Raag Pahadi amrohi arohi in terms of Indian Music

Raag Pahadi amrohi arohi in terms of Indian Music

Raag Pahadi:

Raag Pahadi is one of the most popular raag in Indian music. Many famous compositions
have been made in Raag Pahadi. It is easy to sing even for a person with little knowledge of music.

raag pahadi indian music theory

Raag Pahadi is the raag of Bilawal thaat. This is the Awodo Raag (5 notes) Ma and Ne are not allowed in this raag.

The main quality of this raag is that it can be sugn anytime.

The lower octave and middle octave notes of this raag when played with fast rhythm, leave amazing musical magic in the mind of the listeners and their
heart beats become faster.

Sa is wadi whereas pa is sumwadi in this raag.

Dha leaves special effect when played in the lower octave. Raag Pahadi also resembles Bhopali at some stage, therefore the experienced performers slightly use Ma so that it’s structure may not sound like Bhopali. In Garanth one pahadi raag has been described in Bahroon thaat but that is not in use now-a-days and is almost a forgotten raag in Bahroon thaat. Notes can freely be used in pahadi raag therefore no special Chaal is being mentioned.


Sa-re-ga-pa-dha-sa(high octave)


sa (high octave)-dha-pa-ga-re-sa-dha (low octave)

Relevant Raag article:

Raag Deshkar-Indian Classical Music Theory

Raag Kamod part 2 and raag gaud sarang-Indian Music Theory

Raag Kamod part 2 and raag gaud sarang-Indian Music Theory

raag gaud sarang

This may be noted that in Raag Kamod Arohi must be played from Re to Pa, whereas in Chayanat Amrohi is played form Pa to Re. See below how it is to be played:

Sa-Re-Pa-Ga-Ma-Dha-Pa-Ga-Ma-Pa-Ga-Re-Sa, this is the Taan for Kamod.

Dha-pa-re-re-ga-pa-ma-ga-ma-re-sa is the Taan for Chayanat.

Simple Taans have been mentioned above so that every student may learn it with ease.

Remember the wadi note for kamod is pa whereas the wadi note for Chayanat is Re.

Kamod is the Raag that is played on poorwang (first part of octave) whereas chayanat is played on uttarwang that means (second part of octave).

gaud sarang:

gaud sarang is the sampuran raag (7 notes) of kalyan thaat. The notes are not played in sequence in this Raag therefore it is called vikar raag.

Both Madhams i.e.Ma (F and F sharp) are allowed in this Raag.

This Raag is to be sung in the afternoon. Ne must be played less in this Raag.

In Amrohi Ga is vikar in this Raag Dha is wadi and Ga is sumwadi in Gorsarang.

Suppose if we consider Ga as wadi note for this Raag, then it’s time must be evening not afternoon, according to the principle of Indian music theory.

Some pandits believe it to be the raag of Bilawal Thaat whereas some believe it to be the combination of Nutt, Kidara and Purbi.

The taan of gaud sarang is as follows:-



Remember black Ma (F sharp) is not to be used in Arohi.




Relevant Raag Posts:

Raag Kamod & Raag chayanat Notes-Indian Music Theory

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Raag Gaud Sarang Video


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Raag Kamod, Raag chayanat, chayanat, raag, raags, indian music theory, music theory,raag gorsarang, indian music

Raag Kamod & Raag chayanat Notes-Indian Music Theory

Raag Kamod & Raag Chayanat Notes-Indian Music Theory

raag kamod notes

Raag Kamod:

Raag Kamod is the sampuran (7 notes) Raag of Kalyan Thatt. It is customery to use both Ma (F + F sharp) notes in this Raag, that is why some people think this raag has evolved from Kalyan Thaat while others think it has been extracted from Bilawal Thaat.

The wadi note of this raag is Pa (G) whereas it’s samwadi note is Re (D) note and Ga (E) as vikar (not played in sequence). Remember black Ma (F sharp) is barely used.


This raag can easily be recognized due to the harmony of Re and Pa. This Raag is to be sung before evening. Some pandits believe this raag is the combination of raag Gonda and Hameer.

According to present day music theory, the notes of Ga-Ma and Ne are not to be played in Arohi but they must be played in Amrohi but not in sequence. So it must be played as under:-


Sa-Re-Pa-Pa, Dha-Pa-Ga, Ma-Dha-Pa, Ga-Ma-Pa-Ga, Sa-Re-Sa

Sa-Ne-Dha-Ga-Ma-Ga, Ma-Pa-Ga-Ma,Re-Sa-Re.

Raag Kamod is very popular and the musical composition in this raag are very easy to sing. Even the person of average ability can sing easily in this raag.

Raag Kamod is very demanding for the composition of commercials and light singing.

Raag Chayanat


raag chayanat is also a sampuran Raag of Kalyan Thaat. In this Raag, Re (D) is the wadi note whereas Pa (G) is the samwadi note. Samwadi means next important note to wadi. Most of the Pandits believe that this raag must be started from Dha (A) and it must finish on Sa (C) or Pa (G). In this Raag Ga (E) is also vikar (not played in sequence).

Some Pandits say this Raag is the mixture of Kalyan, Gond, Hameer and Nutt.

Remember Raag Kamod and Chayanat are very close in resemblance, therefore it must be kept in mind that notes Arohi of Kamod will never play (Ga-Na-Pa)

Relevant Raag posts

Raag Kedar Notes and Notation-Indian Music Theory

Raag Hameer-Indian Music theory tips for vocalists

Sud Kalyan Bhoop Kalyan-Indian Music Theory

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raag kamod notes,raag kamod, indian music theory, music theory

Thaat Music to explain Indian Music Theory

Thaat Music to explain Indian Music Theory:


Comprehensive description of thaats:

First the names of all thaats have been mentioned here for the memory of students.

  1. Kalyan Thaat
  2. Bilawal Thaat
  3. Khamach Thaat
  4. Behroon Thaat
  5. Bharween Thaat
  6. Asawari Thaat
  7. Todi Thaat
  8. Purvi Thaat
  9. Marwa Thaat
  10. Kafi Thaat

Now we shall grasp the knowledge of Raags and Raagnis the are formed in different Thaats.

Kalyan Thaat:

The following are in Kalyan Thaat

  1. Aeman
  2. Sud Kalyan
  3. Bhoop Kalyan or Bhoopali
  4. Hameer
  5. Kedara
  6. Chayanet
  7. Kamod
  8. Sham Kalyan
  9. Handole
  10. Gord Sarang
  11. Malsiri
  12. Aemni Bilawal
  13. Chardor Kant
  14. Sawani Kalyan
  15. Jeet Kalyan

Bilawal Thaat:

  1. Bilawal
  2. Bhaag
  3. Bhagra
  4. Deskar
  5. Pahari
  6. Kabka
  7. Shankara
  8. Nutt
  9. Maand
  10. Sarparda
  11. Aliya
  12. Gunkali
  13. Sikal
  14. Nutt Bilawali
  15. Hans Dhan
  16. Lachasak
  17. Haime
  18. Durga
  19. Norochaka
  20. Malohe Kedara
  21. Devgari
  22. Jaldhar Kedara
  23. Pat Maujri

Khamag Thaat:

  1. Khamag
  2. Jhanjoti
  3. Surath
  4. Dais
  5. Kambwati
  6. Talang
  7. Durga
  8. Rageshri
  9. Jajewanti
  10. Gordmala
  11. Natt Malar
  12. Tilak Kamod
  13. Budhause
  14. Ghera
  15. Naraiyni
  16. Partaab
  17. Naag Surawali

Bahroon Thaat:

  1. Bahroon
  2. Kangara
  3. Maig Rangni
  4. Surashister
  5. Jogia
  6. RamKali
  7. Parbhat
  8. Bhaas
  9. Gori Lalat Pancham
  10. Sawayri
  11. Bangal Bahroon
  12. Shelumat Bahroon
  13. Anand Bahroon
  14. Gun kali
  15. Aheer bahroon
  16. Zailef
  17. Des Gonda

Baharween Thaat:

  1. Baharween
  2. Malkonce
  3. Asawari
  4. Dhanasiri
  5. Bhopaal
  6. Zangola
  7. Motaki
  8. Sud Sawand
  9. Basant Mukhari
  10. Balas Khan Todi