Namrata Sangeet Class

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

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. 

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

  In ancient era, there were ten features of Raga like Graha ( ગ્રહ ), Ansh( અંશ ), Nyas ( ન્યાસ ), Upanyas ( ઉપન્યાસ ), Shadatva ( શાદત્ત્વ ), Alpatva ( અલ્પત્ત્વ ), Bahutva ( બહુત્વ ), Mandra ( મન્દ્ર ) and Taar( તાર ).  Some of the features are still used in Indian Music in a changed form as follows: It has been said above that the composition that sooths the ear is called Raga. Thus, the first characteristic of Raga is that every Raga should have its own tint. A Raga should include 5 (five) and maximum 7 (seven) Swaras. None of the Ragas consist of less then 5 Swaras. Every Raga is derived from some Thaat. For Example, Raga Bhupali (Bhup) derives from Thaat Kalyan.                                                   Raga Bageshwari derives from Thaat Kafi. ‘Sa’ cannot be Varjya (Varjit- વરજીત ) in any Raga because it the main base of Saptak. ‘Ma’ and/or ‘Pa’ should be compulsorily present in all Ragas. These two Swaras cannot be Varjya (Varji

RAGA A Composition prepared by combination of Notes i.e. Swaras, Literature i.e. Poetry Form and Rhythm i.e. Tala is termed as Raga. Raga is a combination of notes governed by rules of formation in the ascent and execution.  It gives spiritual happiness to the heart and mind. Aroha-Avaroha, Vadi-Samvadi ect. are included in it which are formed according to the Rules of Raga. Rules of Raga   Ø     Raga must be originated from Thaat.   Ø   The combination of the notes must be pleasing to the ears.   Ø   Raga must contain Aroha- Avaroha, Vadi-Samvadi, Jati and Time of performance.   Ø   Raga must contain at least 5 (Five) Swaras.   Ø   ‘Sa’ should not be eliminated from any Raga.   Ø   ' Ma' and/or 'Pa' must be present in Raga compulsorily.   Ø   Two forms of same Swaras must not be present in Raga. According to some scholars, this is an exception.             For example: In Raga Jog, both ‘Ma’(Shuddha and Tivra) are sung together. There