The basic concept behind the Kalyan thaat or any other thaat is simple. It is just a combination of different swaras that sound good when played together. There are countless thaats in Hindustani music and each one follows certain rules. The main rule for a thaat is that it should be capable of producing different ragas with equal ease.
There is a scale in Hindustani music which is called a thaat. The thaat is not the same as the Western musical scale, as it is not used as a tool for composition but rather as a basis for the classification of ragas. Not all ragas have to follow a strict compliance with a thaat; for example, a raga said to belong to one thaat may not allow all the thaat’s notes and may require the heptatonic scale. The traditional raga is a form of classical music in North India that consists of ten basic elements or frameworks. The thaats are Bilawal, Kalyan, Khamaj, Bhairav, Poorvi, Marwa, Kafi, Asavari, Bhairavi, and Todi. Many traditional ragas are composed using these ten thaats.
As defined by the IAST, Thaats are heptatonic scales; they are also known as frets on stringed instruments, like the sitar and veena. Bilawal thaat is a mode of the Hindustani music. Bilawal Thaat is the most popular thaat in Pakistani classical music too. It’s also one of the most commonly used thaats in Indian classical music and Western Classical music. Bilawal Thaat is a raga in the Guru Granth Sahib, the primary scripture of Sikhism. The Bilawal thaat can be played using either Shuddh Vadi, i.e., natural note or Shadav, i.e., flat fifth tone in the lower octave and Madhyam in the upper octave.
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A raag ( Hindustani: राग) is a melodic mode or raga, a pattern of pitches in classical Indian music. There are hundreds of raags in Indian classical music, which have been used for centuries to express creativity and emotions in music. The raag Yaman belongs to the second group of Indian classical music, known as “Komal” ragas – or flat notes. These ragas are characterized by a natural downward movement and their notes descend in pitch. The raag also has both shuddha (natural) and tivra (sharpened) swaras.
* Tivra Ma: D# F# G A B C D
* Shuddh Ma: E F# G A B C
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