
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.


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

Ka Karu Sajni Aye na baalam

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…

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