Named after the city of Jaunpur, near Benares,rag Jaunpuri is very similar to Asawari.

The main differences are in the mood, which isless serious, in the use of ni, which is usedmore freely, and in register; Asawari generallyavoids the higher octave, while Jaunpuri uses itextensively.

Some phrases in Jaunpuri that would not beused in Asawari are:

Rag Bageshri (also known as Bageshree, Bagesri orBageshwari) is one of the most popular and often per-formed of the night ragas. A simple version of the ascend-ing-descending is:

This demonstrates the basic features of Bageshri:Kafi that, Re omitted in ascent, Ma strong, Pa omitted inascent, but used in vakra phrases in descent. These featuresare clearly stated in this longer version of the ascending-descending:

An even more complete picture of the rag is given in this shortalap:

As its name implies, Bagesri Kanada is a combinationof elements from Bagesri and Kanada. A very simpleascending-descending:

Bagesri Kanada

Kanada Bagesri Kanada Bagesri Kanada

Kanada Bagesri Kanada

Kanada

A chalan, with indications of what phrases comefrom where:

Malkauns, also known as Malkosh, is one of themost standard, simple, yet profound ragas. It isregarded by many as having numinous powers,such as the ability to attract djins. It is treatedwith great respect by many musicians, andwould never be performed outside of its appoint-ed time of early night.Its scale is one of the simplest:

Malkauns is also considered one of the six 'male'rags, and has generated a large family of rags,whose names end with -kauns or -kosh.

A chalan:

Bhimpalasi is one of the most beautiful ragas ofthe late afternoon.

Two simple versions of the scale:

Bhimpalasi's main characteristics are shown:ommition of re and dha in ascending, crookedmotions in descending.

A few typical phrases:

Asawari is one of the most important latemorning ragas. It has a serious mood and is tobe performed in a slow and dignified manner.There are three types of this raga: one withonly komal re, one with only shuddh re andone with both.

In all three, ga and ni are avoided in ascend-ing, but ga is strong in descent. The vadi isdha and the samvadi is ga.

the first kind is the most common:

The second kind, using komal re, issometimes called 'Komal Asawari' or'Komal Rishab Asawari'.The ascending-descending is basically thesame as the first kind, but the use of niand ga is a little less strict:

The third and rarest kind, using bothkomal and shuddh re, but the komal re isweak and used only before sa:

Gaur Sarang is the first raga of the afternoon,and depicts the sleepy, naptime mood of thattime of day. Despite the 'Sarang' in its name,Gaur Sarang has little in common with otherragas in that family.

A chalan in three parts:

Jaijaiwanti is one of the more complex of thefrequently performed rags. Its gentle moodand melodic complexity make it unsuitablefor fast performances. Ascending-descendingscales can only give a vague picture of thistype of raga.

Chalan:

Dhani is a simple, but not ferquently performedrag. Its similarity to Bhimpalasi and Soha Kanadamay be the reason. It has a forceful and restlessmood, and is usualy played in a fast tempo.

Chalan:

One of the most beloved ragas of all, and the mostoften performed of the rainy season rags, Desh(also known as Des) should not be confused withDesi Todi. The name means 'country' or 'land' andrag Desh is suitable for a wide variety of styles,from very plain to very complex and subtle.

A few of the most important phrases:

The key to the expression of raga is the phrasing of' ' or ' '.Here is an alap which shows some delicate orna-mentation and phrases which are not obvious fromknowing the scale.

Many artists consider Desh and Desh Malhar tobe identical. Others, though, make a distinctionbetween the two. While both are consideredrainy season ragas, Desh Malhar adds a fewphrases that move it closer to the other ragasof the Malhar family.

The biggest difference is in the use in DeshMalhar of a small touch of komal ga, much lessthan in Jaijaiwanti or any other raga. As in Jai-jaiwanti, the komal ga is used at the end of aphrase, and is always attached to re:

Also, careful touches of other signifiers of theMalhar family may be added.e.g. chromatic use of both ni-s

e.g. the re-pa connection

e.g. the ni-ma connection

This lovely raga is seldom performed, possiblybecause of the difficulty in maintaining the distinc-tion between it and several similar, better-knownragas: Desh Malhar, Jhinjhoti, Jaijaiwanti, Kafi.While it has many of the same note-sequences asthe other ragas, its phrasing and expression is dis-tinct.

Another of the simplest ragas, Durga as a friend-ly and loving character, as befits a raga namedafter the Mother goddess.

This raga is made up of elements from two of themain families of late-night ragas, the -kouns andKanada families.

this chalan is somewhat unusual, in that it showsthe entire range, from low to high twice:

Madhuwanti, whose name means 'garden ofhoney.' is a relatively recent addition to Hindust-hani music.

chalan:

Lalit, whose name means 'beautiful', is the firstraga of the morning. It is unique among ragas inthat the two forms of ma are freely used consec-utively.

chalan:

Mian-ki-Sarang is the most complex raga of thesarang family. It is one of the only ragas to usebot the Ma-s and Ni-s consecutively. As its nameindicates, it was allegedly composed by MianTansen.

chalan:

This rare and obscure raga uses the same notesas the popular raga Puria Kalyan, but in a morerestricted way. It also has similarities to bothMarwa and Puriya.

Three chalans:

Also called Kedara, this raga is characterized bythe dominance of shuddh ma and the interplaybetween both the forms of ma.

chalan:

Madhu-Malati can be thought of as an expandedversion of Madhuwanti, one which uses bothforms of ma and ni.

Logically, one would expect that the higher formsof the notes would be used in ascending and thelower in descending, but the following chalansshow a more complex picture: