Classification of Raga by time of the day/night
| Thaat | Raga | Time of day |
|---|---|---|
|
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 structure are grouped under the broad head of Bilawal Thaat.} |
||
| Kaushik Dhwani | Night | |
| Durga | Late Evening | |
| Hemkalyan | Late Evening | |
| Nat Bihag | Night | |
| Bihagada | Night | |
| Hamsadhwani | Evening | |
| Deshkar | Late Morning | |
| Shankara | Night | |
| Alahiya-Bilawal | Late Morning | |
| Bihag | Night | |
Marwa {Raga Marwa is derived from Marwa Thaat. It is a 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. |
Bhatiyar | Dawn |
| Bhankar | Pre-dawn | |
| Vibhas | Morning | |
| Sohini | Pre-dawn | |
| Puriya | Evening | |
| Puriya Kalyan | Evening | |
| Marwa | Dusk | |
|
Bhairav {Raga Bhairav belongs to Bhairav Thaat. It is an early morning Raga, using all seven notes in the ascent and in the descent. Rishabh and Dhaivat are komal (flat) and the other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bhairav Thaat.} |
Lalit | Dawn |
| Nat Bhairav | Morning | |
| Kalingada | Early Morning | |
| Ahir-Bhairav | Morning | |
| Jogia | Early Morning | |
| Ramkali | Early Morning | |
| Bhairav | Early Morning | |
| Vibhas | Morning | |
| Gauri | ||
Poorvi {Raga Poorvi belongs to Poorvi Thaat. It is a Sandhiprakash Raga, and is rendered at dusk, that 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.} |
Paraj | Pre-dawn |
| Basant | Late Evening | |
| Puriya Dhanashri | Dusk | |
| Shree | Dusk | |
| Poorvi | Dusk | |
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 order, Rishabh, Gandhar, Dhaivat and Nishad being komal (flat) and Madhyam being shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bhairavi Thaat.} |
Bilaskhani Todi | Morning |
| Bhupal Todi | Morning | |
| Bhairavi | Late Morning | |
| Malkauns | Midnight | |
| Komal Rishabh Asavari | Morning | |
Todi {Raga Todi belongs to Todi Thaat. 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 while Nishad is Shuddha. The derivative ragas out of this structure are grouped under the broad head of Todi Thaat.} |
Multani | Dusk |
| Todi | Morning | |
| Gurjari Todi | Morning | |
| Lilavati | Morning | |
Asavari {Raga Asavari belongs to Asavari Thaat. It is a late 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 shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Asavari Thaat.} |
Jaunpuri | Late Morning |
| Desi | Late Morning | |
| Asavari | Late Morning | |
| Adana | Midnight | |
| Darbari Kanhada | Midnight | |
| Kaunsi Kanhada | Night | |
|
{Raga Kalyan belongs to Kalyan Thaat. It is an evening Raga. It uses all the seven notes, five of them in the ascent and seven of them in the 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.} |
Shuddha Kalyan | Evening |
| Yaman | Evening | |
| Hameer | Evening | |
| 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 | |
|
Khamaj {Raga Khamaj belongs to Khamaj Thaat. It is 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 derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat.} |
Desh | Late Evening |
| Rageshri | Late Evening | |
| Gaud Malhar | Late Evening | |
| Tilak Kamod | Late Evening | |
| Khamaj | Late Evening | |
| Jayjaiwanti | Late Evening | |
| Jog | Late Evening | |
| Jhinjhoti | Late Evening | |
| Tilang | Late Evening | |
| Gorakh Kalyan | Late Evening | |
| Sorat | Late Evening | |
|
Kafi {Raga Kafi belongs to Kafi Thaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal (flat) and all other notes are shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Kafi Thaat.} |
Mian Malhar | Late Evening |
| Bhimpalasi | Late Afternoon | |
| Barwa | Dusk | |
| Patdeep | Dusk | |
| Brindavani Sarang | Afternoon | |
| Chandrakauns | Night | |
| Surdasi Malhar | Late Evening | |
| Shahana | Midnight | |
| Kafi | 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 | Dusk |