Raga in the context of Avarohana

Pir Waris Shah (Punjabi: وارث شاہ (Shahmukhi); 1722 – 1798) was an 18th-century Punjabi Muslim Sufi poet of the Chishti order, known popularly for his contribution to Punjabi literature.

He is primarily known as the author of the Heer Ranjha love poem. It's about one of the most popular tragic romances of Punjab. Traditionally, this love poem is recited in bhairavi raga and this continues to be done even today.

Bhairavi (Hindi: भैरवी, Urdu: بَھیرَوی , Sindhi: راڳ ڀيروي, Bengali: ভৈরবী) is a Hindustani Classical heptatonic (Sampurna) raga of Bhairavi thaat. In Western musical terms, raga Bhairavi employs the notes of the Phrygian mode, one of the traditional European church modes.

Hindu music is music created for or influenced by Hinduism. It includes Indian classical music, Kirtan, Bhajan and other musical genres. Raagas are a common form of Hindu music in classical India.

The most common Hindu bhajan in North India is "Om Jai Jagdish Hare." The names of Gods are religiously chanted, often including Vishnu and his incarnations, Shiva and the Goddess (Parvati, Shakti, Vaishnodevi).

Bhairavi is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.

Indian classical music is the classical music of the Indian subcontinent. It is generally described using terms like Shastriya Sangeet and Marg Sangeet. It has two major traditions: the North Indian classical music known as Hindustani and the South Indian expression known as Carnatic. Hindustani music emphasizes improvisation and exploration of all aspects of a raga, while Carnatic performances tend to be short composition-based. However, the two systems continue to have more common features than differences. Another unique classical music tradition from the eastern part of India is Odissi music, which has evolved over the last two thousand years.

The roots of the classical music of India are found in the Vedic literature of Hinduism and the ancient Natyashastra, the classic Sanskrit text on performing arts by Bharata Muni. The 13th century Sanskrit text Sangeeta-Ratnakara of Sarangadeva is regarded as the definitive text by both the Hindustani music and the Carnatic music traditions.

Bahar is a Hindustani classical raga. This raga is very similar (but still distinct) to raga Miyan ki Malhar. This raga is from the Kafi Thaat.

Sahana (pronounced sahānā) is a popular ragam (musical scale) in Carnatic music. It is a janya rāgam (derived scale) associated with the 28th Melakarta rāgam Harikambhoji.

The Hindustani music ragam Sahana is an upper-tetrachord-dominant Kanada-anga raga, from the Kafi thaat, also allied with Bageshree and Bhimpalasi. The shuddha Dhaivat is an important rest note (nyaas swara).

Malkauns, known also as rag Malkosh, is a raga in Indian classical music. It is one of the oldest ragas of Indian classical music. The equivalent raga in Carnatic music is called Hindolam, not to be confused with the Hindustani Hindol.

According to Indian classical vocalist Pandit Jasraj, Malkauns is a raga that is "sung during small hours of the morning, just after midnight." He further adds that the raga has a soothing and intoxicating effect.

Darbari Kanada, or simply Raga Darbari (pronounced darbāri kānada), is a raga in Hindustani music. It is a janya ragam (derived scale) of 20th Melakarta raga Natabhairavi. It is believed to be borrowed into Hindustani classical music by Miyan Tansen, the famous 16th-century composer in the Mughal emperor Akbar's court. It belongs to the Kanada family. It is believed that the Mughal emperor Akbar was very fond of this raaga. Hence often made Miyan Tansen sing this raaga in his court. This is reflected in the name itself; Darbar is the Persian derived word in Hindi meaning "court." As the most familiar raga in the Kanada family, it may sometimes also be called Shuddha Kanada or pure Kanada. It belongs to the Asavari thaat. This raag is called raaga Kaanada in Yakshagana Karnataka state dance. It is also sometimes written as Durbari and Durbarikanada.

Yaman (also known as Kalyaan, Iman, Aiman, Eman, Kalyani in Carnatic classical music) is a heptatonic (sampurna) Indian classical raga of Kalyan Thaat.

Its signature phrase (Pakad) is ni-Re-Ga-/Re-Ga/ni-Re-Sa/Pa-Ma-Ga-Re/ni-Re-Sa' (Ma is teevra).

Raag Marwa or Marva is an Indian raag belonging to Hindustani classical music. This is a masculine raaga and conveys an emotion of longing or separation.This is a sandhiprakash raaga of sandhyakaaleen samay.This means that it is sung during dusk hour. This raag includes Teervra Madhyam and Komal Rishab and Pancham the 5th note is totally varjit or prohibited. The Kshadaj or Sa in this raag hold a special place. Kshadaj is considered to be the most important swara in this raag but is allowed to be used as minimum as possible in order to create a feeling of longing and frustration of patience for the swara. This minimizling the use of Kshadaj ultimately helps the raaga to achieve its proper mood

Progressive pop is pop music that attempts to break with the genre's standard formula, or an offshoot of the progressive rock genre that was commonly heard on AM radio in the 1970s and 1980s. It was originally termed for the early progressive rock of the 1960s. Some stylistic features of progressive pop include hooks and earworms, unorthodox or colorful instrumentation, changes in key and rhythm, experiments with larger forms, and unexpected, disruptive, or ironic treatments of past conventions.

The movement started as a byproduct of the mid-1960s economic boom, when record labels began investing in artists and allowing performers limited control over their own content and marketing. Groups who combined rock and roll with various other music styles such as Indian ragas and Asian-influenced melodies ultimately influenced the creation of progressive rock (or "prog"). When prog records began declining in sales, some artists returned to a more accessible sound that remained commercially appealing until the 1990s.

Borgeets (Assamese: বৰগীত, romanized: Borgeet, lit. 'songs celestial', IAST transliteration: baragīta) are a collection of lyrical songs that are set to specific ragas but not necessarily to any tala. These songs, composed by Srimanta Sankardeva and Madhavdeva in the 15th-16th centuries, are used to begin prayer services in monasteries, e.g. Satra and Namghar associated with the Ekasarana Dharma; and they also belong to the repertoire of Music of Meghalaya outside the religious context. They are a lyrical strain that express the religious sentiments of the poets reacting to different situations, and differ from other lyrics associated with the Ekasarana Dharma. Similar songs composed by others are not generally considered borgeets.

The first Borgeet was composed by Srimanta Sankardeva during his first pilgrimage at Badrikashram in 1488 C.E., which is contemporaneous to the birth of Dhrupad in the court of Man Singh Tomar (1486-1518) of Gwalior.The Borgeets are written in Brajavali dialect that is distinct from the Brajabuli used in Orissa and Bengal—it is a language where Maithili inflections were added to Assamese vocables and poruniciations— created by Shankardev and Madhabdev.

Mēḷakartā is a collection of fundamental musical scales (ragas) in Carnatic music (South Indian classical music). Mēḷakartā ragas are parent ragas (hence known as janaka ragas) from which other ragas may be derived. A melakarta raga is sometimes referred as mela, karta or sampurna as well, though the latter usage is inaccurate, as a sampurna raga need not be a melakarta (take the raga Bhairavi, for example).

In Hindustani music the thaat is the rough equivalent of Melakartā. There are 10 thaats in Hindustani music, though the commonly accepted melakarta scheme has 72 ragas.

Mayamalavagowla (pronounced māyāmāḻavagauḻa) is a raga of Carnatic music (musical scale of South Indian classical music). It is classified as 15th melakarta raga under Venkatamakhin's melakarta system. Originally known as malavagowla, "maya" was prefixed to it after the advent of the scheme of the 72 melas. The number 15 was assigned to it following the Katapayadi sankhya system. This is a morning raga.

A thaat (IAST: thāṭ) is a "parent scale" in North Indian or Hindustani music. It is the Hindustani equivalent of the term Melakartha raga of Carnatic music. The concept of the thaat is not exactly equivalent to the western musical scale because the primary function of a thaat is not as a tool for music composition, but rather as a basis for classification of ragas. There is not necessarily strict compliance between a raga and its parent thaat; a raga said to 'belong' to a certain thaat need not allow all the notes of the thaat, and might allow other notes. Thaats are generally accepted to be heptatonic by definition.

The term thaat is also used to refer to the frets of stringed instruments like the sitar and the veena. It is also used to denote the posture adopted by a Kathak dancer at the beginning of their performance.

Raag Malhar, is an ancient raga with many variations, one variation known as Miyan Ki Malhar or Tansen Ki Malhar, was popularized by Sangeet Samrat Tansen. Malhar is a Hindustani classical raga. Malhar is associated with torrential rains.

Besides the basic Shuddha Malhar, which was the original Malhar, several Malhar variations or related ragas use the Malhar signature phrase S (m)R (m)R P, including Miyan ki Malhar, Megh Malhar, Ramdasi Malhar, Gaud Malhar, Sur Malhar, Nat Malhar, Dhulia Malhar and Meera ki Malhar. The Malhar Family is based on this signature phrase, where many such other ragas are created and are categorized under this family. This phrase, although it might seem similar and equivalent, is different from the swara phraseology employed in Raga Brindavani Sarang.

Kafi (IAST: Kāfi) is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga (Kharaharapriya) within this thaat.