EASWARAN ANANTRAM
INDIAN SCIENTIFIC MUSIC : THAATS & INTRODUCTION TO MELAKARTAS
In the previous article we delved into the Rules that make a Raga and the classification of Ragas , where we discussed the Parent scale or the Thaats
Thaats or Melakartas are the Parent Scales from which Ragas are supposed to be derived from . Thaats or Melakartas do not have an ascending and descending as Ragas do , instead they just are the set of notes from which the Ragas are derived . While Thaat is the term that is used for a Parent Scale in Hindustani ( North Indian Style of Music ), Melakarta is the term that is traditionally used for a Parent scale in conventional Carnatic Style ( South Indian Style ) I will cover details on both the styles further in the Article .
Thaat or Mael in Hindustani Music
Thaat is defined as a collection of 7 notes with exactly one variant of each note arranged in an ascending order only , from which a Raga with a specific ascending and descending can be derived .
The derived Raga be of one of the 9 Jaatis as explained in the previous article . It need not always be Sampoorna Raga . In fact , the Aaroh and the Avaroh of the Raga can be in such a matter like it comes back and forth even in the ascending . Such Ragas are called as Vakra Raagas . To give an example :
Raag Miyan Ki Malhar ( Created by Miyan Tansen – The Legendary court singer of Emperor Akbar ’ s Court ) Aaroh : S m R P , m P , n D N S ’
Avaroh : S n P , m P n P , ( g ), m R S
( Capital Letters are Shuddha Swaras , the small Letters are Komal Swaras , except for Ma where small ‘ m ’ is for Shuddha Madhayam )
This derivative of the Kafi thaat is a completely “ Vakra ” Raaga as it can be seen that the Aaroh and Avaroh are not in the typical ascending order of notes .
There are 10 Thaats in Hindustani Music . Most popular Ragas in Hindustani music are placed in these 10 Thaats The Thaats are as follows :
1 . Bilawal : S R G m P D N : All notes are Shuddha . Raag Durga is a derivative of Bilawal
2 . Khamaj : S R G m P D n : All Shuddha notes except Ni : Raag Desh is a Derivative
3 . Kafi : S R g m P D n : Ga and Ni are komal : Raag Bhimpalas is a typical Derivative
4 . Asavari : S R g m P d n : Ga Dha and Ni komal : Raag Durbari Kanada is a derivative
5 . Bhairav : S r G m P d N : Re and Dha Komal rest Shuddha : Raag Ramkali is a derivative
6 . Bhairavi : S r g m P d n : All notes komal , ma is Shuddha : Raag Bilaskhani todi is a derivative
7 . Kalyan : S R G M P D N : All notes shuddha except Ma – Tivra : Raag Yaman is a derivative
8 . Marwa : S r G M P D N : Re is komal , Ma Tivra rest shuddha : Raag Puriya Kalyan is a derivative
9 . Poorvi : S r G M P d N : Re , Dha komal , Ma Tivra : Raag Puriya Dhanashree is a derivative
10 . Todi : S r g M P d N : Re , Ga , Dha Komal , Ma Tivra : Raag Multani is a derivative
Melakarta in Carnatic Music :
There are 72 Melakartas in Carnatic music and they are absolutely a mathematical marvel . To give you an idea , they are so perfectly arranged and that if you know the Name of the Melakarta , you may figure out the notes in it .
I explain the Melakarta in complete detail in the next Article . Happy Reading !!
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