Some selected Ragas on the Sarod

This page aggregates various posts and provides a single destination for those looking for compositions or information of various ragas.

This is pretty much a list of ragas that I’m reasonably familiar with for which compositions will be uploaded:

Abhogi

Adana

Alhaiya Bilawal

Ahir Bhairav

Asavari (also Komal Rishabh Asavari)

Bageshri

Bageshri – Part 1

Bahar (also see Basant Bahar)

Bairagi

Bihari

Basant

Basant Mukhari

Bhairav

Bhairavi

Bhankar

Bhatiyaar

Bhimpalasi

Bhinna Shadaj (also known as Kaushik Dhwani)

Bhupeshwari

Bhupal Todi

Bhopali

Bihag

Bilaskhani Todi

Chandrakauns

Charukeshi

Chhaya Nat

Darbari Kanada Part 1, Part 2

Des (Desh, Des Malhar, Desh Malhar) : Part 1 Part 2

Deshkar

Desi

Dhani

Durga

Gaoti

Gaud Malhar

Gaud Sarang

Gorakh Kalyan

Gujari Todi

Hamir

Hanswadhwani

Hemant

Hindol

Jaunpuri

Jaijaiwanti

Jhinjhoti : Part 1 , Part 2

Jog

Jogkauns

Jogiya

Kafi – Zila Kafi

Kafi Kanada

Kamod

Kaunsi Kanada

Kalavati

Kedar

Khamaj

Kirvani

Lalit

Madhuvanti

Madhmad Sarang

Miyan Malhar

Miyan Ki Todi

Miya Ki Sarang

Malkauns

Mand

Maru Bihag

Marwa

Megh

Mishra Gara

Multani

Nand

Nat Bhairav

Pahadi

Patdeep

Paraj

Pilu (Piloo) 1,

Pilu 2

 

Puriya

Puriya Kalyan

Puriya Dhanashri

Poorvi

Ramkali

Rageshri

Shankara

Shivranjini

Sohini

Shree (Shri)

Shudda Kalyan

Shuddha Sarang

Shyam Kalyan

Tilak Kamod

Tilang

Vibhas

Vrindabani Sarang (Brindabani Sarang)

Yaman

Yaman Kalyan

Zila Kafi

 

 

 

 

13 thoughts on “Some selected Ragas on the Sarod

  1. AM STRUGGLING WITH FINGERING PATTERN WHEN IT COMES TO PLAYING Ma tivra and Pa. please also tell me the fingering for bhairavi thaat. regards

    • Hello Ravi, you play both Tivra Ma and pa with your first finger, as the notes are close together. Re: Bhairavi, , the fingering sequence is Sa (Open), re (first finger), ga (second finger) Ma (Open) Pa (first finger) dha (first finger) ni (second finger), Sa (second finger). The idea is to use the same finger for notes which are close together. Hope this helps.
      Rahul

      • thank u very much sir. will keep troubling u fr small small things. also please communicate when visiting india. will very much like to meet u. could u also tell me some paltas(in addition to those given in the book) so that the fingers can move real fast. also kindly nominate a source(online) for learning a few basic raagas as i am the type that has to verbally learn first and then translate it on to the sarod. pls help.

        • Hello Ravi, will let you know my India plans on my next trip. I typically go to Delhi, Varanasi and Kolkata. Re: Paltas, speed develops over time, so give it a few months of regular practice. The book covers pretty much all the paltas you would need on the sarod. Re: Raga source, please try the Sangeet Research Academy’s website – they have a section called “Know your Raga” which is useful.

          Regards

          Rahul

  2. HELLO SIR. AGAIN GETTING INTO A FIX WITH FINGERING IN CASE OF MALKAUNS. SINCE LOWER DHA KOMAL AND NI KOMAL ARE FREQUENTLY USED, IT IS ONLY NATURAL THAT 1ST AND 2ND FINGERS BE USED FOR DHA AND NI RESPECTIVELY. HOWEVER WHEN IT COMES TO GA KOMAL 2ND FINEGR AUTOMATICALLY COMES INTO PLAY AND THUS ALSO FOR DHA(ON THE MA STRING) WHICH MEANS 2ND FINGER PREDOMINATES IN THIS RAAGA. KINDLY PROVIDE THE FINGERING FOR THIS RAAGA.
    REGARDS.

    • Hello Ravi
      Malkauns fingering is as follows:
      Pa String: Lower Dha – 1st finger, Lower Ni – Second finger
      Sa String: Ga – 1st finger
      Ma String: Dha – 1st finger, Ni, Sa – 2nd finger.
      What are you trying to play? I can record a video of that so you can see the fingering in detail. Regards, Rahul

  3. sir. regards. i am oscillating between raag durga and raag malkauns. i already have your rendition of durga. please explain malkauns so that i can play this raag. it is such a melodious raag. it is actually a dream in itself. kindly provide this video. more importantly, give me some taans to practice in this raag. i have heard and seen ustad Amjad Ali Khan saab’s rendition but i find it a tad difficult.
    thanx a ton.

  4. Pingback: Creating Dedicated Pages for Ragas | The Sarod Site

  5. This is in response to Rupinder’s reuqset for an explanation of Ustad Amir Khan’s Aiman bandish.Amir Khan saheb sings the first two lines of an Amir Khusrau ruba’ee (quatrain). I would to say that the language is modern Persian, in linguistic terms, so there is no problem of understandability.shaahaa ze karam bar man e darwesh negarbar haal e man e khasta o del resh negartranslation:O King, look with favour upon me who is destitute-regard my state of weariness and wounded heartUnfortunately, Khan saheb has not sung the last two lines of the ruba’yee so the full sense of the poem is left incomplete.

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