Raga Yaman kalyan, one of the most popular evening ragas performed today, was not a part of the ancient music repertoire. It first found mention in a treatise from c.1620 where it was described as being ‘a favourite melody of the Arabs’. Its tonal material consists of tivra Ma (sharpened 4th note) along with the shuddha (pure) forms of the other seven notes.

Tilak kamod is performed in the evening. While the raga consists of all seven notes, Ga and Dha are rarely employed during melodic ascent.

The raga Bhup, from which evolved Bhupali, was first mentioned in a treatise from the sixteenth century. The raga is picturised as a woman who is decorating herself in anticipation of her lover and is performed in the evening. It is a pentatonic raga and consists of Sa, Re, Ga, Pa, and Dha in shuddha (pure) form.

The Manganiars associate their Raga Kalyan with the evening time, mirroring the Hindustani classical tradition. Songs are usually preceded by a duha, an unmetered couplet, that describes the raga of the composition. These duhas are often compared to the alap however, while the latter explores the tonal content of the raga, the duha is used to describe and exalt the beauty of the raga being performed.

Soob is considered the most auspicious raga of the Manganiars, and is often sung or played at the start of an event. However, it is largely associated with the evening time.

Durga is a pentatonic raga consisting of all notes in their shuddha (pure) form except Ga and Ni (3rd and 7th notes) which are not used. It is performed in the late evening and evokes a pleasant but serious mood.

A very popular raga, Jaijaivanti is performed in the late evening. It consists of all seven notes- Ga and Ni are both shuddha and komal (pure and flattened forms of the 3rd and 7th notes).