The mela of Carnatic music.Thãt
It refers to the parent scale i.e. basic arrangement of the saptaki from which ragas are derived. The aroha (ascending pattern, from Sa to Ni) and the avaroha (descending pattern, from Ni to Sa) of ragas are based on the parent scale. Thãt can be considered a classification that permits several ragas to be grouped together. One of the many ragas of a particular parent-scale will always bear the name of that parent-scale. Ragas usually drop at last one note of the parent-scale, and have a clear aroha and avaroha pattern, a feature absent in a thãt. However, the saptaki must be in the correct order in a thãt, although both pure and altered forms of a note may be included in an arrangement. This last would be an unusual feature in a raga. According to Pandit Bhatkhande's listing, there are ten thãts.

1. Bilawal - all seven notes in there pure forms, that are arranged in sequence. The tar shadja is included in the eighth position. In Carnatic music, this thãt is known as the melakarta Shankarabharaman.

Sa Re Ga Ma Pa Dha Ni S°a

2. Kalyan - all seven notes in their pure form, and a tivra madhyam.
Sa Re Ga Mâ Pa Dha Ni S°a

3. Khamaj - Nishad in its komal form, the others in their pure forms.
Sa Re Ga Ma Pa Dha Ni S°a

4. Bhairav - Rishab and dhaivat as komal notes.
Sa Re Ga Ma Pa Dha Ni S°a

5. Purvi - Rishab and dhaivat as komal notes and the madhyam as tivra.
Sa Re Ga M Pa Dha Ni S°a

6. Marwa - Rishab in its komal form and a tivra madhyam.
Sa Re Ga Mâ Pa Dha Ni S°a

7. Bhairavi - Shadja, pancham and madhyam in their shuddha forms, and the others in their komal forms. This is the melakarta Hanumantodi of Carnatic music.
Sa Re Ga Ma Pa Dha Ni S°a

8. Asavari - with gandhara, dhaivat and nishad in their komal forms.
Sa Re Ga Ma Pa Dha Ni S°a

9. Kafi - gandhara and nishad as komal swaras, all the rest in their pure forms.
Sa Re Ga Ma Pa Dha Ni S°a

10. Todi - Rishab, gandhara and dhaivat as komal notes, and madhyam as tivra.
Sa Re Ga M Pa Dha Ni S°a

See also: Swara & Raga

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