A Thaat is a "Parent scale" in North Indian or Hindustani music. The concept of the thaat is not exactly equivalent to the western musical scale because the primary function of a thaat is not as a tool for music composition, but rather as a basis for classification of ragas. There is not necessarily strict compliance between a raga and its parent thaat; a raga said to 'belong' to a certain thaat need not allow all the notes of the thaat, and might allow other notes. Thaats are generally accepted to be heptatonic by definition.
Svara or swara is a Sanskrit word that connotes simultaneously a breath, a vowel, the sound of a musical note corresponding to its name, and the successive steps of the octave or saptaka. More comprehensively, it is the ancient Indian concept about the complete dimension of musical pitch. Most of the time a svara is identified as both musical note and tone, but a tone is a precise substitute for sur, related to tunefulness. Traditionally, Indians have just seven svaras/notes with short names, e.g. saa, re/ri, ga, ma, pa, dha, ni which Indian musicians collectively designate as saptak or saptaka. It is one of the reasons why svara is considered a symbolic expression for the number seven.
Bilaval or Bilawal is a raga and the basis for the eponymous thaat in Hindustani classical music. Raga Bilaval is named after Veraval, Gujarat.
Bhairav is an Indian classical raga of Bhairav thaat. It is a sampurna raga that is traditionally performed in the morning and also as the beginning piece in concerts. It is the defining raga of its own Thaat.
Devagandhari is a raga in Indian classical music. In carnatic classical music, Devagandhari is a janya raga, whose melakarta raga is Shankarabharanam, 29th in the 72 Melakarta raga system. This is not to be confused with Karnataka Devagandhari, which is a janya of Kharaharapriya similar to Abheri.
Bhairavi is a Hindustani Classical heptatonic (Sampurna) raga of Bhairavi thaat. In Western musical terms, raga Bhairavi employs the notes of the Phrygian mode, one of the traditional European church modes.
Bhoopali, also known as Bhoop, Bhopali, or Bhupali, is a Hindustani classical raga. Bhupālī, is a raag in Kalyan Thaat. It is a pentatonic scale. Most of the songs in this raga are based on Bhakti rasa. Since it uses 5 notes, belongs to the "Audav jaati" of ragas.
Raga Bihag is a Hindustani classical raga belonging to the Bilaval Thaat. It is a melodious Raaga for beginners as well as experts. Raga Bihag uses all seven music swars. In Bihag, both the Madhyams are used. The Shuddha Madhyam is the prominent one while Teevra Madhyama is only used with Panchama in Phrase PA MA' GA MA GA. In Avaroha, Rishabh and Dhaivat are not used as resting notes however they are used in Meend. In this Raag, Nishad is a prominent note and Aalaps or Taans are generally started from this note.
Brindavani Sarang or Brindabani Sarang, also known as raga Sarang, is a Hindustani classical raga. It is also called Vridavani Sarang. This raga falls under the category of Sarang ragas.
Sohini is a raga in Hindustani classical music in the Marwa thaat. Alternate transliterations include Sohani and Sohni. Like Bahar, it is a small raga, with not much space for elaboration. It emotes the feel of longing, of passive sensuousness.
'Madhukali' is a Hindustani classical raga.
Malkauns, known also as rag Malkos, is a raga in Indian classical music. It is one of the oldest ragas of Indian classical music. The equivalent raga in Carnatic music is called Hindolam, not to be confused with the Hindustani Hindol.
Kafi is a raga in Hindustani classical music. It corresponds to Kharaharapriya in Carnatic music.
Yaman is a heptatonic (Sampurna) Indian classical raga of Kalyan Thaat.
Hameer is a nocturnal Hindustani classical raga nominally placed in Kalyan thaat. All the (shuddha swaras along with (teevra madhyam are used in it. Generally, its vaadi swar is dhaivat and the samavaadi swar is gandhar. However, some exponents consider the vaadi swar to be pancham as Hameer is mainly sung in the upper half of an octave and is nocturnal. Pancham is not taken in the aaroh but is taken in avroh. Its jati is "Shadav Sampurn". "Vadi Svar" is Dhaivat and Samvadi Swar is Gandhar.
Raga Kedar, also known as Kedara, is a Hindustani classical raga. Named after Lord Shiva, the raga occupies a high pedestal in Indian classical music. It is characterised by many melodious turns. This raga is the repetition of the swaras सा and म. It is generally accepted that it displays much thermal energy and is regarded as the Raagini of Raag Deepak. While preceding from Shuddha Madhyam (m) to Pancham (P), a touch of Gandhar (G) or a smooth passage from Gandhar (G) to Pancham (P) expressed as m G P is the more common way of instant raga manifestation.
Shankara is a raga in Hindustani classical music.
Tilak Kamod is a Hindustani classical raga.
Multani is a Hindustani classical raga. The newer raga Madhuvanti was inspired by Multani. Multani belongs to Todi Thaat. It is generally sung in the third prahar of the day, that is, around 1 PM to 4 PM.
Nat Bhairav is a Hindustani classical heptatonic (Sampurna) raga of Bhairav Thaat. Traditionally it is a morning raga. It is one of the most important ragas of the Bhairav anga.
