Such is said to be Ramakri. The augmented fourth was probably added to it in the early 17th century, although many old dhrupad compositions in Ramkali do not include sharp Ma. The raga is frequently portrayed as a proud lady who is enraged with her lover, and rejects him. In ragamala paintings this rejection is dramatised by the remorse of the gentleman who sits beside the lady.
Ramkali movements are slow and focused in the upper tetrachord.
Sa and Pa are strong notes. Sharp Ma often stands between two Pa's, and flat Ni between two Dha's. Contrary to Bhairav, Ramkali's Re and Dha do not have a pronounced oscillation. Moreover, the presence of sharp Ma and flat Ni give Ramkali its own particular character and expression. Ramkali was frequently performed at the beginning of this century, but recently, this raga has lost much of its former glory.