THAAT Or THAT, The Indian Music System.
Description of ten basic thāts
The 10 basic thāts, according to the Bhatkhande system, are as follows:
1. Bilawal
Bilawal is the most basic of all the ten thaats. All the swars in the thaat are shuddha or all
swars in the natural scale. Bilawal as a raag is not rendered these days however a small
variation of the raag called Alhaiya Bilaval is very common. This is a morning raag and its
pictorial descriptions create a rich, sensuous ambience in consonance with its performance.
Raags in Bilawal Thaat : Deskar, Hamsadhwani, Bihag, etc.
2. Khamaj
The next thaat is Khamaj which can be obtained by replacing the Shuddha Nishad of Bilawal
by Komal Nishad. The raags of this thaat are full of Shringar Ras (romantic) hence this raag is
mostly rendered in the form of light classical thumris, tappas, horis, kajris etc. Its pictorial
descriptions in the existing texts are sensuous and even today, the raag Khamaj is considered
to be a 'flirtatious' raag. There is a theory which assumes that in the past, Khamaj scale found
its way in Ch'in music of the late medieval China.
Raags in Khamaj Thaat : Rageshree, Jhinjhoti, Des, Tilak Kamod, Jaijaiwanti, Khambavati, etc.
3. Kafi
Kafi thaat makes use of the Komal Gandhar and Komal Nishad. So basically it adds Komal
Gandhar to the Khamaj Thaat. raag Kafi is one of the oldest raags and its intervals are
described as basic scale of the Natyashastra. Thus in ancient and medieval times, Kafi was
considered as natural scale. Kafi is a late evening raag and said to convey the mood of spring
time.
Raags in Kafi Thaat : Dhanashree, Dhani, Bhimpalasi, Pilu, Megh Malhar, Bageshree, etc.
4. Asavari
Add Komal Dhaivat to Kafi thaat and you get Asavari thaat. Raag Asavari is full of tyag, the
mood of renunciation and sacrifice as well as pathos. It is best suited for late morning.
However important evening/night raags like Darbari and Adana also use notes of Asavari
thaat with different styles, stress points and ornamentations.
Raags in Asavari Thaat : Asavari, Desi, Darbari, Adana, Jaunpuri, etc.
5. Bhairavi
Bhairavi makes use of all the komal swars, Rishabh, Gandhar, Dhaivat, Nishad. When singing
compositions in Bhairavi raag, the singers however take liberty to use all the 12 swars.
Bhairavi raag is named after the shakti or feminine aspect of the cosmic life force, which is personified as a consort to Lord Shiva. Bhairavi is a powerful raag filled with devotion and
compassion. Bhairavi is actually performed early in the morning in a peaceful, serious and
occasionally sad mood. Traditionally it is rendered as the last item of a program, for its
unique fullness of sentiments as well as its wide scope of the tonal combinations. Pictorially,
Bhairavi is represented in female form, as the wife of Bhairav.
Raags in Bhairavi Thaat : Malkauns, Bilaskhani Todi, Bhupali Todi, Kaunsi Kanada, etc.
6. Bhairav
Bhairav thaat raags make use of Komal Rishabh and Komal Dhaivat. Bhairav is one of the
names of Lord Shiva especially in his powerful form as a naked ascetic with matted locks
and body smeared with ashes. The raag too has some of these masculine and scetic
attributes in its form and compositions. The raag itself is extremely vast and allows a huge
number of note combinations and a great range of emotional qualities from valor to peace.
There are many variations on raag Bhairav including (but not restricted to) Ahir Bhairav, Alam
Bhairav, Anand Bhairav, Bairagi Bhairav, Beehad Bhairav, Bhavmat Bhairav, Devata Bhairav,
Gauri Bhairav, Nat Bhairav, Shivmat Bhairav. This raag is usually performed in a devotional
mood in the early morning hours. The vibrations of the notes in Bhairav is said to clear one's
whole mind. The pictorial depictions of raag Bhairav in the ancient texts are austere as well
as awe-inspiring. [ according to whom? ]
Raags in Bhairav Thaat : Ramkali, Gunkari, Meghranjani, Jogiya, Bhairav, etc.
7. Kalyan
Kalyan thaat consists of an important group of evening raags. Characterized by the teevra
Madhyam, this thaat literally means good luck. It is considered to be a blessing-seeking and
soothing raag. As a result, it is performed in the evening at the beginning of a concert. This
raag creates a feeling of the unfolding of an evening. This thaat is huge and consists of many
variations on the basic kalyan thaat including raags (but not restricted to) like Shuddha
Kalyan, Shyam Kalyan, Yaman Kalyan, Anandi Kalyan, Khem Kalyan (Haunsdhwani + Yaman),
Savani Kalyan etc.
Raags in Kalyan Thaat : Yaman, Hindol, Kedar, Kamod, etc.
8. Marwa
Marwa thaat is obtained by adding a komal Rishabh to Kalyan thaat. The mood of the Marwa
family raags is strongly and easily recognizable. The Shadja remains in the form of a shadow
till the very end, where it almost comes as a surprise. komal Rishabh and shuddha Dhaivat
are very important. The overall mood of this raag is of sunset where the night approaches
much faster than in northern latitudes. The onrushing darkness awakens in many observers, a
feeling of anxiety and solemn expectation.
Raags in Marwa Thaat : Marwa, Puriya, Bhatiyaar, Bibhas, Sohoni, etc.
9. Poorvi
Poorvi thaat adds a komal Dhaivat to Marwa thaat. These thaat raags usually feature komal Rishabh, shuddha Gandhar and Shuddha Nishad along with teevra Madhyam, the note which
distinguishes evening from the morning raags (dawn and sunset). The thaat raag Poorvi is
deeply serious quite and mysterious in character and is performed at the time of sunset.
Pictorial depictions in early texts, often mention the poise, grace and charm of Poorvi.
Raags in Poorvi Thaat : Puriya Dhanashree, Gauri, Shree, Paraj, Basant, etc.
10. Todi
Todi has komal re, ga, and dha, as well as teevra Ma. Raag Todi represents the mood of
delighted adoration with a gentle, loving sentiment and its traditionally performed in the late
morning.
Raags in Todi Thaat : Miyan Ki Todi, Gujari Todi, Madhuvanti, Multani, etc.
Thāt and time of performance
Ragas are normally ascribed to certain periods of the day and night (See
Samay). Narada's Sangita-Makaranda , written sometime between 7th and 11th century, gives
warnings to musicians against playing ragas at the incorrect time of day. Traditionally,
disastrous consequences are to be expected. [6] Bhatkhande stated that the correct time to
play a raga had a relation to its thāt (and to its vadi ).
Description of ten basic thāts
The 10 basic thāts, according to the Bhatkhande system, are as follows:
1. Bilawal
Bilawal is the most basic of all the ten thaats. All the swars in the thaat are shuddha or all
swars in the natural scale. Bilawal as a raag is not rendered these days however a small
variation of the raag called Alhaiya Bilaval is very common. This is a morning raag and its
pictorial descriptions create a rich, sensuous ambience in consonance with its performance.
Raags in Bilawal Thaat : Deskar, Hamsadhwani, Bihag, etc.
2. Khamaj
The next thaat is Khamaj which can be obtained by replacing the Shuddha Nishad of Bilawal
by Komal Nishad. The raags of this thaat are full of Shringar Ras (romantic) hence this raag is
mostly rendered in the form of light classical thumris, tappas, horis, kajris etc. Its pictorial
descriptions in the existing texts are sensuous and even today, the raag Khamaj is considered
to be a 'flirtatious' raag. There is a theory which assumes that in the past, Khamaj scale found
its way in Ch'in music of the late medieval China.
Raags in Khamaj Thaat : Rageshree, Jhinjhoti, Des, Tilak Kamod, Jaijaiwanti, Khambavati, etc.
3. Kafi
Kafi thaat makes use of the Komal Gandhar and Komal Nishad. So basically it adds Komal
Gandhar to the Khamaj Thaat. raag Kafi is one of the oldest raags and its intervals are
described as basic scale of the Natyashastra. Thus in ancient and medieval times, Kafi was
considered as natural scale. Kafi is a late evening raag and said to convey the mood of spring
time.
Raags in Kafi Thaat : Dhanashree, Dhani, Bhimpalasi, Pilu, Megh Malhar, Bageshree, etc.
4. Asavari
Add Komal Dhaivat to Kafi thaat and you get Asavari thaat. Raag Asavari is full of tyag, the
mood of renunciation and sacrifice as well as pathos. It is best suited for late morning.
However important evening/night raags like Darbari and Adana also use notes of Asavari
thaat with different styles, stress points and ornamentations.
Raags in Asavari Thaat : Asavari, Desi, Darbari, Adana, Jaunpuri, etc.
5. Bhairavi
Bhairavi makes use of all the komal swars, Rishabh, Gandhar, Dhaivat, Nishad. When singing
compositions in Bhairavi raag, the singers however take liberty to use all the 12 swars.
Bhairavi raag is named after the shakti or feminine aspect of the cosmic life force, which is personified as a consort to Lord Shiva. Bhairavi is a powerful raag filled with devotion and
compassion. Bhairavi is actually performed early in the morning in a peaceful, serious and
occasionally sad mood. Traditionally it is rendered as the last item of a program, for its
unique fullness of sentiments as well as its wide scope of the tonal combinations. Pictorially,
Bhairavi is represented in female form, as the wife of Bhairav.
Raags in Bhairavi Thaat : Malkauns, Bilaskhani Todi, Bhupali Todi, Kaunsi Kanada, etc.
6. Bhairav
Bhairav thaat raags make use of Komal Rishabh and Komal Dhaivat. Bhairav is one of the
names of Lord Shiva especially in his powerful form as a naked ascetic with matted locks
and body smeared with ashes. The raag too has some of these masculine and scetic
attributes in its form and compositions. The raag itself is extremely vast and allows a huge
number of note combinations and a great range of emotional qualities from valor to peace.
There are many variations on raag Bhairav including (but not restricted to) Ahir Bhairav, Alam
Bhairav, Anand Bhairav, Bairagi Bhairav, Beehad Bhairav, Bhavmat Bhairav, Devata Bhairav,
Gauri Bhairav, Nat Bhairav, Shivmat Bhairav. This raag is usually performed in a devotional
mood in the early morning hours. The vibrations of the notes in Bhairav is said to clear one's
whole mind. The pictorial depictions of raag Bhairav in the ancient texts are austere as well
as awe-inspiring. [ according to whom? ]
Raags in Bhairav Thaat : Ramkali, Gunkari, Meghranjani, Jogiya, Bhairav, etc.
7. Kalyan
Kalyan thaat consists of an important group of evening raags. Characterized by the teevra
Madhyam, this thaat literally means good luck. It is considered to be a blessing-seeking and
soothing raag. As a result, it is performed in the evening at the beginning of a concert. This
raag creates a feeling of the unfolding of an evening. This thaat is huge and consists of many
variations on the basic kalyan thaat including raags (but not restricted to) like Shuddha
Kalyan, Shyam Kalyan, Yaman Kalyan, Anandi Kalyan, Khem Kalyan (Haunsdhwani + Yaman),
Savani Kalyan etc.
Raags in Kalyan Thaat : Yaman, Hindol, Kedar, Kamod, etc.
8. Marwa
Marwa thaat is obtained by adding a komal Rishabh to Kalyan thaat. The mood of the Marwa
family raags is strongly and easily recognizable. The Shadja remains in the form of a shadow
till the very end, where it almost comes as a surprise. komal Rishabh and shuddha Dhaivat
are very important. The overall mood of this raag is of sunset where the night approaches
much faster than in northern latitudes. The onrushing darkness awakens in many observers, a
feeling of anxiety and solemn expectation.
Raags in Marwa Thaat : Marwa, Puriya, Bhatiyaar, Bibhas, Sohoni, etc.
9. Poorvi
Poorvi thaat adds a komal Dhaivat to Marwa thaat. These thaat raags usually feature komal Rishabh, shuddha Gandhar and Shuddha Nishad along with teevra Madhyam, the note which
distinguishes evening from the morning raags (dawn and sunset). The thaat raag Poorvi is
deeply serious quite and mysterious in character and is performed at the time of sunset.
Pictorial depictions in early texts, often mention the poise, grace and charm of Poorvi.
Raags in Poorvi Thaat : Puriya Dhanashree, Gauri, Shree, Paraj, Basant, etc.
10. Todi
Todi has komal re, ga, and dha, as well as teevra Ma. Raag Todi represents the mood of
delighted adoration with a gentle, loving sentiment and its traditionally performed in the late
morning.
Raags in Todi Thaat : Miyan Ki Todi, Gujari Todi, Madhuvanti, Multani, etc.
Thāt and time of performance
Ragas are normally ascribed to certain periods of the day and night (See
Samay). Narada's Sangita-Makaranda , written sometime between 7th and 11th century, gives
warnings to musicians against playing ragas at the incorrect time of day. Traditionally,
disastrous consequences are to be expected. [6] Bhatkhande stated that the correct time to
play a raga had a relation to its thāt (and to its vadi ).
