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type) contain fewer than seven and some use more. A raga need not to use every tone in a given thaat; the assignment is made according to whatever notes the raga does contain (but see note 5). The relatively small number of thaats reflects
Bhatkhande's compromise between accuracy and efficiency: the
623:
Bhatkhande named his thaats after the prominent ragas associated with those thaats. Ragas on which the thaats are named are called Janak raga of that thaat. For example, Bilaval Thaat is named after the raga
Alhaiya Bilaval. Alhaiya Bilaval raga is therefore Janak raga of Bilaval thaat. Ragas other
461:
According to
Bhatkhande, each one of the several traditional ragas is based on, or is a variation of, ten basic thaats, or musical scales or frameworks. The ten thaats are Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi; if one were to pick a raga at random, in
1089:, written sometime between the 7th and 11th century, gives warnings to musicians against playing ragas at the incorrect time of day. Traditionally, disastrous consequences are to be expected. Bhatkhande claimed that the correct time to play a raga had a relation to its thaat (and to its
611:
contains both shuddha Ni and komal Ni (and sometimes both versions of Ga as well), which by definition corresponds to no thaat. Bhatkande resolved such cases "by an ad hoc consideration, appealing to musical performance practice" (see Ramesh
Gangolli's article, cited in note 4 above).
607:
degree of fit between a raga and its thaat is balanced with the desire to keep the number of basic thaats small. Ambiguities inevitably arise. For example, Raga Hindol, assigned to Kalyan thaat, uses the notes S G M D N, which are also found in Marwa thaat.
458:. His research led him to a system of thirty-two thaats, each named after a prominent raga associated with it. Out of those thirty-two thaats, more than a dozen thaats were popular during his time; however, he chose to highlight only ten such thaats.
552:, lit. "altered"). Selecting seven tones in ascending order, where S and P are always natural whereas five other tones (R, G, M, D, N) can assume only one of its two possible forms, results in 2 = 32 possible modes which are known as
462:
theory it should be possible to classify it into one of these thaats. For instance, the ragas Shree and Puriya
Dhanashree are based on the Poorvi thaats, Malkauns on the Bhairavi thaat, and Darbari Kanada on the Asavari thaat.
266:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge.
503:, a technique for the teaching of sight-singing. The tone Sa is not associated with any particular pitch. As in Western moveable solfège, Sa refers to the tonic of a piece or scale rather than to any particular pitch.
615:
Note that thaats only give a rough structure of the raga and do not give an idea of how the raga should be sung. It is pakad of the raga that gives the chalan or way of singing of the raga.
514:
in
Carnatic). The flattening or sharpening of pitches always occurs with reference to the interval pattern in Bilawal thaat. Each thaat contains a different combination of altered (
1100:
says that the time of a Raga has no importance, especially during meditation by music or during learning or teaching as practiced by the music scholars. Also, it is clear in
1101:
1454:
1231:
1193:
1097:
434:(1860–1936), an influential musicologist in the field of classical music in the early decades of the twentieth century. Bhatkhande modelled his system after the
487:
and are abbreviated to Sa, Ri (Carnatic) or Re (Hindustani), Ga, Ma, Pa, Dha, and Ni and written S, R, G, M, P, D, N. Collectively these notes are known as the
207:
269:
Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
1283:
This is the four-volume work in which
Bhatkhande, after thorough analysis, makes the case for the ten thaats. Originally written in
200:
506:
In
Bhatkhande's system, the basic mode of reference is that which is equivalent to the Western Ionian mode or major scale (called
1467:
1244:
1206:
1132:
536:, lit. "fast") but never flat, making twelve notes as in the Western chromatic scale. The sharp or flat tones are called
193:
277:
65:
1276:
1090:
522:) notes with respect to the Bilawal thaat. In any seven-tone scale (starting with S), R, G, D, and N can be natural (
290:
Content in this edit is translated from the existing Bangla
Knowledge article at ]; see its history for attribution.
1148:
Castellano, Mary A.; Bharucha, J. J.; Krumhansl, Carol L. (1984). "Tonal hierarchies in the music of North India".
1498:
556:. Out of these thirty-two possibilities, Bhatkhande chose to highlight only ten thaats prominent in his days.
1040:
system. Some ragas have been derived from
Carnatic music and hence do not fall in the Hindustani classical
651:
or sharp) is represented by a letter followed by a single quote (i.e. M'). The upper octave is italicized.
24:
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598:) and build the series from there. While all thaats contain seven notes, many ragas (of the
8:
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is not as a tool for music composition, but rather as a basis for classification of
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at various places that the time do not have any importance while reciting a raga.
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A thaat, unlike a raga, does not have separate ascending and descending lines
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631:. The thaats are listed here according to their pitches. Lower pitches (
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530:, lit. "soft") but never sharp, whereas the M can be natural or sharp (
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to the source of your translation. A model attribution edit summary is
587:
A thaat has no emotional quality (which ragas, by definition, do have)
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A thaat cannot contain both the natural and altered versions of a note
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Ragas are normally ascribed to certain periods of the day and night (
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or flat) are represented with lowercase letters and natural pitches (
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is also used to refer to the frets of stringed instruments like the
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590:
Thaats are not sung but the ragas produced from the thaats are sung
1447:. Calcutta, New Delhi, Bombay: Oxford and IBH Publishing Company.
1048:
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454:(schools) of classical music, conducting a detailed analysis of
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The tones must be in ascending sequence: Sa Re Ga Ma Pa Dha Ni
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shadja, rishabh, gandhar, madhyam, pancham, dhaivat and nishad
1436:
The Rags of North Indian Music: Their Structure and Evolution
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491:(the word is an acronym of the consonants of the first four
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Many thaats correspond to one or other of the European
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than the Janak raga of a thaat are called Janya raga.
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A thaat must have seven tones out of the twelve tones
1329:
1299:
A Short Historical Survey of the Music of Upper India
414:. It is also used to denote the posture adopted by a
1411:
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or natural) with uppercase letters. A raised pitch (
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In Indian classical music, musical notes are called
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594:One can arbitrarily designate any pitch as Sa (the
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571:only to scales that fulfil the following rules:
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1460:The Oxford Encyclopaedia of the Music of India
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1237:The Oxford Encyclopaedia of the Music of India
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1199:The Oxford Encyclopaedia of the Music of India
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418:dancer at the beginning of their performance.
350:. It is the Hindustani equivalent of the term
284:accompanying your translation by providing an
250:Click for important translation instructions.
237:expand this article with text translated from
1036:There are many ragas that do not fall in the
201:
1313:"ITC Sangeet Research Academy :: Thaat"
1392:
1150:Journal of Experimental Psychology: General
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443:classification, devised around 1640 by the
18:Mode in northern Indian or Hindustani music
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1379:Learn Hindustani Classical Music Online!!
367:is not exactly equivalent to the western
1442:
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1267:Vishnu Narayan Bhatkhande (1909–1932).
383:; a raga said to 'belong' to a certain
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1350:"Chatura Pandit : V.N.Bhatkhande"
1127:, Vol. I, p. 39. Boston: McGraw-Hill.
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1369:
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1271:. Sangeet Karyalaya (1990 reprint).
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1141:
1021:Teevra M, Komal r, Komal g, Komal d
387:need not allow all the notes of the
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1375:"What are Thaat and Pakad of ragas"
922:Komal n, Komal g, Komal d, Komal r
13:
1362:
1297:Vishnu Narayan Bhatkhande (1974).
371:because the primary function of a
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450:. Bhatkhande visited many of the
1287:, it has been widely translated.
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1301:. Indian Musicological Society.
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391:, and might allow other notes.
1348:Ramesh Gangolli (1992-12-23).
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1117:
567:. Bhatkhande applied the term
294:You may also add the template
1:
1125:Music: In Theory and Practice
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395:are generally accepted to be
1438:. Bombay: Popular Prakashan.
499:is the Indian equivalent to
7:
1269:Hindustani Sangeet Paddhati
1162:10.1037/0096-3445.113.3.394
955:Teevra M, Komal r, Komal d
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510:thaat in Hindustani music,
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1123:Benward and Saker (2003).
1102:Bhatkhande Sangeet Shastra
1044:system. Some of them are:
1028:Ragas that do not fall in
887:Komal n, Komal g, Komal d
421:
258:Machine translation, like
25:Hindustani classical music
1443:Kaufmann, Walter (1968).
1434:Jairazbhoy, N.A. (1995).
724:(earlier known as Kalyan)
465:
432:Vishnu Narayan Bhatkhande
239:the corresponding article
1445:The Ragas of North India
526:, lit. "pure") or flat (
1096:However, the author of
478:of the scale are named
305:For more guidance, see
1499:Indian classical music
1098:Nai Vaigyanik Paddhati
675:Distinguishing factor
430:system was created by
363:. The concept of the
1194:"Thāṭ (Instrumental)"
512:Dheerasankarabharanam
307:Knowledge:Translation
296:{{Translated|bn|ঠাট}}
278:copyright attribution
1452:Saṅgīt Mahābhāratī.
1229:Saṅgīt Mahābhāratī.
1191:Saṅgīt Mahābhāratī.
448:Vidwan Venkatamakhin
1070:Time of performance
1009:C Db Eb F# G Ab B C
908:C Db Eb F G Ab Bb C
710:All Shuddha Svaras
988:Teevra M, Komal r
946:Double Harmonic #4
943:C Db E F# G Ab B C
666:Western Notes in C
563:scales are called
474:. The seven basic
286:interlanguage link
1469:978-0-19-565098-3
1455:"Thāṭ (of Rāgas)"
1246:978-0-19-565098-3
1208:978-0-19-565098-3
1133:978-0-07-294262-0
1087:Sangita-Makaranda
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1017:Shubhapantuvarali
976:C Db E F# G A B C
852:Komal n, Komal g
838:C D Eb F G A Bb C
817:Komal r, Komal d
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984:Gamanashrama
971:
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938:
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883:Natabhairavi
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833:
798:
778:Harikambhoji
763:
728:
691:
644:
640:
632:
629:church modes
626:
622:
619:Basic thaats
614:
603:
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15:
1475:5 September
1252:5 September
1214:5 September
1053:Nat Bhairav
609:Jaijaiwanti
540:vikrt swara
426:The modern
246:(June 2020)
66:Instruments
1488:Categories
1385:2019-09-05
1355:2007-04-11
1322:2018-12-03
1111:References
1061:Madhuvanti
1057:Charukeshi
918:Hanumatodi
772:Mixolydian
561:heptatonic
397:heptatonic
354:Melakartha
1170:1939-2222
979:Lydian b2
747:Teevra M
440:melakarta
402:The term
300:talk page
241:in Bangla
912:Phrygian
898:Bhairavi
893:Bhairavi
782:Komal n
452:gharanas
436:Carnatic
410:and the
276:provide
162:Bhairavi
32:Concepts
1285:Marathi
1178:6237169
1049:Kirvani
877:Aeolian
863:Asavari
858:Asavari
793:Bhairav
788:Bhairav
743:Kalyani
686:Bilaval
681:Bilaval
669:Western
641:shuddha
524:shuddha
520:shuddha
508:Bilawal
501:solfège
422:History
298:to the
280:in the
243:.
157:Bhairav
152:Asavari
137:Bilaval
114:Qawwali
84:Dhrupad
61:Gharana
1466:
1275:
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1205:
1176:
1168:
1131:
1083:Narada
1079:Samayā
1032:system
1015:45th,
982:53rd,
949:51st,
933:Poorvi
928:Poorvi
881:20th,
846:22nd,
842:Dorian
811:15th,
776:28th,
758:Khamaj
753:Khamaj
737:Lydian
716:Kalyan
704:29th,
700:Ionian
663:Notes
604:shadav
569:thaats
565:thaats
554:thaats
497:Sargam
493:swaras
489:sargam
476:swaras
472:swaras
466:System
416:Kathak
393:Thaats
182:Kalyan
142:Khamaj
128:Thaats
119:Ghazal
104:Thumri
99:Tarana
89:Dhamar
75:Genres
41:Shruti
1042:thaat
1038:thaat
1030:thaat
966:Marva
961:Marva
916:8th,
721:Yaman
657:Thaat
647:tivra
635:komal
600:audav
596:tonic
548:vikrt
533:tivra
528:komal
516:vikrt
456:ragas
428:thaat
412:veena
408:sitar
404:thaat
389:thaat
385:thaat
381:thaat
377:ragas
373:thaat
365:thaat
342:" in
340:scale
323:thaat
260:DeepL
177:Marva
172:Purvi
109:Dadra
94:Khyal
46:Swara
1477:2018
1464:ISBN
1273:ISBN
1254:2018
1241:ISBN
1216:2018
1203:ISBN
1174:PMID
1166:ISSN
1129:ISBN
1091:vadi
994:Todi
828:Kafi
823:Kafi
602:and
356:raga
334:thāṭ
328:IAST
274:must
272:You
167:Todi
147:Kafi
56:Tala
51:Raga
1406:GMO
1158:doi
1154:113
1093:).
1085:'s
1081:).
1076:See
1063:5.
1059:4.
1055:3.
1051:2.
1047:1.
495:).
359:of
346:or
262:or
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209:e
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