Ch a p t e r 2 : e x e r c i s e s

S apat
Mind
M u r cch a n a
Pa l ta s
K ri nta n & G a ma k
S NR S NS
Co o r d i n a t i o n
B o l s /L a r i /j h a l a

2.1
Ch a p t e r 2 : e x e r c i s e s

Sapat
up & down

Sapat is the most basic exercise. It consists of going up and dow n the notes of the scale,
through the w hole range the instrument or voice is capable of:

SRGmPDNSRGRSNDPmGRSNDPmGRS RGmPDN

For voice, a more typical range w ould be:

SRGmPDNSRGRSNDPmGRSNDPDN

There are many possible w ays to vary this:

• change the laya- from as slow as possible to as fast as possible:

• acceleration may be either gradual, or step-by-step:

S R G m 4 beat / note

S R G m 3 beat / note

S R G m 2 beat / note

S R G m 1 note / beat

S R G m 4 notes / 3 beats
3 3
S R G 3 notes / 2 beats

S R G m 2 note / beat
3 3
S R GmP D 3 notes / beat

SRGmPDNS 4 notes / beat

SRGmPDNS 8 notes / beat Etc.

2. 2
 Ch a p t e r 2 : e x e r c i s e s

Sapat 2
up & down with bol patterns
• On an instrument, changing the plucking pattern creates new variations:
• Bol patterns w ill be discussed later, but the most basic(notated here in fast
tintal) are:

+ o
SRGmPDNSRGRSNDPmGRSNDPmGRSRGmPDN
alldastrokes
allrastrokes
dara–alternatingdaandra
diridiri–2strokes/note
dadiri
dirida
dadiridiridiri
dadiridara
daradadaradadara

• Bol patterns may also go against the flow of the barlines, creating patterns that
take more than one cycle to resolve.

darada 3
dadirida 3
dara,darada 5
darada,dara,dara 7

• Longer patterns are also possible:

darada,darada,darada,darada,daradara 33334

daradarada,daradarada,daradadarada 5533

(darada)10x dara 310x2

2.3
 Ch a p t e r 2 : e x e r c i s e s

Every Note & Interval

each note, all octaves
This is a good exercise for evenness of tone and color.
• It may be done chromaticaly, or staying in one scale.
• Best done slow ly, and including the higher octave.

1 ) each note, all octaves:

S S S S S S S R R R R R G G G G G… e tc.

2 ) pairs of notes, by fifths:

SPSPSPSPSPSP
r e p e a t w i th PR the n RD, DG, GN, e tc., thr ou g h the ci r cl e of f i f ths .

3 ) p a i r s of note s , by f ou r ths :
SmSmSmSmSmSP
r e p e a t w i th mN, the n NG, GD, DR, e tc., thr ou g h the ci r cl e of f ou r ths .

4 ) tr i a d s :
SGPSGPSGPSPGSPGSPGS
r e p e a t w i th RmD, the n GPN, mDS, e tc.

5 ) p e r f e ct f i f ths :
S P R D G N M r d g n m S… e tc.
start on r, then on R, etc.

6 ) m i nor thi r d s :
S g M D S g M D S g M D S… e tc.
start on rnext time, etc.

7 ) Can also go by perfect fourths, major thirds, tritones,

w hole tones, etc… , ending w ith half-steps– the chromatic scale.

2. 4
 Ch a p t e r 2 : e x e r c i s e s

Mind
slides from one note to another:
These slide exercises should be done w ith attention to evenness & accuracy of pitch.

1) SRRS RGGR GmmG … e tc.

2) SRGGRS RGmmGR GmPPmG … e tc.

3) SRGmmGRS RGmPPmGR… e tc.

4) SRSRG RGRGm GmGmP… e tc.

5) SGR RmG GPm… e tc.

6) SGRm RmGP GPmD … e tc.

7) SRSG RGRm GmGP … e tc.

8) SRS RGRGmGmPm … e tc.

9) SRGmPDNSSNDPmGRS 9– 12: p l a y a s m u r cchha na

SRGmPDNSSNDPmGRS

SRGmPDNSSNDPmGRS

SRGmPDNSSNDPmGRS … e tc.

10 ) SRGmPDNSSNDPmGRS

11 ) SRGmPDNSSNDPmGRS
G N R S N D P m G
12 ) S R Gm P D N S S N D P mG R S

2.5
 Ch a p t e r 2 : e x e r c i s e s

Murcchhana
up & down–one octave

This exercise starts w ith a simple idea: go up and dow n one octave of a scale, then
do it again, starting on each of the notes of the scale, in sequence - i.e.:

SRGmPDNSSNDPmGRSRGmPDNSRRSNDPmGRGmPDNSRGGRSNDPmG… e tc.

• an important exercise: 'Murcchana in three speeds’

i.e. single, double, quadruple:
+
S R G m P D N S S N D P m G R S
+
S R G m P D N S S N D P mG R S
2X
+ +
SRGmPDNSSNDPmGRS s a m e t h i n g , s t a r t i n g o n R, t h e n G e t c .
4X

• 'Half murcchhana':

SRGmPDNSRGmPDNSRGmPDNSRGGRSNDPmGRSNDPmGRSNDPmGRS… e tc.

• other 'broken' murcchhana variations:

–SRGmPDN–SNDPmGR SRGmPDNS SNDPmGRS

S–RGmPDNS–NDPmGR SRGmPD’SN SNDPmG’SR
SR–GmPDNSN–DPmGR SRGmP’SND SNDPm’SRG
SRG–mPDNSND–PmGR SRGm’SNDP SNDP’SRGm
SRGm–PDNSNDP–mGR SRG’SNDPm SND’SRGmP
SRGmP–DNSNDPm–GR SR’SNDPmG SN’SRGmPD
SRGmPD–NSNDPmG–R S’SNDPmGR S’SRGmPDN
SRGmPDN–SNDPmGR– SNDPmGRS SRGmPDNS

same thing, starting on R, then Getc. same thing, starting on R, then Getc.

2. 6
 Ch a p t e r 2 : e x e r c i s e s

Expanding Exercises
growing and shrinking

1) S–SRS–SRGRS–SRGmGRS–… e tc. S–SNS–SNDNS– … e tc.

2) S’SRS’SRGRS’SRGmGRS’… e tc.

3) SR’SRGR’SRGmGR’SRGmPmGR… e tc.

4) (SRSN)4x(SRGRSN)4x (SRGRSNDN)4x (SRGmGRSNDN)4x… e tc.

each time, add a note above, then a note below .

5) SR’SRG’SRGm’SRGmP… e tc.

6) RS’GRS’mGRS’PmGRS… e tc.

7) SR’SG’Sm’SP… e tc.

8) SNSR’SNSG’SNSm’SNSP… e tc.

9) SNSSNS’SNSRSR’SNSGRG’SNSmGm… e tc.

10) SNSNSN’SNSSRS’SNSRGR’SNSGmG… e tc.

11) SRSR’SGRG’SmGm’SPmP… e tc.

12) SRSN’RGSN’GmSN’mPSN’DNSN… e tc.

13) SRGSND’RGmSND’GmPSND’mPDSND’PDNSND’

DNSGRS’PDNGRS’mPDGRS’GmPGRS’RGmGRS

2.7
 Ch a p t e r 2 : e x e r c i s e s

Paltas
small patterns, replicated on each note:
1 ) RS'GR'mG'Pm'DP'… e tc.

2 ) SRS'RGR'GmG'… e tc.

3 ) RSR'GRG'mGm'… e tc. SRG'RGm'GmP…e tc.

SGR'RmG'GPm…e tc.
4 ) SRG'RGm'GmP'… e tc. RGS'GmR'mPG…e tc.
RSG'GRm'mGP…e tc.
5 ) SRSR'RGRG'GmGm'… e tc. GSR'mRG'PGm…e tc.
GRS'mGR'PmG…e tc.
6 ) SRSRS'RGRGR'GmGmG'… e tc.
by permutation,
7 ) SRGRS'RGmGR'GmPmG'… e tc. many can be made from one.

8 ) SRGmG'RGmPm'GmPDP'… e tc. SRGm,RGmP,GmPD…e tc.

SRmG,RGPm,GmDP…e tc.
9 ) SRGm'RGmP'GmPD'… e tc. SGmR,RmPG,GPDm…e tc.
SGRm,RmGP,GPmD…e tc.
10 ) SRGmP'RGmPD'GmPDN'… e tc. SmRG,RPGm,GDmP…e tc.
SmGR,RPmG,GDPm…e tc.
11 ) SRGmPD'RGmPDN'GmPDNS'… e tc.

12 ) SRGmPDN'RGmPDNS'GmPDNSR'… e tc.

13 ) SR'SRG,RG'RGm,Gm'GmP,… e tc.

14 ) SRS'GRS,RGR'mGR,GmG'PmG,… e tc.

15 ) SRS'GRS'RGmGRS,RGR'mGR'GmPmGR,… e tc.

16 ) SRG'GRS'RGRS'RSGRS, RGm'mGR'GmGR'GRmGR,… e tc.

17 )
2. 8
 Ch a p t e r 2 : e x e r c i s e s

Paltas 2
small patterns, replicated on each note:

17 ) SR’SRG’SRGm, RG’RGm’RGmP, …e tc.

18 ) SRGR’SRGm, RGmG’RGmP, …e tc.

19 ) SRGR’SRGmP, RGmG’RGmPD, …e tc.

20 ) SRG’RGm’GRS,RGm’GmP’mGR, …e tc.

21 ) SRG’RGm’GmP’mGRS, RGm’GmP’mPD'PmGR, …e tc.

22 ) SRG’RGm’GmP’mPD’PDNS, …e tc.

23 ) SNRS,RSGR,GRmG, …e tc.

24 ) SNRSNS,RSGRSR,GRmGRG, …e tc.

25 ) SG,Rm,GP,mD, …e tc.

26 ) Sm,RP,GD,mN, …e tc.

27 ) SP,RD,GN,mS, …e tc.

28 ) SD,RN,GS,mR, …e tc.

29 ) SGm,RmP,GPD,…e tc.

30 ) SRm,RGP,GmD, …e tc.

31 ) SGP,RmD,GPN, …e tc.

32 ) SGmP,RmPD,GPDN, …e tc.

33 ) SGmD,RmPN,GPDS, …e tc.
2.9
 Ch a p t e r 2 : e x e r c i s e s

Krintan/Gamak
methods of producing more than one note per stroke:

1) S RRGRG R S’ R G GmGm G R’ G m mPmP m G’… e tc.

all

2) SRRGRGRRGRGRRGRGRS’RGGmGmGGmGmGGmGmGR’…etc.

3) SRRGRGRGRGRGRGRGRGRS’RGGmGmGmGmGmGmGmGmGR’…etc.

4) SRRGRGR’RmGmG’RGRGRS’RGGmGmG’GPmPm’GmGmGR’…etc.

5) SR RG Gm mP’… e tc. ‘hammer’

all

6) RS GR mG Pm’… e tc. ‘cut’

7) SRS RGR GmG mPm’… e tc. hammer+cut

8) RSR GRG mGm PmP’… e tc. cut+hammer

9) GRS mGR PmG DPm’… e tc. cut+‘slip’

10 ) GRSR mGRG PmGm DPmP’…e tc. cut+slip+hammer

11 ) RSGRSRGRmGRGmGPmGmPmDPmP’…etc. cut,hammer,cut,slip,hammer

12 ) GRSSR–mGRRG–PmGGm–’…e tc.

13 ) S–GRSSR–R–mGRRG–G–PmGGm–’… e tc.

2. 10
 Ch a p t e r 2 : e x e r c i s e s

SNRSNS
variations on a pattern:

1) SNRSNS’PMDPMP’SNRSNS’PMDPMP

2) SNRRSNSS’PMDDPMPP’SNRRSNSS’PMDDPMPP

3) SNRSNS’PMDPMP’SNRSNS’PMDPMP

SNRSNS’PMDPMP’SNRSNS’PMDPMP

SNRSNS’PMDPMP’SNRSNS’PMDPMP

SNRSNS’PMDPMP’SNRSNS’PMDPMP

SNRSNS’PMDPMP’SNRSNS’PMDPMP

SNRSNS’PMDPMP’SNRSNS’PMDPMP

4) Variations:
add: PMDPMP

add a leading note: PSNRSNS RPMDPMP

add a trailing note: SNRSNSN PMDPMPM

change the SNRSNS PMDPMP

rhythm: 2 . 11
 Ch a p t e r 2 : e x e r c i s e s

Two-hand Exercises
for improving coordination & cross-picking

1) SRSRSRSR,RGRGRGRG…e t c .

2) SRS’RSR,RGR’GRG ...e t c .

3) SRS’RSR’SR,RGR’GRG’RG ...e t c .

4) SRS’RSR’SRS’RSR’SRSR,RGR’GRG’RGR’GRG’RGRG ...e t c .

5) (SR)4x (SRG)4x (SRGm)4x(SRGmP)4xe t c .

(SN)4x (SND)4x (SNDP)4x (SNDPm)4xe t c .

6) (SRG)4x(RGS)4x(GSR)4x(GRS)4x(RSG)4x(SGR)4x

(RGM)4x ...e t c .

7) (SRGR)4x(RGRS)4x(GRSR)4x(RSRG)4x

(RGmR)4x...e t c .

8 ) (SRGm)4x(SRmG)4X(SGmR)4X (SGRm)4X(SmRG)4X(SmGR)4X

(RGmS)4x ...e t c . – 2 4 p a t t e r n s p o s s i b l e f o r e a c h s e t o f f o u r n o t e s

2. 12
 Ch a p t e r 2 : e x e r c i s e s

Bols 1
the basic strokes

1) da S tr on g s tr ok e u s e d to be g i n m os t p a tte r n s .
Th e d e f a u l t s tr ok e .

2) ra We a k e r s t r o k e , r a m a y h a v e m o r e s u s t a i n
tha n da .

S tr ok e on th e ch i ca r i s tr i n g s , i t ca n be
3) chic
e i th e r a q u i e t 's p a ce r ' be tw e e n n ote s or a n
i m p or ta n t r h y th m i c e l e m e n t.

4) diri A l th ou g h i t i s com p r i s e d of a l te r n a ti n g d a
a n d r a s tr ok e s , a di r i i s u s u a l l y con s i d e r e d
a s ing le e v e nt.
5) da-r Th e tw o s tr ok e s of da - r a r e a l s o of te n be s t
con s i d e r e d a s i n g l e e v e n t. Note th a t a d ot
is u s e d to ind ica te a g a p .

6) dra 6,7,8,9 a r e 'fla m s ' a nd a r e r a r e ly

f ou n d i n com p os i ti on s .
7) rda

8) drda

9) rdra

2.13
 Ch a p t e r 2 : e x e r c i s e s

Bols 2
basic parrerns and variations

1) dadiri,same as: da–dara

dirida,same as: darada–

2) da da da ra th e s a m e bol s , bu t w i th a
d i f f e r e n t r e l a ti on to th e
n ote a n d be a t.
da da ra da

da ra da da

ra da da da

3) da da da – th e s a m e bol s , bu t w i th a
d i f f e r e n t r e l a ti on to th e
n ote a n d be a t.
da da – da

da – da da

– da da da

4) da da–ra th e s a m e r h y th m , bu t p r od u ce d
w i th d i f f e r e n t bol s

da ra–ra

da ra–da

ra da–da

2. 14
 Ch a p t e r 2 : e x e r c i s e s

Bols 3
more patterns and variations

4) dadiridara

da–diridirida–ra–

da–dirdirdirda–ra–

da––dirida–ra–

da – drda–ra–

5) da ra diri diri

diri diri da ra

6) da–diridiridiri same as:

dara–rdiridiri

dirida–diridiri same as: darada–diridiri

diridara–rdiri

diridirida–diri

diridiridara–r

diridiridirida–

–rdiridiridiri

2.15
 Ch a p t e r 2 : e x e r c i s e s

Bols 4
patterns and variations

7) da-r da-r da

da-rda-rdiri

daradada-rdiri

da–rdaradadiri

da––da–rdiri

da–– darada diri

daradadaradadiri

darada –– darada

8) da-rda-rda-rda-rda –da – 333322

da-rda-rda-rda-r dir dir 333322

i i
darada da-r daradada-rdir dir 333322
i i
da––daradada––daradadir dir 333322
i i
daradadaradadaradadaradadiridiri 333322

daradadiridaradadiridaradadarada 323233

diri daradadiridaradadiridiridiri 2323222

daradadiri diridaradadiridiridiri 3223222

2. 16
 Ch a p t e r 2 : e x e r c i s e s

Bols 5
lari and variations

play, on each note, 16 diris, then 15, then 14, etc.,

1) dow n to 1, then 1/ 2

4 diris on each note, w ith the accent on the 1,

2) then 2, then 3, then 4, then 2 and 4, etc.

1 diri on each note, accenting every 4th diri, then every

3) 3rd, every odd-numbered one, every even-numbered one.

4) 1 diri on each note, accenting every 5th diri, then

every 7th, etc.

5) 1 1/ 2 diri on each note,i.e. ‘DaradaRadara’

2 1/2diri oneachnote– 'DaradaradaRadaradara'

6 play 4 diris relaxed, then 6 tight,

6) in the same space.

7) alternate diris w ith other bols,

notice w hich kind of diri goes
w ith w hich bol.

8) play diri w ith the raaccented

i.e.– diRidiRi

2.17
 Ch a p t e r 2 : e x e r c i s e s

Jhala 1
patterns and variations

1) chik diri diri diri lari jhala

2) chik da da da tok jhala

chik da da ra

chik da ra da

3) da chik chik chik sidda jhala

ra chik chik chik

4) da ra chik chik sarod jhala

da ra chik ra

chik ra da ra

5) good exercise – play on each note:

4x 4x 4x 4x 2x

• This sequence of transformations can be applied to other jhala patterns.

2. 18
 Ch a p t e r 2 : e x e r c i s e s

Jhala 2
transformations of da chik chik chik

1) 4 4 4 4

2) 22224 4

3) 224 224

4) 332 332

5) 33334

6) 23 23 33

7) 23 23 222

8) 322223

9) 322 3222
off be a t
10 ) 4 4 4 4
off be a t
11 ) 222244
off be a t
12 ) 33334

13 ) 6 6 4

14 ) 5 5 6

15 ) 5 5 3 3

• These type of transformations can be applied to other jhala patterns.

2.19
 Ch a p t e r 2 : e x e r c i s e s

Jhala 3
variations of sarod jhala
1) darachikrachikradara

2) chikradaradarachikra

3) chikrachikradaradara

4) darachikrachikrachikra

5) (darachikrachikra)2xdarachikra

6) (darachik)4x darachikra

7) darachikrachikda–ra

8) darachikrachikra–ra

9) darachikda–radiri

10 ) (darachikda–ra)2xdarachikra

11 ) (darachikda–ra)5xdiri

12 ) chikda–radarachikra

13 ) chikda–rachikradara

14 ) chik–darachikda–ra

15 ) chik––darachikdara

16 ) (da–chik)10xdiri

17 ) (chik–ra)10xdiri
2. 20