Ragas for Peace

Warm afternoon devotion; traditionally associated with earnest calling out to the divine.

Warm sunrise raga; widely used in music-therapy contexts for gentle emotional opening.

The 'rain-bringing' raga; traditionally sung for relief, cooling and abundance.

Traditionally regarded as therapeutic — said to steady blood pressure and settle the emotions. Sung as lullaby and as prayer.

A modern therapeutic designation rather than a classical raga name — retained from the v1 dataset for continuity; verify before public display.

The Chandra (Moon) kriti is set in this raga — traditionally linked with the mind and emotions.

Spare pre-dawn raga of the renunciate; strongly associated with dhyana.

Early dawn raga; traditionally used for the first sitting of the day.

Soft, luminous night raga; traditionally used to close the day gently.

The great dawn raga of Shiva; traditionally serious, purifying and stabilising.

Sung to conclude a recital. Traditionally holds sorrow with tenderness and releases it.

Warm afternoon raga of separation and sweetness.

Sung to wake the deity at brahma-muhurta. Traditionally the raga of gentle awakening.

Serene early-evening pentatonic; traditionally settling and uplifting at once.

Spare dawn pentatonic; traditionally for the first light.

Luminous late-night raga; traditionally used to close the day.

The natural major scale; open and untroubled morning raga.

A warm sunrise raga. Traditionally associated with compassion and gentle awakening.

Malkauns with shuddha Ni; luminous and still.

Bittersweet evening raga adopted into Hindustani from the Carnatic mela.

Bittersweet — brightness above, pathos below. Traditionally used to hold sorrow without being crushed by it.

Said to be very effective in easing tension and anxiety, relieving mental shock, and improving concentration and restful sleep.

The imperial night raga; the most frequently cited raga in Indian music-therapy literature for tension and anxiety.

Shares Arabhi's notes but is soft and prayerful in gamaka.

Soothing and open morning raga.

Tender and yearning; traditionally linked to devotional longing at dusk.

A majestic, balanced scale. Traditionally associated with mental steadiness, dignity and sattvic clarity.

Uncluttered night pentatonic; traditionally stabilising.

Luminous dusk colour; traditionally associated with yearning and beauty.

Ornate midday raga with zig-zag phrasing.

Sparse night raga associated with the Nath yogis.

Balanced and pleasing; traditionally used for calm, even-minded practice.

Bright, buoyant pentatonic.

Soft and pliant; traditionally used to soften rigidity of mood.

A deep pentatonic of the small hours. Traditionally used for dhyana, and to quiet an overactive mind.

Even-tempered Asavari relative.

Homely, affectionate night raga.

Central, comfortable night raga; traditionally cooling and steadying.

Light evening pentatonic, close to Valaji.

Light evening pentatonic.

The great auspicious evening raga. Traditionally used to dispel fear and anxiety and to invoke wellbeing before any new undertaking.

A dusk raga of prayer and renunciation; traditionally used at sandhya for surrender.

Serious night raga of the Kanada family.

Night raga of Shiva; broad and restful.

Bright and auspicious morning raga.

Said to strengthen the mind and relieve tension, worry and distress, evoking a cool, soothing, deep mood.

The last raga of the night, sung as darkness thins; poignant and prayerful.

Tender late-afternoon raga; traditionally used for wistful, softening moods.

Late-afternoon raga of gentle yearning.

Sung at the close of every concert. Traditionally considered wholly benefic and healing — safe at any hour.

The first raga taught to beginners; steadying and simple.

Named for the fresh sandal-scented breeze; a light dawn raga.

The classic raga of the small hours; traditionally profound, stilling and used for dhyana.

Compact, pleasant morning raga.

Cloud raga; grave and rain-invoking.

The great monsoon raga; traditionally associated with rain, relief and cooling.

The 'enchanting' pentatonic. Traditionally used to lift mood, pacify anger and invoke Krishna (Mohana).

Gentle, weighty night raga.

The classical lullaby raga — traditionally said to induce sleep. Best used at night only.

Lullaby raga; traditionally sleep-inducing.

Hill-folk melody; open-hearted and easy on the mind.

Bright Kafi-family afternoon raga.

Twilight raga of prayer; traditionally sung at sandhya.

Pa-less night raga; tender and enveloping.

Sunset raga of dissolution; the kriti for Rahu is set in this raga.

Delightful, as the name says; a modern favourite.

Winding and contemplative; traditionally used for deep bhakthi and inwardness.

Spare and luminous; traditionally used at brahma-muhurta and associated with Ketu.

Traditionally held to pacify anger; its name itself means forbearance. Soothing at any hour, especially late night.

Level and calming, as its name suggests; traditionally used to even out the mind.

Graceful and devotional evening scale.

Bhupali ascending, Kalyan descending; poised and dignified.

Clear, uncluttered pentatonic; traditionally settling and auspicious.

For a healthy mind and body — love, gentleness, peace, tranquillity and serenity. A bhashanga raga using all twelve swaras; sung at dawn and as a concluding piece.

Free-moving raga used to conclude; traditionally consoling and integrative.

A raga of prosperity and blessing, often used to conclude. Traditionally considered highly benefic.

Gentle and rounded; traditionally soothing to a restless heart.

Even and consoling; traditionally used to steady fear. The Angaraka (Mars) kriti is set in this raga.

Austere and otherworldly; traditionally associated with vairagya and with Ketu.

Grave-sweet and consoling. The Shani (Saturn) kriti is set in this raga.

The first raga of the evening and of most curricula; traditionally auspicious and calming.

Yaman with a touch of shuddha Ma; softer and sweeter.