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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.
Darbari Kanada, or simply Raga Darbari, is a raga in Carnatic music. It is a janya ragam of 20th Melakarta raga Natabhairavi. Being an ancient raga, its 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. It is also sometimes written as Durbari and Durbarikanada.
Raga Bageshri or Bageshree is a Hindustani 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 Stri Parva in 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.
Bhimpalasi or Bheempalasi is a Hindustani classical raga. The Carnatic Music equivalent of this raga is Abheri.
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).
Malkauns, known also as rag Malkosh, 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.
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
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.
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.
Kharaharapriya is a rāga in Carnatic music. It is the 22nd melakarta rāga in the 72 melakarta rāga system. It is possible that the name of the ragam was originally Harapriya but it was changed to conform to the Katapayadi formula. Kharaharapriya has a distinct melody and brings out the Karuna rasam, invoking pathos in the listeners. The Kafi thaat of Hindustani music is the equivalent of Kharaharapriya. Its Western equivalent is the Dorian mode. The Prati Madhyamam equivalent of this raga is Hemavati
Harikambhoji is a rāgam in Carnatic music. It is the 28th Melakarta rāgam in the 72 melakarta rāgam system.
Kāpi is a popular rāga in Carnatic music, the classical music of South India. Kāpi is a janya rāgam of Kharaharapriya with a meandering vakra scale. Typically performed at slow and medium speeds, it is capable of inducing moods of devotion, pathos and sadness in the listeners. Kāpi is different from the Hindustani raag and thaat Kafi. The equivalent raag in Hindustani is Pilu.
Jaijaivanti or Jaijaiwanti is a Hindustani classical raga belonging to Khamaj Thaat. According to the Guru Granth Sahib, this raga is a mixture of two others: Bilaval and Sorath. The raga appears in the latter section in Gurbani, as only four hymns were composed by Guru Tegh Bahadur, the ninth Sikh guru. These hymns were added by his son and successor Guru Gobind Singh in 1705 A.D. This raga is not mentioned in any Indian classical scriptures on music nor in the Ragmala.
Kirwani is a musical scale in Hindustani classical music. It is an Indian raga specially suited for instrumental music. The scale is the same as the harmonic minor in western music. There are shades of Pilu in Kirwani. This raga is said to have been borrowed from the Carnatic music raga Keeravani.
Patdeep or Patdip (पटदीप), is a Hindustani classical raga from the Kafi Thaat.
References
- ↑ Jairazbhoy(1995)
- ↑ Lavezzoli, Peter (2006). The Dawn of Indian Music in the West. A&C Black. p. 63. ISBN 0826418155 . Retrieved 14 June 2017.
Sources
- Bor, Joep (c. 1997), The Raga Guide, Charlottesville,Virginia: Nimbus Records, archived from the original on 2003-12-03
- Jairazbhoy, N.A.; Capwell, Charles (1995), "The Rags of North Indian Music: Their Structure & Evolution" (PDF), Asian Music, 4 (2), Bombay: Popular Prakashan: 19, doi:10.2307/833828, ISSN 0044-9202, JSTOR 833828
- Bhatkhande, Vishnu Narayan (1968–73), Kramika Pustaka Malika, Hathras: Sangeet Karyalaya.