Classical Music Theory: Raga Classification – Melakarta and Thaat Systems
Indian classical music, one of the oldest living musical traditions in the world, is built on the concept of the Raga â a melodic framework that prescribes specific notes, their sequence, and emotive character. To bring systematic order to the vast number of ragas in use, two parallel classification systems evolved: the Melakarta system in Carnatic (South Indian) music and the Thaat system in Hindustani (North Indian) music. Both systems organise ragas into parent scales from which derivative ragas are produced, but differ significantly in their scientific rigour and structural approach.
The Melakarta system classifies all Carnatic ragas under 72 parent scales, while the Thaat system in Hindustani music uses 10 parent scales. Carnatic music follows a more mathematically precise and exhaustive classification; Hindustani classification is more practical and pedagogy-oriented. Understanding these systems is essential for appreciating how India's classical musical heritage is organised, transmitted, and preserved.
📌 Revision Pointers
Melakarta: 72 parent (janaka) ragas in Carnatic music; all contain all 7 swaras.
Thaat: 10 parent scales in Hindustani music (Bhatkhande's system, early 20th century).
Janya ragas: Derived ragas under Melakarta; can be pentatonic (audav), hexatonic (shadav), or heptatonic (sampurna).
Mela = family/parent in Carnatic; Thaat = parent scale in Hindustani.
Raga â Scale: A raga includes arohana-avarohana (ascent-descent), vadi-samvadi (dominant-subdominant notes), gamaka (ornamentations), and time/season prescription.
10 Thaats: Bhairav, Bhairavi, Asavari, Bilaval, Kafi, Khamaj, Marwa, Poorvi, Todi, Kalyan.
72 Melakarta system devised by Venkatamakhi (17th century); current numbering by Govindacharya.
Carnatic uses katapayadi sankhya (alphanumeric coding) to identify each Melakarta by name.
What is a Raga?
A raga is far more than a mere scale or melody. It is a living musical entity that combines specific swaras (notes), their characteristic gamakas (ornamentations), characteristic phrases, prescribed time of performance, and an associated mood or rasa. Every raga has:
Arohana and Avarohana: Ascending and descending note sequences.
Vadi and Samvadi: The most important and second most important note (a perfect fourth or fifth apart).
Vivadi: Notes that create dissonance, avoided or used sparingly.
Raga Chalan: Characteristic phrase movements unique to each raga.
Time and Season: Many ragas are prescribed for specific times of day or seasons (e.g., Bhairav for early morning; Yaman for evening).
The Melakarta System (Carnatic Music)
The Melakarta system, the more mathematically exhaustive of the two, was formalised by Venkatamakhi in his treatise Chaturdanda Prakasika (c. 1620 CE). The modern 72-Melakarta scheme was later codified by Govindacharya in his Sangita Chandrika.
Key structural features:
72 Parent Ragas: Derived mathematically from the 12 swarasthanas (chromatic positions) of the octave. All 72 Melakarta ragas are sampurna â they include all 7 notes in both arohana and avarohana.
Two Halves (Chakras): The 72 are divided into two groups of 36 â the purva mela (first half, using Suddha Madhyama) and uttara mela (second half, using Prati Madhyama, the raised fourth).
12 Chakras: Each group of 36 is further divided into 6 chakras of 6 ragas each. Each chakra is named after a deity.
Katapayadi System: A clever alphanumeric coding embedded in each Melakarta raga's name allows musicians to identify its number and notes directly from the name.
Janya Ragas: Thousands of janya (derived) ragas originate from each Melakarta. They can omit notes (audav = 5 notes; shadav = 6 notes), use different notes in ascent and descent (vakra ragas), or introduce foreign notes (bhasanga janya).
Notable Melakarta Ragas: Mayamalavagowla (29th), Kharaharapriya (22nd), Shankarabharanam (29th equivalent of Bilaval), Todi (8th), Kalyani (65th).
The Thaat System (Hindustani Music)
The Thaat system was systematised by Pandit Vishnu Narayan Bhatkhande (1860â1936), a pioneering musicologist who sought to create a practical, pedagogy-friendly classification for Hindustani music. Unlike the Melakarta, the Thaat system is not exhaustive â it is a practical grouping tool, not a mathematical derivation system.
Key features:
10 Parent Thaats: Bhairav, Bhairavi, Asavari, Bilaval, Kafi, Khamaj, Marwa, Poorvi, Todi, and Kalyan.
Each Thaat uses 7 notes: But ragas assigned to a Thaat may use fewer notes, and ascending and descending sequences may differ.
A Thaat is not a Raga: A Thaat has no emotional content, no vadi-samvadi, no time prescription. It is only a scale.
Paroha vs. Janya: In Hindustani music, ragas are assigned to Thaats based on which notes they prominently use, not strict derivation as in Carnatic.
Limitations: The Thaat system is sometimes criticised as artificial â some ragas use notes of multiple Thaats; also, Hindustani music has ragas that do not fit neatly into any of Bhatkhande's 10 Thaats.
Notable examples: Raga Yaman belongs to Kalyan Thaat; Raga Bhairavi belongs to Bhairavi Thaat; Raga Darbari Kanada belongs to Asavari Thaat.
Comparison: Melakarta vs. Thaat
Exhaustiveness: Melakarta (72) is mathematically complete; Thaat (10) is a practical grouping.
Note requirement: Melakarta ragas must be sampurna; Thaat-assigned ragas need not be.
Scientific basis: Carnatic system uses katapayadi coding; Hindustani system relies on melodic character grouping.
Regional application: Melakarta applies to Carnatic music (South India); Thaat to Hindustani music (North India).
Derivation: Carnatic janya ragas are formally derived; Hindustani ragas are assigned to the most approximate Thaat.
Important Concepts and Subtopics
Swaras (Notes) in Indian Music
Indian music uses 7 basic swaras: Sa (Shadja), Re (Rishabha), Ga (Gandhara), Ma (Madhyama), Pa (Panchama), Dha (Dhaivata), Ni (Nishada).
Sa and Pa are fixed (achala); the remaining 5 can each be Suddha or Vikrita (flat/sharp), giving 12 total chromatic positions.
Raga Time Theory
Ragas are associated with specific times (prahar) of the day or night, and certain seasons.
Morning ragas: Bhairav, Bhatiyar, Lalit. Evening ragas: Yaman, Bihag. Midnight ragas: Darbari, Bageshri.
The relationship between raga and time is linked to the dominant notes (Poorvanga ragas for morning; Uttaranga ragas for evening).
Rasa Theory and Ragas
Each raga is associated with a predominant rasa (emotion/mood) as described in Bharata Muni's Natya Shastra.
E.g., Raga Bhairavi â Karuna (pathos); Raga Desh â Shringara (romance); Raga Bhimpalasi â Bhakti/Shringara.
Current Relevance
The raga classification systems remain living traditions under the stewardship of institutions like the Sangeet Natak Akademi (SNA), Bhatkhande Music Institute (Lucknow), and Kalakshetra Foundation (Chennai). UNESCO has recognised Hindustani music's guru-shishya tradition, of which the raga system is the foundation, as an element of intangible cultural heritage. With digitalisation, platforms such as ITC Sangeet Research Academy's archives and Sangeetapriya now host detailed databases of ragas across both classification systems. UPSC has asked questions linking raga classification to cultural heritage preservation and the distinction between Carnatic and Hindustani traditions.
💭 Conclusion
The Melakarta and Thaat systems represent two distinct but equally brilliant approaches to organising a highly sophisticated musical tradition. The Melakarta's mathematical completeness reflects Carnatic music's emphasis on systematic precision, while the Thaat's practical simplicity reflects Hindustani music's emphasis on improvisational freedom. Together, they form the structural backbone of India's rich classical musical heritage â a heritage that continues to evolve while remaining anchored in centuries of unbroken tradition.