MALLHAR FLUTE LEARNING INSTITUTE

RAGAS BY THAAT

Click on your favorite raga to view the details of your selected Indian Classical Raga details BY THAAT... !!!

BILAWAL

Bilaval or Bilawal is the most basic of all the ten thaats of Hindustani classical music of the Indian subcontinent. All the swaras in the thaat are shuddha or all swaras in the natural scale. Bilaval as a raga is not rendered these days however a small variation of the raga called Alhaiya Bilaval is very common. This is a morning raga and its pictorial descriptions create a rich, sensuous ambience in consonance with its performance.

Bilawal Thaat - S R G m P D N S'

NOTE :- Here, 'm' = Sudha madhyam and also all notes are sudha.

KALYAN

Kalyan is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga (more popularly known as Yaman) within this thaat.

Kalyan thaat consists of an important group of evening ragas. Characterised by the teevra Madhyam, this thaat literally means good luck. Ragas of this thaat are considered to be a blessing-seeking and soothing. As a result, they are performed in the evening at the beginning of a concert. These ragas create a feeling of the unfolding of an evening.

KalyanThaat - S R G M P D N S'

NOTE :- Here, 'M' = Tivra madhyam or Kari Ma and rest of all notes are sudha.

KHAMAJ

Khamaj is one of the ten thaats (parent scales) of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.

The Khamaj thaat can be obtained by replacing the Shuddha Nishad of Bilaval by Komal Nishad. The ragas of this thaat are full of Shringara Rasa (romantic) hence this raga 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 raga 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.

Khamaj Thaat - S R G m P D n S'

NOTE :- Here, 'm' = Sudha Ma; 'n' = Komal Nisad and rest of all notes are sudha.

ASAWARI

Asavari is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.

Adding a Komal Dhaivat to Kafi Thaat results in the Asavari thaat. Raga 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 raga-like Darbari and Adana also use notes of Asavari thaat with different styles, stress points and ornamentation.

Asawari Thaat - S R g m P d n S'

NOTE :- Here, 'g' = Komal Gandhar; 'm' = Sudha Ma; ' n' = Komal Nisad ; 'd' = Komal Dhaivat and rest of all notes are sudha.

desi

KAFI

Kafi is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga (Kharaharapriya) within this thaat.

Kafi thaat makes use of the Komal Gandhara and Komal Nishad. So basically it adds Komal Gandhara to the Khamaj thaat. The Kafi raga is one of the oldest ragas and its intervals are described as the basic scale of the Natyashastra. Thus in ancient and medieval times, Kafi was considered as natural scale. Kafi is a late evening raga and said to convey the mood of springtime.

Kafi Thaat - S R g m P D n S'

NOTE :- Here, 'g' = Komal Gandhar; 'm' = Sudha Ma; ' n' = Komal Nisad ; and rest of all notes are sudha.

BHAIRAVI

Bhairavi is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.

Bhairavi makes use of all the Komal swaras, Rishabh, Gandhar, Dhaivat, Nishad. When singing compositions in Bhairavi raga, the singers however take liberty to use all the 12 swaras. Bhairavi raga is named after the Shakti or feminine aspect of the cosmic life force, which is personified as a consort of Shiva (Bhairava).

Bhairavi Thaat - S r g m P d n S'

NOTE :- Here, 'r' = Komal Risav; 'g' = Komal Gandhar; 'm' = Sudha Ma; ' n' = Komal Nisad ; 'd' = Komal Dhaivat and rest of all notes are sudha.

bhairavi

BHAIRAV

Bhairav is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat. But there is no connection in the similarity between in the names of the thaat and the raga.

Ragas of the Bhairav thaat make use of Komal Rishabh and Komal Dhaivat. Bhairava is one of the names of Shiva especially in his powerful form as a naked ascetic with matted locks and body smeared with ashes. The ragas too have some of these masculine and ascetic attributes in its form and compositions.

Bhairav Thaat - S r G m P d N S'

NOTE :- Here, 'm' = Sudha Ma; ' r' = Komal Risav; 'd' = Komal Dhaivat and rest of all notes are sudha.

bhairav

bibhas

Bairagi

MARWA

Marva or Marwa is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.

Marva thaat is obtained by adding a komal Rishabh to the Kalyan thaat. The mood of the Marva family of ragas is strongly and easily recognisable. 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 raga 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.

Marwa Thaat - S r G M P D N S'

NOTE :- Here, 'M' = Tivra Madhyam or Kari Ma; ' r' = Komal Risav; and rest of all notes are sudha.

Marwa

Sohini

purbi

PURBI/POORVI

Poorvi or Purbi is one of the eleven basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.

Poorvi thaat adds a Komal Dhaivat to Marva thaat. These thaat ragas usually feature komal Rishabh, shuddha Gandhar and Shuddha Nishad along with teevra Madhyam, the note which distinguishes evening from the morning ragas (dawn and sunset). The thaat raga Poorvi is deeply serious, quiet 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.

Poorvi/Purbi Thaat - S r G M P d N S'

NOTE :- Here, 'M' = Tivra Madhyam or Kari Ma; ' r' = Komal Risav; 'd' = Koal Dhaivat and rest of all notes are sudha.

purbi

basant

TODI

Todi is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.

Todi has Komal Rishab, Gandhar, and Dhaivat, as well as Teevra Madhyam. The Todi raga represents the mood of delighted adoration with a gentle, loving sentiment and it's traditionally performed in the late morning.

Todi Thaat - S r g M P d N S'

NOTE :- Here, 'M' = Tivra Madhyam or Kari Ma; ' r' = Komal Risav; 'g' = Komal Gandhar ; 'd' = Koal Dhaivat and rest of all notes are sudha.

todi

madhumanti