How Many Thaats are There in Hindustani Music

There are ten thaats in Hindustani music. They are Bilawal, Kafi, Asavari, Bhairav, Khamaj, Marwa, Purvi, Todi, Miyan ki Malhar and Darbari.

In Hindustani music, there are ten different thaats, which are melodic scales that serve as the foundation for ragas. Each thaat has its own unique sound and feel, and each one is associated with a particular mood or emotion. Some of the more popular thaats include the Kafi thaat, which is associated with peace and serenity, and the Bhairavi thaat, which evokes feelings of love and compassion.

Thaats in Hindustani Music

Hindustani music is one of the two main types of Indian classical music, the other being Carnatic music. It is a style of music that originated in North India, and its name comes from the Hindi word for “of Hindustan”. The style is also sometimes referred to as “North Indian classical music” or “Shastriya Sangit”.

The origins of Hindustani music can be traced back to Vedic times, when the Rigveda, which contains hymns sung to various gods, was first composed. The earliest known treatise on Hindustani music dates back to around 13th century CE, and was written by Amir Khusrow, a court musician in the Delhi Sultanate. Since then, many different styles and schools of thought have emerged within Hindustani music.

One important thing to keep in mind about Hindustani music is that it is highly improvisational. This means that performers will often spontaneously create new melodic ideas during a performance, based on the framework of the composition they are playing. This makes each performance unique, and helps to keep the audience engaged.

If you’re interested in learning more about Hindustani music, there are plenty of resources available online and in print. And if you ever have the opportunity to see a live performance, don’t miss it!

How Many Thaats are There in Hindustani Music


Who Proposed 10 Thaats in Hindustani Music?

In Hindustani music, the thaat system was proposed by Pandit Vishnu Narayan Bhatkhande in the early 20th century. Bhatkhande is credited with creating the first modern approach to Hindustani classical music, and his work included analyzing and codifying the melodic systems of North India. The thaat system is a way of classifying melodies based on their musical scale (a set of notes that are played in a particular order).

There are 10 main thaats, which are further divided into smaller sub-thaats. Each melody can be classified into one of these categories based on its scale. The 10 main thaats are as follows:

1. Bilawal: This is the simplest and most basic thaat, with just two swaras (notes). It is typically associated with folk music from Rajasthan and Gujarat. 2. Kafi: This thaat uses a slightly more complex scale than Bilawal, with four swaras instead of two.

It is commonly used in Punjabi folk songs and Ghazals. 3. Asavari: Asavari is a popular choice for Khyals, due to its rich and full sound. It consists of six swaras, including all seven notes of the natural minor scale (aeolian mode).

4. Bhairavi: Bhairavi features all seven notes of the natural major scale (ionian mode), making it one of the most versatilethaats available. It can be used for various genres such as Khyals, Tappas and Dhrupads.

What are the 7 Ragas?

In Hindustani classical music, there are seven basic ragas, which are then expanded upon to create the hundreds of variations that exist. The seven basic ragas are Bilawal, Kafi, Khamaj, Asavari, Bhairav, Malhar and Purvi. Each raga has its own unique melody and feel, evoking different emotions in the listener.

Bilawal is a bright and cheerful raga that is often used to start a concert. It is based on the major scale and has a very open sound. Kafi is a more mellow raga that uses a minor scale.

It evokes feelings of peace and tranquility. Khamaj is another mellow raga that uses both major and minor scales. It has a nostalgic quality to it.

Asavari is a more serious raga that uses a minor scale with flattened third and seventh notes. It conveys feelings of pathos or longing. Bhairav is an intense raga that uses only natural notes (no sharps or flats).

It can be quite unsettling to listen to as it evokes feelings of fear or anger. Malhar is a rain-inspired raga that uses descending scales in its melodic phrases. It creates an atmosphere of drama and suspense.

Purvi is another serious raga that uses slightly different versions of the minor scale depending on the region it originates from. It expresses deep emotion and can be quite powerful to listen to.

How Many Shrutis are There in Hindustani Music?

In Hindustani music, there are 22 Shrutis. Each one corresponds to a different note in the octave. The notes are: Sa Re Ga Ma Pa Dha Ni Sa, with the corresponding Shrutis being: shadja, rishabha, gandhara, madhyama, panchama, dhaivata, nishada and savanti.

The shrutis are divided into three groups: lower (shadjaman), middle (madhyaman) and upper (tāvak). Each group contains seven notes, with the first note of the next group being a higher pitch than the last note of the previous group. For example, shadjaman contains the notes shadja, rishabha and gandhara, while madhyaman contains madhyama, panchama and dhaivata.

The term ‘Shruti’ comes from the Sanskrit word meaning ‘to hear’. In Hindustani music theory it refers to the smallest interval that can be heard by the human ear. This is why there are 22 Shrutis in total – because this is the number of intervals that can be heard within an octave.

Each Shruti has a specific place on what is called a ‘Shruti box’. This is essentially a grid which shows where each note falls within an octave. It helps musicians to know which pitches they should aim for when playing their instrument.

Knowing where each Shruti falls on the Shruti box is also important for another reason: it dictates which scale or raag you will be playing in. There are hundreds of different scales in Hindustani music, each with its own unique set of notes. By starting on a certain note and then moving up or down the Shruti box according to specific rules, you can create any scale you want.

So in answer to your question: there are 22 Shrutis in Hindustani music because this is the number of intervals that can be heard within an octave. Each one has its own place on the Shruti box and corresponds to a different note in a scale or raag.

How Many Taals are There in Hindustani Music?

There are two main types of taals in Hindustani music: the Dadra and the Keherwa. The Dadra is a six-beat cycle, while the Keherwa is an eight-beat cycle. There are also numerous variations of these two basic taals.

10 थाट याद रखने का सबसे सरल तरीका – इस तरीके से पहले किसी ने नहीं समझाया होगा | #HarmoniumGuru


In Hindustani music, there are ten different thaats, which are melodic scales that serve as the foundation for much of the music in this genre. Each of these thaats has its own unique characteristics, and they all provide a different framework for improvising and composing new pieces of music. While some thaats are more commonly used than others, all of them play an important role in Hindustani music and can be used to create beautiful and moving compositions.






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