The structural components of a musical composition are referred to as Dhātu. Typically, a composition consists of four or five Dhātus, although lighter compositions may have only two.

The five paragraphs or Dhātus are as follows:

1. Udgrāha: The opening paragraph or first stanza, known as Udgrāha Dhātu.

2. Melāpaka: The paragraph connecting the opening with the Dhruva.

3. Dhruva: The paragraph or a portion thereof repeated after the musician's improvisation. According to classical texts, Melāpaka and Ābhoga paragraphs can be omitted, but never the Dhruva Dhātu.

4. Ābhoga: The last paragraph or stanza containing the author's name.

5. Antara or Antarā: The paragraph between the Dhruva and Ābhoga, resembling the Tuka Aṁśa, Kali, or Caraṇa used today.

While the Dhruva is akin to the Sthāyī Tuka, Antara and Ābhoga are similar to their contemporary forms. The Melāpaka Dhātu shares similarities with the Sañcārī Tuka, combining Udgrāha and Dhruva, and influencing Sthāyī and Antara Tuka by merging both.

Though Udgrāha, mentioned in classical texts, is now obsolete, parallels can be drawn with what is perceived as a prelude, akin to the introduction of Rāgas known as Aucār Ālāpa.

In modern compositions, an additional paragraph is often included within a Gat or composition, known as Māṁjhā or Māṁjā. Formally part of the Sthāyī, it is introduced between the initial and final paragraphs.