Raga

                                                                                  RAGA

                                 The term Raga is derived from the Sanskrit root “Ranja” which means to please or to be agreeable. Literally, therefore, the word raga would mean anything that pleases the mind. But from the musicsl point of view the term Raga connotes some particular thig and is used to express that thing alone. Therefore in it’s technical sence the term Raga means a sweet combination of musical tones in successive order.

                                 In order to understand the definition of raga three things must be keot in mind:

     1 .     Specific combination of sound

     2 .     Presence of “ Swar” and “Varna”

     3 .     Presence of sweetnes ( Ranjakta )

                                 The words “Varna” and “Ranjakta” are very significant in the definition of Raga. “Varna” refers to the succession of musical tones which means that the notes should be in successive order and not simultaneous sounding thereof. “Ranjakta” means sweetness or musical value.

                                 The word Raga is derived from the ancient Indian language Sanskrit root “Ranja” which means to make happy, to delight and to satisfy. Anciant scholars have difined Rag as a special melody, embellished with different notes that has the characteristic capability to charm and delight the listner. The spesific quality of the Raga is to make the listner very happy and contented. I would like to make it clear that all the Ragas do not express a happy mood. The notes used in a Rag time to singing and playing, all these things influence the mood of the Rag to a great extent. In thi context the word happiness has a wider meaning. It varies from person to person. The aim of the musician and the listner, which can take both to greater heights, to the state of supream bliss. In ither words Rag has the quality to blend different moods and emotions into ane distinguishing sentiment that is happiness the state of ecstacy.

                                                                      Definition of Raga

                        A Raga is that which is beautified by the excellence of “Swara” and “Varna” and which gives pleasure to the mind of the listner. In common parlance we can say that an arry of sounds in Musical tines and in sucessive order which pleases the ear and satisfies the craving for Music is known as Raga.

                                                                     Essentials of Ragas

     1 .   Ragas are derived from “Thaatas”.

     2 .   A Raga to be legitimate must have Five notes belonging to the scale from which it is derived.

             There can be no Raga unless it has Five notes belonging to the scale from which it is produced.

     3 .   A Raga must have a fixed ascent ( Aroha ) and a fixed descent ( Avaroha ). These Two together

             make up a Raga.

     4 .   A Raga must always take “Sa” the fundamental note. No Raga is allowed to drop “Sa” the

             fundamental note or the basic note.

     5 .   A Raga must not drop “Ma” and “Pa” simultaneously. It must have atleast one of them.

             It may drop either “Ma” or “Pa” but not the Two together simultaneously.

     6 .   A Raga must have a fixed Vadi note. There can be no Raga with out a vadi note. Vadi note is a

             predominent note of a Raga.

     7 .   A Raga must not take Two notes of the same denomination consectively. Two notes of the same

             denomination, i. e. sharp and flats of the same note suchas “Ga” sharp and “Ga” flat or “Ma”

              sharp and “Ma” flat should not, as a general rule.

     8 .   A Raga must necessarily have musical value ( Ranjakta ) or aesthetic potentialities. It must be

             Pleasing to the listners.

                                                                               JATHIS

                                                   The term Jathis cannotes the number of notes that are used both in the ascent and descent of a Raga. Ragas have been broadly classified under three groups according to the number of notes that are used in their formation. These are knwn as Oudava, Shadava and Sampoorna.  

OUDAVA RAGA

                           That Raga which takes only five notes both in the ascent and descent called Oudava Raga. Example; Bhoopali, Hindol, Malkouns, etc.

SHADAVA RAGA

                           That Raga which takes only Six notes both in the ascent and descent, is called shadava Raga. Example; Marva, Puriya, etc.

SAMPOORNA RAGA

                          That Raga, which takes all the seven notes both in the ascent and descent, is called Sampoorna Raga. Example; Yaman Bilawal etc.

                           From the above it is clear that the three “Jathis” of Ragas take Five, Six and Seven notes respectively in their ascent and descent. But apart from the above three classes of Ragas there can also be another varieties of Ragas. There may be a Raga having all the seven notes in the ascent and only Six notes in the descent. For example, Rag “Miyan Malhar”. Such a variety is known as a Raga of Sampoorna-Shadava Jathi. Again there may be a Raga which may have Six notes in the descent. For example, Rag “Khamaj”. Such a variety is known as a Raga of Shadava-Sampoorna Jathi. Thus the above mentioned three groups of Ragas can be futher sub-divided in to three groups of each in the following manner.

    1   SAMPOORNA

                Sampoorna-Sampoorna           Sampoorna-Shadava         Sampoorna-Oudava

                                                         2   SHADAVA

                            Sadava-Sampoorna         Shadava-Shadava          Shadava-Oudava

                       3  OUDAVA

 Oudava- Sampoorna        Oudava-Shadava         Oudava-Oudava

  SAMPOORNA-SAMPOORN - Having seven notes both in the ascent and descent.

  SAMPOORNA-SHADAVA - Having seven notes in the ascent and six notes in the                                                                     descent.

  SAMPOORNA- OUDAVA - Having seven notes in the ascent ant five notes in the                                                   descent.

  SHADAVA-SAMPOORNA - Having six notes in the ascent and seven notes in the                                                                descent.

  SHADAVA-SHADAVA - Having six notes both in the ascent and descent. 

  SHADAVA-OUDAVA - Having six notes in the ascent and five notes in the descent.

  OUDAVA-SAMPOORNA - Having five notes in the ascent and seven notes in the

                                                 Descent.                                             

  OUDAVA-SHADAVA - Having five notes in the ascent and six notes in the descent.

  OUDAVA-OUDAVA - Having five notes both in the ascent and descent.

varieties in music

GAT

                        A set Musical composition consisting of the syllables or boles like,  “Dir  Da  Dir  Da  Ra  Da  Da  Ra” or  “Da  Dir  Dir  Dir  Dar  Dar  da  Da”  ect, and having Sthai and Antara as Two parts and which is played on Sitar and Sarod, is called “Gat’. Gats are of Two kind,

                                      a )  Mazeetkhani Gat, and

                                      b )  Razakhani Gat.

                        Mazeetkhani Gat is also known as wilambith Gat or Delhi-Baj-Gat and Razakhani Gat is also known as Poorab-Baj-Gat or Dhrut Gat or Lucknavi-Baj-Gat.

                                                                               KHYAL

                        Khyal is a persian word which means a thought or imagination. Adhering to the basic rules of the Raga when a song is adornedwith various techniques, and sung creating diverse melodic patterns, it is called a Khyal. In comparison to Dhrupad, Khyal has greater freedom. A Musician can use his creative ability to the best of his knowledge, training and practice in Khyal. Khyals are of Two types;

                                     1 .  Wilambith or Badakhyal

                                     2 .  Dhrut or chotakhyal  

                                                                   Wilambith Khyal

                       It is said that this style was invented in the 15^th century by the king Jounapur, Sultan Hussain Sharkee. Sadarang and Adarang the twin Musician brothers composed many Khyals and taught their disciples, but they themselves never sang Khyals, as Khyal singing was considered inferior. Later three brothers from Gwalior Haddu, Hassu and Natthu Khan made this style very popular.

                       Wilambith Khyal is sung in a slow tempo. The composition has two parts, Sthai and Antara. Techniques such as Meend, Khatka, Kan, Gamak ect; are liberally used for ornamenting the composition. Different melodic figures and Boltaans, woven in intricate, rhythmic patterns, from an integral part of Khyal singing. Languages used in the old traditional compositions are Persian, Urdu, Brij and Avadhee, the last two are the dialect of Hindi. Lyrics of the Khyals mostly describe various playful acts of Lord-Krishna, the beauty of nature ect; and express diversified emotions. Wilambith Khyals are set to Tilawada, Jhoomra, Adachoutaal, ektaal ect.

                                                                     Dhrut Khyal

                       Dhrut Khyal is  medium or fast tempo composition.It’s origin is dated back to the time of Ameer Khusro the celebrated persian scholar and Soofee saint musician  (14^th century A. D. ) He is supposed to be the inventor of this style of singing. The composition of Dhrut Khyal is short. Like wilambith Khyal the compositions are adorned with various techniques. The man difference between the two Khyals is that of tempo. Dhrut Khyals are set to Teentaal, Jhaptaal ect. Khyal is the most popular form of classical Music in contemporary times.

                                                                                 GAMAK

                       When a note is pronounced or played with some shake or quiver, it is called Gamak. This is swining notes, to please the listner. But varna of the Raga to be kept in fact. There are as many as 15 Gamak kinds mentioned in books, but only 10 Gamakas are being used practically. Sitar is an ideal instrument to play Gamak Beautifully.

                                                                                VARNA

                       Melodic form and it’s vibrations which help in developing the Raga ormode is called Varna.

Melodic movements are of four types; Sthai, Arohi, Avarohi and Sanchari.

                             

Sthai    -   When a note is repeated many times, it is called Sthai Varna; For example-  Sa  Sa  Sa  Sa, 

                 Ga  Ga  Ga  Ga  ect.

Arohi   -    The ascending movenent of the note is Arohi Varna; For example-  Sa  Re  Ga  Ma  Pa  Dha  Ni

Avarohi -  Descending melodic movenent is called Avarohi Varna;

                   For example -  Ni  Dha  Pa  Ma  Ga  Ri  Sa

      

Sanchari – It is the mixture of Sthai, Arohi and Avarohi Varnas. In other words, when the above three 

                 Varnas are sung together it becomes Sanchari Varna. For instance -  R G M,  P P P P,  G G G,

                 M G R S.

IMPORTANCE OF VADI SWARA

IMPORTANCE  OF  VADI  SWARA

1 . Vadi Swara is the most important note of a Raga. It is the predominent note or the reinging note of a

      Raga.

2 .  Vadi Swara is most fre quently used in a Raga. For example, in Raga Bihag  “Ga”  the vadi note, is

      most frequently used compared to the other notes of the Raga thus;  G,  RS,  NSGMG, P, GMG,

      NP,  GMG,  NSGMPGMG.

3 .  Every Ragas has its own vadi note which is handled in a perculiar manner by the artist. In fact, it is

       the very life note of a Raga. Vadi Swara is also known as “Ansha Swara”.

4 .  Vad Swara is recognized by the frequent use of it, by the londest stoppage on it and by starting the

       singing of a aRaga from it and by finishing on it.

5 .  Vadi note approximatly determines the time of singing of a Raga. According to the position of the

      Vadi note in a Raga it can be said as to whether a Raga is Poorvangavadi or Uttarangavadi. Not only

      this, but we can also known the times of the day or night assigned to a Raga. For example,  Ga  is the

      Vadi note in a Rag Bhoopali which indicates that is a Poorvangavadi Raga. And the time of singing of

      Poorvangavadi Raga is from 12 noon to 12 midnight. We also known that Bhoopali has  Re  and  Dha

      Teevra swaras. And since Ragas having  Re  and  Dha  Teevra are sung in the first quarter of the night,

      Therefore, we can say that Bhoopali is sung in the first quarter of the night betveen 7 to 8 P. M.

 6 . Vadi note along with other notes indicates a Raga. For example,  G,  R,  S D  S R G,  D P G, R S,  this

      Collection of notes indicates Bhoopali Raga. And  Ga  is the Vadi note in Bhoopali and  Ga  is also

      Present in the above collection of notes. Therefore, Vadi note along with other notes dose indicate

      A Raga.

 7 . By changing the note of a Raga another Raga can be formed. For example, Bhimpalasi and Dhanashri

      Belong to Kafi Thaata. Bhimpalasi has  Ma  as it’s Vadi note. If we take  Pa  as Vadi note in Bhimpalasi,

      It will become Dhanashri  Raga, In fact, Bhimpalasi and Dhanashri are difference in their vadi notes.

 8 . As a rule, the development of a Raga is done from the vadi note. For example, the development or

      the alap of Raga Malkouns is done from it’s Vadi note  Ma  as under;  S M,  S M G M,  N D M G M, 

      N D N N D M G M,  G M G S N S,  M G M,  D M,  N D M,  D N S G,  M D N D M,  S G M D M,  N D M G M.

 9 . The entire beauty of a Raga hinges on it’s Vadi note.

 10 . The vadi note, on account of it’s importance, has been compared to a king in a raga. Just as a king is

       important for a kongdom, in the same way Vadi swara is important in a Raga, or again, just as the

       head of a family is considerd to be oll important. In this family in the same way Vadi note in

       considered to be very important in a Raga.

DISTINCTION BETWEEN THAATA AND RAGA

DISTINCTION  BETWEEN  THAATA  AND  RAGA

                     THAATA                                                                                                              RAGA

     A Thaata has always sevan notes.                           A Raga may have seven or less than Five notes.

     A Thaata to be legitimate is bound                         A Raga to be legitimate is bound to have atleast

     to have seven of the Twelve notes                         Five of the Twelve notes of the Scale.

     of the Scale.

     The notes of a Thaata must be in their                  The notes of a Raga may or may not be in their

     serial order, like  Sa,  Re,  Ga,  Ma,  Pa,                  serial order.

     Dha,  Ni .

     A Thaata is not bound to have both                       A Raga is bound to have both the ascent and

     the ascent and descent.Because,                           descent. Because, a Raga cannot be recognised

     a Thaata can be recognised by the                         without the presence of  the ascent and descent.

     assent along. For example, the

     ascent  Sa,  Re,  Ga,  Ma,  Pa,  Dha,

     Ni,  Sa . Clearly indicates that it is

     Kafi Thaata.

     “Ranjakta” or sweetness is not                               “Ranjakta” or sweetness or Musical value is a must

     necessary for a Thaata. Since the                           for a Raga. Since a Raga is no bound to have its notes

     notes of a thata are bound to be in                       in their serial order, therefore Two notes of the same

     their serial order, therefore Two                           denomination cannot occur, one after another in a

     notes of the same denomination                           Raga. Consequently swetnness will remain in the

     can occur in a Thaata, one after                             Raga. Hence, Ranjakta or sweetness is essential

     another, which cannot create                                 for a Raga.

     sweetnes in a Thaata. Hence,

     Ranjakta or sweetness is not

     essential for a Thaata.

varieties of ragas

                                                   POORVA  RAGA  AND  UTTAR  RAGA

                           Ragas of Hindustani system of Music have been divided in to Two classes under Two heads according to the time of singing and according to Vadi Swara. This classification is known as Poorva Raga and Uttar Raga and Poorvanga Vadi and Uttaranga Vadi Ragas.

                                                                 24 Hours of the day is divided in to Two according time theory of Hindustani Music. The 1^st part is from 12 noon to Mid Night. This period is known as poorva Raga singing period. (Poorva Ragas are sung between 12 noon to 12 Mid Night ) The Ragas sung from Mid Night to Mid Day are called Uttar Ragas.

                                        POORVANGA  VADI  AND  UTTARANGA  VADI  RAGAS

                          The Sapthak ( Octave ) is set with Two parts. From the note “Sa” up to “Ma” is the 1^st part. “Pa” note to “Sa” note is the 2^nd part. The 1^st part is known as Poorvanga. When Vadi Swara is with in Poorvanga. Such Raga is identified as Poorvanga Vadi Raga. When Vadi Swara of a Raga falls with in Uttaranga, that raga becames an Uttaranga Vadi Raga.

                                                                Poorvanga Vadi Ragas are recommended to be sung from 12 noon to 12 Mid Night. Uttaranga Vadi ragas are sung in between 12 Mid Night to 12 noon.

                                                                SANDHI PRAKASH RAGA

                           “Sandhi” means junction, and “Prakash” means light. And there is a junction between day and night. So the term “Sandhi-Prakash” means junction of day and night or the time when day and night meat or the twilight time. Thi period comes twice within twenty Four hours, one at Sunrice and the other at Sunset, and is known as Sandhi-Prakash time. According to time theory the Sandhi-Prakash time is of Three hours duration, from 4 to 7 both in the morning and evening. The Ragas that are sung during thi period are called Sandhi-Prakash Ragas.

                                                            The Ragas taking  Re  and  Dha komal and belonging to Bhairav, Poorvi and Marva Scales, and assigned to the morning, better known as morning Sandhi-Prakash Ragas, such as Paraj, Vasant,Sohani, Bhairav, Ramkali, Kalingada, Jogia ect; are sung from 4 a. m. to 7 a. m.

                                                              The Ragas taking both  Re  and   Dha  Teevra and derived from Yaman, Bilawal and Khamaj scales and those assigned to the night, better known as evening Sandhi-Prakash Ragas, such as Yaman, Bhoopali, Hamir, Kedar, Kamod, Chayanat, Bihag, Tilakkamod, Jhinghooti  ect; are sung from 7 p. m. to 10 p. m.

                                                                  SHUDDHA  RAGA

                                                            “Shuddha Raga” is that Raga which does not require the help of another Raga for its display. In other words, the Raga which can be displayed with its own resources quite independently, is called Shuddha Raga. For example, Yaman, Bhairav and Todi ect.

                                                                 CHAYALAG  RAGA

                                                        “Chayalag Raga” is the Raga which is shadowed by other Ragas. For example, Ahir-Bhairav, Pooriya-Dhana-Sri  ect.

                                                                SANKEERNA  RAGA

                                                         “Sankeerna Raga” is a mixture of several Ragas. For example, Rag peelu.

                                                                   GRAHA  SWARA

                                                         “Graha Swara” is that note with the singing of a Raga commences. It is the starting note of a Raga.

                                                                  ANSHA  SWARA

                                                         “Ansha Swara” is that note which is most frequently used in a Raga. It is the reining note or the predominent note of a Raga. In other words, it is the very life-note of a raga.

                                                                 NYASA  SWARA

                                                          “Nyasa Swara” is that note on which the singing of a Raga concludes. It is the concluding note of a Raga.

ANCIENT RAGA RAGINI SYSTEM

ANCIENT  RAGA  RAGINI   SYSTEM

                In ancient time Raga system was not there and the prevailing Music all over India was Grama-Moorchana Jathi system. This system exsisted until 13^th century. Narada the author of “Sangeeth Makarand” introduced Raga-Ragini system instead of Grama-Moorchana- Jathi  system. This system was adopted by the other Musicians who were involved in Music after Narad. Although great Musicians such as Lochan, Ahobal, Hirdaya Narayan and others introduced Thaata Raga system. Raga-Ragini system was so popular and remained alive  until 19^th century.

                                                                 The writers of Raga-Ragini system classified their Ragas in to Raga-Ragini-Puthra Raga and Puthra-Bandhu. They divided about 1000 Ragas to the above catogaries which prevailed at the time. There were Four schools at the time which followed this system. They are as follows.

                     1 . Someshwar school

                     2 . Bharat school

                     3 . Kallinath school  and

                     4 . Hanumath school

                                                                  In those schools the manner, they classified Raga-Raginies were different during the Moughal Regina this system was accepted very highly.

                                                                  In 1813 a nobel musician from Patna, declared that Raga-ragini system is unscientific and meaningless. His name was Mohammad Raza. He introduced Six ragas and 36 Raginis under them, which consist 6 Raginis in each Ragas. In the 20^th century Pandith Bhatkhande proved even the system of Mohammad Raza is also unscientific introduced Thaata-Raga system.

Intelligent Music Person in india

                                    PANDITH  VISHNU  DIGAMBER  PALUSHKAR  ( 1872 1931 )

               This great singer was born in 1872 at Belaganva. As he was blind from childhood his Father sent him to Pandith Balakrishna Buwa Ichalakaranjikar, a great singer of the Gwalior Gharana, for musical training. He became proficient soon and travelled allover India popularizing classical Music.

                                                             Pandith Vishnu Digambar Palushkar was the founder of the Gandharva Mahavidyalaya. This was a milestone as there were no musical schools before this. this was founded with funds raised by concerts and from public donations. He published books with notations to be used in the school by the students. He was also responsible for giving music the social status that it had lost in the courts of the kings where musicians were looked down upon and treated very shabbily.

                                                            Pandith Vishnu Digamber Palushkar Was the pioneer to establish Gandharva Mahavidyalaya and start a degree course in Indian classical Music. He was an Institution of Indian classical Music in himfelf. Besides being and exellent and  renowed Vocalist, he strived to bring divine Music to layman. He produced a number of pupils who are considered as stalwarts in the world of Music like  Pandith Omkarnath Thakur, Pandith Narayan Rav Vyas and Pandith Vinayakar Rav Patawardhan, Palushkarji's only son, Pandith D. V. Palushkar is still respect as one of India's formost singers. Pandith Palushkar compiled Books on music. He divised his own notation system suitable to Indian classical Music, based on the national Anthem of india and the famous patriotic song " SARA JAHANSE ACHCHA " which are classical Music based tunes. They are different from those which are now known to the Indian community in genaral. His compositions for Semi - classical songs became popular. He also established Ram Nam Adhar Ashram at Nasik in 1924, where a hall is offered free of cost to anybody who wishes to give Indian classical Music performence. Pandirh Palushkar an important Musician from the Gwalior Gharana, is well known for his innovations in pedagohical practice and concert presentation. He was a pioneering Misician in bringing Music out of the exclusive domain of the Royal patronage system. This great singer breathed his last in 1931 leaving a unfillable space in the stage of Music.

                                                          RAJA  BHAIYA   POONCHWALE

                Raja Bhaiya Poonchwale was born on 12^th August 1882. His ancestors were the inamber in Satara district. His ancestors came to Bundelkhand along with the father in law of Maharani Luxmi Bai of Jhansi. His ancestors got the Zamidari which was called Poonch. Since then the title of Poonchwale was given to them. His full name was Balkrishna Anand Poonchwale.

                                                            He got his tutelage from famous Dhrupad Singer Vamanbua Deshpande. Raja Bhaiya Poonchwale was impressed by the sweet Voice of Shankar Rao Pandith on Gramophone record. Raja Bhaiya Poonchwale was appointed as Court Musician to Maharaja Mahadeva  Rao Scindia of Gwalior. From there he received a Royal Scholarship to study the notation system of Pandith Bhatkande. Leter he was appointed as the cheif examiner of the Bhatkande Vidyapith.

                                                           He also did a great service to Music by writing many important book on Music, like Taan Malika, Sangeetopasaana, Thumri Tarangani ect. He was a great singer and in 1956 he was awarded the President's Prize for the best singer.

                                                            His son Bala Sahib Poonchwale also became a famous singer. Among his other pupils are N. D. Kaushal and Professor Sumathi Muthakar. Raja Bhaiya Poonchwale taugth many rere Dhrupads and Khyals to Pandith Bhatkande who included them Kramik Pusthaks.

                                                            USTAD  FAIYAZ  KHAN

           

              Ustad Faiyaz Khan Sahib was born on 1886 in Agra near Secundar. He was the exponent of Agra Gharana. His father Safdar Hussain died 4 months before he was born. He grew up among his Grandfather Gulam Abbas Khan  Sahib. His primary Music  training was given to him by his Grandfather from the age 5 years, and his ancestors Kallan Khan and Ganesh Lal Choubey of Mathura.

                                                                 Soon he became a brilliant singer of Dhrupads, Khyals, Tappas, Ghazals and Kawwali. He composed many sweet Khyals under the name Premapriya. In 1911 the King of Mysore conferred on him the title Ashtabe Musikee ( Sun of Music ). In 1921 he was selected the best Musician of India by Maharaja Tukaji Rao of Indore.

                                                                 His programes were brodcast over many radiostations in India. At the Lucknow Music conference in 1925 he was awarded the title of Sangeeth Chudamani and Sangeeth Saroj. In Allahabad he was awarded the title of Sangeeth Bhaskar. Like wise he was awarded many honours for his majestic performances. Althoug he was busy with his performance, he made many famous pupils like Atha Hussain, Azmat Hussain, Deepali nag, Dilip chaand Bedi, Bazeer Khan, K. L. Saigal, Lathafath Hussain, Sharafath Hussain, Professor S. N. Rathanjankar.

                                                                 Boltans and Nomthom Alap was his special liking and his favorite Ragas were Pooriya, Lalith, Thodi and Darbari. This honoured exponent of the Agra style died on the 5^th of November 1950 in Baroda leaving an unreplaceble gap in the history of the Agra Gharana.

CLASSIFICATION OF RAGA

CLASSIFICATION OF  RAGA

Until the 13^th century the Grama Moorchana Jathi Paddhathi was in cerculation. After that the Ragas were Classified in Indian Music chiefly as follows;

            1 .  Rag Ragini Classification of Narada in Sangeeth Makaranda.

            2 .  Shuddha, Chayalag and Sankeerna Classification.

            3 .  Jathi or Shadav, Oudav, Sampoorna Classification.

The ancients Classified all Ragas in to Raga, Ragini, Raga Putra and Raga Putravadhu. This Classification is called the Raga Ragini Classification. There are 4 theories about it. According to the 4 theories; They are as follows.

          1 .  Shiva Matha or Gomeshvar Matha.

          2 .  Bharath Matha.

          3 .  Kallinath Matha.

          4 .  Hanumath Matha.

Given below are the grouping of chief Ragas of each Matha.

SHIVA MATHA                                                             1 .  Shree

( 6 Chief Ragas )                                                          2 .  Basant

                                                                                          3 .  Pancham

                                                                                          4 .  Megh

                                                                                          5 .  Bhairav

                                                                                          6 .  Natanarayan

Pandith Damodar describes thi theory in his book named Sangeeth Darpan as,

BHARATH MATHA                                                     1 .  Bhairavi

( 6 Chief Ragas )                                                         2 .  Malkouns

                                                                                      3 .  Hindol

                                                                                      4 .  Deepak

                                                                                      5 .  Shree

                                                                                      6 .  Megh

KALLINATH MATHA                                                  1 .  Shree

( 6 Chief Ragas )                                                         2 .  Pancham

                                                                                      3 .  Bhairavi

                                                                                      4 .  Megh

                                                                                      5 .  Natanarayan

                                                                                      6 .  Vasant

HANUMAT MATHA                                                   1 .  Bhairavi

( 6 Chief Ragas )                                                          2 .  Malkouns

                                                                                       3 .  Hindol

                                                                                       4.  Deepak

                                                                                       5 .  Shree

                                                                                       6 .  Megh

     Shuddha, Chayalag and Sankeerna Ragas Classification was described in Raga Vibhoda written in the 17^th century by Pandith Somanath. According to this Classification Shuddha Raga is rag which doesn't require anyother Raga for it display. Chayalag Raga is a mixture of two Ragas. Sankeerna Ragas are mixture of several Ragas.

     According to the Jathi Classification, ragas were basically divided in to 3 types. As Oudav, Shadav and Sampoorna. These three basic types produced 9 subtypes as follows;

                                1 .  Sampoorna Shadav

                                2 .  Sampoorna Sampoorna

                                3 .  Sampoorna Oudav

                                4 .  Shadav Sampoorna

                                5 .  Shadav Shadav

                                6 .  Shadav Ovdav

                                7 .  Ovdav Sampoorna

                                8 .  Oudav Shadav

                                9 .  Oudav Oudav

     From each that with the of these 9 sub types, 484 Ragas can be made. Therefore with 10 Thatas, 4840 Ragas can be made but as most of them are lacking in sweetness, only about 200 Ragas are in use.