Nava Gana  Classification of Contemporary Ragas

Classification of Ragas has been very important aspect of theory of Raga music. The GTIM envisages a Nava-Gana system of classification of Ragas. The computational implementation of GTIM provides sophisticated user-friendly classification system to access all the possible Ragas. The theory of GTIM and computational realization of the Nava-Gana classification system transform Raga taxonomy from a descriptive art into a rigorous, interactive science. Built atop the GTIM framework, allows musicians and scholars to navigate the full spectrum of North Indian Ragas-approximately 400 for which complete theoretical data exists-by grouping them according to their dominant swara (“Gana”) and scale form.

Why 400 Ragas?

Although over 2,000 Raga names appear in various treatises, many lack consistent descriptions, and identical Rāgas often bear multiple labels. After exhaustive cross-referencing, only some 400 Ragas possess authenticated Aroha-Avroha outlines, Vadi-Samvadi assignments, and Varjya (omitted) swaras—enough to capture their essential identity. These form the working corpus for computational classification.

Nava-Gana Hierarchy

Ragas are first sorted into nine “Ganas” based on their primary note’s harmonic stature, from Panchama Gana through Prakirna Gana(the latter subsuming Shadja-dominant Rāgas). Within each Gana, Rāgas subdivide by scale breadth into one of nine Aroha-Avroha categories-Sampurna-Sampurna, Shadava-Shadava, Oudava-Oudava, and their mixed forms—yielding a clear, navigable lattice.

Essential Data for Each Raga

• Vadi (primary note)
• Samvadi (secondary note)
• Anuvadiand Anu-Anuvadi (supporting tones)
• Arohi/Avrohi Varjya swaras (notes barred from ascent or descent)

Because every swara appears in at least one of these roles, explicit Aroha-Avroha patterns need not be listed; they’re implicit in the columns.

Norms for Assigning Swara Status

Following terminology is explicitely defined in the Generative Theory of Indian Music- GTIM by Dr. Vidwans.

• Harmonic strength governs choices among Nitya swaras: Pa > Ma > Sa.
• In any pairing of Nitya versus non-Nitya swara, the Nitya assumes primacy.
• Between two non-Nitya swaras, preference goes to the one aligned by Bhāva relationship or greater inherent harmonic strength (Sa > Pa > Ma > Ga > Re > … > Teevra Ma).
• If two forms of the same swara appear (e.g. Re and Komal Re), the natural form leads in ascent, the flat in descent.

These rules resolve primary and secondary designations for Samvadi, Anuvadi, and Anu-Anuvadi notes. Bracketed swaras (e.g., “Teevra Ma”) signal occasional or Vakra usage; barred swaras in Varjya columns indicate rare but permissible notes.

There are some Ragas that have same set of swaras and the same Vadi-Samvadis also. As per the Nava-Gana system they are treated as same Ragas. However, traditionally in some cases they are treated as different Ragas due to some minor variations or some other subtle specificities. Such Ragas are shown separately in the following tables just to preserve the traditional practices. However, as per the Nava-Gana system they are one and the same Raga. At certain other places there are two different Ragas by the same name as per the tradition. In such cases they are shown differently by calling them RagaName-1 and RagaName-2 etc. along with some specific information.

For some categories, there are no traditional Ragas available. In such cases it is mentioned that there are no existing Ragas for this category. However, there can be a computationally generated Raga in that category.

The above information and the norms are helpful to understand the following tabular classification for approximately 400 traditional Ragas as per the Nava-Gana system.

Extending to Carnatic Ragas

While Carnatic music has a systematic 72-Mela taxonomy, many of its derived Rāgas lack documented Vadi-Samvadi data. Only cross-borrowed Rāgas-like Hamsadhwani or Mohanam (Bhupali), Malaya Marutam - with known North Indian analogues appear in the current tables. A concerted research effort is needed to map primary and secondary swaras for the full Carnatic repertoire, thereby enriching the Nava-Gana matrix.

Beyond Classification

Although primarily a lookup tool, the computational Nava-Gana system is not only codifies centuries of musical logic from the Nāṭyaśāstra and Saṅgīta Ratnākara but also offers a platform for creative explorations.

By distilling complex theoretical constructs into a dynamic, searchable database, the Nava-Gana classification system stands as both a preservationist monument and a springboard for future scholarship-uniting the rigor of computer science with the soul of Indian classical music.

Nava Gana Raga Tabular Classification for Contemporary Ragas	Download PDF
Tree Structure for Nava Gana Raga Classification Systems	Download PDF
Computational Raga Statistics till 2022	Download PDF