Browse by thaat, then follow connections supported by a reference.
Thaat groups provide one way to explore ragas. Shared notes do not establish identical melodic grammar or a historical parent–child relationship.
Adana favours a lighter upper-register approach; Darbari commonly gives more weight to lower-register development. Similar pitch material does not make their phrase grammar interchangeable.
Adana · raga reference ↗ · Compare profiles →The modern Chandrakauns form uses shuddha Ni where Malkauns uses komal ni, changing the pull towards Sa.
Chandrakauns · Hindustani Raga Index ↗ · Compare profiles →Both are pentatonic. Hamsadhwani includes Ni where the Bhupali note set includes Dha.
Hamsadhwani · Hindustani Raga Index ↗ · Compare profiles →Their pentatonic note sets differ at Ga: Shivaranjani uses komal ga and Bhupali uses shuddha Ga.
Shivaranjani · Hindustani Raga Index ↗ · Compare profiles →The lower melodic region of Ahir Bhairav recalls Bhairav, while its upper region changes through shuddha Dha and komal ni.
Ahir Bhairav · raga reference ↗ · Compare profiles →Their basic pitches coincide, while the cited reference contrasts Marwa’s emphasis on Re/Dha with Puriya’s Ga/Ni.
Marwa · introductory raag reference ↗ · Compare profiles →Sohini’s ascent omits Re and its upper-register emphasis differs from Puriya. Both omit Pa in these outlines.
Sohini · introductory raag reference ↗ · Compare profiles →The linked Patdeep reference highlights shuddha Ni as a distinction from Bhimpalasi’s basic komal-ni framework.
Patdeep · introductory raag reference ↗ · Compare profiles →The linked reference compares Madhuvanti’s shuddha Re and Dha with the komal forms in Multani; characteristic phrases remain essential.
Madhuvanti · introductory raag reference ↗ · Compare profiles →Pahadi shares a five-note core with Bhupali, while its flexible Mishra practice allows much broader melodic borrowing.
Pahadi · introductory raag reference ↗ · Compare profiles →YouTube loads when you choose Play here.
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