Raag Asavariआसावरी

Thaat: AsavariMorning (9 AM–12 PM)Pathos, seriousness

Asavari features komal Ga̤, komal Dha̤, and komal Ni̤ in descent while the ascent is pentatonic (skips Ga and Dha). It has a serious, melancholic character.

Play on Harmonium:
Notes in Asavari
Sa
Re
Ga
Ma
Pa
Dha
Ni
SaQ
ReW
GaE
MaR
PaT
DhaY
NiU
r
g
M'
d
n
r2
g3
M'5
d6
n7

Arohana (Ascending)

SaReMaPaNiSa'

Sa → Re → Ma → Pa → Ni → Sa'

Avarohana (Descending)

Sa'Ni̤Dha̤PaMaGa̤ReSa

Sa' → Ni̤ → Dha̤ → Pa → Ma → Ga̤ → Re → Sa

Vadi (King Note)
Dha̤
The most important, frequently emphasized note in Asavari.
Samvadi (Minister Note)
Ga̤
The second most important note, a perfect counterpart to the Vadi.

Pakad (Characteristic Phrase)

The pakad is the short, unmistakable melodic motif that identifies Raag Asavari. Whenever you hear or play this phrase, the raag is immediately recognizable.

S R M P n D P M g R S

About Raag Asavari

Raag Asavari is the head of the Asavari thaat family, which includes raags like Jaunpuri and Desi. Its most distinctive feature is an asymmetric scale structure: the ascent (arohana) is pentatonic, skipping Ga and Dha entirely, while the descent uses all seven notes including komal Ga̤, komal Dha̤, and komal Ni̤. This "hidden notes in descent" structure is called "audav-sampoorna" (five ascending, seven descending).

Asavari is a late morning raag (9 AM–12 PM) with a serious, contemplative character. Its three komal notes in the descent give it a gently melancholic color, but unlike Bhairavi, Asavari's strong pentatonic ascent provides a sense of forward motion and resolve. The Vadi is Dha̤ and the Samvadi is Ga̤ — both komal notes, creating a characteristic "leaning downward" feel.

The characteristic phrase of Asavari — Pa → Dha̤ → Ma → Ga̤ — is among the most identifiable in Hindustani music. Mastering this descent with correct komal Dha̤ placement and the soft approach to Ma from above is the primary challenge of the raag.

Practice Tips for Harmonium

  • 1Remember: Ga and Dha are OMITTED in ascent. Practice the ascending scale as: Sa Re Ma Pa Ni Sa↑ — strictly pentatonic.
  • 2In descent, all three komal notes (Ga̤, Dha̤, Ni̤) must be cleanly placed. Practice them separately before the full scale.
  • 3The characteristic phrase Pa → Dha̤ → Ma → Ga̤ is the soul of Asavari. Hold Dha̤ slightly longer each time.
  • 4Distinguish Asavari from Jaunpuri: Jaunpuri uses shuddha Ga in ascent; Asavari omits Ga in ascent entirely.

Notable Compositions & Recordings

  • "Asavari Tori" — a classic bandish associated with this raag
  • Many Bollywood songs in the morning reflective mood use the Asavari scale