such as Hindol;
9 a.m. - 12 noon.
Ragas of Todi
such as Gurjari Todi, Miyan-ki-Todi; Asavari tht: ragas such as Asavari,
Komal Re Asavari, Sindh Bhairavi;
Ragas of Kafi
such as Sugharai, Sur Malhar;
Ragas of Bilawal
such as Deshkar.
Noon - 3 p.m.
Ragas of Kafi
such as Bridabani Sarang, Shuddh Sarang, Bhimpalasi, Pilu;
Ragas of Kalyan
such as Gaud-Sarang.
3 - 6 p.m.
Ragas of Purvi
such as Purvi, Purya-Dhanashri, Shri, Triveni;
Ragas of Marwa
such as Marwa, Purya;

Ragas of Todi
such as Multani; of Kafi tht, such as Pat-Manjari.
6-9 p.m.
Ragas of Kalyan
such as Yaman, Bhupali, Hamir, Shuddh Kalyan, Chhay-Nata;
Ragas of Bilawal
such as Hansadhwani.
9 p.m. - midnight.
Ragas of Bilawal
such as Shankara, Durga, Nand, Maluha Kedar, Bihag and its forms;
Ragas of Khamaj
such as Khamaj, Jaijaiwanti, Regeshwari, Bhainna Shadja, Gara;
Ragas of Kafi tht, such as Kafi, Malhar and its forms, Bageshwari.
Midnight - a.m.
Ragas of Kafi
such as Bahar, Nayaki Kanada
Ragas of Asavari
such as Darbari Kanada, Shahana Kanada;
Ragas of Bhairavi
such as Malkauns.
3-6 a.m.
Ragas of Purvi
such as Basant, Paraj;
Ragas of Marwa
such as Sohoni, Lalit;
Ragas of Bhairav
such as Kalingda.
Those ragas that are meant to be played at sunset or sunrise are called Sandhiprakash.
There are others that can be played at any and all times, for instance ragas Mand
(regarded also as an evening raga), Sindhura, and Dhani.

http://www.hindu.com/fr/2004/10/29/stories/2004102903630900.
htm
Hi all,
I read in an article that Certain ragas have wonderful medicinal properties that keep us
fit as a fiddle!

Here is the small list of ragas, which exhibit medicinal properties. Please feel free to add
your inputs.. Thanks
Shree: Helps in digestion of food.
Asaveri: Cures Headache
Karaharapriya: Makes us forget hunger
Bhairavi: Cures Tuberculosis
Hindolam: Cures cough and cold
Saranga: Cures Indigestion.
Ragas and the Rasas they reflect:
Kalyani: Gives courage
Hindolam: Gives enthusiasm and relaxation
Kamboji: Expresses bhakthi
Atana, Mohanam: Expresses Valour
Natai: Feeling of divinity
Nadanamakriya: Expresses "Karuna" rasa
Mukhari: Expresses longing and love
Sahana: Gives peace in loneliness
Deepakam: Has the power to light a lamp automatically.

/www.calcuttaglobalchat.net/calcuttablog/indian-raga/

http://indiapicks.com/SNT_Hindi/Raga_Index.ht
m
chandrakantha.com/raga_raag/song_title.html
www.chandrakantha.com/raga_raag/song_title.ht
ml

Afternoon Ragas
Songs: Piloo, Raga Shuddh Sarang, Brindabani Sarang, Raag Patdeep, Madhuvanti,
Raag Madhuvanti, Raag Madhuvanti ... more
Artists:
Evening Ragas
Songs: Raag Multani, Raag Marwa, Raag Puria Dhanashri, Pooriya, Marwa, Raag
Shree, Raag Rajya Kalyan, Raag Puriya Kalyan ... more
Artists:
Morning Ragas
Songs: Jaunpuri, Bilaskhani Todi, Bilaskhani Todi, Gurjari Todi, Gurjari Todi, Desi
Todi, Bilaskhani Todi, Mian Ki Todi, Bhoopali Todi ... more

ringar Rasa
Songs: Gat, Gat, Gat, Dhun, Dogri Folk Melody, Gat, Dhun, Gat, Dhun ... more
Artists:
early Morning Ragas
Songs: Bhairavi, Raag Bhairavi, Raag Bhairavi, Raag Bhairavi, Bhairavi, Raag
Bhairavi, Raag Bhairavi, Raag Bhairavi, Raag Bhairavi ... more
Sringar Raasa
Songs: Dhun, Dhun, Dhun, Gat, Gat, Jazz Fusion, Jazz Fusion, Jazz Fusion,
Jazz Fusion ... more
Artists:

Ragas in Practice
The ragas have their seasons and times of day as well. Summer is regarded as the
corresponding season for raga Dipak, Monsoon for raga Megh, Autumn for raga
Bhairav, Winter for raga Malkauns, and the Spring for raga Hindol. In Carnatic music,
however, there is no such connection of season or time, although some ragas are
considered appropriate to certain hours.
The correct time of day and night for a few ragas:

6-9 a.m.

Ragas of Bilawal tht, such as Alahya Bilawal, Shuddh


Bilawal, Devgiri Bilawal, Shukla Bilawal, Kukubh Bilawal;
Gunakali and Sarpada;
Ragas of Bhairav tht, such as Ahir-Bhairav; Ramkali, Jogiya
Bhairav-Bahar;
Ragas of Bhairavi tht, such as Bhairavi, Bhupali-Todi,
Bilaskhani Todi;
Ragas of Kalyan tht, such as Hindol;

9 a.m. - 12 noon. Ragas of Todi tht, such as Gurjari Todi, Miyan-ki-Todi;


Asavari tht: ragas such as Asavari, Komal Re Asavari, Sindh
Bhairavi;
Ragas of Kafi tht, such as Sugharai, Sur Malhar;
Ragas of Bilawal tht, such as Deshkar.
Noon - 3 p.m.

Ragas of Kafi tht, such as Bridabani Sarang, Shuddh Sarang,


Bhimpalasi, Pilu;
Ragas of Kalyan tht, such as Gaud-Sarang.

3 - 6 p.m.

Ragas of Purvi tht, such as Purvi, Purya-Dhanashri, Shri,


Triveni;
Ragas of Marwa tht, such as Marwa, Purya;
Ragas of Todi tht, such as Multani; of Kafi tht, such as PatManjari.

6-9 p.m.

Ragas of Kalyan tht, such as Yaman, Bhupali, Hamir, Shuddh


Kalyan, Chhay-Nata;
Ragas of Bilawal tht, such as Hansadhwani.

9 p.m. - midnight. Ragas of Bilawal tht, such as Shankara, Durga, Nand,


Maluha Kedar, Bihag and its forms;
Ragas of Khamaj tht, such as Khamaj, Jaijaiwanti,
Regeshwari, Bhainna Shadja, Gara;
Ragas of Kafi tht, such as Kafi, Malhar and its forms,

Bageshwari.
Midnight - a.m.

Ragas of Kafi tht, such as Bahar, Nayaki Kanada;


Ragas of Asavari tht, such as Darbari Kanada, Shahana
Kanada;
Ragas of Bhairavi tht, such as Malkauns.

3-6 a.m.

Ragas of Purvi tht, such as Basant, Paraj;


Ragas of Marwa tht, such as Sohoni, Lalit;
Ragas of Bhairav tht, such as Kalingda.

Those ragas that are meant to be played at sunset or sunrise are called Sandhiprakash.
There are others that can be played at any and all times, for instance ragas Mand
(regarded also as an evening raga), Sindhura, and Dhani.
These stipulations of time are governed by the notes and their pitch. Pandit Bhatkhande
held that ragas performed at night or at sunset should contain the tivra madhyam
(M), whereas daytime ragas must not contain the tivra madhyam. Ragas which
emphasize the lower pitch are to be performed during the evening or early night; ragas
emphasizing the higher pitch are appropriate for late night and early morning.
Undoubtedly, there are exceptions to these stringent guidelines.
Hindusthani Music
http://print.google.co.in/print?
id=HVjyfWPCO1wC&dq=bhatkhande+that&oi=print&pg=PA11&sig=sLRxATzI2FwYAXpwWGav5HCZHg&prev=http://www.google.co.in/search%3Fhl%3Den%26q%3Dbhatkhande%2Bthat
%26btnG%3DSearch%26meta%3D

http://www.chembur.com/anecdotes/bhatkhande.htm
http://www.musicalnirvana.com/composers/vn_bhatkhande.html
http://www.musicalnirvana.com/composers/vn_bhatkhande_articles.html
http://www.swargram.org/bhatuniv.html

http://www.tribuneindia.com/2003/20030126/spectrum/gallery/pages/v%20n
%20bhatkhande.htm

rAga and Seasons


In Hindusthani rAga scheme
There are rAgas associated with a specific Ritu [ Season] .
Eg. basant, bahar, megh etc
There are many rAgas that are Sarva Ritu [ All seasonal ]
Bilaval Darbari Kanada
Examples
Months rAga
March april Hindol
May june Deepak
July-August Megh
SeptemberOctober Bhairav
November December Shree
January February Malkauns [~1~]
In The KarnAtik rAga scheme
rAgas are not generally classified seasonally.

/
www.ipnatlanta.net/camaga/vidyarthi/Carnatic_
Basics/Melakarta_Scheme.htm

Kriti
The Karnatic kriti (or krithi) is a song of praise or adoration for a particular Hindu deity.
Kritis are especially associated with Tyagaraja (or Thyagaraja) (1767-1847),
Muttuswamy Dikshitar (1776-1835) and Syama (or Shyama) Sastri (1762-1827), a
famed trinity of musician-saints or saint-composers. In order, appreciating the trinity's
work has been likened to the grape, the coconut and the banana. The first can be
consumed and enjoyed immediately. The second involves cracking open a shell to get to
the kernel. The third involves the removal of a soft outer layer to get to the fruit. Their
era is known as the Golden Period of Karnatic Music and during their time they
composed a collection of timeless compositions. Tyagaraja alone is credited with some
600 kriti compositions. Kritis are usually composed in Telugu, Tamil or Sanskrit are
habitually seeded in specific ragas.

/www.orientalblues.com/ragaindex.htm

The Ragas are listed according to their complexity.

1.
Category 1 : The ragas of this category have complete (all 7) notes and the Aarohana and Avarohana are Monotonic
(straight).

2. Category 2 : The ragas of this category have missing notes (does not have all 7 notes) but have straight Aarohana &
Avarohana

3. Category 3 : The ragas of this category have notes (either complete or missing) with Monotonic Aarohana and Non-Monotonic
Avarohana
4. Category 4 : The ragas of this category have notes (either complete or missing) with Non-Monotonic Aarohana and
Avarohana3
The Seven Natural (Complete)"Swaras" or Tones are:Sa Re Ga Ma Pa Dha Ni and the 7 colors of the rainbow
Notice the following terms related to the notes !!!

All upper case letters refer to the "Shuddha Swaras" or natural tones.
Example, R G D N.
All lower case letters refer to the "Komal Swaras". Example, r g d n.
For 'Ma', m refers to the natural one and M refers to the 'Tivra or Kori Ma'.
The upper octave notes are suffixed by the ' sign. Example, S' R' G' m' P' D' N'.
The lower octave notes are prefixed by the ' sign. Example, 'S 'N 'D 'P 'm 'G 'R.
Thaat can be defined as the root or parent raga from which another raga (child) can be derived. Example, 'Jaunpuri' derived
from 'Asavari'. There are about 10 Thaats: Asavari, Bhairav, Bhairavi, Bilawal, Kafi, Kalyan, Khamaj, Marwa, Purvi, Todi.

Ragas of Category -1
Hindustani Raga
Ahir Bhairav
Bhairav
Bhairavi
Kalyan
Jaunpuri
Kafi
Kalingra
Kirwani
Bilawal
Latangi
Nata Bhairav
Purvi

Carnatic Raga
Chakravaham
Mayamalava Gowla
Sindhu Bhairavi
Mecha Kalyani
Jhonpuri
Kharaharapriya
Mayamalavagaula
Kiravani
Dheera
Shakarabharanam
Latangi
Sarasangi
Kamavardhini

Aarohana (Up)
S r G m P D n S'
S r G m P d N S'
S r g m P d n S'
S R G M P D N S'
S R m P d n S'
S R g m P D n S'
S r G m P d N S'
S R g m P d N S'

Avarohana (Down)
S' n D P m G r S
S' N d P m G r S
S' n d P m g r S
S' N D P M G R S
S' n d P m g R S
S' n D P m g R S
S' N d P m G r S
S' N d P m g R S

Time
Pre-Dawn
Morning
Dawn
Evening
Morning
Night
Late Night to Dawn
Night

Thaat
Bhairav
Bhairav
Bhairavi
Kalyan
Asavari
Kafi
Bhairavi
Melakaratha Raga

S R G m P D N S'

S' N D P m G R S

Morning

Bilawal

S R G M P d N S'
S R G m P d N S'
S r G M P d N S'

S' N d P M G R S
S' N d P m G R S
S' N d P M G r S

Morning
Dusk

Melakaratha Raga
Bhairav
Purvi

Ragas of Category -2
Name of Raga
Abhogi Kanada
Asavari
Bairagi

Carnatic Raga
Abhogi
Nata Bhairavi
Revati ?

Aarohana (Up)
S R g m D S'
S R m P d S'

Avarohana (Down) Time


S' D m g R S
Night
S' n d P m g R S Morning

Thaat
Kafi
Asavari

S r m P n S'

S' n P m r S

Melakaratha Raga

Morning

Thaat

Pakad - Mukhyang
Aroh
Avroh
(main structure of
(ascending) (descending)
raga)

Vadi Samvadi Time of


(main (second singing or Remarks
note) main)
playing

1 Aabhogi

Kafi

SRgMD
S.

S. n D M g R
.D S R g M R S
S

morning

Abhogi
Kanhra

Kafi

SRgMD
S.

S. D M g R
S, .D S

10 am to 1
pm

Asavari

S R M P, d
N S.

S. d n P M P, S. d N S. , d , n PMP,
S.
gMRS
gMRS

1 to 4 am

Raga
No.

3 Adana

4 Ahir Bhairav Bhairav

Alahiya
Bilaval

Bilaval

MgRS, .DSRg,
MDMg, RS, .D S

S r G M, P D S. n D P, M
n S.
GrS

G M r S, .D .N r S

morning

S. NDP,
SR GMGR,
DnDP, MG
GP, D N S.
MRS

G R GP,MGMR,
GPDnDP

morning

remove komal
n for bilaval

6 Asavari

Asavari S R M P d S.

S. n d P M g R M P, n d P, d M P, g
D
RS
RS

10 am to 1
.
pm

7 Bageshri

Kafi

S g M D n S.

S. n D M g R S .n .D S, M g, M D n
M
S
D, Mg, M g R S

10 am to 1
pm

8 Bahar

Kafi

.n S, g M P,
S. n D n P, M
g M, n D N
M P g M D N S.
PgMRS
S.

10 am to 1
pm

9 Basant

Poorvi

r. N d P, M'
M' d r. S., r. N d P, M'
S G M' d r. S G, M' d M' G
S.
G M' G
,rS

4 to 7 am

10 Bhairav

Bhairav

S r G M P d S. N d P MG
DM r , GMP, MG, r S D
N S.
rS

7 to 10 am

Bhairavi

S r g M P d n S. n d P M g
S g M P, d -- p
S.
rS

morning

12 Bhimpalasi

Kafi

.n S g M P n S. n D P M g .n S M, M P g, M g R
M
S.
RS
S

10 am to 1
pm

13 Bhupali

Kalyan S R G P D S. S. D P G R S

7 to 10 pm

14 Bihag

Bilaval

.NS, GMP, GMG, RS G

7 to 10 pm

15 Bihagra

.N S G, G M S. N D, n D
Bilaval P D n D P, N P, G M G R GMPDnDP, GMGRS M
S.
S

10 pm to 1 Some use M'


am
also

11

16

Bhairavi

Bilaskhani
Todi

17 Bilaval

.N S G M P S. N D P M
N S.
GRS

GRS.D, SRG, PG,


DPG, R S

Bhairavi

S r g, M G, P S. r. n d P, M
.d S r g, Mg, r g, r S
d, n d, S.
grgrS

10 am to 1
pm

Bilaval

S R G M P D S. N D P M
S.
G RS

morning

.N S g M d
N S.

S. N d M g M
g M N d M g M g .N S M
gS

mid night

S, RGMP,
DP, ND, S.

S. NDP, M'
P--R, RGMP, MG
PDP, RGMP,
MR, S
GMRS

7 to 10 pm

10 am to 1
pm

18 Chandrakauns

G R GP, DNS.

19 Chayanat

Kalyan

20 Darbari
Kanhdra

Asavari .n S R g R S, S. d n P, M P, g M R S, .d .n S R S
M P d n R. g M R S

S.
S. n D P M G RMP, nDP, DMGR,
RGS
G.NS

Some
consider R
7 to 10 pm
vadi and P
samvadi

21 Des

Kamaj

SRMPN
S.

22 Deshkar

Bilaval

S R G P D,
S.

S. D P, G R
D D P, G P D P, G R S D
S

7 to 10
am

23 Desi

R g R S R .n S. P -, D M
RgRSR.nS,
Asavari S, R M P n P R g S R .n
P
RMPDMPgRgRSR.nS
S.
S

10 am to 1
pm

24 Dhanashri

Kafi

.n S, g M P, S. n D P, M P
.n S, GMP, g , MgRS P
n S.
g, M g R S

1 to 4 pm

25 Durga

Bilaval

SRMPD
S.

10 am to 1
pm

26 Gaur Malhar

Kafi

R G R M, G S. n D n P, D
RGRM, GRS, PM,
R S, M R P G P M, R G
PD, S. , D P M
M P, D S.
RMGRS

Some
1 to 4 pm consider thaat
Bilaval

27 Gaur Sarang

S, GR, M' G, S. DNP, DM'


Kalyan PM' , DP,
PG, MR, PR, S, GRMG, PRS
ND, S.
S

7 to 10
am

28 Gurjari Todi

Todi

S r g M' d N S. n d M' g r, .d .n S r g, r S, M' g r g


d
S.
grS
rS

10 am to 1
pm

29 Hamir

Kalyan

S. N D P, M'
SRS,GM
P D P, G M S R S, G M D
D, N D S.
RS

7 to 10 pm

30 Hansadhvani

S G R, G P, S. N P, G P SGRS, .N.P, GR,


Bilaval
N S.
G R, S
GPGR, S

Some
consider G 7 to 10 pm
Vadi and NSamvadi

31 Hindol

Kalyan

S G, M' D N S. , N D , M'
SG, M'DND, M'GS
D, S.
G,S

7 to 10 am

32 Jai Jai Vanti

Kamaj

S, R g R S,
.n .D.P, R,
GMP, NS.

10 am to 1
pm

33 Jaunpuri

Asavari

S RM P d n S. n d P, M g RMP, n d P, d M P,
S.
RS
gRS

10 am to 1
pm

34 Jhinjhoti

Khamaj

S R G M P D S. n D P M G .DS, RM, G, PMGR,


n S.
RS
S.n.D.P

10 am to 1
10 am to 1 pm
pm

35 Jogiya

Bhairav S r M P d S.

morning

36 Kafi

Kafi

S R g M P D S. n D P M g
SS RR gg MM P
n S.
RS

1 to 3 pm .

37 Kalavati

Khamaj

S G M P D n S. n D P M G G M P D n D, M P D
P
S.
RS
MG

10 pm to 1
.
am

38 Kamod

Kalyan

S.NDP, M'
S, RP, M'
RP, M' PDP,
PDP, GMP,
PDP, NDS.
GMP,GMRS
GM, RS

7 to 10 pm

39 Kausi Kanhda Asavari

S R g M P D S. n D P M g
n S.
RS

10 pm to 1
Bageshri Ang
am

40 Kedar

S. NDP, M'
S M, M P, D
PDPM,
P, N D S.
PMRS

7 to 10 pm .

Kalyan

S. D P M R S DMR, MPDMR, .DS M

S. n D P, G
M, R g R S

R g RS, .n.D.P, R,
GM, R g R S

S. N d P M r
M, r S, S r r M r S
S

S M, M P, D P M, P M
S
RS

N is used less
to avoid Sohni

41 Khamaj

Khamaj

SGMPD
N S.

42 Lalit

Marva

43 Madhuvanti

10 pm to 1
am

.N r G M, M'
R. N D, M' D .NRGM, DM', MG,
M G, M' D
M' M G, R S M'GRS
S.

4 to 7 am

Todi

.N S g M' P S. N D P M'
.NSGM'P, M'GRS
N S.
gRS

4 to 7 am

Madhyamad
Sarang

Kafi

.n S R M P n S. n P , M R .nSR, RMRPR, nP,


S.
S
MRS

7 to 10 am

45 Malgunji

Kafi

.D .N S R G
S. N D P M
M, G M, D
G, M g R S
N S.

night

46 Malkauns

Bharavi

.n S g M d n S. n d M g M M g, M d n d, M g, M
M
S.
gS
g, S

1 to 4 am

10 pm to 1
am

44

S. n D P M G G M P D n D, M P
RS
D,MG

GMgRS, .D.nSRGM

.N R S, G M
S. N D P, G .NSGMP, GMRS,
47 Maluha Kedar Bilaval P, D P M, M
M P G M R S .D.P.M.P.NS
P N S.

48 Mand

S G R M G,
S. D N P, D S, RG, S, R, MMP, D,
Bilaval P M D P, N
S
M P G M S PDS.
D S.

all time

49 Maru Bihag

Kalyan

.N S G M P S. N D P, M' M' G, RS, RS, SMGP,


G
N S.
G M' G R S M' G M' G RS

10 pm to 1
am

50 Marva

Marva

.N r G M' D S. N D M' G
D, M' G r, G M' G r S D
N S.
rS

evening

Kafi

S. n D n P, M SRS, .nD.nP,
S R M R, M
P, M R M R, .M.P.n.D.NS, R, MR, R
P n D N S.
S .N S
PMR.NS

10 am to 1
pm

52 Miya Malhar Kafi

R M R S, M
S. n D, n M
R P, M P n
P, g M R S
D, N S.

10 pm to 1
am

53 Multani

Todi

.N S g M' P S. N d P M' g
.N S, M' g, P g, r S
N S.
rS

1 to 4 pm

Kalyan

SGM,P
D , N P S.

S. D, N P, D
M' P, G M D GMDP, RSGM
PRS

10 pm to 1
am

S. D P , G P,
G, RS, .D, .P.DS
GRS

all time

4 to 7 am

51

54

Miya Ki
Sarang

Nand Anandi

RMR S .n .p, .M .P .n
M
.D .N S, P g M R S

It is a Sandhi
Prakash Raga

55 Pahadi

Bilaval S R G P D S.

56 Paraj

Poorvi

S. N d P, M'
.N S G, M' d
S., N d P, M' P d P, G
P d P, G M
S.
N S.
MG
G, M' G r S

57 Patdeep

Kafi

S g M P N S.

1 to 4 pm
It's N is little
(towards 4
sharper
pm)

58 Piloo

Kafi

S. n D P n d
.N S G M P
.P .N S R g S, G M P g
PdPMgS
G
N S.
S, .N S
.N S

All 12 notes
1 to 4 pm are used in this
raga

59 Pooriya

Marva

.N r S, G, M' S. N D M' G G, .N r S,
D, N r. S.
rS
.N.D.N.M'.D, r S

M'

evening

It is a Sandhi
Prakash Raga

Poorvi

.N r G M' P, S. N d P, M' .N r G, M' P, DP, M'


D P, N S.
G M' r G, r S G, M' r G, r S

evening

It is a Sandhi
Prakash Raga

Poorvi

.N r G, M' P, S. N d P M', .N, S r G, MG, M' G r


G
d N S.
GMG, r S
S

evening

It is a Sandhi
Prakash Raga

60

Pooriya
Dhanashri

61 Poorvi

S. N D P M g
D P, g, M P N S.
RS

Khamaj

S G M D N S. n D M G R GMDN S. n DM,
S.
S
GMRS, .D .n S G M

10 pm to 1
am

Kafi

S. n D n P, D
.N S, R G M,
P M, P g, M RPMGM, nPgMRS
n D n P N S.
P g, M R S

rainy
season

64 Ramkali

Bhairav

S. N d P, M'
SrGMPd
d P, M'PdndP, GM', r
P d n d P, G
P
N S.
PMG r S
MrS

morning

65 Rasranjani

Bilaval

S R M D N S. N D M, D
S.
MRS

midnight

66 Saraswati

Khamaj

R. n D P M'
S R M' P, n
R M P, M' R
D P, n D S.
S

midnight

67 Shankara

Bilaval S G P N S.

10 pm to 1
am

68 Shivranjani

Kafi

S R g P D S. S. D P g R S

midnight

69 Shri

Poorvi

S. Nd P, M' P
S r r S, r M'
S r r S, r M' P, d M' G
d M' G r, P r
R
P N S.
rGrS
GrS

evening

7 to 10 pm

62 Rageshwari
63

Ramdasi
Malhar

S. NP, ND S. S. NP, ND S. NP,


NP, GPGS GPGS

70

Shuddh
Kalyan

S. N D, N D
GRS, .N.D.N.D.P, S,
Kalyan S R G P D S. P, M' G R, G
G
GR, PR, GRS
RPRGRS

71

Shuddh
Sarang

Kafi

S R M P, M' S. N D P M'
P N S.
GRS

10 am to 1
pm

72

Shyam
Kalyan

Kalyan

S. N D P M'
.N S R M' P
.N S R M' P, G M R
P G M R .N
N S.
.N S
S

7 to 10 pm

73

Sindhu
Bhairavi

Asavari

S R g M P d S. n d P M g
n S.
RS

10 am to 1
pm

74 Sohni

Marva

S. r. S. N D,
S G M' D N
S. N D, G M' DNS. r.
G M' D, G M'
D
S.
S.
G, M' G r S

4 to 7 am

75 Sughrai

Kafi

.n S R g, M S. D, N P, M .n S R g, MP n P, DP,
P
P, N S.
P, g , M R S MP g MRS

10 am to 1
pm

10 pm to 1
am

S R G S, R
S. P D M G, .P.NSRG, S, RPMG,
76 Tilak Kamod Khamaj M P D, M P,
S R G, S .N S.N
S.
77 Tilang

Khamaj

SGMPN
S.

.NSGMP, NS. , S. nP,


G
GMGS

10 pm to 1
am

78 Todi

Todi

S r g M' P d S. N d P M' g .d NS, r , g r, s, M'g r


d
N S.
rS
grS

10 am to 1
pm

79 Vibhas

Bhairav

SrGPdP
S.

S. d P G P d
P, G r S

morning

S. n P M R S .N S R, MR, PMR, S

d , P , GP, G r S

80

Vridavani
Sarang

Kafi

SRMPN
S.

10 am to 1
pm

81

Yaman
Kalyan

Kalyan

S R G M' P S. N D P M' .N R G, R S, P M' G R


G
D N S.
G RS
S

7 to 10 pm

Bilaval

.N R G, M R S. N D P, M'
.N R G, M' PMG,
G P, M' P, D P M G, R G
RGRS
N S.
RS

morning

Yamani
82 Bilaval

Taal

S. n P M G S

It is a Sandhi
Prakash Raga

Indian Music
Foreword by Pandit S.P.Tata
I do not reside in Vaikuntha, nor do I dwell in the hearts of yogis.
There alone I abide, O Narada, where my devotees sing!
Lord Vishnu to Narada in Narada Samhita 1:17
Indian music is as old as time itself as it dwells in a world of moods and
perceptions. It is a realm of beauty where experiences through sound
transcend into metaphysics and feelings soar to the point of equation with
the sublime. It creates a world of ecstasy, where involvement is
spontaneous and perception a matter of total communion with the
nuances of sound. Indian music is evocative. It evokes a gamut of moods,
feelings, sentiments and emotions and mental cadences that few other
forms of performing arts are capable of.
Whether it is the pangs of separation or the joys of reunion, the sublimity
of devotion or the recklessness of passion, the haze of summer noon or the
mellifluous metronome of the monsoon, the warmth of fire or the softness
of the silvery moon beams, it evokes every known sensation, feeling, mood
and sentiment. Whether it be classical or flock, filmy or devotional, its
range is vast, rich and varied, opening the floodgates to a treasure house
of memorable experience that one lifetime is too short to comprehend.
In India, music, painting and drama are considered divine arts. Brahma,
Vishnu, and Shiva the Eternal Trinity-were the first musicians. The
Divine Dancer Shiva is scripturally represented as having worked out the
infinite modes of rhythm in His cosmic dance of universal creation,
preservation, and dissolution, while Brahma accentuated the time-beat
with the clanging cymbals, and Vishnu sounded the holy MRIDANGA or
drum. Krishna, an incarnation of Vishnu, is always shown in Hindu art
with a flute, on which he plays the enrapturing song that recalls to their
true home the human souls wandering in MAYA-delusion. Saraswati,
goddess of wisdom, is symbolized as performing on the VINA, mother of
all stringed instruments. The SAMA VEDA of India contains the worlds
earliest writings on musical science.
The ancient Hindu way of life aimed at a totally integrated system of
knowledge covering all aspects of life. The ancient scriptures of India

were taught by countless sages, who perceived the knowledge in direct


communion with God during meditation.
Gandharva Veda, which is one of the four Upa Vedas, taught the arts of
music, dancing and drama. Gandharvas are celestial beings famous for
their Gandharva Gana or celestial singing. Many Indian scriptures
mention about singing by celestial beings like Devas, Yakshas,
Gandharvas and Kinnaras Deva Gana, Yaksha Gana, Gandharva Gana
and Kinnara Gana. Rishi Narada was the most famous for his Deva
Gana. Gandharva Veda is extinct now and was supposed to be a scripture
which contained 36000 verses. However a shorter version based on it,
called Natya Sastra written by Sage Bharata, containing 6000 verses is
available.
Gandharva Veda teaches that music is a means of unfolding harmony by
enlivening Natural Law through sound. When one listens to music it gives
peace, harmony and wholeness. Music also has a healing effect on
diseases and can improve ones health. Ayurveda, the ancient science of
medicine also deals with the theme of time. Time has many facets cycle,
frequency, changing etc. There are three basic types of human health
tendencies, Vata or windy, Pitta bilious, and Kapha or phlegmatic. People
with these three different tendencies show different physiologies of the
body at different hours of the day. Gandharva Veda advises playing or
listening to the appropriate tunes necessary to create balance through the
24-hour cycle. Generally, there are (3) 8-hour periods in a 24-hour day
and during each of these 8 periods the style of the music changes. So a
particular combination or sequence or style of music is prescribed for
each of the periods.
Some time specific recommendations are:
Ramkali & Lalat ragas 3-7 AM; Makansa raga 11-3 PM (for pitta/vata)
Makansa raga 11PM 3AM (for pitta/vata)
Bhupali & Shri ragas 6-9 PM (for kapha)
In Gandharva veda music is the coexistence of both the changeable and
the non changeable. There is an inherent constant structure to the raga
and at the same time there is also a spontaneous or creative musical
elements with variations. Typically, one hears one instrument that places
the same notes/ pattern throughout the raga called a drone. This
represents non-change. This symbolizes the creative and diverse nature of
Self / Being and its underlying permanent nature coexisting together.
This music is highly spiritual though emphatically sensual. In the playing

of the melody the listener will be treated to elegant elaborations on a


theme. Further, the full range of a note not just a narrow interval of it
is another aspect of this music.
The Natya Shastra deals with music, drama and dance. It is a very
important scripture to know the history of Indian classical music because
this ancient text gives details about the music and instruments of the
ancient days. While the Samaveda has a lot to do with the melodious
rendering of the ritual verses of the Vedas, the Natyashastra is the only
available ancient scripture that deals with music at length and is
considered the foundation treatise of Indian Classical Music.
In the Natyashastra, nine chapters are dedicated to music. It describes
svara or a musical note and its use in evoking a particular Rasa. The
seven notes Sa, Re, Ga, Ma, Pa, Da, Ni (longer names are Shadja,
Rishabha, Gandhara, Madhyama, Panchama, Dhaivata and Nishada.),
which were already there in the Sama Veda, are made use of in creatings
the Raga. Shruti or pitch, Svara or tune, pada or composition and tala or
beats are the four basics of Natya Sastra music. The Natyashastra
classifies music in to different modes or jatis based on invoking
different emotions like tragedy or Karuna rasa, heroism or Vira rasa etc.
Based on this many types of melodies called Ragas emerged.
Natya Sastra also gives details about various musical instrument

season of the year, and a presiding deity who bestows a particular


potency. Thus, (1) the HINDOLE RAGA is heard only at dawn in the
spring, to evoke the mood of universal love; (2) DEEPAKA RAGA is
played during the evening in summer, to arouse compassion; (3) MEGHA
RAGA is a melody for midday in the rainy season, to summon courage;
(4) BHAIRAVA RAGA is played in the mornings of August, September,
October, to achieve tranquillity; (5) SRI RAGA is reserved for autumn
twilights, to attain pure love; (6) MALKOUNSA RAGA is heard at
midnights in winter, for valor.
The ancient rishis discovered these laws of sound alliance between nature
and man. Because nature is an objectification of the Om, the Primal
Sound or Vibratory Word, man can obtain control over all natural
manifestations through the use of certain Mantras or chants. Historical
documents tell of the remarkable powers possessed by Miyan Tan Sen,
sixteenth century court musician for Akbar the Great. Commanded by
the Emperor to sing a night Raga while the sun was overhead, Tan Sen

intoned a Mantra which instantly caused the whole palace precincts to


become enveloped in darkness.
Indian music divides the octave into 22 Srutis or demi-semitones. These
microtonal intervals permit fine shades of musical expression, something
which is unattainable by the Western chromatic scale of 12 semitones.
Each one of the seven basic notes of the octave is associated in Hindu
mythology with a color, and the natural cry of a bird or beast- Sa with
green, and the peacock; Re with red, and the skylark; Ga with golden,
and the goat; Ma with yellowish white, and the heron; Pa with black, and
the nightingale; Da with yellow, and the horse; Ni with a combination of
all colors and the elephant.
Three scales-major, harmonic minor, melodic minor-are the only ones
which Occidental music employs, but Indian music outlines 72 Thatas or
scales. The musician has a creative scope for endless improvisation
around the fixed traditional melody or Raga. He concentrates on the
sentiment or definitive mood of the structural theme and then embroiders
it to the limits of his own originality and imagination. The classical Indian
musician does not read set notes. He clothes anew at each, playing the
bare skeleton of the Raga, often confining himself to a single melodic
sequence, stressing by repetition all its subtle microtonal and rhythmic
variations. Bach, among Western composers, had an understanding of
the charm and power of repetitious sound slightly differentiated in a
hundred complex ways.
Ancient Sanskrit literature describes 120 Talas or time-measures or
rhythm. Bharata has isolated 32 kinds of Tala in the song of a lark. The
origin of Tala or rhythm is rooted in human movements the double time
during walking, and the triple time of respiration in sleep, when
inhalation is twice the length of exhalation. India has always recognized
the human voice as the most perfect instrument of sound. Indian music
therefore largely confines itself to the voice range of three octaves. For
the same reason, melody, the relation of successive notes, is stressed,
rather than harmony, the relation of simultaneous notes.
The deeper aim of the early rishi-musicians was to blend the singer with
the Cosmic Song which can be heard through awakening of mans occult
spinal centers. Indian music is a subjective, spiritual, and individualistic
art, aiming not at symphonic brilliance but at personal harmony with the
Oversoul. The Sanskrit word for musician is Bhagavatar meaning he
who sings the praises of God. Man himself as an expression of the
Creative Word and sound has the most potent and immediate effect on
him, offering a way to remembrance of his Divine Origin.

There are three stages in the rendering of a raga by an artist. They are
called Ragam Thanam Pallavi in South India and Raag, Vilambit &
Dhrut in North India.
Ragam or Raag
In this first part, the musician starts by creating the mood of raga by
playing the basic notes and lays a foundation for composition to follow. It
is a solo rendering with out any accompaniments.
Thanam or Vilambit is the second part where the artist expands the raga
and shows his skill in playing with the notes and beats. Normally there
are some interesting duet-duels between the main artist and the
accompanying artists.
Pallavi is the equivalent of a refrain in Western music. The basic style in
Pallavi rendition is to sing the Pallavi in different speeds and beat
patterns. The Pallavi challenges the musicians ability to improvise with
complex and intricate patterns. The whole exercise is very demanding,
both technically and musically, since all the artistes musicianship is put
to test.
Around the 13th century, the Indian classical music bifurcated into
Hindustani classical music in North India and Pakistan, and Carnatic
classical music in South India.
Owing to Persian and Islamic influences in North India from the 12th
century onwards, Hindustani music and Carnatic music styles diverged.
By the 16th and 17th centuries, there was a clear demarcation between
Carnatic and Hindustani music. It was at this time that Carnatic music
flourished in Thanjavur, where the Vijayanagar Empire of Andhra
Pradesh was at its best. Purandara Dasa, 1484 1564, who is known as
the father (Pitamaha) of Carnatic Music, formulated the system that is
commonly used for the teaching of Carnatic music. Venkatamakhin
invented and authored the formula for the melakarta system of raga
classification in his Sanskrit work, the Chaturdandi Prakasika (1660 AD).
Govindacharya is known for expanding the melakarta system into the
sampoorna raga scheme the system that is in common use today.
Patronized by the kings of Vijayanagaram, Mysore and Tanjavuru,
South India produced many noted composers, Vocalists and
instrumentalists proficient in playing musical instruments, such as the
veena, rudra veena, violin, ghatam, flute, mridangam, nagaswara. Three

of the greatest composers and singers of that era are Syama Sastri (1762
1827),
Muttuswami Dikshitar (Born March 24, 1775 Died October 21, 1835) and
the legendary Tygarja Born May 4, 1767 Died January 6, 1847. They
are called the Trinity of Carnatic music. Two famous court-musicians
and instrumentalists were Veena Sheshanna (1852-1926) and Veena
Subbanna (1861-1939),
The Melakarta Ragas
The Melakarta Ragas refers to the basic 72 Janaka (parent) ragas in
Carnatic Music. All of these ragas have seven notes saptaswaras, that is
that they have all seven swaras which are- Sa, Ree, Ga, Ma, Pa, Da, Ni,
and Sa. The system is further divided into two sets of 36 ragams each
The first set with the first Ma and the second with a sharper Ma. This is
very similar to the Western concept of scales and the circle of flats.
The Melakarta Ragas are the Janaka (Root) ragas for all of the infinite
others Ragas in Carnatic Music. The system is divided into two sets of 36