| Thaat |
|
|---|---|
| Type | Sampurna - Sampurna [1] |
| Time of day | 6 pm / 9 pm - late evening[2] |
| Arohana | S G (komal) m P D N S [3] |
| Avarohana | S N D P m G (komal) S |
| Pakad | R g R S D n P D N S G M R g R [4] |
| Chalan | R g R S D n P D N S G M R g R [4] |
| Vadi | Ga |
| Samavadi | Ni |
| Similar | Piloo, Jaijaiwanti |
Gara is a Hindustani classical raga belonging to the Khamaj Thaat. This raga is similar to raga Jaijaiwanti. Both ragas i.e. raga Jaijaiwanti and raga Gara, have the same svaras. Gara is a rare raga.[5] It is rendered in the late evening.[2] The raga uses all the seven notes, six in the ascent and seven in the descent. Therefore, the Jati of the raga is Shaadav-Sampurna. While some say that seven svaras are played in the ascent and seven in the descent. Therefore, the Jati then becomes Sampurna-Sampurna.[1] It uses both, the Komal (flat) and Shuddha (full) Nishad, and all other notes are Shuddha (full).[3] The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. Gara belongs to a family of melodic entities, which were apparently derived from folk melodies, and entered art-music in association with the thumri genre. This family includes ragas like Kafi, Piloo, Jangula, Barwa, and Zilla, along with several others.[4] This raga expresses the feeling of happiness and satisfaction of achievement, however it simultaneously conveys the sadness of losing. This raga is also a vivacious and romantic one.