Glossary of Indian Music (Part – 11)

By: Gurumayum Shivachandra Sharma
Cultural Activist
1. Bilawal Thaath: In North Indian Classical Music, the Bilawal Thaath is the most basic of all the ten Thaaths. All the Swaras in this Thaath are natural notes. This is a morning Thaath and its imaginative descriptions create a rich, sensuous ambience in consonance with its performance. In Western Music, this scale is known as the Ionian Mode and the scale of this Thaath is,
Sa Re Ga Ma Pa Dha Ni Sa*
Some Ragas of this Thaath are, namely, a) Raag Bilawal, b) Raag Alhaiya Bilawal, c) Raag Bihag, d) Raag Deshkar, e) Raag Hemanta, f) Raag Shankara, g) Raag Pahadi, etc,.
2. Kalyan Thaath: In North Indian Classical Music, the Kalyan Thaath is one of the ten basic Thaaths characterised by the ma’ (Teevra), this Thaath literally means good luck. They are performed in the evening at the beginning of a concert. In Western Music, this scale is known as the Lydian Mode and the scale of this Thaath is,
Sa Re Ga ma’ Pa Dha Ni Sa*
Some Ragas in Kalyan Thaat are: a) Raag Yaman or Eman, b) Raag Bhupali, c) Raag Hindol, d) Raag Kedar, e) Raag Shuddha Kalyan, f) Raag Shyam Kalyan, g) Raag Chhayanat, h) Raag Hameer, i) Raag Gaud Sarang, etc,.
3. Khamaj Thaath: In North Indian Classical Music, the Khamaj Thaath is one of the Thaath replacing the Ni (Shudha) of Bilawal Thaath by ni (Komal). This Thaath are full of Shringara Rasa (romantic). Its imaginative descriptions in the existing texts are sensuous related to the morning. In Western Music, this scale us known as the Mixolydian Mode and the scale of this Thaath is,
Sa Re Ga Ma Pa Dha ni Sa*
Some Ragas in this Thaath are, namely, a) Raag Khamaj, b) Raag Rageshree, c) Raag Desh, d) Raag Tilak Kamod, e) Raag Jaijaiwanti, f) Raag Kalavati, g) Raag Deepak, etc,.
4. Bheirava Thaath: In North Indian Classical Music, the Bheirava Thaath is also one of the parent scale using re and dha (Komal). Bhairava is one of the names of Lord Shiva. In Western Music, this scale is known as the Double Harmonic Mode and the scale of this Thaath is,
Sa re Ga Ma Pa dha Ni Sa*
Some Ragas belonging to this Thaath are, namely, a) Raag Bheirava, b) Raag Bibhas, c) Raag Ramkali, d) Raag Ahir Bhairava, e) Raag Anand Bhairava, f) Raag Roopkali, g) Raag Kalingda, etc,.
5. Kafi Thaat: In North Indian Classical Music, the Kafi Thaath is also one of the parent scale using ga and ni (Komal). In ancient and medieval times, Kafi was considered as natural scale. It is a late evening Thaath and said to convey the mood of springtime. In Western Music, this scale is known as the Dorian Mode and the scale of this Thaath is,
Sa Re ga Ma Pa Dha ni Sa*
Some Ragas in Kafi Thaath are, namely, a) Raag Kafi, b) Raag Bageshri, c) Raag Bahar, d) Raag Bhimpalasi, e) Raag Brindavani Sarang, f) Raag Megha, g) Raag Malhar, h) Raag Patdeep, i) Raag Pilu, j) Raag Jaijaiwanti, etc,.
6. Asawari Thaath: In North Indian Classical Music, the Asawari Thaath is also one of the basic Thaath adding dha (Komal) to Kafi Thaath. It is best suited for late morning. In Western Music, this scale is Aeolian Mode and the scale of this Thaath is,
Sa re Ga Ma Pa dha ni Sa*
Some Ragas of this Thaat are, namely a) Raag Asawari, b) Raag Desi, c) Raag Darbari, d) Raag Kaunsi Kanada, e) Raag Adana, f) Raag Jaunpuri, g) Raag Devgandhar, etc,.
7. Marwa Thaath: In North Indian Classical Music, the Marwa Thaath is also one of the basic parent scale adding re (Komal) to the Kalyan Thaath. The mood of the Marva family is strongly and easily recognisable. The scale of this Thaath is,
Sa re Ga ma’ Pa Dha Ni Sa*
Some Ragas in Marwa Thaat are, a) Raag Marwa, b) Raag Puriya, c) Raag Sohani, d) Raag Lalit, e) Raag Bibhas, f) Raag Lalita Gauri, etc,.
8. Poorvi Thaath: In North Indian Classical Music, the Poorvi Thaath is also one of the basic parent scale adding dha (Komal) ) to Marwa Thaath. This Thaath usually feature re (Komal), Ga (Shudha) and Ni (Shudha) along with ma’ (Teevra), the note which distinguishes evening from the morning Ragas. The scale of this Thaath is,
Sa re Ga Ma Pa dha Ni Sa*
Some common popular Ragas of Poorvi Thaath are, a) Raag Poorvi, b) Raag Puriya Dhanashree, c) Raag Gauri, d) Raag Shree, e) Raag Paraj, f) Raag Basanta, etc,.
9. Bheiravi Thaath: In North Indian Classical Music, the Bheiravi Thaath is also one of the most important basic parent scale using all the Komal Swaras, i.e. re, ga, dha and ni. It conveys the feeling of devotion and compassion. It is actually sung in the early morning, yet customarily its singing ends the program. In Western Music, this scale is known as the Phyrgian Mode and the scale of this Thaath is,
Sa re ga Ma Pa dha ni Sa*
Some of the most popular Ragas of this Thaath are, namely, a) Raag Bheiravi, b) Raag Bilaskhani Todi, c) Raag Bhupal Todi, d) Raag Kaunsi Kanada, e) Raag Komal Rishabh Asawari, f) Raag Malkauns, etc.
10.Todi Thaath: In North Indian Classical Music, the Todi Thaath is also one of the basic parent scale using re, ga and dha (Komal) as well as ma’ (Teevra). This is regarded as the King of all Thaaths, as symbolizes pleased worship with a placid, warm outlook and is sung in the late morning. The scale of this Thaath is,
Sa re ga ma’ Pa dha Ni Sa*
The most popular Ragas in this Todi Thaath are, namely, a) Raag Todi, b) Raag Miyanki Todi, c) Raag Darbari Todi, d) Raag Gujari Todi, e) Raag Madhuvanti, f) Raag Multani, etc,