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Reply with quote  #1 
This article is copied and pasted on many other sites without giving credit to the original site and the author :
Raagang’ means a unique phrase in a Raag suggesting its characteristic feature. This key-phrase is called as Raagang and if any Raag contains this key-phrase, that Raag belongs to the family of main Ang-Raag.

Pt. N M Khare has listed such 30 Raagang-s, as following –

1. Bhairaw – GMrS

Bhairaw, Ramkali, Gunakri, Jogiya, Ahir Bhairaw, Shiwmat Bhairaw, etc.

2. Bilawal – P DG MGMRS

Types of Bilawal such as Alaiyya, Sarparda, Kukubh, Devgiri, Shukla Bilwal and other Raags such as Gunkali, Deshkar, etc.

3. Kalyaan – PR S, RG

Bhoop, Marubihag, Jait Kalyan, Shyam Kalyan, many varieties of Kalyaan, etc.

4. Khamaj – SGMP, nDP

Khamaj, Zinzoti, Tilang, Khambawati, Gara.

5. Kafi – MPgR

Kafi, Sindhura, Pradipki, etc.

6. Poorwi – dPmP

Poorwi, Paraj, Puriya Dhanashree, etc

7. Marawa – DmGr

Marawa, Purwaa Kalyaan, MaliGaura, Sajgiri, etc.

8. Todi – rgrS

Varieties of Todi, such as gujari, bilaskhani, bahaduri Todi.

9. Bhairawi – gMdn \ rndP

Malkauns, Bilaskhani Todi, Bhairawi, BasantMukhari.

10. Sarang – NpMR

Varieties of Sarang such as vrindavani, madhamad, shudhha, samat, miya ki, badhans sarang, etc. Also Soor Malhar.

11. Dhanashree – MPgRS

Bhimapalasi, Dhani, Patdeep, Multani, Madhuwanti, etc.

12. Lalit – NrGM

Lalit, LaitaGauri, Pancham, LalitPancham, LalitBibhas, Prabhat Bhairaw, Basant Pancham.

13. Sorat – MPNSRnDP

Desh, Tilak Kamod, Jaijaiwanti.

14. Piloo – PdNS

Piloo, Barawa, some Dhun-Raags.

15. Nat – SR RG GM

NatBhairaw, NatMalhar, NatBihag, ChhayaNat, etc.

16. Shree – rPmG

Shree, Triweni, ChaitiGauri, etc.

17. Bageshree – gMDn

Bageshree, Rageshree, Malgunji, Bahar, Kaunsi Kanada.

18. Kauns – gMgS

Malkauns, Chandrakauns, Madhukauns, JogKauns, etc.

19. Kedar – mPDPM

Kedar, Jaldhar Kedar, Maluha Kedar, Chandani Kedar, Nat Kedar.

20. Shankara – GPNP

Shankara, Malashree, Hamsadhwani.

21. Asawari – MPdP

Asawari, Jaunpuri, DewGandhar, Gandhari, Desi, Lachari Todi.

22. Kanada – nPgMRS

Darbari, Adana, Nayaki, Shahana, Suha, Sughrai, Abhogi, Dewsakh, Hussaini, KafiKanada.

23. Malhar – nDNS

Varieties of Malhar such as Miya, Ramdasi, Megh, Gaud Malhar, etc.

24. Hindol – GmDS

Hindol, Sohani, BhinnaShadja.

25. Bhoopali – PGRS

Bhoopali, Jait, JaitKalyaan.

26. Asa – RMPD

Asa, Bhawani, Maand, Arabhi.

27. Bihag – GMG – RS

Bihag, Bihagda, Patbihag, sawani Bihag, Nandetc.

28. Kamod – GMRS

Kamod, ChhayaNat, shyam Kalyan, Gaud Sarang.

29. Bhatiyar – PGrS

Bhatiyarm, Bhankaar, etc.

30. Durga – DMRS

Durga, Gorakh Kalyan, Narayani.

· Even though the 2 Raags having same notes, according to the phrasing (Pakad or Ang and Chalan), one can classify the Raags in different Raagangs and Thaats :

Though Pandit Bhatkhande introduced the system of 10 Thaat-s to classify Raag-s, he was aware of its inadequacies and so, also considering the Pakad, Chalan of a Raag, he suggested further classification with using method of ‘Raagang’. e.g. as Raag Bhoop uses the phrase ‘P RS, RG’ suggesting Kalyaan Ang, Raag Bhoop is classified in Kalyaan Thaat, on the contrary, Raag Deshkaar uses phrase ‘P DG’ suggesting Bilwal Ang, he has classified it in Bilawal Thaat.

· The Raagang Padhhati gives guidelines about improvisation of Raag :

e.g. - 1. Komal Rishabh Asawi & Bilaskhani Todi has same notes and both belong to Bhairawi Thaat. But as Bilaskhani Todi has Todi Raagang, it is improvised with Todi Ang and on the other hand, Komal Rishabh Asawi is improvised accordingly with Asawari Ang.

2. Gujari Todi, though it is Raag in Todi family, it is improvised with Marawa Ang, giving importance to dmgr phrase.

· Raagang system makes it easy to identify other catagories of Raags :

Sam-Prakrutik Raags (Raags with same emotion or nature, e.g. Patdeep and Madhuwanti), Par-mel-praveshak Raags (Raags using notes similar to 2 Thaats, e.g. Jaijaiwanti using Khamaj and Kafi Thaat), Chhayalag Raags (Raags using tint or shade of some other Raag, e.g. Lalit Pancham using tint of Raag Pancham in Raag Lalit).

· The Raagang system gives a clear idea of the varieties of any Raag :

e.g. all Raags in family of Bilawal prakar, use some common phrases of BilawalAng, and one can easily make a point in differentiating other types, such as NatBilawal (Bilawal with Nat ang), Yamani Bilawal (combination of Yaman & Bilawal), Sukhiya Bilawal (combination of Sawani & Bilawal), etc.

On the other hand , Sudhir Gadre from Oceanofragas gives 15 families :
Todi , Sarang , Nata , Malhar , Kauns , Kedar , Kalyan , Kanada , Dhanashree , Bihag , Bilawal , Bhairavi , Bhairav , Bahar , Asawari .

But for many ragas he writes some additional info like saying that so-and-so raag is mixed with a specific anga :
Raag Maluha Maand

Mixture of Ragas(if any)- Mand, Maluhaanga

सहस्रनाम ततुलयम राम नाम वरानने |
Sahasranāma tat tulyam Rāma nāma Varānane .

Senior Member
Posts: 464
Reply with quote  #2 
I saw a description in a video where a teacher mentions the 3 ragas Rageshri , Bhinna Shadja and Hemant to be somewhat similar .
I find this useful and looked up on Oceanofragas for a confirmation :

- Well , for Hemant it doesn´t mention similar ragas , but Parrikar has already mentioned that Hemant is constructed on the base of the very ancient raag Bhinna Shadja . So these both are naturally related .

- Now , for Bhinna Shadja the mentioned " similar ragas " are Rageshri and Chakradhar . ( Ocean )

The hoary Raga Bhinna Shadaj and its derivative melodies will absorb our interest in this installment.


We end these ruminations with a teaser from Khadim Hussain Khan of the Agra school. The raga is called Sohani-Hindoli; the Sohani points to Shuddha Sohani, a type with the S G M D N chalan.

So there we have it. Three ragas – Hemant, Chakradhar and Sohani-Hindoli – independently conceived and separated in time and space, converging to a common melodic corner. Perhaps the lesson here is that we are, after all, not that much smarter than one another.
Interestingly , for Chakradhar Oceanofragas mentions :
Mixture of Ragas(if any)- Goud, Bhinnashadaj
- Lastly , in Oceanofragas the ragas similar to Rageshri are Bhinna Shadja and Bageshri .

If you look at the Raagang-list from the first post , you will see that Rageshree belongs to the anga of Bageshree and Bhinna Shadja to the ang of Hindol . That´s logical , because the criterium for the inclusion into a raagang is often the melodic construction of a kind of pakad and the upward/downward movement , and not if the notes are shuddh , komal or tivra .

But what about establishing a little " sub-family " of the 3 better known ragas - Rageshri , Bhinna Shadja and Hemant ( and maybe Chakradhar also ) ?
The all have ma as vadi and shuddha Ga , whereas Bageshri has komal ga ...
A " sub-family " to acknowledge their relatedness , but without coming to the point of an own raaganga ...

सहस्रनाम ततुलयम राम नाम वरानने |
Sahasranāma tat tulyam Rāma nāma Varānane .

Senior Member
Posts: 464
Reply with quote  #3
Dhanashree is also a Raagang or a family of ragas , wherein ragas like Dhani , Bhimpalasi , Madhuvanti and Multani are included , according to Swarganga .
Parrikar differs on one point and says that Bhimpalasi has actually its own anga , which is different from Dhanshree-ang , though they are quite close . But he also agrees on the point that Bhimpalasi comes from the old Dhanashree in Kafi thaat .
In his article on Bhimpalasi , Parrikar inserts the various ragas into 2 different raagangas , according to the prominence of either ma or Pa : Bhimpalasi-ang and Dhanshri-ang ~


The crucial point is that Patdeep is carved out of the Dhanashree raganga which means the pancham – not the madhyam - gets top billing. Other artifacts of Dhanashree are also observed such as the P-g sangati.


This Dhanashree anga raga employs two gandhars and two nishads, which makes for a rather busy swaraspace.


The Kafi-that Pradeepaki (there is also one of the Bilawal that) is complementary to Hamsakinkini. Whereas the latter is given the Dhanashree treatment Pradeepaki is affiliated with the Bhimpalasi anga. Which means the madhyam is the dominant, controlling swara.
Additionally , the soundclip of Ramashreya´s speech also mentions Dhani as belonging to Dhanashree-anga and not to Bhimpalasi-anga . ( More emphasis on ga and Pa then on ma )

सहस्रनाम ततुलयम राम नाम वरानने |
Sahasranāma tat tulyam Rāma nāma Varānane .
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