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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:
Early night
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 6 notes
Shadav-
Containing 7 notes
Sampurna
Do not follow strict ascending or descending order of notes
Vakra
Alternative names:
Anandi, Anand Kalyan
Emotions evoked by the raga
Mood:
Chanchal (Lively), Shant (Serene, Peaceful), Shringar (Romantic)
Nand raga is also called Anandi or Anand Kalyan. This raga omits in
Ascending movement of notes
aroh and uses all seven notes in
Descending movement of notes
avaroh. This raga is a little curvy in its movement both in aroh and avaroh. It uses all
A natural note (corresponds to notes in Western major scale)
shuddha notes. Both forms of are used and of the two forms,
A sharp note
tivra is used only in avaroh along with in
Ascending movement of notes
arohi manner like //. Shuddha is used in
Ascending movement of notes
aroh with more prominence and sustenance, while in
Descending movement of notes
avaroh its use is again like in
Ascending movement of notes
aroh (
Ascending movement of notes
arohi manner) but without sustenance and mostly ends with . The characteristic phrase of this raga is . phrase denotes the Kalyan
Style of presenting based on another raga
ang. This raga has a beautiful mixture of Bihag, Kamod, Gaud Sarang and Hamir. Hence it demands proper guidance and practice for presentation.