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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.
Pandit Vishnu Narayan Bhatkhande was an Indian musicologist who wrote the first modern treatise on Hindustani classical music, an art which had been propagated for centuries mostly through oral traditions. During those earlier times, the art had undergone several changes, rendering the raga grammar documented in scant old outdated texts.
Khamaj is a Hindustani classical Music raga within the Khamaj thaat which is named after it.
Darbari Kanada, or simply Raga Darbari,, is a raga in Carnatic music.It is a janya ragam of 20th Melakarta raga Natabhairavi. Being a ancient raga, it's original name is unknown. It is believed to be borrowed into Hindustani classical music by Miyan Tansen, the famous 16th-century composer in emperor Akbar's court. It belongs to the Kanada family. This tradition is reflected in the name itself; Darbar is the Persian derived word in Hindi meaning "court." As the most familiar raga in the Kanada family, it may sometimes also be called Shuddha Kanada or pure Kanada. It belongs to the Asavari thaat. This raag is called raaga Kaanada in Yakshagana Karnataka state dance
Raga Bageshri or Bageshree is a Carnatic classical raga.It is a janya raga of the 22nd Melakarta raga Kharaharapriya. It is meant to depict the emotion of waiting for reunion with one's lover. Being a very melodic raga it has gained popularity over the centuries. In Hindustani music,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. In Hindustani music the raga has been classified under the Kafi thaat.
Ahir Bhairav is a Hindustani classical raga. It is a mixture of Bhairav and the ancient, rare raga Ahiri or Abhiri, or perhaps a mixture of Bhairav and Kafi.
Asavari is a minor character from the Mahabharata, the love life of Karna but due to her father’s arrogance, the marriage did not take place. She belongs to the Asavari thaat kingdom.
Bahar is a Hindustani classical raga. This raga is very similar to raga Malhar. This raga is from the Kafi Thaat.
Bhatiyar is a Hindustani classical raga assigned to the Marva thaat.
Bhimpalasi or Bheempalasi is a Hindustani classical raga.
Bhupal Todi or Bhoopal Todi is a Hindustani classical raga. This raga is quite different from Bhopali. The Carnatic music equivalent of Bhupal Todi musical scale is Bhupalam.
Hamsadhvani, is a rāga in Carnatic music. It is an audava rāgam. It is a janya rāga of the Melakartha raga, Sankarabharanam (29th) but according to Hamsadhvani's prayoga or the way it is sung it is said to be the janya of Kalyani (65th).
Pilu or Peelu is a raga of Hindustani classical music. It is mostly used in light-classical forms, like thumris.
Purvi or Poorvi is a raga in Hindustani classical music that exemplifies its own thaat, the Poorvi thaat. Purvi has a deeply serious, quiet and somewhat mystical character. It is uncommon in performances nowadays.
Adana is an Indian raag. It is also called Adana Kanada. It is often sung or played in drut laya after a vilambit composition in raga Darbari Kanada, as Adana is straighter than Darbari in its chalan, thus allowing faster passages. The flow of this raga is similar to a mix of Madhumad Sarang / Megh and Darbari. Another common vivadi some artists use sparingly is shuddha nishad which enhances the Saranga mood of the raga.
Marva or Marwa is a hexatonic Indian raga; Pa is omitted. Marva is the eponymous raga of the Marva thaat.
Miyan ki Todi, often simply referred to as Todi or Darbari Todi, is a Hindustani classical raga which gave its name to the Todi thaat, one of the ten types of classical music according to the musicologist Bhatkhande. Ragas from the Todi raganga include Todi itself, Bilaskhani Todi, Gujari Todi, Desi Todi, Hussaini Todi, Asavari Todi, and Bahaduri Todi.
Khamaj is one of the ten thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.
Marva or Marwa 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.