Understanding Indian Classical Scales: A Western Musician's Guide to Thaats, Raags, and Modes

Learn how Western modes like Dorian and Phrygian relate to Indian classical music scales (thaats). A practical guide for cross-cultural musicians, music teachers, and composers.

There is no direct comparison between Hindustani Raags and Western Modes possible. While both are musical concepts, they only overlap roughly when discussing Thaats (roughly translates to grammar/categories).

What is a Thaat?

A thaat is a parent scale system in Hindustani classical music. Pt. Vishnu Narayan Bhatkhande created it in the early 20th century to organize and classify ragas. It simplified the 72 MelaKarta Raagams from Carnatic music. Musicians familiar with both systems often note that the Hindustani Thaat system is an oversimplification.

The Thaat system works like a basic grammar or model. It tried to categorize the Raags that existed in the early 20th century but has many exceptions. Multiple Hindustani Raags can belong to a single Thaat. Sometimes, a Thaat is also a Raag (like Bhairav). For example, the Bhairav Thaat includes Raags like Basant Mukhari, Bhairav Bahar, Bhairav, Bibhas, Ramkali, Gunkali, and Jogiya.

The main weakness of the Thaat system is that it doesn't capture the Raag-anga (musical motif) that makes each raag unique. To understand each Raag's musicality, you must study its compositions and how different musicians have interpreted them over time.

For Western-trained musicians accompanying Indian musicians:

• Ask which Raag they're performing

• Find its corresponding Thaat

• Use this table to find a matching Western Mode

• Note that you may need to skip certain notes while ascending or descending to match the Raag's signature pattern

Enjoy exploring these musical connections!

Hindustani musicians, Shuddha swaras are denoted with capital letters, and Komal Swaras (sharps & flats) denoted with small letters. Only exception is Ma (Teevra madhyam is ma).

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