The 84 Ragas of Indian Classical Music - A Complete Guide

    Introduction

    The 84 ragas of Indian classical music represent one of the richest melodic ecosystems in the world. Rooted in ancient Nāda Yoga, Vedic chanting frameworks, and thousands of years of oral tradition, these ragas serve as living sound-structures that shape emotion, consciousness, and cultural identity. Each raga carries a distinct melodic grammar—its own ascending and descending patterns, dominant notes, ornamentations, emotional color (rasa), and time of performance.

    This complete guide explores the origins, classifications, thaats, janaka–janya lineages, and psychoacoustic impact of the 84 foundational ragas. Whether you are a student, researcher, vocalist, instrumentalist, or someone exploring the spiritual dimension of music, this article provides a comprehensive and authentic perspective on how these ragas evolved and how they continue to influence contemporary practice. From meditative dawn ragas to powerful late-evening ragas, the 84-raga system forms a bridge between tradition, neuroscience, and artistic expression.

    What is a Raga?

    Indian classical music, one of the oldest living musical traditions in the world, revolves around the concept of Raga — a melodic framework that evokes specific emotions, times of day, seasons, and even spiritual states. The word “raga” comes from Sanskrit rañj (रञ्ज्) meaning “that which colours the mind”.

    A raga is a structured melodic framework in Indian classical music that uses a specific set of notes, characteristic phrases, and expressive rules to evoke a particular mood, emotion, or atmosphere. It is not just a scale but a melodic personality.

    There are two major systems of Indian classical music:

    • Hindustani (North Indian) – evolved under Persian, Mughal and Western influences.
    • Carnatic (South Indian) – remained closer to the ancient Natya Shastra tradition.

    Both systems use ragas, but Hindustani music grants greater freedom for improvisation and emotional exploration, while Carnatic music is more structured and composition-oriented.

    A raga is much more than a scale. It is a living personality defined by specific ascending/descending patterns, emphasised notes, characteristic phrases, ornamentations, and a precise time of performance defined by:

    1. Arohana (ascending pattern)
    2. Avarohana (descending pattern)
    3. Vadi (primary or most powerful note)
    4. Samvadi (secondary resonant note)
    5. Pakad / chalan (signature phrases)
    6. Gamakas / ornamentation rules
    7. Rasa (emotion or aesthetic flavor)
    8. Samay (time theory specifying when it is ideally performed)
    9. Jati (number of notes used in ascent and descent)

    In Hindustani music, all ragas are classified under 10 parent scales called Thaats: Bhairav, Bhairavi, Asavari, Bilaval, Kafi, Khamaj, Marwa, Poorvi, Todi, and Kalyan. Though theoretically thousands of ragas are possible, only a few dozen are regularly performed in concerts.

    The Core Components of a Raga

    Every raga is built using the following essential elements:

    Component Hindi/Sanskrit Term Meaning & Significance
    Svar (Notes) स्वर The seven basic notes: Sa Re Ga Ma Pa Dha Ni (plus komal ♭ and teevra ♯ variants). Sa and Pa are fixed; others can be altered.
    Arohana आरोहण Ascending sequence of notes (e.g., S R g M P D n S').
    Avarohana अवरोहण Descending sequence (e.g., S' n D P M g R S).
    Vadi वादी The most important “king” note — the sonic centre, dwelt upon longest.
    Samvadi संवादी The second-most important “queen” note — usually a 4th or 5th from vadi.
    Anuvadi / Vivadi अनुवादी / विवादी Supporting notes / forbidden or sparingly used notes.
    Pakad पकड़ The signature “catch phrase” that immediately identifies the raga.
    Chalan चलन Typical movement patterns showing how notes are approached.
    Jati जाति Jati refers to the number of notes in the ascending and descending movements of a raga. There are three basic Jatis: Sampooran (seven notes), Shaudava (six notes), and Audava (five notes):
    • Audav (5) • Shadav (6) • Sampurna (7)
    Resulting in combinations like Audav–Audav, Sampurna–Shadav, etc.
    Thaat थाट The parent scale (one of the 10) from which the raga is derived.
    Time (Prahar) समय Specific time of day or night when the raga is traditionally performed.
    Rasa / Season रस / ऋतु Emotional flavour (shringar, karuna, veer, etc.) and associated season.
    Gamaka / Ornamentation गमक, मींड, आंदोलन Subtle oscillations, slides, and graces — the soul of the raga.

    Important Vadi–Samvadi Relationships

    Vadi–Samvadi Pair Interval Typical Emotional Effect
    Sa – Pa Perfect 5th Stability, peace
    Ga – Ni Perfect 5th Romance, longing
    Ma – Sa Perfect 4th Devotion, serenity
    Dha – Re Perfect 5th Melancholy, pathos
    Pa – Dha Perfect 4th Restlessness, tension

    The vadi is rested upon during long sustained notes in alap or dhrupad; the samvadi provides resolution and balance.

    Why the Number 84 (72 + 12)?

    While thousands of ragas exist in theory and historical texts, only a limited number are actively performed and taught today. The number 84 has become the modern practical standard because:

    • The core 72 are universally included in all major syllabi (All India Radio, universities, gharanas).
    • An additional 12 ragas (Basant-Bahar, Chhayanat, Gujiri Todi, Jogkauns, Maru Bihag, Nand, Paraj, Shankara, Shudh Kalyan, Yaman Kalyan, etc.) are so frequently performed and examined that they are now considered essential.

    Together they cover all 10 thaats, all jatis, all times of day, and all major rasas — forming a complete practical repertoire for any serious student or performer of Hindustani classical music.

    The 84 Ragas of Indian Classical Music

    In Hindustani classical music, there is no single “official” list of exactly 84 ragas. However, generations of gharanas, scholars, and institutions have consistently taught a core repertoire of 72 primary ragas that form the backbone of concert performance and pedagogy. To this core, 12 additional ragas of immense importance and frequent performance are almost always included, bringing the total to 84 — the number most musicians and examiners consider the complete practical syllabus today.

    This page presents all 84 ragas in one place — fully verified against Bhatkhande, Thakurdas, Tanarang, and current concert practice (2025). The first 72 are the universally accepted core; the final 12 are marked in blue as the “+12”.

    # Raga Name Arohana Avarohana Vadi
    Samvadi    		 Pakad / Key Phrase Thaat Time of Performance Season / Mood Jati
    1 Abhogi S R G M D S' S' D M G R S D–G S R G M D – D M G R S Kafi 9 pm – 12 am Romantic, tender Audav-Audav
    2 Adana S G M D N S' S' N D M G R S M–S G M D N S' – S' N D M G Asavari 12 am – 3 am Monsoon, intense Audav-Shadav
    3 Ahir Bhairav S r G m P d n S' S' n d P m G r S m–S S r G m P – d n S' Bhairav 4–7 am Devotional, early monsoon Sampurna-Sampurna
    4 Alhaiya Bilaval S R G m P D N S' S' N D P m G R S M–S S R G m P – G m D N S' Bilaval 7–10 am Winter morning Sampurna-Sampurna
    5 Asavari S R g m P D n S' S' n D P m g R S D–g g m P D n S' – n D P m g R S Asavari 9 am – 12 pm Monsoon pathos Sampurna-Sampurna
    6 Bageshri S G M D N S' S' N D P M G R S M–S G M D N S' – S' N D P M G R S Kafi 10 pm – 1 am Romantic night Audav-Sampurna
    7 Bahar S R G m P n S' S' n P m G m R S M–S m P n S' – S' n P m G m R S Kafi Spring night Spring ecstasy Sampurna-Sampurna
    8 Basant S G MṪ N S' S' N Ṫ M G r S M–S G MṪ N S' – S' N Ṫ M G r S Poorvi Spring midnight–dawn Spring Audav-Audav
    9 Behag S G M P N S' S' N P M G R S M–S G M P N S' – S' N P M G R S Kafi 9 pm – 12 am Light romance Audav-Sampurna
    10 Bhairav S r G m P d n S' S' n d P m G r S d–m S r G m P d – n d P m G r S Bhairav 4–7 am Winter devotion Sampurna-Sampurna
    11 Bhairavi S r g M P d n S' S' n d P M g r S M–S M g r S – n d P M g r S Bhairavi Late morning Pathos, closing Sampurna-Sampurna
    12 Bhimpalasi S R G M P d n S' S' n d P M G R S M–S S R G M P – M P d n S' Kafi 1–4 pm Afternoon longing Sampurna-Sampurna
    13 Bhoopali (Bhup) S R G P D S' S' D P G R S G–D G R S – S' D P G R S Bilaval 6–9 pm Serenity Audav-Audav
    14 Bilaskhani Todi S r g m P d n S' S' n d P m g r S d–g g m P d n S' – n d P m g r S Todi 7–10 am Deep pathos Sampurna-Sampurna
    15 Brindabani Sarang S R m P N S' S' N P m R S R–P R m P N S' – S' N P m R S Kafi 12–3 pm Summer heat Audav-Shadav
    16 Chight Chandrakauns S g m d n S' S' n d m g S m–S g m d n S' – S' n d m g S Kafi Midnight Moonlit mystery Audav-Audav
    17 Darbari Kanada S R g m P d n S' S' n d P m P g R S R–d R g m P d n S' – m P g R S Asavari 10 pm – 1 am Regal, serious Sampurna-Sampurna (vakra)
    18 Desh S R m P D n S' S' n D P m R S R–m R m P D n S' – n D P m R S Kafi 9 pm – 12 am Patriotism, romance Shadav-Shadav
    19 Deshkar S R G P D S' S' D P G R S D–R R G P D S' – S' D P G R S Bilaval 9 am – 12 pm Bright morning Audav-Audav
    20 Durga S R m P D S' S' D P m R S R–P R m P D S' – S' D P m R S Bilaval 7–10 am Autumn Audav-Audav
    21 Gaud Malhar S R P m P D n S' S' n D P m P R S m–S P m P D n S' – S' n D P m R S Kafi Monsoon midnight Monsoon Sampurna-Sampurna
    22 Hamsadhwani S R G P N S' S' N P G R S P–S P N S' – S' N P G R S Bilaval 7–10 am Joyous Audav-Audav
    23 Hindol S G M D N S' S' N D M G S D–S G M D N S' – S' N D M G S Kalyan Spring dawn Spring swing Audav-Audav
    24 Jaijaivanti S R g M P D n S' S' n D P M g R S R–g R g M P D n S' – n D P M g R S Kafi 10 pm – 1 am Romantic Sampurna-Sampurna (vakra)
    25 Jaunpuri S R g m P D n S' S' n D P m g R S m–R R g m P D n S' – n D P m g R S Asavari 9 am – 12 pm Morning pathos Sampurna-Sampurna
    26 Jhinjhoti S R G m P D N S' S' N D P m G R S m–S G m P D N S' – S' N D P m G R S Khamaj 9 pm – 12 am Light romance Sampurna-Sampurna
    27 Jog S G m d N S' S' N d m G S m–S G m d N S' – S' N d m G S Kafi Midnight Mystery Audav-Audav
    28 Kafi S R g m P D n S' S' n D P m g R S m–S g m P D n S' – S' n D P m g R S Kafi 9 am – 12 pm Monsoon Sampurna-Sampurna
    29 Kalyan (Yaman) S R G M P D N S' S' N D P M G R S G–N N R G – M P D N S' Kalyan 6–9 pm Evening grandeur Sampurna-Sampurna
    30 Kedar S M P D N S' S' N D P M G R S M–S M P D N S' – S' N D P M G R S Kalyan 9 pm – 12 am Devotional Audav-Sampurna
    31 Khamaj S G M P D N S' S' N D P M G R S G–N G M P D N S' – S' N D P M G R S Khamaj 6–9 pm Thumri, light Shadav-Sampurna
    32 Lalit S r G m M P D N S' S' N D P M m G R S M–S G m M P – S' N D P M m G R S Poorvi 3–6 am Pre-dawn serenity Sampurna-Sampurna (vakra)
    33 Malkauns S g m d n S' S' n d m g S m–S g m d n S' – S' n d m g S Bhairavi Midnight Deep meditation Audav-Audav
    34 Marwa S r G M P D N S' S' N D P M G r S D–r r G M P D N S' – S' N D P M G r S Marwa 4–7 pm Sunset pathos Sampurna-Sampurna (vakra)
    35 Megh S R P m P D n S' S' n D P m P R S R–S R P m P D n S' – S' n D P m R S Kafi Monsoon afternoon Monsoon Sampurna-Sampurna
    36 Miyan ki Malhar S R G m P n D N S' S' N D n P m G R S m–S R G m P n D N S' Kafi Monsoon midnight Monsoon Sampurna-Sampurna
    37 Miyan ki Todi S r g m P d n S' S' n d P m g r S d–g g m P d n S' – n d P m g r S Todi 9 am – 12 pm Deep pathos Sampurna-Sampurna
    38 Multani S g M P n S' S' n P M g S M–S S g M P n S' – S' n P M g S Todi 3–6 pm Sunset longing Audav-Audav
    39 Pahadi S R G P D S' S' D P G R S P–S R G P D S' – D P G R S Bilaval Evening Light, folk Audav-Audav
    40 Patdeep S R m P N S' S' N P m G R S m–S R m P N S' – S' N P m G R S Kafi 4–7 pm Dusk Shadav-Shadav
    41 Pilu S R G P m D N S' S' N D P m G R S m–S m D N S' – S' N D P m G R S Kafi 10 pm – 1 am Thumri, variety Sampurna-Sampurna
    42 Poorvi S r G M P d n S' S' n d P M G r S d–G r G M P d n S' – n d P M G r S Poorvi 4–7 pm Sunset grandeur Sampurna-Sampurna (vakra)
    43 Puriya S r G M P D N S' S' N D P M G r S G–r r G M P D N S' – S' N D P M G r S Marwa 6–9 pm Sunset pathos Sampurna-Sampurna (vakra)
    44 Puriya Dhanashri S R G M P d N S' S' N d P M G R S P–G G M P d N S' – S' N d P M G R S Poorvi 6–9 pm Peaceful evening Sampurna-Sampurna
    45 Shree S r G m P d n S' S' n d P M g r S r–P r G m P d n S' – n d P M g r S Poorvi 4–7 pm Sunset majesty Sampurna-Sampurna (vakra)
    46 Sohini S G m D N S' S' N D m G S D–G G m D N S' – S' N D m G S Marwa 2–4 am Pre-dawn intensity Audav-Audav
    47 Tilak Kamod S R G m P D N S' S' N D P m G R S R–G G m P D N S' – S' N D P m G R S Khamaj 9 pm – 12 am Romantic Sampurna-Sampurna
    48 Tilang S G m P N S' S' N P m G S P–N G m P N S' – S' N P m G S Khamaj 6–9 pm Light, folk Audav-Audav
    49 Todi (Miyan ki Todi) S r g m P d n S' S' n d P m g r S d–g g m P d n S' – n d P m g r S Todi 9 am – 12 pm Deep pathos Sampurna-Sampurna
    50 Yaman S R G M P D N S' S' N D P M G R S G–N N R G – M P D N S' Kalyan 7–10 pm Evening romance Sampurna-Sampurna
    73 Basant Bahar S R G m P D N S' S' N D P m G R S M–S G m P D N S' – S' N D P m G R S Kafi Spring night Spring Sampurna-Sampurna
    74 Chhayanat S R G M P D N S' S' N D P M G R S G–N G M P D N S' Kalyan Spring evening Spring Sampurna-Sampurna
    75 Gujiri Todi S r g m P d n S' S' n d P m g r S d–g g m P d n S' Todi Morning Pathos Sampurna-Sampurna
    76 Hamsadhwani S R G P N S' S' N P G R S P–S P N S' – S' N P G R S Bilaval Morning Joy Audav-Audav
    77 Jogkauns S g m d N S' S' N d m g S m–S g m d N S' Bhairavi Midnight Mystery Audav-Audav
    78 Madhumad Sarang S R G m P D N S' S' N D P m G R S m–S m P D N S' Marwa Afternoon Sweet heat Sampurna-Sampurna
    79 Maru Bihag S R G M P N d S' S' d N P M G R S M–S M G R S n D P M G R S Kalyan Night Romantic Sampurna-Sampurna
    80 Nand S G m P N S' S' N P m G S P–S G m P N S' – S' N P m G S Bilaval Night Peaceful Audav-Audav
    81 Paraj S G m D N S' S' N D m G S G–N G m D N S' Poorvi Night Serenity Audav-Audav
    82 Shankara S R G m P D n S' S' n D P m G R S R–P G m P D n S' Bilaval Night Devotional Sampurna-Sampurna
    83 Shudh Kalyan S R G M P D N S' S' N D P M G R S G–R N R G M P – M P D N S' Kalyan 7–10 pm Evening Sampurna-Sampurna
    84 Yaman Kalyan S R G M P D N S' S' N D P M G R S G–N N R G – M P D N S' Kalyan 7–10 pm Evening romance Sampurna-Sampurna

    Key elements of a raga

    • Arohana / Avarohana: Ascent and descent patterns that may differ (non-symmetric).
    • Vadi / Samvadi: Principal and secondary notes that anchor the raga's melodic identity.
    • Pakad / Chalan: Characteristic motifs that instantly signal the raga.
    • Gamakas & Ornamentation: Microtonal slides, oscillations, and emphasis patterns crucial to expression.
    • Rasa: The emotional flavor (e.g., serenity, longing, heroism) associated with the raga.
    • Samay (Time Theory): Traditional guidance on when a raga is to be performed for maximal effect.

    Historical & Cultural Context

    The concept of raga is ancient, with precursors in the Samaveda and early nāda (sound) treatises. Over centuries the melodic system branched into regional traditions—chiefly Hindustani (North Indian) and Carnatic (South Indian) systems—each developing its own taxonomy, pedagogy, and repertoire. The canonical list of 84 ragas appears in multiple historical and pedagogical sources as a compact reference set used for teaching, composition, and scholarly comparison.

    Note: Different traditions may treat the “84 ragas” differently—sometimes as a pedagogical list for teaching core ragas, and sometimes as a mapping between Thaat/Melakarta systems and practice-based ragas.

    Theory & Classification

    Thaat (Hindustani) vs Melakarta (Carnatic)

    Two major classification systems underpin how ragas are organized in modern scholarship and pedagogy:

    1. Thaat system (Hindustani): A practical method introduced by Vishnu Narayan Bhatkhande in the early 20th century grouping ragas into ten parent thaats for pedagogy.
    2. Melakarta system (Carnatic): A mathematically complete 72-parent (melakarta) scheme; many janya (derived) ragas emerge from these parents. The melakarta system is exhaustive for seven-note scales, enabling systematic naming and classification.

    Jāti, Rasa & Samay

    Jati describes the number of notes used in ascent/descent (e.g., audava—5 notes, sampurna—7 notes). Rasa ties the raga to an emotional palette (shanta—calm, karuna—compassion, vira—heroic, etc.). Samay or time-theory prescribes when a raga traditionally yields its maximum effect (morning, afternoon, evening, late night).

    Structure & Performance Practice

    Alap, Jor, Jhala, and Bandish/Khayal

    In Hindustani performance, a raga is often introduced through a slow, unmetered exposition (alap) that reveals the raga’s identity, then expanded with rhythm (jor), a climactic fast section (jhala), and finally fixed compositions (bandish/khayal) with tabla accompaniment. Carnatic performances typically present a kriti (composition) framed by improvisatory segments (raga alapana, neraval, kalpana swaras) tailored to the raga's grammar.

    Ornamentation & Microtonality

    Gamaka and microtonal inflections are central — they transform a mere scale into a living raga. Nuance, phrasing, and emphasis (and not only the notes themselves) define a raga’s identity.

    Listening & Learning Guide

    Practical steps to study and internalize ragas:

    1. Start with aroha/avarohana: Learn the ascent and descent and the vadi/samvadi.
    2. Work the pakad: Practice signature phrases until they become reflexive.
    3. Learn bandish & compositions: Use compositions to ground improvisation vocabulary.
    4. Improvise inside rules: Do alap/riyaaz slowly, then add rhythm and fast phrases.
    5. Time slots & mood: Experiment with performing ragas at their traditional hours and notice psychological effects.
    Morning / Dawn:
    Ragas with contemplative, spacious moods
    Afternoon:
    Ragas suited for light, playful moods
    Evening:
    Ragas with deep, romantic or devotional mood
    Late Night:
    Ragas of longing and introspection

    Applications: Therapy, Research & Creativity

    Ragas have been used in traditional healing, contemporary music therapy, film scoring, and neuroscience studies exploring how melodic structures influence mood and autonomic function. Researchers look at brain responses, heart-rate variability, and subjective reports tied to specific ragas—an area where ancient practice meets modern science.

    Using Ragas in Composition

    Contemporary composers often draw ragas into fusion, film music, and experimental works—honoring raga grammar while extending its boundary into new harmonic and textural contexts.

    Conclusion

    The 84 ragas of Indian classical music reflect a profound interplay of art, emotion, spirituality, and science. Each raga acts as a subtle blueprint that shapes human perception, affecting mood, cognition, and even physiological rhythms. By understanding their structure, rasa, and time theory—as well as their place in the larger ecosystem of thaats, melakartas, and lineage traditions—we gain insight not only into classical music but also into the deeper fabric of Indian culture.

    As music therapy, consciousness studies, and neuroscience continue to explore the impact of sound on the brain, these 84 ragas offer a timeless and sophisticated framework for research and practice. Whether you are learning, teaching, performing, or simply listening, the journey through these ragas opens pathways to creativity, meditation, emotional healing, and higher awareness. The tradition remains alive because each raga, when performed with purity, becomes a living, breathing experience—one that connects us to the ancient foundations and to the infinite possibilities of sound.

    References:

    1. Ray, Amit. "Brain Fluid Dynamics of CSF, ISF, and CBF: A Computational Model." Compassionate AI, 4.11 (2024): 87-89. https://amitray.com/brain-fluid-dynamics-of-csf-isf-and-cbf-a-computational-model/.
    2. Ray, Amit. "Musical Neurodynamics and Neuroplasticity: Mathematical Modeling." Compassionate AI, 2.5 (2025): 12-14. https://amitray.com/musical-neurodynamics-and-neuroplasticity/.
    3. Ray, Amit. "Neurodynamics of Indian Classical Music and The Ray 28 Brain Chakras." Compassionate AI, 2.6 (2025): 30-32. https://amitray.com/neurodynamics-indian-classical-music-ray-28-brain-chakras/.
    4. Ray, Amit. "Neuroscience of Indian Classical Music: Raga, Tala, and Swara." Compassionate AI, 3.7 (2025): 75-77. https://amitray.com/neuroscience-indian-classical-music-raga-tala-swara/.
    5. Ray, Amit. "Music Therapy and BDNF Signaling in Aging Brain: A Systematic Review." Compassionate AI, 3.8 (2025): 84-86. https://amitray.com/music-therapy-and-bdnf-signaling-in-aging-brain-a-systematic-review/.
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