| Our
Notation |
Indian |
British |
English |
| S |
Sa |
Do |
C |
| R |
Re |
Re |
D |
| G |
Ga |
Me |
E |
| M |
Ma |
Fa |
F |
| P |
Pa |
So |
G |
| D |
Dha |
La |
A |
| N |
Ni |
Ti |
B |
It is the parent Raga of Lalit Ang. It employs both Madhyam, natural and sharp. Pancham is not used; Rishabh and Dhaivat are both flat. Traditionally almost no Raga employs the two Madhyam variants together; if natural is used while ascending, the sharp note would be used during descent. A great number of Raga using sharp and natural Madhyam are grouped under Lalit Ang. Yet, Lalit is the only one to use both notes together during ascent or descent. The distinctive notes of this Raga are: N R G M M# M, G M# Db M# M. There is no controversy about Lalit. Lalt Ang inludes such impressive Raga-s as Ahir-lalit, Prabhat-bhairav, Lalita-gauri etc.
| Ascending order / Progression |
N* Rb G M M# M, G M# Db N S* |
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| Descending order / Regression |
S* N Db M# M G Rb S |
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| Jaati |
Hexatonic |
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| Sonant Note | M | |||||||||||||||||||||
| Consonant Note | S | |||||||||||||||||||||
| Time for rendering | Early morning, dawn | |||||||||||||||||||||
Lalit on Sitar by Dr. Ragini Trivedi
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