sar016 apsuday alte eduragatimt Usey Kraithoje Classification of Raga by time of the day/night Time of Thaat, Raga 1 01 day ‘Kaushik Dhwani Night Bilawal lburga pate Raga Bilawal is derived Evening rom Bilawal That. It is a |Hemkalyan pate morning Raga, and uses all Evening he seven notes in the (Nat Bihag Night ascending and descending jorder. All notes are huddha (full). The derivative ragas out of this tructure are grouped lunder the broad head of Bitawal Thaat.} IMarwa Raga Marwa is derived rom Marwa Thaat. It is a ddusk/ early evening Raga hich uses six notes in the ascent and in the descent. Pancham is not used. Marwa uses Tivra (sharp) Madhyam and Komal (flat) Rishabh. All other notes are! Shuddha (full). The Bihagada Night Hamsadhwani Evening Late jorning Shankara Night Lat [Alahiya-Bitawal |" lorning Bihag Night Bhatiyar Dawn Bhankar Pre-dawn Vibhas jorning Sohini Pre-dawn Puriya Evening 6sar016 haiputay caltch eduragatimt sey oerkoe derivative ragas out of this |puriya Kalyan Evening tructure are grouped lunder the broad head of Marwa Dusk Marwa Thaat. Bhairav Lalit Dawn Raga Bhairav belongs to [Nat Bhairav Morning Bhairav That. It is an earl Early morning Raga, using all |<#lingada corning seven notes in the ascent [Ahir Bhairav [orning and in the descent. Rishabh Eariy and Dhaivat are komal Jogia jorning (flat) and the other notes - arly are shuddha (full). The —Ramkali . jorning (derivative ragas out of this . Early tructure are grouped Bhairav ‘| under the broad head of omg. Bhairav Thaat.} Mibhas [Morning Gauri boorvi Paraj Pre-dawn Raga Poorvi belongs to Poorvi That. It is a Late Sandhiprakash Raga, and is |Basant L rendered at dusk, that is vening the time when the day fends. It uses all seven notes jin the ascent and the descent. Rishabh and Puriya busk Dhanashri us Dhaivat are komal (flat), ladhyam is both shuddha and tivra while Gandhar land Nishad are shuddha (full). The derivative ragas /Shree Dusk jout of this structure are {grouped under the broad |p.,,44 busk head of Poorvi Thaat.} [— 26sar016 haiputay caltch eduragatimt Usey Kraithoje Bhairavi Raga Bhairavi belongs to Bhairavi Thaat. It is a late morning Raga, and traditionally is the last raga performed at a session. Shuddh Bhairavi uses all the seven notes in the ascending and descending der, Rishabh, Gandhar, Dhaivat and Nishad being komal (flat) and Madhyam being shuddha (full). The derivative ragas out of this tructure are grouped under the broad head of Bhairavi Thaat.} Bilaskhani Todi Bhupal Todi jorning jorning Bhairavi Late jorning (Matkauns ‘idnight Komal Rishabh lAsavari jorning JTodi Raga Todi belongs to Todi That. It is a morning Raga, and uses all seven notes in the ascent and descent. Rishabh, Gandhar and Dhaivat are komal (flat), Madhyam is Tivra hile Nishad is Shuddha. The derivative ragas out of {this structure are grouped under the broad head of [Todi Thaat.} Multani Dusk \Todi (Gurjari Todi lorning jorning Lilavati jorning lAsavari Raga Asavari belongs to /Asavari Thaat. It is a late Jaunpuri Late jorning 36sar016 apsuday alte eduragatimt morning Raga, and uses all seven notes, five in the ascent and seven in the descent. Gandhar, Dhaivat and Nishad are komal (flat) and the other notes are huddha (full). The derivative ragas out of this tructure are grouped under the broad head of \Asavari Thaat.} Kalyan cay Krrkeje Desi Late jorning Late lAsavari jorning ‘Adana ‘idnight Darbari ‘idnight Kanhada Kaunsi Kanhada Night ‘Shuddha Kalyan [Evening Yaman Evening Hameer Evening Hindot jorning Raga Kalyan belongs t (sharp) Madhyam and all other notes are shuddhal head of Kalyan Thaat.} Kalyan That. It is anghupati bate levening Raga. It uses all Evening Late the seven notes, five of yamog ; hem in the ascent and| Evening i Lat seven of them in thea nat e descent. It uses tivral Evening Shyam Kalyan [Evening Late (full). The derivative ragasN@nd Evening jout of this structure are| Late grouped under the broadKedar Evening Gaud Sarang [Afternoon Yaman Kalyan [Evening Late \Chandni Kedar Evening loesh Late Evening Late Rageshri Evening | 48sar016 apsuday alte eduragatimt si ert Khamaj IGaud Mathar Late Raga Khamaj belongs to Evening Khamaj That. It is Late rendered in the late [Tilak Kamod Evening evening and uses all seven hotes, six in the ascent and)Khamaj Late seven in the descent. It Evening luses both komal (flat) and Liayjaiwanti Late huddha (full) Nishad, and Evening all other notes are shuddha Liog Late (full). The derivative ragas Evening lout of this structure are Late lgrouped under the broad | ninjhoti Evening head of Khamaj Thaat.} | late iTilang : Evening |Gorakh Kalyan Evening Late Sorat : Evening Late Mian Malhar Evening Late Bhimpalasi Afternoon, Barwa Dusk Patdeep Dusk Brindavani lAfternoon sarang Kafi Chandrakauns Night Raga Kafi belongs to Kaf ; Late [Thaat. Usually it _isSurdasi Malhar a Evening fendered in the late Iwicrighe e ini evening and uses all the" 3 seven notes in the|Kafi ate lascending and descendin Evening forder. Gandhar and NishadPiloo Evening 56sar016 Usey Kraithoje are komal (flat) and all ther notes are shuddha (full). The derivative ragas| ut of this structure are| grouped under the broa head of Kafi Thaat.} |Ramdasi Malhar: Bahar pate Evening Late Evening Late Gara Evening ‘Abhogi Night ‘Shuddha Sarang [Afternoon Bageshri Night Late Jog Evening Back |Nayaki KanhadajNight [Dhaani Dusk apuday alte eduragatimt