The ten thaats

Bilawal changes none of the notes to komal or tivra; all seven are shuddha. That makes the threes a useful reference before changing the scale setting, though familiarity can let an inaccurate note pass unnoticed. Alhaiya Bilawal, Durga and Bihag are classed under Bilawal. Listen for an even pitch at the joins between cells, especially where a note you have just sung becomes part of the next phrase. Try the descent once without playback.

Kalyan raises Ma to tivra and leaves the other notes shuddha. In the threes, that changes the space on either side of Ma, so the familiar shape needs fresh listening even though its order is unchanged. Yaman, Bhupali and Shuddha Kalyan are listed under Kalyan. Listen for the closer spacing between tivra Ma and Pa, without hurrying across it. Alternate one short stretch with Bilawal, keeping the same starting pitch and tempo.

Khamaj lowers Ni to komal; the other notes remain shuddha. The threes keep their familiar lower stretches, then require a different approach to upper Sa. Desh, Jhinjhoti and Kalavati are classed under Khamaj. Listen for the wider step from komal Ni to upper Sa, and resist putting Ni back in its Bilawal position. Practise the upper phrases separately, then hear whether the altered note remains secure when it arrives in descent.

Bhairav lowers Re and Dha to komal, leaving the other notes shuddha. The threes now contain changed distances near both ends of the scale, so an unchanged finger sequence will not guarantee an accurately heard phrase. Bhairav, Ramkali and Ahir Bhairav are classified here. Listen especially to the distance from komal Re to shuddha Ga. Practise that part slowly without adding a guessed oscillation; the harmonium gives fixed pitch targets, not a demonstration of raga Bhairav's vocal treatment.

Kafi uses komal Ga and Ni, with the remaining notes shuddha. The threes change early in the lower register and again near upper Sa, giving your ear two places where an old pitch may intrude. Kafi, Bhimpalasi and Bageshri sit under this thaat. Listen to the approach from shuddha Re to komal Ga, keeping both notes full length despite their closer spacing. Compare a short stretch with Bilawal before singing the entire exercise.

Asavari lowers Ga, Dha and Ni to komal. Compared with Kafi, the additional change is Dha, which alters the upper part of a familiar three-note cell. Asavari, Jaunpuri and Darbari Kanada are listed in this family. Listen for komal Dha after Pa without letting the voice slide back towards its shuddha position. Practise one upper cell, pause, and sing it again without playback. These fixed-note exercises do not supply the characteristic movement of the named ragas.

Bhairavi uses komal Re, Ga, Dha and Ni; Ma stays shuddha, with Sa and Pa unchanged. The threes retain their contour but repeatedly interrupt the distances your voice remembers from Bilawal. Bhairavi, Malkauns and Bilaskhani Todi sit under this classification. Listen particularly to komal Re close above Sa, keeping it distinct rather than allowing it to sink into the starting note. Begin with a few lower cells before carrying all four altered notes through the full range.

Poorvi combines komal Re and Dha with tivra Ma. The other notes stay shuddha. A simple set of threes must now negotiate both lowered notes and a raised one, so familiar contour is not enough to guide the voice. Poorvi, Shree and Puriya Dhanashree are listed here. Listen for tivra Ma close below Pa, especially if you have just practised Bhairav. Compare those two settings on one short passage without changing the tempo or starting pitch.

Marwa lowers Re to komal and raises Ma to tivra, keeping Dha and the remaining notes shuddha. In the threes, the lower and middle stretches change while the upper stretch can recover an older familiarity. Marwa, Puriya and Sohini sit under this thaat. Listen for shuddha Dha, particularly after practising Poorvi, where Dha is komal. Play the relevant cell once, then sing it without accompaniment rather than letting the keyboard correct the pitch halfway through.

Todi uses komal Re, Ga and Dha with tivra Ma; Ni remains shuddha, and Sa and Pa are unchanged. The threes make the enlarged distance between komal Ga and tivra Ma particularly noticeable. Miyan ki Todi, Multani and Gujari Todi are listed in this family. Listen to that crossing without filling it with an extra pitch or a guessed glide. Practise one cell slowly, then its descent, leaving the raga-specific treatment to a vocal demonstration.