evitably arise. For example, Raga Hindol, assigned to Kalyan thāt, uses the notes S G M D N, which are also found in Marwa thāt. Raga Jaijaivanti contains both shuddha nishad and komal nishad (and sometimes both versions of gandhar as well), which by definition corresponds to no thāt. Bhatkande resolved such cases "by an ad hoc consideration, appealing to musical performance practice" (see Ramesh Gangolli's article, cited in note 4 above).[3]Each thāt contains a different combination of altered (vikrt) and natural (shuddha) notes. The flattening or sharpening of pitches always occurs with reference to the interval pattern in Bilawal thāt.In effect only heptatonic diatonic scales are called "thāt."[4] Bhatkhande applied the term "thāt" only to scales that fulfill the following rules:A thāt must have seven notes.The notes must be in sequence: Sa Re Ga Ma Pa Dha Ni (whether shuddha or vikrt—both versions of a single note are not allowed).A thāt, unlike a raga, does not have separate