Raga Vasantha alapana

Raga Kamas alapana

Thodi raga alapana

Raga Sindhubhairavi alapana

Chakravagam raga alapana

Aarohanam : S R1 G3 M1 P D2 N2 S
Avarohanam : S N2 D2 P M1 G3 R1 S

Hamsanadham - Raga alapana

Naatai Raga alapana

An alapana on Nattai raga

Aarohanam: sa ri ga ma pa dha ni sa

Avarohanam: sa ni pa ma ri sa

Aarohanam : sa ri3 ga2 ma1 pa dha3 ni3 sa

Avarohanam : sa ni3 pa ma1 ri3 sa

The raga is another one being used extensively by Composers. This will invariably be applied as the first raga by any Composer . JAGADANANDA KARAKA , the first of the famous Pancharatna kritis of Shri. Thyagaraja was composed using this raga. This is being considered as very auspicious to begin with.

Aberi Raga alapana

Bhairavi Raga alapana

Bhairavi is a janya raga in Carnatic music. It is also called a Sampoorna raga , with all the seven notes. However, since it has two different dhaivathams in its scale, and hence is not classified as a Melakarta raga .

Aarohaṇa: S R2 G2 M1 P D2 N2 S
Avarohaṇa: S N2 D1 P M1 G2 R2 S

The notes used are chathusruthi rishabham, sadharana gandharam, shuddha madhyamam, chathusruthi dhaivatham & shuddha dhaivatham and kakali nishadham. Note the use of both dhaivathams, chathusruthi (D2) in ārohaṇa and shuddha (D1) in avarohaṇa.

Kalyani Raga alapana

Aarohana: S R2 G3 M2 P D2 N3 S
Avarohana: S N3 D2 P M2 G3 R2 S
The structure : Chathusruthi Rishabam, Anthara Gandharam, Prati Madhyamam, Chathusruthi Dhaivatham, Kakali Nishatham

This is the 65th raga of the Melakarta or Sampoorna raga , the elite group.

One of the most popular ragas in Indian classical music. This raga will be taken up normally by an alapana and then build ragam thanam and pallavi to make it a complete kriti. Probably the best kriti could be Shri. Thyagaraja's NIDHI CHALA SUKAMA .

Kapi Raga alapana

An alapana in raag Kapi


Aarohana : S R2 M1 P N3 S
Avarohana : S N2 D2 N2 P M1 G2 R2 S

Kapi is a raga with an ascending pentatonic scale and a descending scale with seven notes, but not in a usual descending order. It uses two different nishada swaras.
The presence of two separate nishāda swarās (N2 and N3) lends a distinctive quality to Kapi, along with the fact that it uses a set of vakra swarās (N2 D2 N2).

Hamsadawani Raga alapana

Aarogana: S R2 G3 P N3 S

Avarogana: S N3 P G3 R2 S

Swaras taken by this raga are shadja , chatusruthi Ri, antara Ga, Pa and kakali Ni. A raga that deletes Ma and Dha. janta swaras prayogas like ggppnnppgr and dattu varisha prayogas like ngrgsr and prsrsnp etc. are unique. Ga and Ni are jiva swaras and Pa comes as amsa swara. An auspicious raga that ius most suitable for singing at the commencement of the performance . There are many kritis in praise of lord ganesha in this raga. Almost all the composers have compostions in this raga. A raga that shines well when sung in madhyamakala. This raga gives ample scope for alapana and svara prastharas.

The most famous kriti being VATAPI GANAPATHIM BAJE , written by Shri. MuthuSwami Dikshitar. One can hear this song being played as the commencing kriti by most of the carnatic musicians.