Classification of Raga by time of the day/night

Thaat

Raga

Time of day

Kaushik Dhwani Night

Durga

Late Evening

Hemkalyan

Late Evening

Nat Bihag

Night

Bihagada

Night

Hamsadhwani

Evening

structure are grouped under the broad head of

Deshkar

Late Morning

Bilawal Thaat.}

Shankara

Night

Alahiya-Bilawal

Late Morning

Bihag

Night

Bhatiyar

Dawn

Marwa

Bhankar

Pre-dawn

{Raga Marwa is derived from Marwa Thaat. It is a

Vibhas

Morning

Sohini

Pre-dawn

Puriya

Evening

Puriya Kalyan

Evening

Marwa

Dusk

Lalit

Dawn

Nat Bhairav

Morning

{Raga Bhairav belongs to Bhairav Thaat. It is an

Kalingada

Early Morning

early morning Raga, using all seven notes in the

Ahir-Bhairav

Morning

Bilawal
{Raga Bilawal is derived from Bilawal Thaat. It is a
morning Raga, and uses all the seven notes in the
ascending and descending order. All notes are
shuddha (full). The derivative ragas out of this

dusk/ early evening Raga which 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 derivative ragas out of this structure are
grouped under the broad head of Marwa Thaat.

Bhairav

ascent and in the descent. Rishabh and Dhaivat are Jogia

Early Morning

komal (flat) and the other notes are shuddha (full). Ramkali
The derivative ragas out of this structure are
Bhairav

Early Morning

grouped under the broad head of Bhairav Thaat.}

Vibhas

Early Morning
Morning

Gauri
Poorvi

Paraj

Pre-dawn

Basant

Late Evening

{Raga Poorvi belongs to Poorvi Thaat. It is a

Puriya Dhanashri Dusk

Sandhiprakash Raga, and is rendered at dusk, that

Shree

Dusk

Poorvi

Dusk

Bilaskhani Todi

Morning

Bhupal Todi

Morning

is the time when the day ends. It uses all seven

notes in the ascent and the descent. Rishabh and
Dhaivat are komal (flat), Madhyam is both shuddha
and tivra while Gandhar and Nishad are shuddha
(full). The derivative ragas out of this structure are
grouped under the broad head of Poorvi Thaat.}
Bhairavi

{Raga Bhairavi belongs to Bhairavi Thaat. It is a late Bhairavi

morning Raga, and traditionally is the last raga
performed at a session. Shuddh Bhairavi uses all

Malkauns

Late Morning
Midnight

the seven notes in the ascending and descending

order, Rishabh, Gandhar, Dhaivat and Nishad being Komal Rishabh
komal (flat) and Madhyam being shuddha (full). The Asavari

Morning

derivative ragas out of this structure are grouped

under the broad head of Bhairavi Thaat.}
Multani

Dusk

Todi

Todi

Morning

{Raga Todi belongs to Todi Thaat. It is a morning

Gurjari Todi

Morning

Lilavati

Morning

Jaunpuri

Late Morning

Asavari

Desi

Late Morning

{Raga Asavari belongs to Asavari Thaat. It is a late

Asavari

Late Morning

Adana

Midnight

Raga, and uses all seven notes in the ascent and

descent. Rishabh, Gandhar and Dhaivat are komal
(flat), Madhyam is Tivra while Nishad is Shuddha.
The derivative ragas out of this structure are
grouped under the broad head of Todi Thaat.}

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

Darbari Kanhada Midnight

shuddha (full). The derivative ragas out of this

structure are grouped under the broad head of

Kaunsi Kanhada Night

Asavari Thaat.}
Kalyan

Shuddha Kalyan Evening

{Raga Kalyan belongs to Kalyan Thaat. It is an

Yaman

Evening

evening Raga. It uses all the seven notes, five of

Hameer

Evening

them in the ascent and seven of them in the

Hindol

Morning

Bhupali

Late Evening

Kamod

Late Evening

Chhayanat

Late Evening

Shyam Kalyan

Evening

Nand

Late Evening

Kedar

Late Evening

Gaud Sarang

Afternoon

Yaman Kalyan

Evening

Chandni Kedar

Late Evening

Desh

Late Evening

Rageshri

Late Evening

Khamaj

Gaud Malhar

Late Evening

{Raga Khamaj belongs to Khamaj Thaat. It is

Tilak Kamod

Late Evening

Khamaj

Late Evening

Jayjaiwanti

Late Evening

Jog

Late Evening

derivative ragas out of this structure are grouped

Jhinjhoti

Late Evening

under the broad head of Khamaj Thaat.}

Tilang

Late Evening

Gorakh Kalyan

Late Evening

Sorat

Late Evening

Mian Malhar

Late Evening

Bhimpalasi

Late Afternoon

Barwa

Dusk

descent. It uses tivra (sharp) Madhyam and all

other notes are shuddha (full). The derivative ragas
out of this structure are grouped under the broad
head of Kalyan Thaat.}

rendered in the late evening and uses all seven

notes, six in the ascent and seven in the descent. It
uses both komal (flat) and shuddha (full) Nishad,
and all other notes are shuddha (full). The

Kafi
{Raga Kafi belongs to Kafi Thaat. Usually it is

rendered in the late evening and uses all the seven Patdeep
notes in the ascending and descending order.

Brindavani

Gandhar and Nishad are komal (flat) and all other

Sarang

notes are shuddha (full). The derivative ragas out

Chandrakauns

of this structure are grouped under the broad head Surdasi Malhar
of Kafi Thaat.}
Shahana
Kafi

Dusk
Afternoon
Night
Late Evening
Midnight
Late Evening

Piloo

Evening

Ramdasi Malhar Late Evening

Bahar

Late Evening

Gara

Late Evening

Abhogi

Night

Shuddha Sarang Afternoon

Bageshri

Night

Jog

Late Evening

Nayaki Kanhada Night

Dhaani

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Dusk