Category: Raag Based
Explore the Magic of Raag-Based Songs – A Treasure Trove for Instrumental Music Lovers
Indian music is a beautiful blend of melody, rhythm, and emotion – and at its heart lies the timeless magic of Raags. If you’re an instrumental music enthusiast eager to recreate the charm of your favorite Bollywood or classical-inspired melodies, you’re in the right place. Welcome to the ‘Raag-based Songs’ section of NotesAndSargam.com – your go-to destination for discovering and playing soul-stirring tunes rooted in Indian classical music.
Why Focus on Raag-Based Songs?
A Raag (or Raga) is more than just a scale; it’s a framework that evokes specific moods and emotions. Whether it’s the serenity of Raag Yaman, the innocence of Pahadi, the devotion in Bhupali, the romantic hues of Des, or the depth of Charukeshi and Shivranjani – each Raag has a distinct personality. Songs based on these Raags often leave a lasting impression because they are deeply expressive and melodically rich.
What You’ll Find in This Archive
The ‘Raag-based Songs’ archive on NotesAndSargam.com is thoughtfully curated to help learners and hobbyists explore the connection between popular Indian film music and classical Raags. Each song listed in this section is tagged with the Raag it is based on, along with simple and clear notations that can be played on instruments like flute, keyboard, harmonium, guitar, or violin.
Whether you are a beginner trying to understand how classical foundations influence film songs, or an experienced player looking for inspiration, this archive offers a meaningful blend of theory and practice.
Featured Raags in the Archive
Here’s a glimpse into some of the Raags featured:
Raag Yaman: Known for its peaceful and romantic vibe. Songs like Chandni Raat Hai or Chandni Raatein beautifully reflect its mood.
Raag Pahadi: Inspired by folk melodies from the mountains, this Raag gives a light and playful feel. Think Ghar Aaja Pardesi or Aa Ab Laut Chalein.
Raag Bhupali (Bhoop): A pentatonic Raag that radiates purity and devotion. It’s the foundation of many bhajans and melodious film songs like Jyoti Kalash Chhalke.
Raag Des: Often associated with monsoon and romance, it creates a refreshing mood. Songs like Baiyan Na Dharo and Jhoomta Mausam fit perfectly here.
Raag Charukeshi: A Carnatic-origin Raag known for its emotional intensity. Songs like O Sajna Barkha Bahar Aayi show its beauty.
Raag Shivranjani: A melancholic and emotional Raag often used in hauntingly beautiful compositions such as Jaane Kya Baat Hai or O Saathi Re.
Learn, Play, and Feel the Music
Each notation is carefully transcribed to maintain musical accuracy while being easy to follow. You’ll also find brief intros to the Raags to help you understand their essence. This approach makes your learning journey not just technically sound, but emotionally rewarding too.
So, whether you’re playing solo, accompanying someone, or simply exploring the world of music, dive into the Raag-based Songs Archive on NotesAndSargam.com. Let every note you play echo with tradition, expression, and joy.
Ka Karu Sajni Aye na baalam
Puchho na kaise maine rain bitai
Radhaku Neevera Pranam
Aja re mai to kab se
Aye Malik Tere Bande Hum
Kahe Chhed Chhed Mohe
Bajlo Tomar Alor Benu (Mahalaya)
Bhor bhaye panghat pe
Chingari koyi bhadake
Dil Aaj Shayar Hai
Hame tumse pyaar kitna
Jaa re jaa re ure jaa re paakhi
Mai Piya Teri Tu Mane Ya Na Mane
Shanti Dao Shanti Dao (Bengali Devotional Song)
Khoya Khoya Chand Khula Aasman
Naino me badra chhaye
Neele Gagan Ke Tale
Pani da rang wekh ke
Tip tip barsa pani
Tu Mile Dil Khile
Ye raat ye chandni fir kahan
Dil Hoom Hoom Kare
Malgudi Days theme
Pankh Hote Toh Udd Aati Re
Suniyo ji araj hamari
Tujhe dekh dekh sona
Zindagi denewale sun
Piya Bawari
Sawan Aaye Ya Na
Koi Jab Tumhara Hriday Tod De…
Shyam teri bansi
Tu Hi Re
Jhanak Jhanak Tori Baje Payaliya
Mera dil ye pukare aja
Satyam Shivam Sundaram
More saiyyan to hai pardes
Dil Chhed Koi Aisa Nagma
Ghungroo ki tarah
Jaun kahan bata aye dil
Koi Humdum Na Raha
Maika Piya Bulave
Darshan Do Ghanshyam Nath
Hum Bewafa Hargeez Na The
Mai shayar badnam
Mitwa (Mere man ye bata de tu)
Mora saiyaan mose bole na (Sawan beeto jaye)
O Sajnaa, barakha bahaar aayee
Raat Kali ek khwaab mein aayee
Aane wala pal jane wala hai
Meri bhigi bhigi si
Pukarta chalaa hun mein
Tum bhi chalo
Ye raatein ye mausam ye nadi ka kinara
Ghar Aja Ghir Ayi
Adha hai chandrama
Man Tadpat Hari Darshan Ko
Baharon mera jiwan bhi sawaron
Dil Pukare Aare Aare Aare
Isharo isharo me dil lene wale
Jane kya dhoondti rehti hai
Kahe Ko roye (Banegi Asha Teri)
Kora Kagaz Tha Yeh Mann Mera
Lag Ja Gale
Neela asman so gaya
Parbato Ke Pedo Par
Patta Patta Buta Buta
Sawan ka mahina
Tere bina zindagi se
Tum pukar lo
Ye dil aur unki nigahon ke saye
More Kanha Jo Aye Palat Ke
Rimjhim Gire Sawan
Awaz deke hame tum bulao
Jane Kahan Gaye Wo Din
Mere naina sawan bhadon
Na kisiki ankh ka noor hu
Tumhe dekhti hu…
Jhoomati Chali Hawa
Kuhu Kuhu bole koyaliya
Piya to se naina lage re
Abhi naa jao chhod kar
Breathless
Chhupa Lo yun Dil me
Ehsaan Tera Hoga Mujh Par
Hothon se chhoo lo tum
Kabhi kabhi mere dil me
Man re tu kahe na dhir dhare
Shree Ram Chandra Kripalu Bhajman
Wo shaam kuchh ajeeb thi
Ye moh moh ke dhaage
Ye nayan dare dare
Aj jane ki zid na karo
Chandan sa badan
Ek pyar ka nagma hai
Rasik Balma
Saranga teri yaad me
Zindagi Ka Safar
- CAPITAL LETTERS = Shuddh Swars (Natural Notes)
- small letters = Komal Swars (Flat Notes)
- M with # [hash] or ^ [exponent] = Tivra Madhyam (M# / M^)
- Letter/Alphabet ONLY = Medium Pitch/Normal blow on flute
- Letter/Alphabet PRECEDED BY a ” . ” [full stop] or a ” , ” [comma] = Low Octave Note/Softer blow on flute
- Letter/Alphabet FOLLOWED BY a ‘ [single quote] = High Octave Note/harder blow on flute
- Notes in { } = “murki” have to be played very fast without any pause
- A Note in ( ) = “kann swar” has to be just touched before moving on to the next note
- A “~” between two Notes = “meend”. That is, you have to glide from one note to another slowly to produce that wavy effect.
- Few “….” (dots) after a note = Play and hold that note