|Time of day||Night, 9-12|
|Arohana||Sa Re Ma Pa Dha Sa|
|Avarohana||Sa Dha Pa Ma Re Sa|
|Pakad||Re Ma Pa Dha, Ma Re|
|Hindustani classical music|
Durga is a raga in Hindustani Classical music. It shares some features with Shuddha Saveri of Carnatic music (such as the note positions), but is significantly different from it in terms of the sancharas of the raga.
|Jati / Nature||Audav-Audav||5 Notes on both Aaroh and Avroh|
|Aroha||Sa Re Ma Pa Dha Sa||सा रे म प ध सा^|
|Avaroha||Sa Dha Ma, Pa Dha Ma, Re Dha. Sa||सा^ ध म, प ध म, रे ध_ सा Pancham should not be a resting note in Avroh|
|Pakad||Re Ma Pa Dha, Ma Pa Dha, Ma Re, Sa Re Dha. Sa|
|Poorvang-Uttarang||Poorvang||The lower half of the saptak (octave) i.e. S R G M are present.|
Notes and Features
- All swaras used are suddha
- Gandhar and Nishad are not used.
R m P D ; P D m ; m P D D m ; D m P D S' ; D D S' S' D D m; m P D ; m R, D S; Here m is Shuddha Madhyam, M is Tivra Madhyam but this is not used in Durga at all.
Second Prahar of night : 9:00 p.m. to midnight (nishitha)
Durga has the same notes as Malhar, another popular raag and one of old pedigree. The aural experience of both are significantly different. Technically, they are made apart by the use of rishabh (Re). Durga is also readily distinguished by its salient use of the phrase Sa Re Dha Sa
1) Common phrase Re Pa, distinguished by the use of Re
Both Durga and Malhar have the Re Pa pairing (sangati), however, the Re Pa cohort in Malhar involves a repition of Re twice or thrice. More importantly the Re has a kaṇ of shuddha madhyam. (ma)
- Malhar: Ma Re Re Re[ma] Pa
- Durga: Ma Pa Dha Sa’ Re Dha Pa Dha Ma Re Pa.
Here, in Malhar, the transition between Re to Pa, the Re has a kaṇ of ma, and is not independently pronounced. The ma is shown stuck to Re in square brackets. Stylistically, the duplication of ‘Re’ is also noted.
2) Different phrases
Also present in the pakad of the raag, Sa Re, Dha Sa is the quintessential phrase of Durga, which is not present in Malhar. (dha denotes dhaivat (dha) of the lower octave i.e. mandra saptak) 
Jaldhar Kedar is a variant of, the major raag Kedar , and a part of the raagang of its namesake.
- Sawan ka Mahina-Milan(1967)
- Bor, Joep; Rao, Suvarnalata (1999). The Raga Guide: A Survey of 74 Hindustani Ragas. Nimbus Records with Rotterdam Conservatory of Music. p. 66. ISBN 9780954397609.
- Yagnik, Hasu (2013). Shastriya Raag Darshan. Gurjar Granthratna Karyalay. ISBN 978-81-8480-826-1.
- Jha, Ramashreya; P Parrikar, Rajan. "Interview with R. Jha conducted by S.L. Kandara, All India Radio, Allahabad, date of broadcast unknown". parrikar.org/hindustani/malhars/. Retrieved 10 August 2020.