Hindustani raga
Harmonic-minor raga from Carnatic Keeravani.
Your guide to Kirwani
New to classical music — moods, stories, film songs and simple listening.
Press play to hear the notes of Kirwani, rising then falling.
Karuna. Traditionally heard at night.
Film songs you may know ↓New to classical music?
Think of a raga as more than a scale: a set of rules and a personality. Kirwani has its own notes, its own favourite phrases, its own time of day and its own mood, the way a person has a recognisable voice and way of talking.
Kirwani sounds soft and wistful, in a mood closer to a Western minor key. Its emotional colour is tenderness and sorrow, the feeling of a sad song that still comforts you. Traditionally it is traditionally performed in the night, because Indian musicians believe each raga matches the feeling of a certain hour or season.
Harmonic-minor raga from Carnatic Keeravani. The beauty of Kirwani comes from patience: a good performer doesn't rush through the scale but lingers, bending into notes and letting each phrase breathe, so the mood builds slowly until it fills the room.
Listening exercise: Try this: press "Full scale" above, then open one of the recordings below. In the first few minutes, see if you can hear the musician dwelling on P. Once you catch it, you've started to recognise Kirwani.
Origin
Adopted into Hindustani music in the 20th century from the Carnatic melakarta Keeravani, partly through the influence of film music and Ravi Shankar.
Hindustani ragas mostly developed through oral tradition, passed guru to disciple. Medieval treatises such as Sangita Ratnakara (13th c.) and the later Raga-Ragini systems grouped them into 'families'.
In the early 20th century, V. N. Bhatkhande organised Hindustani ragas into ten thaats (parent scales). Kirwani is classified under Asavari thaat. The thaat is a modern classification, not necessarily the raga's historical origin.
Each gharana (school) interprets ragas slightly differently, so a raga's phrasing has kept evolving through the 19th and 20th centuries, and further through recordings and radio.
Looking for more history…
Arohana (ascent) · 7 notes
S R g M P d N S'
Avarohana (descent) · 7 notes
S' N d P M g R S
Synthesised with Sa = A3. A real performance uses gamakas, meends and phrasing that a bare scale can't capture.
| Swara | Interval from Sa | Western (Sa = C) |
|---|---|---|
| Sa | Unison | C |
| Shuddh Re | Major 2nd | D |
| Komal Ga | Minor 3rd | D# |
| Shuddh Ma | Perfect 4th | F |
| Pa | Perfect 5th | G |
| Komal Dha | Minor 6th | G# |
| Shuddh Ni | Major 7th | B |
Jati (Sampurna–Sampurna). The ascent uses 7 distinct notes and the descent 7. Audava = 5, Shadava = 6, Sampurna = 7.
Krama (straight) movement. Notes are taken in order going up and coming down.
Parent scale. Asavari thaat: Komal Ga, Dha and Ni. Equivalent to the natural minor (Aeolian) and Carnatic Natabhairavi.
Time (Night). Sung during the night prahars (roughly 9 PM–3 AM). Night ragas often stress the upper tetrachord (uttaranga).
Vadi and samvadi. P is the king note, the most emphasised and returned to. S is the minister, the second most important note.
Karuna
Compassion, pathos and sorrow.
Each link opens a YouTube or Spotify search for this raga by the instrument or artist.
These ragas use exactly the same notes, though their phrasing and ornaments differ.
Kirwani is traditionally sung: Night.
Ragas that sound most like Kirwani, and how to tell them apart.
Mujhe teri mohabbat ka sahara
Aap Aye Bahaar Ayee (1971)
Gham uthane ke liye
Mere Huzoor (1968)
These songs are in Keeravani, the Carnatic counterpart of Kirwani.
Film songs often take liberties with a raga, so treat these as "based on" rather than strict renditions.
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Notation: Hindustani komal notes are lowercase (r g d n), M# = tivra Ma, ' = upper octave. Carnatic numbers mark swara variants (R1, G3, …).