Tarakeswar Degree CollegeMusic Department

Classification of Raga in the Ancient,Medieval & Modern Period

DR. SRABANI SENASSISTANT PROFESSOR OF MUSIC

2020

Classification of Raga in the Ancient,Medieval & Modern Period

DR. SRABANI SENASSISTANT PROFESSOR OF MUSIC

2020

Classification of RagaA raga is based on a scale with a given set of notes, a typical order in whichthey appear in melodies, and characteristic musical motifs. The basiccomponents of a raga can be written down in the form of a scale (in somecases differing in ascent and descent). The performer sets out to create amood or atmosphere (rasa).

Ragas can be classified using different criteria. Here are a fewclassifications:

Number of NotesSampurna (Complete) Ragas : Ragas that contain all 7 notes of theoctave are called Sampurna Ragas.Shadav Ragas: Ragas that contain 6 notes of the octave in the scale arecalled Shadav Ragas.Aurav Ragas: Ragas that contain 5 notes of the octave in the scale arecalled Audav Ragas.

A raga is based on a scale with a given set of notes, a typical order in whichthey appear in melodies, and characteristic musical motifs. The basiccomponents of a raga can be written down in the form of a scale (in somecases differing in ascent and descent). The performer sets out to create amood or atmosphere (rasa).

Ragas can be classified using different criteria. Here are a fewclassifications:

Number of NotesSampurna (Complete) Ragas : Ragas that contain all 7 notes of theoctave are called Sampurna Ragas.Shadav Ragas: Ragas that contain 6 notes of the octave in the scale arecalled Shadav Ragas.Aurav Ragas: Ragas that contain 5 notes of the octave in the scale arecalled Audav Ragas.

The ragas are further named based on the number of notes in the Arohana(ascent) and the Avarohana (descent) of the scale.Aurav - Aurav: The raga contains 5 notes in arohan and 5 notes in avarohan

Aurav - Shadav: The raga contains 5 notes in arohan and 6 notes in avarohanAurav - Sampurna: The raga contains 5 notes in arohan and all 7 notes onavarohan

Similarly we have ragas as Shadav-Aurav, Shadav-Shadav, Shadav-Sampurna,Sampurna-Aurav, Sampurna-Shadav, Sampurna-Sampurna

Based on TimeAll ragas are divided into two groups as Poorva Ragas and Uttar Ragas.

Poorva Ragas: Poorva Ragas are sung between noon and midnightUttar Ragas: Uttar Ragas between midnight and noon.

The ragas are further named based on the number of notes in the Arohana(ascent) and the Avarohana (descent) of the scale.Aurav - Aurav: The raga contains 5 notes in arohan and 5 notes in avarohan

Aurav - Shadav: The raga contains 5 notes in arohan and 6 notes in avarohanAurav - Sampurna: The raga contains 5 notes in arohan and all 7 notes onavarohan

Similarly we have ragas as Shadav-Aurav, Shadav-Shadav, Shadav-Sampurna,Sampurna-Aurav, Sampurna-Shadav, Sampurna-Sampurna

Based on TimeAll ragas are divided into two groups as Poorva Ragas and Uttar Ragas.

Poorva Ragas: Poorva Ragas are sung between noon and midnightUttar Ragas: Uttar Ragas between midnight and noon.

Principal Raga Classification (6 Ragas, 36 Raginis)

The raga-ragini scheme is a classification scheme used from the 14thcentury to the 19th century. It usually consists of 6 'male ragas each with'wives' (raginis) and a number of sons (putras) and even daughters-in-law. A very important fact of Indian Classical Music and the Raga system isthat the ragas do have personality and can be imagined to haverelationships with each other.

These are listed is as follows(1) Bhairav ragaWives: Bhairavi, Bilawali, Punyaki, Bangli, Aslekhi.Sons: Pancham, Harakh, Disakh, Bangal,Madhu, Madhava, Lalit, Bilaval.

(2) Malkaus ragaWives: Gaundkari, Devagandhari, Gandhari, Seehute, Dhanasri.Sons: Maru, Mustang, Mewara, Parbal,Chand, Khokhat, Bhora, Nad.

The raga-ragini scheme is a classification scheme used from the 14thcentury to the 19th century. It usually consists of 6 'male ragas each with'wives' (raginis) and a number of sons (putras) and even daughters-in-law. A very important fact of Indian Classical Music and the Raga system isthat the ragas do have personality and can be imagined to haverelationships with each other.

These are listed is as follows(1) Bhairav ragaWives: Bhairavi, Bilawali, Punyaki, Bangli, Aslekhi.Sons: Pancham, Harakh, Disakh, Bangal,Madhu, Madhava, Lalit, Bilaval.

(2) Malkaus ragaWives: Gaundkari, Devagandhari, Gandhari, Seehute, Dhanasri.Sons: Maru, Mustang, Mewara, Parbal,Chand, Khokhat, Bhora, Nad.

(3) Hindol ragaWives: Telangi, Devkari, Basanti, Sindhoori, Aheeri.Sons: Surmanand, Bhasker,Chandra-Bimb, Mangalan, Ban, Binoda, Basant,

Kamoda.

(4) Deepak ragaWives: Kachheli, Patmanjari, Todi, Kamodi, Gujri.Sons: Kaalanka, Kuntal, Rama, Kamal,Kusum, Champak, Gaura, Kanra [36].

(5) Shree ragaWives: Bairavi, Karnati, Gauri, Asavari, Sindhavi.Sons: Salu, Sarag, Sagra, Gaund,Gambhir, Gund, Kumbh, Hamir.

(6) Megh ragaWives: Sorath, Gaundi-Malari, Asa, Gunguni, Sooho.Sons: Biradhar, Gajdhar, Kedara,Jablidhar, Nat, Jaldhara, Sankar, Syama.

(3) Hindol ragaWives: Telangi, Devkari, Basanti, Sindhoori, Aheeri.Sons: Surmanand, Bhasker,Chandra-Bimb, Mangalan, Ban, Binoda, Basant,

Kamoda.

(4) Deepak ragaWives: Kachheli, Patmanjari, Todi, Kamodi, Gujri.Sons: Kaalanka, Kuntal, Rama, Kamal,Kusum, Champak, Gaura, Kanra [36].

(5) Shree ragaWives: Bairavi, Karnati, Gauri, Asavari, Sindhavi.Sons: Salu, Sarag, Sagra, Gaund,Gambhir, Gund, Kumbh, Hamir.

(6) Megh ragaWives: Sorath, Gaundi-Malari, Asa, Gunguni, Sooho.Sons: Biradhar, Gajdhar, Kedara,Jablidhar, Nat, Jaldhara, Sankar, Syama.

Thaat System of ClassificationAn important way of Raga classificationis the Thaat system. A certainarrangement of the seven notes with the change of shuddha, komal andteevra is called a Thaat. Every raga has a fixed number of komal or teevranotes, from which the thaat can be recognised. There are several opinionsin this matter. According to Pandit V.N. Bhatkhande, the 10 thaat's usedto classify ragas are1. Bilaval : All shuddh or natural notes.2. Khamaj : With ni note as komal.3. Kafi : With ga, ni as komal.4. Asavari : With ga, dha, ni askomal.5. Bhairavi : With re, ga, dha, ni askomal.6 .Bhairav : With re, dha as komal.7. Poorvi : With re, dha as komal andma as teevra.8. Todi : With re, ga, dha as komaland ma as teevra.9. Marwa : With re as komal and ma asteevra.

10. Kalyan : With ma as teevra only.

An important way of Raga classificationis the Thaat system. A certainarrangement of the seven notes with the change of shuddha, komal andteevra is called a Thaat. Every raga has a fixed number of komal or teevranotes, from which the thaat can be recognised. There are several opinionsin this matter. According to Pandit V.N. Bhatkhande, the 10 thaat's usedto classify ragas are1. Bilaval : All shuddh or natural notes.2. Khamaj : With ni note as komal.3. Kafi : With ga, ni as komal.4. Asavari : With ga, dha, ni askomal.5. Bhairavi : With re, ga, dha, ni askomal.6 .Bhairav : With re, dha as komal.7. Poorvi : With re, dha as komal andma as teevra.8. Todi : With re, ga, dha as komaland ma as teevra.9. Marwa : With re as komal and ma asteevra.

10. Kalyan : With ma as teevra only.

Based on Rasa (Emotion)Bharata Muni enunciated the eight Rasas in the Natyasastra,an ancient work ofdramatic theory. Each rasa, according to Natyasastra, has a presiding deity and aspecific colour. The aura of a frightened person is black, and the aura of an angryperson is red. Bharata Muni established the following.

Sringaram - Love, attractiveness. Presiding deity: Vishnu. Colour: light greenHasyam - Laughter, mirth, comedy. Presiding deity: Pramata. Colour: whiteRaudram - Fury. Presiding deity: Rudra. Colour: redKarunyam - Compassion, mercy. Presiding deity: Yama. Colour: greyBibhatsam - Disgust, aversion. Presiding deity: Shiva. Colour: blueBhayanakam - Horror, terror. Presiding deity: Kala. Colour: blackViram - Heroic mood. Presiding deity: Indra. Colour: yellowish

Adbhutam - Wonder, amazement. Presiding deity: Brahma. Colour: yellowA ninth rasa was added by later authors. This addition had to undergo a good dealof struggle between the sixth and the tenth centuries, before it could be acceptedby the majority of the Alankarikas, and the expression Navarasa (the nine rasas),could come into vogue.

Santam - Peace or tranquility. deity: Vishnu. Colour: blue

Bharata Muni enunciated the eight Rasas in the Natyasastra,an ancient work ofdramatic theory. Each rasa, according to Natyasastra, has a presiding deity and aspecific colour. The aura of a frightened person is black, and the aura of an angryperson is red. Bharata Muni established the following.

Sringaram - Love, attractiveness. Presiding deity: Vishnu. Colour: light greenHasyam - Laughter, mirth, comedy. Presiding deity: Pramata. Colour: whiteRaudram - Fury. Presiding deity: Rudra. Colour: redKarunyam - Compassion, mercy. Presiding deity: Yama. Colour: greyBibhatsam - Disgust, aversion. Presiding deity: Shiva. Colour: blueBhayanakam - Horror, terror. Presiding deity: Kala. Colour: blackViram - Heroic mood. Presiding deity: Indra. Colour: yellowish

Adbhutam - Wonder, amazement. Presiding deity: Brahma. Colour: yellowA ninth rasa was added by later authors. This addition had to undergo a good dealof struggle between the sixth and the tenth centuries, before it could be acceptedby the majority of the Alankarikas, and the expression Navarasa (the nine rasas),could come into vogue.

Santam - Peace or tranquility. deity: Vishnu. Colour: blue

Classification of Ragas give out messages for all artists and

students and listeners of the ragas:

1. Ragas have personality and emotion2. They have relationships with each other3. Ragas are closely related to nature and time of the day or season of

the year4. They can be associated with colours and moods5. It is highly related to spirituality

The artist of Indian Classical Music while performing tries to bring out allthese aspects of the raga and this is what makes Indian Classical Music sointense and spiritual in nature.

1. Ragas have personality and emotion2. They have relationships with each other3. Ragas are closely related to nature and time of the day or season of

the year4. They can be associated with colours and moods5. It is highly related to spirituality

The artist of Indian Classical Music while performing tries to bring out allthese aspects of the raga and this is what makes Indian Classical Music sointense and spiritual in nature.

Classification of Raagas in the ancient period

In the ancient period, Raagas were classified on thebasis of following criteria-

1. Classification of Raagas on the basis of Jaati2. Classification of Raagas on the basis of Gram Raaga3. Classification of Raagas on the basis of the 10Category Rule

4. Classification of Raagas as Shudhh, Chhayalag andSankeern

In the ancient period, Raagas were classified on thebasis of following criteria-

1. Classification of Raagas on the basis of Jaati2. Classification of Raagas on the basis of Gram Raaga3. Classification of Raagas on the basis of the 10Category Rule

4. Classification of Raagas as Shudhh, Chhayalag andSankeern

1. Classification of Raagas on the basis of Jaati

There were 3 grams and these grams gave birth to 18 Jaatis. Eachraaga as told before also, each raaga has a Nyaas Sur (on which thesinger sustains his voice), Ansh Sur (over which the singer just glidesover) and some Grah Sur (on which the singer returns to after eachtaan).

Each raaga was classified upon these 3 basic swaras in that period. Ifany of these swaras were changed then the whole raaga changesand a new form of raaga is formed, which is quite different from theraaga which was being sung or played initially.

Nowadays, Raaga singing is famous, similarly in those days Jaatisinging was famous wherein the singer used to sing the Jaati basedon the characteristics of the Jaati. This is was one method ofclassifying raagas.

There were 3 grams and these grams gave birth to 18 Jaatis. Eachraaga as told before also, each raaga has a Nyaas Sur (on which thesinger sustains his voice), Ansh Sur (over which the singer just glidesover) and some Grah Sur (on which the singer returns to after eachtaan).

Each raaga was classified upon these 3 basic swaras in that period. Ifany of these swaras were changed then the whole raaga changesand a new form of raaga is formed, which is quite different from theraaga which was being sung or played initially.

Nowadays, Raaga singing is famous, similarly in those days Jaatisinging was famous wherein the singer used to sing the Jaati basedon the characteristics of the Jaati. This is was one method ofclassifying raagas.

2.Classification of Raagas on the basis of Gram RaagaThe concept of Gram gives rise to another interesting concept ofMoorchhana which in turn gives rise to Jaatis. Jaatis further, gives rise toGram Raagas. The 18 jaatis which are told above give rise to 30 GramRaagas. These Gram Raagas are sung according to their characteristics andare further divided in to 5 categories which are- Shudhh, Bhinn, Gaud,Besar and Sadharan Reeti. Gram Raaga are the ones which nowadaysknown as raagas and are very popular in singing and in instruments.

3. Classification of Raagas on the basis of the 10 Category RuleThe famous book Sangeet Ratnakar by Pt. Sharangdev clearly mentions

the categorisation of raagas on the basis of the following 10 points-

a) Classification of Raagas as Gram Raaga, Raag and Upraagb) Classification of Raagas as Bhaasha, Vibhaasha and Antarbhaashac) Classification of Raagas as Bhaashang, Raagang, Kriyang and Upaang

The concept of Gram gives rise to another interesting concept ofMoorchhana which in turn gives rise to Jaatis. Jaatis further, gives rise toGram Raagas. The 18 jaatis which are told above give rise to 30 GramRaagas. These Gram Raagas are sung according to their characteristics andare further divided in to 5 categories which are- Shudhh, Bhinn, Gaud,Besar and Sadharan Reeti. Gram Raaga are the ones which nowadaysknown as raagas and are very popular in singing and in instruments.

3. Classification of Raagas on the basis of the 10 Category RuleThe famous book Sangeet Ratnakar by Pt. Sharangdev clearly mentions

the categorisation of raagas on the basis of the following 10 points-

a) Classification of Raagas as Gram Raaga, Raag and Upraagb) Classification of Raagas as Bhaasha, Vibhaasha and Antarbhaashac) Classification of Raagas as Bhaashang, Raagang, Kriyang and Upaang

a) Gram Raaga, Raaga and UpraagaGraam Raagas as told above are derived from Jaatis. Gram Raagas are alsoclassified as Raaga and Upraaga. In Sangeet Ratnakar there are 30 GramRaagas, 20 Raagas and 8 Upraagas.b) Bhaasha, Vibhaasha and AntarbhaashaThe gram raaga are further divided into different on the basis of Bhaasha,Vibhaasha and Antarbhaasha. The raagas in ancient times was sungwithout any words but only in Aakars. But after this distribution wordswere introduced into raagas and raagas then the raaga vistaar was donewith the help of words. But this categorisation was slowly discarded asgradually, words were introduced in each raaga.

c) Bhaash-ang, Raag-ang, Kriyang and UpaangRaagas having some characteristics of Gram Raagas are known as Raagang,those having characteristics of Bhaasha Raaga are Bhaashang, thosehaving very few features of any single but having features of many raagasare Upaang and those who are known to be very cheerful in nature orthose which give a pleasant feeling to the listener are known as Kriyang.

a) Gram Raaga, Raaga and UpraagaGraam Raagas as told above are derived from Jaatis. Gram Raagas are alsoclassified as Raaga and Upraaga. In Sangeet Ratnakar there are 30 GramRaagas, 20 Raagas and 8 Upraagas.b) Bhaasha, Vibhaasha and AntarbhaashaThe gram raaga are further divided into different on the basis of Bhaasha,Vibhaasha and Antarbhaasha. The raagas in ancient times was sungwithout any words but only in Aakars. But after this distribution wordswere introduced into raagas and raagas then the raaga vistaar was donewith the help of words. But this categorisation was slowly discarded asgradually, words were introduced in each raaga.

c) Bhaash-ang, Raag-ang, Kriyang and UpaangRaagas having some characteristics of Gram Raagas are known as Raagang,those having characteristics of Bhaasha Raaga are Bhaashang, thosehaving very few features of any single but having features of many raagasare Upaang and those who are known to be very cheerful in nature orthose which give a pleasant feeling to the listener are known as Kriyang.

4.Classification of Raagas as Shudhh, Chhayalag and Sankeern

This categorisation was only practised for some time on the ancient times;nowadays it is not practised and is not known to many also. Raagas whichare complete and pure in themselves and do not show any feature of anyother raaga while being sung or played are Shudhh Raagas. Raagasshowing features of any other (but one) raaga while being played or sungare Chhayalag raagas and raagas showing features of more than one otherraaga is a Sankeern Raaga. For e.g. Yaman and Todi are Shudhh, Chhayanatand Tilak Kamod are Chhayalang and Pilu and Bhairavi are SankeernRaagas.

This categorisation was only practised for some time on the ancient times;nowadays it is not practised and is not known to many also. Raagas whichare complete and pure in themselves and do not show any feature of anyother raaga while being sung or played are Shudhh Raagas. Raagasshowing features of any other (but one) raaga while being played or sungare Chhayalag raagas and raagas showing features of more than one otherraaga is a Sankeern Raaga. For e.g. Yaman and Todi are Shudhh, Chhayanatand Tilak Kamod are Chhayalang and Pilu and Bhairavi are SankeernRaagas.

classification of Raagas in the ancient period

classification of Raagas in the Medieval period

categorisation of Raagas in the medieval period-1.Classification of Raagas on the basis of Shudhh, Chhayalag and Sankeern2.The Similar raaga classification3. Classification of Raagas based on Raagas-Raagini method

1.Classification of Raagas as Shudhh, Chhayalag and Sankeern

This method of classification started in the ancient period and waspractised for some years in the medieval period also.

2. The similar raaga classificationThis practise started in the medieval period and is practised till date. It isnow known as the Thaat classification. This practise was started in themedieval period was written and promoted by Pt. Vishnu NarayanBhatkhande. Under this practise raagas are classified as a single group onthe basis of their characteristics, their singing styles, the moods, thetimings, etc.

categorisation of Raagas in the medieval period-1.Classification of Raagas on the basis of Shudhh, Chhayalag and Sankeern2.The Similar raaga classification3. Classification of Raagas based on Raagas-Raagini method

1.Classification of Raagas as Shudhh, Chhayalag and Sankeern

This method of classification started in the ancient period and waspractised for some years in the medieval period also.

2. The similar raaga classificationThis practise started in the medieval period and is practised till date. It isnow known as the Thaat classification. This practise was started in themedieval period was written and promoted by Pt. Vishnu NarayanBhatkhande. Under this practise raagas are classified as a single group onthe basis of their characteristics, their singing styles, the moods, thetimings, etc.

3.Classification of Raagas based on Raagas-Raginimethod

This was one of the concepts which began in the medieval period butgradually declined over a period of time. Some raagas were classified asmales and others as females on the basis of their characteristics and theywere classified as a single family.

The male raaga was known as a “Raaga” and the female known as the“Ragini”. These male and female raagas were believed to have kids alsoknown as the “Putra Raaga” (Putra as in son in Sanskrit).

This classification on a broader level was made into 4 major families. The1st two families had 6 Raagas and each had 6 Raginis and the latter twohad 6 raagas where each had 5 Raginis. So after doing the maths we cansummarize that 1st two families had 36 Raginis each and the remainingtwo had 30 Raginis each.

3.Classification of Raagas based on Raagas-Raginimethod

This was one of the concepts which began in the medieval period butgradually declined over a period of time. Some raagas were classified asmales and others as females on the basis of their characteristics and theywere classified as a single family.

The male raaga was known as a “Raaga” and the female known as the“Ragini”. These male and female raagas were believed to have kids alsoknown as the “Putra Raaga” (Putra as in son in Sanskrit).

This classification on a broader level was made into 4 major families. The1st two families had 6 Raagas and each had 6 Raginis and the latter twohad 6 raagas where each had 5 Raginis. So after doing the maths we cansummarize that 1st two families had 36 Raginis each and the remainingtwo had 30 Raginis each.

Names of these families are-1. Shiva and Someshwar Family - This family had 6 raagas namely- Shree, Basant,

Bhairav, Pancham, Vrihnnat and Megh each having Raginis which are-Shree– Maalshree, Triveni, Gora, Kedari, Madhumadhvi and PahadikaBasant– Desi, Devgiri, Varaati, Todika, Lalita and HindoliBhairav– Bhairavi, Gujri, Ramkiri, Gunkiri, Bengali and SanghviPancham– Vibhasha, Bhoopali, Karnati, Paalvi, Patmanjri and NadhansikaVrihnnat– Kamodi, Kalyani, Amiri, Natika, Sarangi, and NathambiraMegh– Malari, Sorathi, Saveri, Kaoshiki, Gandhari and Harshringar

2. Krishna and Kaalinath Family - This family also had 6 raagas namely- Shree, Basant,Bhairav, Pancham, Nat Narayan and Megh but the Raginis according to this theorywere different from the Raginis as per the Shiva Family.

Shree– Gori, Kolahal, Dhaval, Varoraji, Malkauns and DevgandhaarBsant– Adhali, Gunkali, Patmanjri, Gaudgiri, Dhanki and DevsaagBhairav– Bhairavi, Gujri, Bilawal, Bihag, Karnat and KannadaPancham– Triveni, Hastretha, Ahiri, Kokam, Berari and Asavari

Nat Narayan– Timbanki, Trilangi, Purvi, Gandhari, Rama, Sidhu and MallariMegh– Bengali, Madhura, Kamodi, Dhanashri, Devtirthi and Diwali

Names of these families are-1. Shiva and Someshwar Family - This family had 6 raagas namely- Shree, Basant,

Bhairav, Pancham, Vrihnnat and Megh each having Raginis which are-Shree– Maalshree, Triveni, Gora, Kedari, Madhumadhvi and PahadikaBasant– Desi, Devgiri, Varaati, Todika, Lalita and HindoliBhairav– Bhairavi, Gujri, Ramkiri, Gunkiri, Bengali and SanghviPancham– Vibhasha, Bhoopali, Karnati, Paalvi, Patmanjri and NadhansikaVrihnnat– Kamodi, Kalyani, Amiri, Natika, Sarangi, and NathambiraMegh– Malari, Sorathi, Saveri, Kaoshiki, Gandhari and Harshringar

2. Krishna and Kaalinath Family - This family also had 6 raagas namely- Shree, Basant,Bhairav, Pancham, Nat Narayan and Megh but the Raginis according to this theorywere different from the Raginis as per the Shiva Family.

Shree– Gori, Kolahal, Dhaval, Varoraji, Malkauns and DevgandhaarBsant– Adhali, Gunkali, Patmanjri, Gaudgiri, Dhanki and DevsaagBhairav– Bhairavi, Gujri, Bilawal, Bihag, Karnat and KannadaPancham– Triveni, Hastretha, Ahiri, Kokam, Berari and Asavari

Nat Narayan– Timbanki, Trilangi, Purvi, Gandhari, Rama, Sidhu and MallariMegh– Bengali, Madhura, Kamodi, Dhanashri, Devtirthi and Diwali

3. Bharat Family- This family had 6 Raagas but the Raginis according to the theory areonly 5 to each raaga. The Raagas and Raginis are-

Malkauns– Gujri, Vidhavti, Todi, Khambavati and KukubhHindol– Ramkali, Vidhavati, Asavari, Devri and KokiBhairav– Madhumadhvi, Lalita, Barori, Bhairavi, BahuliDeepak– Kedari, Gori, Rudravati, Kamod and GujriShree– Sedhvi, Kaafi, Thumri, Vichitra and SohiniMegh– Mallari, Sarang, Desi, Ritvllabha and Kannad

4. Hanuman Family- This last family also had 6 raagas but the Raginis are only 5 toeach raaga.Kaushik/ Malkauns-Todi, Khambavati, Gori, Gunkari and KukubhHindol– Bilawali, Ramkari, Deshataya, Pakhmanjri and LalitaBhairav– Madhyamadi, Bhairavi, Bengali, Baratika and SendhviDeepak– Kedari, Kannada, Desi, Kamodi, Nataki

Shree– Basanti, Maalvi, Maalshree, Dhansik and AsavariMegh– Mallari, Deshkari, Bhoopali, Gujri, Tanka

There were many theories regarding this Raaga-Ragini practise .

3. Bharat Family- This family had 6 Raagas but the Raginis according to the theory areonly 5 to each raaga. The Raagas and Raginis are-

Malkauns– Gujri, Vidhavti, Todi, Khambavati and KukubhHindol– Ramkali, Vidhavati, Asavari, Devri and KokiBhairav– Madhumadhvi, Lalita, Barori, Bhairavi, BahuliDeepak– Kedari, Gori, Rudravati, Kamod and GujriShree– Sedhvi, Kaafi, Thumri, Vichitra and SohiniMegh– Mallari, Sarang, Desi, Ritvllabha and Kannad

4. Hanuman Family- This last family also had 6 raagas but the Raginis are only 5 toeach raaga.Kaushik/ Malkauns-Todi, Khambavati, Gori, Gunkari and KukubhHindol– Bilawali, Ramkari, Deshataya, Pakhmanjri and LalitaBhairav– Madhyamadi, Bhairavi, Bengali, Baratika and SendhviDeepak– Kedari, Kannada, Desi, Kamodi, Nataki

Shree– Basanti, Maalvi, Maalshree, Dhansik and AsavariMegh– Mallari, Deshkari, Bhoopali, Gujri, Tanka

There were many theories regarding this Raaga-Ragini practise .

Classification of Raagas in the medieval period

Classification of raagas as modern period

1. Classification of raagas on the basis of Shudhh, Chhalayag, andSankeern.2.Classification of raagas as per the Raaga-Ragini method.3.Raaga-ang classification4. The Thaat-Raaga classification

1.Classification of raagas on the basis of Shudhh, Chhalayag and SankeernThis classification was practised for some years but it has declined in the

modern period.Classification of raagas as per the Raaga-Ragini method

This classification started in the medieval period, but it hasgradually declined now and is practised very rarely by somescholars and musicians.

1. Classification of raagas on the basis of Shudhh, Chhalayag, andSankeern.2.Classification of raagas as per the Raaga-Ragini method.3.Raaga-ang classification4. The Thaat-Raaga classification

1.Classification of raagas on the basis of Shudhh, Chhalayag and SankeernThis classification was practised for some years but it has declined in the

modern period.Classification of raagas as per the Raaga-Ragini method

This classification started in the medieval period, but it hasgradually declined now and is practised very rarely by somescholars and musicians.

Raaga-ang classificationA scholar named Swami Narayan Moreshwar Khare invented a newmethod of classification of raagas wherein; he formed 30 permutations of4-5 swaras and classified all the raagas according to them and named thepatterns on the name of the raaga.

For example he formed a pattern- Ga Ma Re Sa and Ga Ma re Sa; heclassified the 1st pattern as Bilawal and the 2nd one as Bhairav. He made 30such patterns and classified according to them. Some of these patternnames are- Bhairav, Bhairavi, Bilawal, Kalyan, Khamaaj, Kaafi, Purvi,Marwa, Todi, Kannada, Malhar, Sarang, Bageshri, Lalit, Asavari and so on.This classification was also not successful and declined over a period oftime.

Raaga-ang classificationA scholar named Swami Narayan Moreshwar Khare invented a newmethod of classification of raagas wherein; he formed 30 permutations of4-5 swaras and classified all the raagas according to them and named thepatterns on the name of the raaga.

For example he formed a pattern- Ga Ma Re Sa and Ga Ma re Sa; heclassified the 1st pattern as Bilawal and the 2nd one as Bhairav. He made 30such patterns and classified according to them. Some of these patternnames are- Bhairav, Bhairavi, Bilawal, Kalyan, Khamaaj, Kaafi, Purvi,Marwa, Todi, Kannada, Malhar, Sarang, Bageshri, Lalit, Asavari and so on.This classification was also not successful and declined over a period oftime.

4. Thaat- Raaga classification

The similar raaga classification explained in the 2nd article was later knownto be the Thaat-Raaga classification. Pt. Vishnu Narayan Bhatkhandeclassified all the raagas according to 10 major groups known as thaats asfollows-

BhairavBhairaviKaafiKhamaaJAsavariKalyanTodiMarwaBilawalPurvi

These thaats are made according to the similar characteristics of theirraagas and it is named after the raaga whose characteristics define thenature of the thaat.

4. Thaat- Raaga classification

The similar raaga classification explained in the 2nd article was later knownto be the Thaat-Raaga classification. Pt. Vishnu Narayan Bhatkhandeclassified all the raagas according to 10 major groups known as thaats asfollows-

BhairavBhairaviKaafiKhamaaJAsavariKalyanTodiMarwaBilawalPurvi

These thaats are made according to the similar characteristics of theirraagas and it is named after the raaga whose characteristics define thenature of the thaat.

The classification on this basis focuses more on the mood and thepresentation style of the raaga instead of its structure. For example RaagaBhoopali and Raaga Deshkar have similar swaras but are presenteddifferently; so these two are classified under two different thaats andsimilarly Raaga Vrindavani Sarang which is classified under the thaat Kaafishould be classified as under Khamaj as per its swara structure.

This classification of raagas has been most apt till now but still, it has someshort-comings. Raaga Patdeep, Raaga Lalit, Raaga Madhuvanti and manymore could not be categorised into any thaat because of their differentways of presentation.

Similarly Raaga Bhairav Bahar, Raaga Chandrakauns and Raaga Ahir Bhairavare not classified into their appropriate thaats; different scholars classifythem into different thaats. In spite of these shortcomings thisclassification is practised world-wide by all Hindustani musicians.

The classification on this basis focuses more on the mood and thepresentation style of the raaga instead of its structure. For example RaagaBhoopali and Raaga Deshkar have similar swaras but are presenteddifferently; so these two are classified under two different thaats andsimilarly Raaga Vrindavani Sarang which is classified under the thaat Kaafishould be classified as under Khamaj as per its swara structure.

This classification of raagas has been most apt till now but still, it has someshort-comings. Raaga Patdeep, Raaga Lalit, Raaga Madhuvanti and manymore could not be categorised into any thaat because of their differentways of presentation.

Similarly Raaga Bhairav Bahar, Raaga Chandrakauns and Raaga Ahir Bhairavare not classified into their appropriate thaats; different scholars classifythem into different thaats. In spite of these shortcomings thisclassification is practised world-wide by all Hindustani musicians.

classification of Raagas in the Modern period