Thaat is one of the most fundamental bases of classification in the Hindustani classical system. Developed by the learned musicological Vishnu Narayan Bhatkande, that offers a framework to classify several ragas based on their musical scales. The Hindustani classical music system has thus, 10 thaat-s. each that is a raga in itself and stands as a proud parent to several raga that belongs to its family.
This album features vocal renditions of the popular ragas belonging to Thaat Purvi & Thaat Todi by the legends of classical music.
Thaat Purvi
The Purvi thaat is consist of seven notes where the 2nd note 'Re' (rishabh) and the 6th note 'Dha' (dhaivat) are used komal (flat) & the 4th note 'Ma' (madhyam) is used tivra (sharp). The ragas belonging to the Purvi thaat bear characteristic resemblance to themusical scale of thaat, but have distinctly unique features of their own, in terms of the arrangement of notes as well as the time of the day they are associated with. Raga Purvi is the prime raga of this thaat.
Pattern of swaras in the thaat- Sa Re(f) Ga Ma(s) Pa Dha(f) Ni
1. Raga Puriya Dhanashri All seven notes are used 'Re' & 'Dha' are flat & 'Ma' is sharp Prime note is 'Pa' Arohana (ascent)- Ni(i) Re(f) Ga Ma(s) Pa, Dha(f) Pa, Ni Sa(h) Avarohana (descent)- Re(f&h) Ni Dha(f) Pa, Ma(s) Ga, Ma(s) Re(f) Ga, Re(f) Sa.
2. Raga Purvi All seven notes are used 'Re' and 'Dha' are flat & 'Ma' is both sharp and regular Prime note is 'Ga' Arohana (ascent)- Sa Re(f) Ga, Ma(s) Pa, Dha(f) Ni Sa(h) Avarohana (descent)- Sa(h) Ni Dha(f) Pa, Ma Ga, Ma(s) Ga, R(f) Ga Re(f) Sa
Thaat Todi
The Todi thaat is consist of seven notes where the 2nd note 'Re' (rishabg), 3rd not 'Ga' (gandhar) & the 7th note 'Ni' (nishad) are used komal (flat) and the 4th note 'Ma' (madhyam) is tivra (sharp). The ragas belonging to the Todi thaat bear characteristic resemblance to the musical scale of thaat, but have distinctly unique features of their own, in terms of the arrangement of notes as well as the time of the day they are associated with. Raga Todi is the prime raga of this thaat.
Pattern of swaras in the thaat- Sa Re(f) Ga(f) Ma (s) Pa Dha Ni (f)
1 Raga Miyan Ki Todi Prime raga of this thaat and all seven notes are used 'Re', 'Ga' & 'Dha' are flat and 'Ma' is sharp Prime note is 'Dha' Arohana (ascent)- Sa Re(f) Ga(f), Ma(s) Pa Dha(f), Ni Sa(h) Avarohana (descent)- Sa(h) Ni Dha(f) Pa Ma(s) Ga(f) Re(f) Sa
2. Raga Desi Todi 5 notes in ascent & all seven notes in descent 'Ga', 'Dha' & 'Ni' are flat. Prime not is 'Re' Arohana (ascent)- Sa Re, Ma Pa, Ni(f) Sa(h) Avarohana (descent)- Sa(h) Pa, Ni(f) Dha(f) Pa, Dha(f) Ma Pa, Re Ga(f) Re Sa
Glossary: I- Low scale, h-high scale, f- flat note & s- sharp note
The 10 thaat-s are: Bilwal, Kalyan, Khamaj, Bhairav, Purvi, Marwa, Kafi, Asavari, Bhairavi and Todi.
Although entire ragas in themselves, the thaat-s provide a framework for the system as a whole. The notation of a thaat, which describes its musical framework, is quite different from the characteristic arrangement and progression of notes during rendition through a raga. It is exposition that gives a raga its pakad (peculiarity) and chalan (character). Every thaat consists of seven notes or swara-s but with different characteristics (chalan).
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