Thaat Classification System in Hindustani Music
“Naad se swara, swara se saptak, saptak se thaat”
The 'thaat' is an essential concept in Hindustani classical music, serving as a framework for understanding the organization of ragas. It represents a set of seven notes, known as 'swara,' which form the basis for various melodic structures. There are ten primary thaats, including Bilawal, Yaman, Kafi, Bhairav, and others, each defined by its unique arrangement of notes, both shuddh (natural) and vikrit (altered).
Understanding thaats is crucial for students and practitioners of Indian classical music, as they provide the foundational elements needed to explore ragas. Each raga can be classified under a specific thaat, allowing musicians to navigate the intricate relationships between melody and emotion. This classification not only aids in performance but also enriches the learning experience, empowering musicians to delve deeper into the expressive potential of their art.
Incorporating thaat into practice helps learners develop their voice training and improvisational skills. By familiarizing themselves with the different thaats, students can gain a deeper appreciation of their musical heritage and expand their creative expression. Sur Sangat offers comprehensive courses that cover the nuances of thaat and its application in both vocal and instrumental music, ensuring that learners fully grasp this fundamental aspect of Hindustani classical music.
Pt. Bhatkhande developed a systematic approach by categorizing 10 unique combinations of the 12 swaras into what he termed as ‘thaats.’ Each thaat was named after one of the 10 principal ragas of that era, which featured an ascending scale corresponding to the thaat. Today, these 10 ragas are recognized as the Ashraya Ragas or Janaka Ragas linked to their respective thaats. According to Pt. Bhatkhande, all other ragas belonging to the same family are essentially variations of the Janaka Raga. This classification plays a crucial role in the structure of Hindustani classical music, enabling a deeper understanding of raga relationships and their expressive potential.
A thaat, though named after a raga, is not the same as a raga. A thaat must follow the following rules:
A thaat must have 7 out of the 12 swaras used in Hindustani music
A thaat can only consist of an Aaroha, or ascending scale
A thaat cannot have 2 versions of the same note i.e komal ni and shuddha ni; it can only use one of the two
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
The 10 thaats outlined by Pt. Bhatkhande are as follows:
Kalyan: S R G m P D N S’
Bilawal: S R G M P D N S’
Khamaj: S R G M P D N S’
Bhairav: S R G M P D N S’
Poorvi: S R G m P D N S’
Marwa: S R G m P D N S’
Kafi: S R G M P D N S’
Asavari: S R G M P D N S’
Bhairavi: S R G M P D N S’
Todi: S R G m P D N S’
*All underlined notes denote a komal, or flat note. A lower case letter denotes a teevra, or sharp note*
Sources:
Sangeetanjali (Part 6) by Pt. Omkarnath Thakur
Sangeet Visharad by Vasant
