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Thaats :

		Vishnu Narayan Bhatkhandeji (1860-1936) was one of the most influential musicologists in the field of North Indian classical music in the twentieth century, and one of his many works includes the concept of Thaat. Many of our traditional ragas are based on either of the ten basic thaats, or musical scales. The ten thaats are Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi and Todi. For instance, the ragas Bhoopali and Yaman are based on the Kalyan thaat, Malkauns and Bhoopal Todi on the Bhairavi, and Darbari Kanada and Jaunpuri on the Asavari thaat. It is important to point out that Bhatkande's thaat-raga theory is a useful tool in the dissemination of the music to students.
Some of the applicable Thaats rules are : - Thaats or scales are produced from 12 Swar - Shuddha, Komal, Teevra. - Thaats must have seven notes. - Thaat has only Aaroha (Ascending notes). - Thaats are not sung so they do not express a sentiment. - Thaats do not have a Vaadi or Samvaadi. - Thaats are named after a popular raag belonging to that Thaat.

Asavari

Raga Asavari belongs to Asavari Thaat. It is a late morning Raga, and uses all seven notes, five in the ascent and seven in the descent. Gandhar, Dhaivat and Nishad are komaland the other notes are shuddha. The other ragas out of this structure are under the head of AsavariThaat.

Bhairav

Raga Bhairav belongs to Bhairav Thaat. It is an early morning Raga, using all seven notes in the ascent and in the descent. Rishabh and Dhaivat are komal and the other notes are shuddha.

Bhairavi

Raga Bhairavi belongs to BhairaviThaat. It is a late morning Raga, and traditionally is the last raga performed at a session. ShuddhBhairavi uses all the seven notes in the ascending and descending order, Rishabh, Gandhar, Dhaivat and Nishad being komal (flat) and Madhyam being shuddha.

Bilawal

Raga Bilawal is derived from BilawalThaat. It is a morning Raga, and uses all the seven notes in the ascending and descending order. All notes are shuddha.

Kafi

Raga Kafi belongs to KafiThaat. Usually it is rendered in the late evening and uses all the seven notes in the ascending and descending order. Gandhar and Nishad are komal and all other notes are shuddha.

Kalyan

Raga Kalyan belongs to KalyanThaat. It is an evening Raga. It uses all the seven notes, five of them in the ascent and seven of them in the descent. It uses tivra (sharp) Madhyam and all other notes are shuddha.

Khamaj

Raga Khamaj belongs to KhamajThaat. It is rendered in the late evening and uses all seven notes, six in the ascent and seven in the descent. It uses both komaland shuddhaNishad, and all other notes are shuddha.

Marwa

Raga Marwa is derived from MarwaThaat. It is a dusk/ early evening Raga which uses six notes in the ascent and in the descent. Pancham is not used. Marwa uses Tivra (sharp) Madhyam and Komal (flat) Rishabh. All other notes are Shuddha.

Poorvi

Raga Poorvi belongs to PoorviThaat. It is a Sandhiprakash Raga, and is rendered at dusk, that is the time when the day ends. It uses all seven notes in the ascent and the descent. Rishabh and Dhaivat are komalMadhyam is both shuddha and tivra whileGandhar and Nishad are shuddha.

Todi

Raga Todi belongs to TodiThaat. It is a morning Raga, and uses all seven notes in the ascent and descent. Rishabh, Gandhar and Dhaivat are komal,Madhyam is Tivra while Nishad is Shuddha.

Thaats