A Thaat is a "Parent scale" in North Indian or Hindustani music. It is the Hindustani equivalent of the term Melakartha raga of Carnatic 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.
Raga Malgunji is a Hindustani classical raga from the Khamaj Thaat. Some say it is a part of the Kafi Thaat too.
Raga Bageshri or Bageshree is a Hindustani classical raga. It is a popular night raga, which is meant to depict the emotion of a woman waiting for reunion with her lover. It is said to have been first sung by Miyan Tansen, the celebrated court singer of the Emperor Akbar in the sixteenth century.
Abhogi is a raga in Carnatic music and has been adapted to Hindustani music. It is a pentatonic scale, an audava raga. It is a derived scale, as it does not have all the seven swaras. Ābhōgi has been borrowed from Carnatic music into Hindustani music and is also quite popular in the latter.
Bahar is a Hindustani classical raga. This raga is very similar to raga Malhar. This raga is from the Kafi Thaat.
Bhimpalasi or Bheempalasi is a Hindustani classical raga.
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.
Megh Malhar is a Hindustani classical raga. The name derives from the Sanskrit word Megh, meaning cloud. Legends say that this raga has the power to bring out rains in the area where it is sung. Megh Malhar is similar to raga Megh with a tint of Malhar in it.
Kafi is a raga in Hindustani classical music. It corresponds to Kharaharapriya in Carnatic music and Dorian mode in Western music
Pilu or Peelu is a raga of Hindustani classical music. It is mostly used in light-classical forms, like thumris.
Kanada also known as Kanhada is a group of ragas in Hindustani classical music. The name Kanada suggests that it may have originated in the Carnatic music tradition and Kannada country.
Desi is a Hindustani classical raga. This raga may be affiliated with the Asavari thaat or with the Kafi thaat depending on the way of presentation. It is similar to raga Barwa.
Kalyan is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.
Patdeep or Patdip (पटदीप), is a Hindustani classical raga from the Kafi Thaat.
Kafi is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga (Kharaharapriya) within this thaat.
Asavari is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.
Gandhar is the 3rd svara from the seven svaras of Hindustani music and Carnatic music. Gandhar is the long form of the syllable ग. For simplicity in pronouncing while singing the syllable, Gandhar is pronounced as Ga. It is also called as गान्धार or गंधार in the Devanagri script.
Nishad is the seventh svara from the seven svaras of Hindustani music and Carnatic music. Nishad is the long form of the syllable नी. For simplicity in pronouncing while singing the syllable, Nishad is pronounced as Ni. It is also called as निषाद in the Devanagri script.
Gara is a Hindustani classical raga belonging to the Khamaj Thaat. This raga is similar to raga Jaijaiwanti. Both ragas i.e. raga Jaijaiwanti and raga Gara, have the same svaras. Gara is a rare raga. It is rendered in the late evening. The raga uses all the seven notes, six in the ascent and seven in the descent. Therefore the Jati of the raga is Shaadav-Sampurna. While some say that seven svaras are played in the ascent and seven in the descent. Therefore the Jati then becomes Sampurna-Sampurna. It uses both, the Komal (flat) and Shuddha (full) Nishad, and all other notes are Shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. Gara belongs to a family of melodic entities, which were apparently derived from folk melodies, and entered art-music in association with the thumri genre. This family includes ragas like Kafi, Piloo, Jangula, Barwa, and Zilla, along with several others. This raga expresses the feeling of happiness and satisfaction of achievement, however it simultaneously conveys the sadness of losing. This raga is also a vivacious and romantic one.
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