In Hindustani classical music, the classification of Ragas is today largely based on the thaat system introduced by Pandit Vishnu Narayan Bhatkhande. However, prior to the development of the thaat system, the most effective way of understanding the character or nature of a Raga was through the concept of raganga (Raga + Anga).
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Key Difference Between Thaat and Raganga
The thaat system is primarily based on the theoretical and mathematical arrangement of notes. In contrast, the raganga system is rooted in the chalan (movement), pakad (signature phrases), and distinctive note combinations of a raga.
The term raganga refers to the “limb” or structural essence of a raga. When the fundamental characteristics of a particular raga are observed across several other ragas, a raganga family is formed under the name of that principal raga. For example, any raga that exhibits the characteristic movement of the Kanada style is considered part of the Kanada family.
Principal Ragangas and Their Characteristic Note Patterns (Pakad)
Below is a concise overview of some major ragangas along with their typical movements:
| No. | Raganga / Family | Characteristic Note Pattern (Chalan) |
|---|---|---|
| 1 | Bhairav Anga | G M r S – distinctive oscillation on Rishabh |
| 2 | Bilawal Anga | P D G M G M R S |
| 3 | Kalyan Anga | P R S, R G – use of sharp (tivra) Madhyam |
| 4 | Khamaj Anga | P D n D M P G |
| 5 | Kafi Anga | M P g R |
| 6 | Poorvi Anga | d P M P |
| 7 | Marwa Anga | D M g r |
| 8 | Todi Anga | r g r S |
| 9 | Bhairavi Anga | g M d n / r n d P |
| 10 | Sarang Anga | N p M R |
| 11 | Dhanashree Anga | M P g R S |
| 12 | Lalit Anga | N r G M – distinctive use of both Madhyams |
| 13 | Sorath Anga | M P N S R n D P |
| 14 | Pilu Anga | P d N S |
| 15 | Nat Anga | S R, R G, G M |
| 16 | Shri Anga | r P M G |
| 17 | Bageshree Anga | g M D n |
| 18 | Kauns Anga | g M g S |
| 19 | Kedar Anga | m P D P M |
| 20 | Shankara Anga | G P N P |
| 21 | Asavari Anga | M P d P |
| 22 | Kanada Anga | n P g M R S |
| 23 | Malhar Anga | M R R S / n D N S |
| 24 | Hindol Anga | G M D S |
| 25 | Bhupali Anga | P G R S |
| 26 | Asa Anga | R M P D |
| 27 | Bihag Anga | G M G, R S |
| 28 | Kamod Anga | G M R S |
| 29 | Bhatiyar Anga | P G r S |
| 30 | Durga Anga | D M R S |
| 31 | Bahar Anga | M P g M |
| 32 | Bhimpalasi Anga | n D P, M P g M |
Prominent Raga Families
Certain ragas are so rich in structure and expression that entire families have evolved from their characteristic movements. For example:
- Malhar Family: Miyan ki Malhar, Megh Malhar, Gaud Malhar, Sur Malhar, Ramdasi Malhar, etc.
- Kanada Family: Darbari Kanada, Nayaki Kanada, Shahana Kanada, Adana Kanada, Bageshwari Kanada, etc.
- Todi Family: Miyan ki Todi, Gujari Todi, Bilaskhani Todi, Bhupal Todi, etc.
- Sarang Family: Shuddha Sarang, Brindavani Sarang, Madhmad Sarang, Miyan ki Sarang, etc.
Significance of the Rāgāṅga Approach
The raganga-based system of classification helps students recognise the true form or mould of a raga. Once a learner masters a particular raganga, identifying other ragas within the same family becomes significantly easier.
Note
This article is currently a work in progress. It will be further enriched with additional information and audio examples in due course. You are warmly invited to revisit for future updates.
Further Reading