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A basis for the organisation and classification of ragas depending on the notes used
Thaat:
Kalyan
Preferred time or season for playing
Time:
Late evening
The most prominent note of a raga
Vadi/
The second most prominent note of a raga
Samvadi:
, 
Categorization based on number of notes used in aroh and avaroh
Jati:
Containing 7 notes
Sampurna-
Containing 7 notes
Sampurna
Do not follow strict ascending or descending order of notes
Vakra
Emotions evoked by the raga
Mood:
Shant (Serene, Peaceful), Shringar (Romantic)
Chhayanat presented with Kalyan
Style of presenting based on another raga
ang. It is a little curvy in its structure with reduced importance of . It uses both forms of . The shudh is used both in
Ascending movement of notes
aroh and
Descending movement of notes
avaroh while
A sharp note
tivra is usually used in avaroh, but in
Ascending movement of notes
arohi manner like //.
A flat note
Komal is used sometimes as a
Note that is not part of the raga but used to enhance the presentation
vivadi note to add to the melody, like . Direct movement from to in aroh is also a feature in this raga. This raga has a characteristic phrase of and movement or
Transitioning from one note to another in a gliding manner
meend, which are often used. These phrases make this raga different from similar ragas like Hamir, Kedar, and Kamod.