PREFACE


Namaste!!

Greetings of the Day!

I am Namrata Prajapati, owner of Namrata Sangeet Class.
As Henry Wadsworth Longfellow has rightly quoted ‘Music is the Universal language of mankind’, Indian Classical Music is the root in every regional culture.

Indian Classical Music has two traditions/ Schools:
  • Hindustani: North Indian Classical Music which explores all aspects of Ragas
  • Carnatic: South Indian Classical Music which is structured by short fixed compositions similar to Western Music.


This Blog will explain basic concepts related to Hindustani Music in a simplified way. It will cover both Theory and Practical aspects in detail. This will be very helpful for the beginners. Hereby, it will also help the people who have issues in translating Indian Classical Notes into English from Gujarati or Hindi language for their enrichment in the field of Music.


Namrata

                         ‘I often think in Music. I live my Daydreams in Music’
                                                                       - Albert Einstein


Location: Vadodara, Gujarat, India

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The Ten Thaats: (Cont..)

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This Blog contains the next Five Thaats along with its description. The following slogan will be helpful to memorise the names of Thaats: भैरव भैरवी असावरी , यमन बिलवल थाट |    तोड़ी काफी मरवा , पूर्वी और खमाज | |    शुद्ध सुरन की बिलावल , कोमल निषाद खमाज |    म तीव्र स्वर यमन में , ग नि मृदु काफी थाट | |   ग ध नि कोमल से असवारी , रे ध मृदु भैरव रूप | रे ध कोमल चढ़ती मध्यम , मरवा थाट अनूप | |    उतरत रे ग ध अरु नि से , सोहत थाट भैरवी |    तोड़ी में रे गए ध म विकृत , रे ध म विकृत थाट पूर्वी | | Live Performance of M.S Subbulakshmi  at UN Concert (1966) https://www.youtube.com/watch?v=ArOsyp6dSLE
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The Ten Thaats:

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Pt. Vishnu Narayan Bhatkhande (1860-1936) was the first musicologist who wrote modern treatise on Hindustani Classical Music. Pt. Bhatkhande named his Thaats according to the name of Raga. Janak Ragas are the Ragas on which Thaats are named. Pt. S. N. Ratanjankar in his book ‘Sangeet Paribhasha (1973), explained 32 Thaat System which was not so popular. 10 Thaats according to Pt. Bhatkhande are as follows:                              These were 5 (Five) Thaats and their detailed description. th next 5 Thaats will be explained in the next Blog. 
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Thaat and It's Features:

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THAAT/ MELA ( થાટ / મેલ ) Out of 12 Swaras, formation of seven swaras from which Raga originates is termed as Thaat/Mela ( મેલ ).  Thaat cannot be sung and does not require Vadi-Samvadi or Singing time. Features of Thaat: There must be a group of 7 (Seven) Swaras in a Thaat. Swaras in Thaat should be in their natural orders.                 For example, ‘Sa, Re, Ga, Ma, Pa, Dha and Ni’—This order should be maintained.                      There is an exception in case of Komal and Tivra Swaras.                 For example, Komal ‘Re’ and ‘Dha’ are used in Thaat Bhairav while                                         Tivra ‘Ma’ in Thaat Kalyan. While screening at Aroha and/or Avaroha one can identify the Thaat. Thaat is not sung or played. Thaat does not require Vadi-Samvadi, Pakad, Aalap-Taan or Time of performance. Thaat does not give pleasant/melodious voice. Each Thaat is named according to its Raga name.                 For e
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