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A basis for the organisation and classification of ragas depending on the notes used
Thaat:
Khamaj
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 5 notes
Audav-
Containing 7 notes
Sampurna
Emotions evoked by the raga
Mood:
Chanchal (Lively), Shant (Serene, Peaceful), Shringar (Romantic)
Jhinjoti is one raga common in both Hindusthani and Carnatic music systems. It has as the only
A flat note
komal note and rest all are
A natural note (corresponds to notes in Western major scale)
shuddha notes. Though and are omitted in
Ascending movement of notes
aroh they are used in a curvy manner. All notes are used in the
Descending movement of notes
avaroh without any curves. Both and get used in
Ascending movement of notes
arohi like and respectively, which are also the key phrases of this raga. Sometimes komal is also used, especially in semi-classical presentations, for which this raga is suited.