Thaat Raag System In Indian Classical Music | Music Tutorial | Sitar Lessons

By: Dr. Panchali Nandy
***********************
Join this channel to get access to perks:
/ @devyagyasitar
***********
A thaat is a "parent scale" in North Indian or Hindustani music. It is the Hindustani equivalent of the term Melakartha raga of Carnatic music. The concept of the thaat is not exactly equivalent to the western musical scale because the primary function of a thaat is not as a tool for music composition, but rather as a basis for classification of ragas. There is not necessarily strict compliance between a raga and its parent thaat; a raga said to 'belong' to a certain thaat need not allow all the notes of the thaat, and might allow other notes. Thaats are generally accepted to be heptatonic by definition.
The term thaat is also used to refer to the frets of stringed instruments like the sitar and the veena. It is also used to denote the posture adopted by a Kathak dancer at the beginning of their performance.
The modern thaat system was created by Vishnu Narayan Bhatkhande (1860-1936), an influential musicologist in the field of classical music in the early decades of the twentieth century. Bhatkhande modelled his system after the Carnatic melakarta classification, devised around 1640 by the musicologist Vidwan Venkatamakhin. Bhatkhande visited many of the gharanas (schools) of classical music, conducting a detailed analysis of ragas. His research led him to a system of thirty-two thaats, each named after a prominent raga associated with it. Out of those thirty-two thaats, more than a dozen thaats were popular during his time; however, he chose to highlight only ten such thaats.
According to Bhatkhande, each one of the several traditional ragas is based on, or is a variation of, ten basic thaats, or musical scales or frameworks. The ten thaats are Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi. Bhatkhande applied the term thaats only to scales that fulfil the following rules:
• A thaat must have seven tones out of the twelve tones [seven natural, four flat (Re, Ga, Dha, Ni), one sharp (Ma)]
• The tones must be in ascending sequence: Sa Re Ga Ma Pa Dha Ni
• A thaat cannot contain both the natural and altered versions of a note
• A thaat, unlike a raga, does not have separate ascending and descending lines
• A thaat has no emotional quality (which ragas, by definition, do have)
• Thaats are not sung but the ragas produced from the thaats are sung
1. Bilawal- S R G M P D N
2. Kalyan- S R G M# P D N
3. Khamaj- S R G M P D n
4. Bhairav- S r G M P d N
5. Marwa- S r G M# P D N
6. Kafi- S R g M P D n
7. Poorvi- S r G M# P d N
8. Asavari- S R g M P d n
9. Bhairavi- S r g M P d n
10. Todi- S r g M# P d N
***********
What is the thaat raga classification of ragas?
What are the 10 thaats?
How do you classify ragas?
10 थाट क्या हैं?
Thaat raga classification wikipedia
Thaat and Raag PDF
Thaat raga classification pdf
Thaat raga classification ppt
72 thaats
10 Thaats of Hindustani music
Thaat raga classification chart
Thaat meaning in music
Page navigation
What is the thaat raga classification of ragas?
Which ragas are based on Bilawal thaat?
Which ragas are based on Khamaj Thaat?
Which raga comes under kafi thaat?
Thaat raga system in indian classical music wikipedia
Thaat raga system in indian classical music pdf
Thaat raga system in indian classical music pdf download
10 Thaats in Indian Classical music PDF
Importance of thaat raga system in indian classical music
Thaat raga system in indian classical music notes
Page navigation
How many ragas are in todi Thaat?
Which ragas are based on Bilawal Thaat?
What is the meaning of Bilawal Thaat?
तोड़ी थाट में कितने राग होते हैं?
Types of thaat in indian classical music
Thaat in indian classical music wikipedia
Thaat in indian classical music pdf
10 Thaats PDF
Thaat in indian classical music ppt
How many thaat in indian classical music
Thaat in indian classical music notes
10 Thaats of Hindustani music
#hindustaniclassicalmusic #musictutorial #sitarlesson

[@shridevibs3637]

Very informative video thank you very much mam

[@devyagyasitar]

Thank you so much 🙏

[@jiten2751]

Excellant explaination, very useful for all who loved music

[@devyagyasitar]

Thank you so much 🙏

[@MaliKAyazahmed-zk1tt]

❤❤❤❤❤❤❤❤ very good

[@devyagyasitar]

Thank you 🙏

[@nikhilmishra4435]

I found my music teacher after a prolonged interval.😊😊😊😊😊

[@devyagyasitar]

Thank you for following DevYagya 🙏

[@lukeybly]

Dearest Dr. Panchali Nandy, please could you be so kind as to recommend which Tabla/ Tampura machine may be the best...For I am uncertain as to whether to go with a Radel or a Sangat. Which one do you use good Doctor? Thankyou in advance. Also thankyou for the beautiful work you do here sharing your knowledge and expertise. Truly you are a blessing to all. :)

[@devyagyasitar]

Thank you so much for following DevYagya 🙏.. Both are nice but I like Sangat.... Tabla Tanpura Digital Musical Instrument..

[@lukeybly]

@@devyagyasitar Awesome , that settles it nicely. Thankyou so much for the advice. May God bless you Good Doctor. Warm regards from New Zealand. Luke

[@djmoulton1558]

Many raags have one name, such as Raag Yaman or Raag Kalyan. But what does it mean when a raag has two names, such as Raag Yaman Kalyan or Raag Gorakh Kalyan? How do these names relate to the thaats? Thx.

[@devyagyasitar]

Thank you so much for following DevYagya 🙏.. Though the name is Gorakh Kalyan...but it is not in Kalyan thaat or raga , even we do not find Kalyan ang.. Shuddha Ma is prominent.. We find komal Ni in avaroh ang.. this raga in under Khamaj thaat.. Even Yaman Kalyan is little different from raga yaman.. .. in Yaman Kalyan we sing or play both Ma ( shuddha and tevra) ... There are many controversy related to this topic... Some based on thaat, some raag ang...

[@MaliKAyazahmed-zk1tt]

@@devyagyasitar waw

[@MaliKAyazahmed-zk1tt]

@@devyagyasitar waw