Tag Archives: World Music

List of Thaats

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Thaats

Please read a note on Thaats here. Please pick a Thaat below:

  1. Asavari – S,R,g,m,P,d,n,S*
  2. Bakulabharan – S,r,G,m,P,d,n,S*
  3. Bhairav – S,r,G,m,P,d,N,S*
  4. Bhairavi – S,r,g,m,P,d,n,S*
  5. Bhavpirya – S,r,g,M’,P,d,n,S*
  6. Bilaval – S,R,G,m,P,D,N,S*
  7. Chakarvak (Ahir Bhairav) – S,r,G,m,P,D,n,S*
  8. Charukeshi – S,R,G,m,P,d,n,S*
  9. Dharamvati – S,R,g,M’,P,D,N,S*
  10. Dhenuka – S,r,g,m,P,d,N,S*
  11. Gauri Manohari – S,R,g,m,P,D,N,S*
  12. Hemvati – S,R,g,M’,P,D,g,S*
  13. Kafi – S,R,g,m,P,D,n,S*
  14. Kalian – S,R,G,M’,P,D,N,S*
  15. Khamaj – S,R,G,m,P,D,n,S*
  16. Kirvani – S,R,g,m,P,d,N,S*
  17. Kokilpirya – S,r,g,m,P,D,N,S*
  18. Latangi – S,R,G,M’,P,d,N,S*
  19. Marva/Gamanpirya – S,r,G,M’,P,D,N,S*
  20. Namnarayani – S,r,G,M’,P,d,n,S*
  21. Natakpirya – S,r,g,m,P,D,n,S*
  22. Pooravi – S,r,G,M’,P,d,N,S*
  23. Rampirya – S,r,G,M’,P,D,n,S*
  24. Rishavpirya – S,R,G,M’,P,d,n,S*
  25. Sahinder Madhyam – S,R,g,M’,P,d,N,S*
  26. Sarsangi – S,R,G,m,P,d,N,S*
  27. Shadvidhmargani – S,r,g,M’,P,D,n,S*
  28. Shanmukhpirya – S,R,g,M’,P,d,n,S*
  29. Suryakant – S,r,G,m,P,D,N,S*
  30. Swaranangi – S,r,g,M’,P,D,N,S*
  31. Todi – S,r,g,M’,P,d,N,S*
  32. Vachaspati – S,R,G,M’,P,D,n,S*

To see how thaats relate to each other, please visit this page:

Click here to pick a Thaat (parent Scale)
Click here to pick a Jati (note count)
Click here to see the entire list alphabetically

You may also use the search feature on this blog to find a Raag.

sangtar.com > Music Theory > Raagkosh

Raagkosh – Alphabetical list (S-Z)

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Please pick a letter:

A, B, C, D, E, F,
G, H, I , J, K, L,
M, N, O, P, Q, R,
S, T, U, V, W, X, Y, Z

 

S

T

U

V

W

X

Y

^ Top

Z

Click here to pick a Thaat (parent Scale)
Click here to pick a Jati (note count)
Click here to see the entire list alphabetically

You may also use the search feature on this blog to find a Raag.

sangtar.com > Music Theory > Raagkosh

Raagkosh – Alphabetical list (M-R)

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Please pick a letter:

A, B, C, D, E, F,
G, H, I , J, K, L,
M, N, O, P, Q, R,
S, T, U, V, W, X, Y, Z

M

N

O

P

Q

R

^ Top

Click here to pick a Thaat (parent Scale)
Click here to pick a Jati (note count)
Click here to see the entire list alphabetically

You may also use the search feature on this blog to find a Raag.

sangtar.com > Music Theory > Raagkosh

Raagkosh – Alphabetical list (G-L)

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Please pick a letter:

A, B, C, D, E, F,
G, H, I , J, K, L,
M, N, O, P, Q, R,
S, T, U, V, W, X, Y, Z

 

 

G

H

I

J

^ Top

K

L

Click here to pick a Thaat (parent Scale)
Click here to pick a Jati (note count)
Click here to see the entire list alphabetically

You may also use the search feature on this blog to find a Raag.

sangtar.com > Music Theory > Raagkosh

Punjabi Virsa 2008 – Announced

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Punjabi Virsa 2008

I am pleased to announce that we are planning our Punjabi Virsa 2008 tour. This tour will include stops in Canada and the USA. Some concerts have been confirmed, other details are still coming in. To stay up to date please book mark "www.punjabivirsa2008.com" or go to www.plasmarecords.com and subscribe for our newsletter. See you in your city soon!

Sangtar’s music blog::

Making Thaats with Tetrachords Part IV

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In the last two posts we have learned to make 32 Thaats from 8 Tetrachords. Now here is an interactive movie to put them altogether. Study these three posts, find the pattern of note changes. Once you understand the sequence how notes are moving from natural to flats (and fourth sharp), it will never leave your memory again.

[iframe width=”100%” height=”300″ src=”https://www.sangtar.com/canvas/170203-tetrachords-32thaats.html”]

sangtar.com > Music Theory > Advanced Theory

Kamal Heer’s New Album

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Kamal Heer-Chan Jiha Gabhru

A couple of weeks ago Plasma Records released Kamal Heer’s new album “Chan Jiha Gabhru”. I prepared the music for this album. It is a full on music heavy album. Still, Kamal Heer’s master voice comes through beautifully. The following is the second video from this album. The song’s title is Mar Gaye Majajne. I also wrote the lyrics for this song. I hope you will enjoy it.

32 Thaats (Scales) Flipped – Part IV

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Cave Carvings 500 AD Ajanta Alora Here is one last look at creating 32 Thaats by flipping the scales.
The 12 notes of Indian music are:

S, r, R, g, G, m, M’, P, d, D, n, N

As you can see, S and P (1st and 5th) are immovable. Both of these notes have only one permanent position in the scale.
The other five notes have two positions each, lower and upper position or Komal and Tivar position. When we flip a Thaat, we simply change the positions of these five notes. We move the Tivars to Komal position and the Komals to Tivar position.

The all Tivar scale is: S, R, G, M’, P, D, N, S (Kalian) and
The all Komal scale is S, r, g, m, P, d, n, S. (Bhairavi)

The entire secret to understand this theory lies in understanding these two scales. If one scale is made by lowering a certain note in Kalian, in essence, its flipped Thaat is made by making the same note Tivar in Bhairavi.

In the following table, I have written the Flipped Thaats opposite of each other. Notice how the positions of these five notes (R, G, M, D and N) are swapped. Then there is also an interactive flash movie below to visualize these notes on a keyboard.

Thaat
Scale
flip
Scale
Thaat
Vachaspati
S,R,G,M’,P,D,n,S
flip
S,r,g,m,P,d,N,S
Dhenuka
Latangi
S,R,G,M’,P,d,N,S
flip
S,r,g,m,P,D,n,S
Natakpirya
Rishavpirya
S,R,G,M’,P,d,n,S
flip
S,r,g,m,P,D,N,S
Kokilpirya
Dharamvati
S,R,g,M’,P,D,N,S
flip
S,r,G,m,P,d,n,S
Bakulabharan
Hemvati
S,R,g,M’,P,D,g,S
flip
S,r,G,m,P,d,N,S
Bhairav or Malavgaud
Sahinder Madhyam
S,R,g,M’,P,d,N,S
flip
S,r,G,m,P,D,n,S
Chakarvak or Ahir Bhairav
Shanmukhpirya
S,R,g,M’,P,d,n,S
flip
S,r,G,m,P,D,N,S
Suryakant or Anand Bhairav
Gamanpirya or Marava
S,r,G,M’,P,D,N,S
flip
S,R,g,m,P,d,n,S
Asavari
Rampirya
S,r,G,M’,P,D,n,S
flip
S,R,g,m,P,d,N,S
Kirvani
Kamvardhani or Pooravi
S,r,G,M’,P,d,N,S
flip
S,R,g,m,P,D,n,S
Kafi or Kharharpirya
Namnarayani
S,r,G,M’,P,d,n,S
flip
S,R,g,m,P,D,N,S
Gauri Manohari
Swaranangi
S,r,g,M’,P,D,N,S
flip
S,R,G,m,P,d,n,S
Charukeshi
Shadvidhmargani
S,r,g,M’,P,D,n,S
flip
S,R,G,m,P,d,N,S
Sarsangi
Shubh Pantuvarali or Todi
S,r,g,M’,P,d,N,S
flip
S,R,G,m,P,D,n,S
Khamaj or Harkambhoji
Bhavpirya
S,r,g,M’,P,d,n,S
flip
S,R,G,m,P,D,N,S
Bilaval or Shankrabharan
Bhairavi
S,r,g,m,P,d,n,S
flip
S,R,G,M’,P,D,N,S
Kalian

[iframe width=”100%” height=”300″ src=”https://www.sangtar.com/canvas/170202-flip-thaats_Canvas.html” align=”middle”]

sangtar.com > Music Theory > Advanced Theory

32 Thaats (Scales) Flipped – Part III

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Ustad Baba Allaudin

Finally, here is the same illustration explained in plain text:
1. Kalian is the first Thaat in this system. All notes in Kalian are in their upper position or are Tivar. Kalian’s notes are: S, R, G, M’, P, D, N, S.
2. Lowering the seventh (N Komal) in Kalian creates ‘Vachaspati’ mail or Thaat. Vachaspati is S, R,G,M’, P, D, n, S. In this Thaat, no suwar is in perfect harmony (4th or 5th) with the seventh.
3. Flipping Vachaspati gives us Dhenuka Thaat. Dhenuka is: S, r, g,m, p, d, N, S. Again, the Seventh or Nishad of Dhenuka has no Samvadi suwar.
4. Lowering the sixth (Dhaivat) in Kalian Creates Latangi. Latangi is: S, R, G, M’, P, d, N, S.
5. Flipping Latangi makes it Natakpirya. Natakpirya is S, r, g, m, P, D, n, S. There is no Samvadi of Dhaivat in Natakpirya.
6. Lowering Dhaivat and Nishad in Kalian gives us Rishavpirya. Rishavpirya is: S, R, G, M’, P, d, n, S. Rishavpirya lacks a Samvadi suwar for its Gandhar.
7. Flipping Rishavpirya gives us Kokilpirya. Kokilpirya is: S, r, g, m, P, D, N, S. Dhaivat has no Samvadi note in Kokilpirya.
8. Lowering Gandhar or third in Kalian creates Dharamvati. Dharamvati is: S,R,g,M’, P,D, N, S.
9. The opposite of Dharampati stands Bakulabharan. Bakulabharan is: S, r, G, m, P, d, n, S.
10. Lowering Gandhar and Nishad in Kalian gives us Hemvati. Hemvati is: S, R, g, M’, P, D, n, S.
11. Thaat Malavgaud is on the flip side of Hemvati. Malavgaud’s notes are: S, r, G, m, P, d, N, S. Thus, Malavgaud is current Bhairav Thaat of Hindustani music.
12. Lowering Gandhar and Dhaivat in Kalian gives birth to Sahinder Madhyam. Which is: S, R, g, M’, P, g, N, S.
13. Thaat Chakarvak is the flip side of Sahinder Madhyam. Chakarvak is same as Ahir Bhairav, the notes are: S, r, G, m, P, D, n, S.
14. When Gandhar, Dhaivat and Nishad or third, sixth and seventh are komal in Kalian, it becomes Shanmukhpirya Thaat. Shanmukhpirya’s notes are: S, R, g, M’, P, d, n, S.
15. Flipping Shanmukhpirya creates Suryakant or Anad Bhairav. The notes are: S, r, G, m, P, D, N , S.
16. Lowering just the second or Rishav in Kalian makes it Marva Thaat. Marva is: S, r, G, M’, P, D, N, S. Marva is also known as Gamanpirya Mail of Carnatic music.
17. Flipping Gamanpirya makes it Asavari. Asavari’s notes are: S, R, g, m, P, d, n, S.
18. Lowering Rishav and Nishad in Kalian creates Rampirya Thaat. Rampirya is: S, r, G, M’, P, D, n, S.
19. Flipping Rampirya gives us Girvani. Girvani is S, R, g, m, P, d, N, S. This can also be called Adana Thaat.
20. Lowering Rishav and Dhaivat in Kalian makes it Poorvi or Kamvardhani. The notes are: S, r, G, M’, P, d, N, S.
21. Kafi Thaat or Kharharpirya is the flip side of Kamvarshani. The notes are: S, R, g, m, P, D, n, S.
22. Lowering Rishav, Dhaivat and Nishad make it Namnarayni. Namnarayni is: S, r, G, M’, P, d, n, S.
23. Gauri Manohar is the flipped version of Namnarayni. Gari Manohari’s notes are: S, R, g, m, P, D, N, S.
24. Lowering Second and Third or Rishav and Gandhar in Kalian makes it Sawarnangi. Sawarnangi is: S, r, g, M’, P, D, N, S.
25. Thaat Charukeshi takes shape when we flip Sawarnangi. Charukeshi is: S, R, G, m, P, d, n, S.
26. When we lower Rishav, Gandhar and Nishad in Kalian, we create Shadvidhmargani thaat. Pronounce it Shad-Vidh-Mar-Gani. Shadvishmargani’s notes are: S, r, g, M’, P, D, n, S.
27. Thaat Sarsani takes shape by flipping Shadvidhmargani. Sarsangi is: S, R, G, m, P, d, N, S.
28. Lowering Rishav, Gandhar and Dhaivat in Kalian creates Shubhpantuvarali or Todi Thaat. The notes are; S, r, g, M’, P, d, N, S.
29. Flipping Todi makes it Khamaj or Harkambhoji. Khamaj’s notes are: S, R, G, m, P, D, n, S.
30. Lowering 2nd, 3rd, 6th and 7th (r, g, d, n) in Kalian creates Bhavpirya Thaat. The notes of Bhavpirya look like this: S, r, g, M’, P, d, n, S.
31. Our modern natural scale Bilaval is the flipped version of Bhavpirya. Bilaval is also known as Shankrabharan mail in the southern music. The notes of this Thaat are: S, R, G, m, P, D, N, S.
32. Now the final thaat has all five movable notes in the lower position. When we lower Rishav, Gandhar, Madhyam, Dhaivat and Nishad in Kalian, it creates Bhairavi Thaat. So if Kalian is all Tivars, then Bhairavi is all Komals. Flipping Bhairvi takes us back to our number one Thaat Kalian. Bhairavi’s notes are: S, r, g, m, P, d, n, S.

sangtar.com > Music Theory > Advanced Theory

32 Thaats (Scales) Flipped – Part I

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I am sure that this post will prove to be the most interesting post for advance students of Indian Music. As we have discussed earlier, the ‘Ten Thaat System’ does not fully describe the scope of Hindustani scales. According to the definition of a Thaat, a Thaat is a scale of seven notes that uses at least one instant of each and every note. That leads us to the 32 Thaat System. 32 Thaats are essential to find all theoretical Raags of Northern and Southern Indian music.

Now, how do we find these 32 Thaats. The formula is purely mathematical. That turns many people off from even touching the subject. However, there are a number of ways to illustrate this formula so it would make perfect sense to all musicians.

In this post, we are going to find 32 Thaats by flipping the scales. I have been talking about Thaat flipping in the last few posts. So by now you must have a very good idea what that is all about.

According to the Thaat Flipping theory, the first scale is Kalian. Kalian looks like this:

S,R,G,M,P,D,N or
Tone, Tone, Tone, Semitone, Tone, Tone, Semitone.

In Kalian, all notes are in their upper position. Or, we can say that all notes are Tivar. Now it is just matter of lowering (making them Komal) the notes systematically to get 32 Thaats.
In the following illustration:

1. First, starting from the top (Nishad), we lower one note to get a scale.
2. Then we flip that scale (swap the Vikrat notes). The Komals become Tivars and the Tivars become Komals.
3. We continue to add notes downwards to find all possible combinations and flip each Thaat to reveal its counterpart.

Remember, there are only five notes in Indian scale that have two positions. These notes are: R, G, M, D, N. Whatever notes are ‘Komal’ in the original Thaat, they should be ‘Tivar’ in the flipped Thaat.

Play with the following interactive infographic, by clicking the ‘Next’ button. In the next post I will describe these Thaats in plain text. Enjoy.
[iframe width=”100%” height=”300″ src=”https://www.sangtar.com/canvas/170202-flip-thaats_Canvas.html”].
 

sangtar.com > Music Theory > Advanced Theory