Class XI

Definition of Music
Music is an art in which ‘Swara’ and ‘Rhythm’ are utilized by man to express his
feelings. In the common usage, music is taken as singing. However, in fact, song,
instrument and dance are together called music. In fact, all these three skills are
independent but still come under the territory of each other, in other words all
three arts are inter-dependent. Singing is not possible without playing musical
instrument and playing instrument is cannot be possible without singing, at the
same time dance requires both the arts together.
*The word ‘sangeet’ is made of the word ‘geet’ by adding a

prefix-‘sam’. The word ‘sam’ means ‘with’ and ‘geet’ means something, which is
sung. So any work done with singing is called music*. In other words, when all
these three arts together function, then the music comes into existence. ‘Sangeet’
is a gift of God to man. Dance performed daily, the beauty of body is increased,
‘singing’ develops the mind of a man, and at the same time playing instruments
develops mind and body both. In other words, all these three activities help
human beings in forgetting one’s sorrows and sufferings.
The threefold arts of music, namely the art of singing or vocal music,
the art of playing on instruments of music commonly known as instrumental
music and the art of gesticulations based on rhythm called dance, it is termed by
all scholars as “sangeet”. Sangeet, the music of all nations is mainly of two types,
namely the spiritual or religious, i.e. the music of holy place like the church, and
the sensual or the music for the amusement of all men,** termed by the scholars
of the bygone ages as “margi” and “desi” sangeet respectively.**
1. Margi-Sanget: The vedic hymns, the music of the Pauranik ages and also
the music sung or played by the great saints of all nationals for self-
realization and salvation, was known as margi sangeet or the music that
leads one to heaven by making them free from the bondage of worldly
affairs-similar to the Gospels of the Holy Bible and church songs of the
countries of the west.
2. Desi-Sangeet: The music that is composed and set to tune by the expert
musician composers of all times and places, to meet the common needs of
all mankind and also to satisfy their physical and mental needs is called as
“desi-sangeet” which has numerous forms and verities.
* Swara Nidhi pg. 1

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** Techniques of Sitar by S.Bandyopadhyaya pg. 35
Definition of music according to different scholars
1. According to Shakespeare: *Every living thing has some feelings, and

the sound, which expresses these emotions, is called music. It means in
which sound, man expresses his feelings that sound is called music.
Besides, the man, who has no music in his heart; who has no effect of
melodies is called as traitor. Do not trust that person in your life*.
2. According to Martin Luthar: **Music is not considered as a part of

human life but a part of the whole world. According to him who gives
divine beauty to the world is music. **
3. According to Sangeet Darpan: ***It has been said in Sangeet Darpan

while defined music that in reality whole universe is full of music. Varna
originated from naad, word from Varna, sentence from word and language
from sentence. Nature is controlled by language so whole nature is
dependent on naad and naad is a form of music. ***
4. According to Pandit Sharangdev: ****Pandit Sharangdev has written in

his musical scripture that the combination of three arts i.e. Singing,
Musical instruments and Dance together known as music. So the
accommodation of these three arts together makes music. ****
* History of Indian music Ch-07

** Music of North and South India
*** Sangeet Darpen Shloka-14
**** Sangeet Ratnakar
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Origin of music
From ancient time to present time, there occurred so many changes in this world
but music is such a word, which has same meaningfulness and usefulness as
earlier. Constantly, on hearing the word music, our body feels some strange types
of vibrations.
There will be no exaggeration to say that music is present in every

corner of this universe. Music is present in running of streams, blowing of winds,
thundering of clouds and the different sounds of birds and animals.
One question that arises in our mind after studying all these concepts
is that where was music born although it had a universal quality. How did man
receive music, now we will study this through the different point of view of
scholars?
1. From religious point of view and Religious scriptures: *If we carefully

study the culture of India then we would find that in India everything is
related with religion whether it is music. Religion and music are
interrelated. If we carefully observe then we will find that every God and
Goddess has one instrument in his or her hands. According to scholar,
Brahma Ji was first who has created music. “Natya Shastra has justified
this point. First Brahama Ji originates music, Saraswati Ji gained this
knowledge from Brahama and Narad ji gained this knowledge from
Saraswati. After that Narad ji taught music to Gandharv, then the music
starting flouring in whole universe*.
2. Role of nature in music: According to an African scholar Ifari, ** when

first man and woman are each other while swimming in a beautiful pond
then they started coming forward for union and their hands and feet started
moving in the water of pond, this movement created different sounds
which gave them inner inspiration. As a result, both wanted to unite each
other and from their union form of sounds became constant and both
realize the importance of music in life. In this way, they first get the
knowledge of music. **
* History of Indian music by Dr. Sunita Sharma

** History of Indian music by Dr. Shri Dhar Ch-01
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3. Origin of music from birds and animals: *Famous scholar Shri Kallinath
agreed that music born from different sounds of birds and animals like
“Shadaz originated from sound of Peacock, Rishabh from chatak, Gandhar
from goat, Madhyam from crow, Pancham from koel, Dhaivat from frog
and Nishad from elephant.*
4. Music is infinite: **A famous scholar Jacobil in his book ‘The Stage of
Music’ has written that it has always been under discussion that how and
when man came to know about music. But it can be said that when man
did feel hungry he might have felt a curious sound in his stomach. This
curious sound can be related to music. Indeed it is difficult to say that
when did it firstly arise. Nevertheless, there is no doubt that man attained
the knowledge of other arts. Since it can be said that music has been there
since times immortal and it can be proved with the help of many other
facts. **
* Sangeet Ratnakar Exolanation by Kallinath

** The Stage of music by Jacobil pg. 01
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Development of Music:
Vedic era
In the development of music, ‘Vedas’ have played an important role. From

‘Vedas’ only, we come to know that in that age, there was a similarity between
‘North’ and ‘South’ Indian people. Therefore, there was similarity in their
respective music also. If we address ‘Vedic age’ to be the golden period of music,
then there will be no exaggeration. By studying ‘Vedas’, we come to know that
‘swaras’ are called ‘Yam’. There were only three ‘swaras’ used in music. They
were known as follows: ‘Udaat’, ‘Anudat’, and ‘Swarit’. All these three swaras
formed the foundation of ‘modern swaras’. From these three only, other ‘swaras’
were originated and new revolution was born in the field of music.
‘Atharva Veda’ and ‘Yajur Veda’ give us the knowledge of

music, after we study them. New instruments were born from these instruments
only. These instruments formed the foundation in the development of music. By
the study of ‘Rig Veda’, we came to know that the songs of praise of gods were
chanted based on fixed ‘swaras’. These mantras were interwoven with the tempo.
If we do analytical study of ‘Sam Veda’, then we come to know that in ‘Sam
Veda’ there is description of scholars as well as ‘mantras’. In ‘Sam Veda’, the
deities were worshipped by singing shlokas and mantras. In these shlokas and
mantras, there was a great importance of ‘Swara’ as well as ‘taal’.
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Ancient era
In this age, many types of Purana and Epics were created out of which the main
are Ramayana and Mahabharata. A lot of development also took place in the
field of singing, Instrument and Dance. At the same time, new style of dance
also emerged. In this age, only the practice of folk song and folk dance also
got a boost.
Ramayana is an epic, which shows that what the real state

of music was that period. In the age of Ramayana, an instrument like ‘Ravan
htha’ ( ) was discovered which is present even today’s times. The
word ‘Ghungroo’ was coined in the age of Ramayana. In this time, folk
dance was also at its peak along with classical dance. There are twenty eight
thousand shalokas in Ramayana. The word ‘Geet’ can also be seen at many
places in Ramayana that is directly related the music.
In the age of Mahabharata, was developed to its peak.

The age of Mahabharata, reveals that the number of musical instruments exceeds
the weapon of war. Lord Shri Krishna was famous for playing flute. He perfected
the art of singing, playing musical instruments and dance. It is said that before the
war of Mahabharata, Arjuna visited ‘Inver-lok’ for learning art of using new
weapons. When he returned on earth along with the knowledge of dance, brought
some musical instruments also. In the ancient time, drama also progressed along
with music. As a result, under the plays, music was also used.
Middle Age
In this age, there was no difference between the methodology of music between
North and South. This age is also known as ‘Muslim Age’ also.
At that time, instrument as well as singing was in practice. In this age, there have
been many such scholars who encouraged the music a lot and also many types of
musical, scriptures were written.
1. Ragamala:
Pundarik Viithal was a prominent musicologist of the mid-sixteenth century.
Pundarik, who hailed from Karnataka initially, sought patronage under
Burhankhan (Khandesh, Maharashtra). His Sadragachandrodaya was written
at this juncture. Later, he moved to Rajasthan and was supported by two
chieftains, Madahvsingh and Mansingh. His two other famous works,
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Ragamala and Ragamangari has written in same period. He has given Raga-
Ragini classifacition in same period.
2. Ragavibodh:
Pandit Somnath is yet another southerner who contributed to Hindustani
music. Pandit ji has written very famous musical scripture Ragavibodh. In this
musical scripture he worked on ‘Gamaka’. He defined Gamaka and discussed
nineteen types of Gamaka which are still very important from classical
music’s point of view.
3. Sangeetparijat:
This musical scripture was created by Pandit Ahobal. It was greatly followed
by many other modern musicians. The most important feature of his work is
the way he has identified precise positions of musical notes by locating them
on vibrating strings. He defined fifteen types of ‘Gamaka’. The same patterns
of gamaka are still being used by modern musicians in Hindustani classical
music.
4. Ragatarangini:
Pandit Lochan has done remarkable work in music. He wrote the famous epic
Ragatarangini in middle age. He described Komal and Teevra swara and
classified Raga-Ragini pattern. He classified Ragas in to eleven That-s,
amazingly closed to what Pt. V. N. Bhatkhande did in early twentieth century.
So strong was Lochan desire to project relevant music of that era.
Modern Age
When British came to India, then, they brought musical instruments to India.
Whenever they welcome any official, who visited India, they did so with their
musical band. English plays are in great practice now days. As a result of which
plays included English dance. But we should never forget that a man is born in a
particular culture, in that culture only he can grow and develop up to his full
extent. Indian artiest saw the western instruments and moulded them according to
their requirement and adopted than in an Indian style. ‘Harmonium’ and ‘Hawian
Guitar’ are the live example of this formation. English musicians also put their
efforts to understand Indian music and they wrote many books on Indian music.
Due to this reason, Indian music reached foreign countries also.
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After independence, Indian music started getting
telecast on television also. Through radio and television people could listen to the
musical programmes sitting at home and watch them. In the modern age many
musicians were born who too music to the heights. Pandit V.N Bhatkhande is an
example of this. He created Indian Notation system and reached the music to the
common masser. As a result, music was available in written form for reading
purpose, so it was written as well as read at that point of time.
All the three arts i.e. Singing, Playing musical Instrument

aand dance were recognized as three distinct entities. All three filds of arts were
performed on deifferent platforms. A number of schools and colleges of music
were established and music has become an essentral part of education. Due to
this, along with other subjects, music subject is also gatting poularity among
students.
It is too difficult to learn music of any kind only through

books. Although all types of vocal and instrumental music of these days is made
available on discs and recorded tapes, they cannot serve the purpose of a teacher
or a guide. Therefore, one should bear in mind that the only way for anyone to
learn music is to create and establish between himself and his preceptor the
unique relationship of the teacher and the taught, which belongs to Indian culture
in all its phrases. Hence, one should enter into the inner spirit and must adopt
many of the outer conventions of Indian life and such studies must continue until
he or she can improvise the nuance and subtlety of the terminology of musical
terms and the phraseology of the musical compositions meant for playing of sitar
in the cultural background of this country strictly following the artists
temperament to the entire satisfaction of all connoisseurs of Indian music. One
must also have an ear sensitive to microtonal inflections. If all the conditions
stated above are fulfilled by a foreign student of sitar or vocal music, then there is
every hope and scope for them to acquire proficiency in the art of playing on
sitar.
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Swara
Definition of Swara- Any sound, which is vibrating continuously and is still on

particular place, is called svara. Along with this we can say that it is soothing to
ear and heart touching and you feel happy while you hear swara.
Swara is a combination of two words sva+ra where

sva means oneself and ra means, good in itself. Bharatmuni described the svara
as ( ) means that sound which is good in itself is called
swara.
According to Pandit Sarngdeva-: The sound witch comes immediately after the
Shruti and gives pleasure to the listener heart is called Swara. Ragas arise out of
Swara and Swara arise out of Shruti
History of Svara-: In olden times we were not using seven swara as we are using
in modern era. That time three svara were commonly used they were “Udhath,
Anudhath, & Swarit”
If we use one swara in composition then it is called Archaic, when two Swara are
used then its Gaathik and when all Swara are used then it is Sabhik.
According to Pandit Ahobal: “There are 22 shruti on seven Swara, based on

Chatush Chatush Chev rules. He decided seven shuddha Swara and five vikrit
Swara.
Shuddha Swara are –SA RE GA MA PA DHA NI
Vikrit Swara are – RE, GA, MA, DHA, NI.
So according to Pt. Ahobal the total number of Swara are twelve with Shuddha
and Vikrit forms of Swara and he described the scientific relation between Swara
and Shruti.
Shuddha Swara: The second name of Shuddha Swara is Natural Swara.

According to old Musicians those Svara which arise from nature and established
on its original Shruti are called Shuddha Swara. Fixed Swara (Achal Swara) is
the part of Shuddha Swara, Example of Shuddha swara are SA RE GA MA PA
DHA NI.
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Fixed Swara: The second name of Fixed Swara is Achal Swara. Achal is the
word of Hindi language it means fix. Those Swara which fixed on there original
shruti are called fixed Swara. According to Pt. Sharang there are two fixed swara
for example SA and PA.
Vikrit Swara: The second name of Vikrit Svara is moveable Swara or Chal
Svara. Those Swara which can move (Back and forward) on their particular place
and deviates from its original shruti. Vikrit Swara are divided in two part 1.
Komal Swara 2.Teevra Swara, According to Indian classical music there are five
Vikrit Swara, for example – Re Ga Ma Dha Ni.
Komal Swara: Those Swara which can move backward on their particular place
and established on lower shruti that’s Swara called komal Swara. According to
Indian musicians there are four Komal swara, For example- Re Ga,Dha, Ni.
Teevra Swara: Those Swara which can move forward on their particular place
and established on higher shruti that’s Swara called Teevra Swara. According to
Indian musicians there is one Teevra swara, for example - Ma
According to Matanga: Pt. Matanga Muni has also sported Pt. Sharang Dev and
declared seven swara. He has given the significance of the name of these seven
swara.
According to him:
1. Shadja (SA) is so called because it is the precursor of the six other notes.
2. Rishabha (RE) is called because it quickly appeals to the heart.
3. Gandhara (GA) is so called because it has the ability to delight
Gandharvas.
4. Madhyama (MA) is so called because it is the centre of the scale and three
svara are on either side of it.
5. Panchama (PA) is so called because it is the fifth from the basic note.
6. Dhaivata (DHA) is so called because it is representative of sensitive mind
and comes on sixth place.
7. Nishada (NI) is so called because with this note scale come to an end.
According to Pt. Nikhil Banerjee Swara play a dominant role in

Indian classical music. Swara are the bases of Indian classical music because
of Swara Ragas are creating and swara are so important to understand the
sentiments of ragas. In modern time all musicians are fowling same
statement. Whole world is using twelve swara in music.
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According to scholars there are four fold of swara. Those four
fold play vital roles in Indian classical music.
1. Vadi swara
2. Samvadi swara
3. Anuvadi swara
4. Vivadi swara
1. Vadi swara: Vadi swara means sonant note. Vadi is the swara which is
most frequently used in any raga. The essence of the raga lies in vadi
swara. It is most prominent swara in any raga. According to theory of ragas
every raga has vadi swara.
2. Samvadi swara: Samvadi swara means consonant note. Samvadi swara is
the second most prominent swara in raga. According to theory of ragas
every raga has samvadi swara.
3. Anuvadi swara: Besides vadi and samvadi swara, other swara applied in a
raga called anuvadi swara. Anuvadi swara means assonant note. Because
they follow vadi and samvadi swara.
4. Vivadi swara: The swara which is not applied in raga is called vivadi
swara. Application of vivadi swara destroys the mood of the raga. Vivadi
swara means dissonant note.
These four categories of swara Vadi, Samvadi, Anuvadi

and Vivadi are often compared to King, minister, general public and enemy
respectively in a kingdom.
These swara when played or sung in three register are
respectively called mandra saptak, Madhya saptak and Tara saptak. The meaning
of saptak is octave. Mandra saptak means low octave. Madhya saptak means
middle octave and tata saptak means high octave.
Chart of Svara
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Swara
SA, RE, GA, MA, PA, DHA, NI
Shudha Swara Chal Swara

SA, RE, GA, MA, PA, DHA, NI RE, GA, MA, PA, DHA, NI
Achal Swara Komal Swara Teevra Swara

SA, PA RE, GA, DHA, NI MA
SHRUTI
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Swara are differentiated in to twenty-two grades. These twenty –two grades are
knows as Shrutis. Shruti is derived from Sanskrit language. It is originated from
the word “SHRU” which means to hear. Therefore, that, which is heard or
audible is called shruti. In other words Shruti can be defined as that range of
sound which is audible.
According to Pt. Sharang Dev- Human hearts has 22 slanting

veins. So that’s why we have 22 Shrutis in number. Every Shruti has a link with
these veins. This means that these 22 Shruti are produced by these 22 veins. All
swara based on these 22 Shrutis according to Chatush-Chatush-Chav reles.
According to Kallinath-: When the sound breaks on the first

stroke, it is free from Echo in the first instent. Thus he considers Shruti to be that
audible sound which is free from Echo. He also described 22 Shruti in numbers.
According to Mantanga Muni-: Just as milk gets transformed

into curd, like this Shruti also get transformed into Svara. He also described 22
Shruti in numbers.
According to Pandit Ahobal-: The sound which is audible is

called Shruti. According to history of Indian music, Ahobal was the founder of
Shrutis. He described the scientific relation between Svara and Shruti. According
to him the relation between Shruti and Svara is the same as that between as snake
and his kundali, where snake is to be considered as Svara and kundali as Shruti.
He told the whole world that there are 66 shrutis in one octave which can audible
but only 22Shrutis can be use in music.So he described 22 Shruti in numbers and
followed the Chatush-Chatush-Chav rules and whole old scholars were following
him.
According to old Scholers rule of distributions of Swara in Shrutis
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1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
Sa Re Ga Ma Pa Dha Ni
According to Pt.Nikhil Banrege: The musical sound which is

clearly audible and which we can discriminate, and which can be clearly
identified is called Shruti instead of this the sound which we use in music is
known as shruti.
According to other scholars Shrutis are successively higher

and higher in pitch. Shrutis are to perceive clearly in the throat as well as in the
brain. They also to mark out 22 Shrutis in number and following the Chatush-
Chatush-Chav reles but according to them Sa is on first Shruti.
According to new Scholars rule of distributions 0f Swara in Shrutis
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
Sa Re Ga Ma Pa Dha Ni
Entire scholars are following Chatush-Chatush-Chav rules for distributions of

Swara in Shrutis. Scholars views that each swara may have one particular Shruti
and each belonging to a different category signification of its character. Even
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they have given name of each Shruti. But old scholars are keeping Sa on
Chhandovati (4th) Shruti and new scholars are keeping Sa on Tivra (1st) Shruti.
The great scholars of music, not only the past but also of the present, are
unanimous in respect of the exact number of shrutis, which according to them are
22 (Twenty two). They have also attributed different names of each of them.
According to them all swara are fixed on particular shrutis.
Shrutis Name of Shrutis According to old scholers According to New scholers

numbers Distributions of swara Distributions of swara
1. Tivra Sa
2. Kumudati
3. Mandra
4. Chhandovati Sa
5. Dayavati Re
6. Ranjani
7. Raktika Re
8. Raudri Ga
9. Krodhi Ga
10. Vajrika Ma
11. Prasarini
12. Priti
13. Marjini Ma
14. Kriti Pa
15. Ratika
16. Sandipani
17. Alapini Pa
18. Madanti Dha
19. Rohini
20. Ramya Dha
21. Ugra. Ni
22. Shrobhini
. NADA
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In general language the meaning of Nada is sound which we can hear. But in
music the sound which has fixed vibrations and soothing to ears is called Nada.
Nada is basic element of music structure. Nada is very essence of music
According to Pt. sarngdeva: - Nada is a sound on which the whole

world is based. He describes it as:
Nada makes the letters of the alphabet. The letters of the alphabet from
words, and words creates sentence which is basic of communication (Sound) and
sound controls human behavior.
Secondly Nada is a way to reach the God. According to Sarngdeva if

we will worship of Nada God will worshiped.
The word of Nada has been originated from two words. “Na”+
“Da”.Na means Nakar which represents life or air. Da means Dakar which
represents fire .When both unites then we gets one sound, that sound is called
Nada.
Types of Nada - ; Nada has two forms
1. Ahata Nada
2. Anahata Nada
1. Ahata Nada – Ahata is the word of Hindi language. This means Struck. Ahata
Nada is originated from friction of two things. For e.g., if we are playing sitar we
have to use mizrav and struck the strings then sound will come. Then Ahata nada
will originates. Ahata Nada has two kinds – musical and unmusical. That which
is produced by regular and fixed vibrations is called musical and which produced
by unfixed vibrations is called unmusical sound or noice.
2. Anahata Nada – Anahata word comes from Hindi language. Anahata literally
means ‘unstruck”- the sound which is already present in the universe is called
Anahata Nada. Secondly this Nada originates from the knowledge of inner self.
For e.g., if we close are ears with hands and move are hands slowly then sound
will come. That Nada is called Anahata Nada. This Nada relieves us from our
body and transcends deep in our soul. This Nada is worshiped by the saints to
free themselves from the maya of this mortal world.
Importance of Nada—
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1. Without a Nada a song can not be composed, not a swara can be
originated; we can’t get knowledge of worship and can’t prosper in music.
2. Nada helps us to discriminate between the sounds of human, animals, and
instruments.
3. We can hear Nada but it can’t be seen
4. Nada controls the volume of sound (higher or lower octave).
Comparison between Nada and noise

1. According to sweetness – Nada are sweet sound and nada must be sweet.
Noise is absolutely different from nada, Noise have not any sweetness.
2. According to audible – Nada are absolutely audible we may be clearly
listens nada. But in noise we can’t audible any thing.
3. According to music – According to history of Indian music nada is the
musical word and we are using this word in music. Noise has not any
scope in music we can’t use noise in music.
4. According to vibration – Nada has fixed and continuous vibration. Noise
has not any fixed and continuous vibration.
5. According to please – When we hear nada its gives please and give
happiness to listeners but noise can’t give please and happiness to the
listeners.
6. According to history—According to musical scriptures nada is a historical
word. We were using this word in past time also but noise is not historical
word and we are not having any history of noise.
7. According to types -- According to musical scriptures nada are two types
but noise has only one type.
8. According to spirituality -- Nada is worshiped by the saints to free those
selves from the maya of this mortal world. Even they are using nada in
spirituality but they can’t use noise in spirituality.
Thata
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In the end of fifteen century most famous musician “Pundit Lochan” had
described “Thata” word first time in his book “Raga – tarangini”. According to
him thata are the parent of raga. Without thata even one raga can’t be originated.
“Pundit Lochan” had described in his book that during past time approximately
16000 (sixteen) thousand ragas were there and gopies used to performs that raga
in front of Lord Krishna. According to music scriptures it’s true that in past
approximately 16000 (sixteen) thousand ragas were there. But only 36 (thirty six)
raga most popular and in used.
During seventeen century according to thata, the

classification of ragas becomes popular. It is clearly depicted in the famous
scriptures of the contemporary time that is “Sangeet- Parijaat and “Raga-Vibodh.
During same century “Pandit Shrinivas” explained while defining thata that raga
originated from thata and described three forms of thata. 1. Audav 2. Shadav 3.
Sapuran.
By the end of seventeen century controversy surfaced

among experts about the number of thata. In the opinion of some experts that the
number of thata were 23 (twenty three) while few considered it to be 20 (twenty)
and few others thought it to be 19 (nineteen).
Then “Pandit Vayankattmukhi” with the help of his

mathematical calculation propagated the number of thata to be 72 (seventy two).
But Hindustani music experts were not considering seventy two thata in number.
Even Karnataka music experts were not influenced by this calculation.
Modern musician late pandit Vishnunaryana Bhatkande had

organized new raga - ragini system in north India music. He selected 10 (ten)
thata out of 72 (seventy two) thata and classified all ragas on basis of 10 (ten)
thata. This new thata system was fully followed and adopted by all Hindustani
musicians. This is how 10 (ten) thata become popular amd were followed by all
music experts. This is how Hindustani music experts left Karnataka music system
and started followed 10 (ten) thata.
According to pandit Vishnunaryana Bhatkande the

series of seven swara is called thata. He also advised to remember carefully the
following points related to thata.
1. Thata must have seven swara in proper order of the scale.

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2. These musical notes must come in there successive order.
3. A thata need not be necessarily sweet and please the listeners.
4. Thata have only ascending order there is no requirement of descending
order in thata.
5. We can not sing or play thata.
Here the names of ten principal thata are given below:
1. Kalyan
2. Bilwal
3. Khamaj
4. Bhairav
5. Purvi
6. Maarva
7. Kaphi
8. Asavari
9. Bhairavi
10.Todi
All 10 (Ten) thata are having 7 (seven) particular swara and some particular
main phrases. Because of that we can identify that very easy. Here the
sequences of seven swara of every thata are giving below:
1. Kalyana thata – Scholars are using teevra Ma (Madhayam) and rest of the
shudha swara in Kalyana thata. Which ragas are having teevra Ma
(Madhayam) and rest of the shudha swara they comes in Kalayana thata
for e.g. Yaman. The sequences of seven swara of Kalyana thata is SA RE
GA MA PA DHA NI SA. Raga Yaman is main representative of Kalyana
thata.
2. Bilwal thata – Second name of Bilwal thata is shudha thata. Because
musicians are using all shudha swara in Bilwal thata for e.g. SA RE GA
MA PA DHA NI SA. The famous ragas of this group are raga Bilwal, raga
Bihag, raga deshkaar. But raga Bilwal is main representative of Bilwal
thata.
3. Khamaj thata – Scholars are using NI (Nishad) komal and rest of the
shudha swara in Khamaj thata for e.g. SA RE GA MA PA DHA NI SA.
The famous ragas of this group are raga Khamaj, raga des and raga
Tilakkamod. But raga Khamaj is main representative of Khamaj thata.
4. Bhairav that - According to musical scriptures the word Bhairav thata
came from the name of Bhairav raga. Because the word Bhairav and raga
19
Bhairav directly came from Lord Shiva mouth. Scholars are using Re
(Rishab) and Dha (Dhavat) komal and rests of the swara are shudha for e.g.
SA RE GA MA PA DHA NI SA. Rage Bhairav, raga Ramkali, raga
Vibhas comes in Bhairav thata. But raga Bhairav is main representative of
Bhairav that.
5. Purvi thata – Purvi thata is one of the difficult thata. Scholars are using Re
(Rishab) and Dha (Dhavat) komal, Ma (Madhayam) teevra and rests of the
swara are shudha for e.g. SA RE GA MA PA DHA NI SA. Popular ragas
like raga purvi, raga Lalit, raga Puriya comes in Purvi thata but raga Purvi
is main representative of Purvi that.
6. Maarva thata – In Marva thata musicians are using Re (Rishab) komal, Ma
(Madhayam) teevra and rests of the shudha swara for e.g. SA RE GA MA
PA DHA NI SA. Famous ragas like raga Marva, raga Puriya and raga
Sohaani comes in Maarva thata but raga Maarva is main representative of
Maarva that.
7. Kaphi thata -- Scholars are using Ga (Gandhar) and NI (Nishad) komal and
other shudha swara in Kaphi thata for e.g. SA RE GA MA PA DHA NI
SA. The famous ragas of this thata are raga Bhimplasi, raga Kaphi and
raga Dhanashree. But raga Kaphi is main representative of Kaphi that.
8. Asavari thata – In Asavari thata musicans are using Ga (Gandhar), Dha
(Dhavat), NI (Nishad) komal and other shudha swara in Asavari thata for
e.g. SA RE GA MA PA DHA NI SA. The famous ragas of this thata are
raga Asavari, raga Darbari and raga Adana. But raga Asavari is main
representative of this group.
9. Bhairavi thata – According to musical scriptures the other name of this
thata is komal thata because musicians are using all 4 (four) komal swara
in this thata. The swara sequences of this thata are SA RE GA MA PA
DHA NI SA. Raga Bhairavi and raga Malkauns comes in this thata.
10. Todi thata -- This thata is also one of the difficult thata. Scholars are using
Re (Rishab), Ga (Gandhar), Dha (Dhavat) komal, and Ma (Madhayam)
teevra and rests of the swara are shudha for e.g. SA RE GA MA PA DHA
NI SA. Popular ragas like raga Todi, raga Multaani comes in this group but
raga Todi is main representative of Todi thata.
Ten thata of Hindustani music with sing
20
1. KALYANA THATA SA RE GA MA PA DHA NI SA
2. BILWAL THATA SA RE GA MA PA DHA NI SA
3. KHAMAJ THATA SA RE GA MA PA DHA NI SA
4. BHAIRAV THATA SA RE GA MA PA DHA NI SA
5. PURVI THATA SA RE GA MA PA DHA NI SA
6. MARVAA THATA SA RE GA MA PA DHA NI SA
7. KAPHI THATA SA RE GA MA PA DHA NI SA
8. ASAVARI THATA SA RE GA MA PA DHA NI SA
9. BHAIRAVI THATA SA RE GA MA PA DHA NI SA
10 TODI THATA SA RE GA MA PA DHA NI SA
.
Dissimilarity between Ragas and Thata
21
1. According to swara- Thata must have seven swara in proper order of the
scale. But ragas must have minimum five swara.
2. According to swara sequence – Thata have all seven swara in proper

sequences but this rule is not Appling for ragas. Ragas may be not having
sequences of swara in proper order.
3. According to ascending order --- There is no requirements for descending

order in thata. Thata have only ascending order but all ragas must have
ascending as well as descending order.
4. According to performance – Musicians can’t perform thata. Its means we

can’t sing as well as play thata. This rule is not applicable for ragas.
Musicians are performing ragas. They are singing as well as playing ragas.
5. According to sweet and please - A thata need not be necessarily sweet and
please the listeners but ragas are not following this rule. All ragas must be
sweet and please the listeners.
6. According to feelings and mood – Even one thata has not having any
feeling as well as any mood. According to history of ragas, every raga
must have feeling as well as different mood.
7. According to time theory – Thata are not having any time theory but
according to history of Indian music we are following the time theory in
every raga. All ragas have proper time for their performances.
8. According to notes avoid. According to musical scriptures we can’t avoid

even one musical note in thata but according to history of ragas we may be
avoid maximum two musical notes in raga.
9. According to jati – Thata ae not having any jati but according to history of
ragas all ragas have different jati. According to their ascending and
descending order they have one particular jati.
Dhrupad
Dhrupad is a word who is having lot of controversies. Till today we are not
having any solid proof that who had originated dhrupad. According to some
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scholars; dhrupad had originated during 13th century. But some have given their
opinion that dhrupad has originated during 15th century by Raja Maan singh
Tomar. He was very great musician as well as very good dhrupad singer.
First time, we had seen this word dhrupad in music

scriptures “Natya Shastra”. According to Bharat, the regular slow composition
that is tied with some rules is known as dhrupad.
According to Pt. Sarangdev the slow composition that is having 3-4 lines is
called dhrupad.
Upto 17 th century dhrupad was very popular among all

musicians. In the court of King Akbar; lot of dhrupad singers were there like
Miyan Tansen, Swami Haridas, Beju Banwara and Ram das etc.
Dhrupad name is derived from the Sanskrit word

Dhruva. The meaning of Dhruva is stable. According to some scholars, that
Dhrupad is the combination of two words “Dhru + Pad”. The meaning of
Dhrupad is a composition that has stable position.
Dhrupad performance is the singing of slow

composition. It is accompanied by tabla and pakahvaj. Different types of laykari
are presented in the form of Dugun (Double), Tigun (Triple) and chaugan (four
times). Dhrupad are usually performed in char taal, Japh taal, Sul tala etc.
Dhrupad has four parts 1. Sthayi 2. Antra 3. Sanchari 4.

Abhog. Maximum scholars had described these terms:
1. Sthayi: It means base or foundation. The word Sathayi is derived from

place. Sthayi is that part of raag on which the super structure stands. It is
the foundation. Generally, the first line of raag known as Sthayi. It is not
necessary that Sthayi should be only in Mandra saptak (Lower Octave). It
can be in Madhya (Middle) or in tar (high) saptak (Octave) also. In other
words Sthayi is the face of ragas.
2. Antra: It is the portion which is higher in pitch than Sthayi. After the
ending of Sthayi, Antra begin. Each raga has Antra.
3. Abhog: It is the part which joins stahyi and antra.
4. Sanchari: It is the last portion of the compostion and all the movements of
the raag.
23
Khayal
24
‘Khayal’ is a Persian word which means imagination. It is only a type of ‘song’
in which imagination plays a special role. Therefore, the scholars have termed
this type of song as ‘khayal’. In ‘khayal’, imagination is done at one’s own will
by keeping in mind the rules and regulations. I it, a special emphasis is done on
‘swara’ and ‘taal’. According to scholars, all the musical ornaments are used in it.
Contemporary khayal features two parts, sthayi and antara, in contrast to the
customary four of the dhrupad. In a case composition has three parts (which
happens sometime) the middle part is called is manjha. Each line of the
composition is called charan. The numbers of lines vary from two to six but there
is no fixed rule about it. The oftrepeated part of the opening line is called
mukhda. All the words of the composition taken together are described as bol-s.
Against this background, khayal may be defined as a form of vocal art music in
which a song, composed in one or many raga-s and in one or many tala-s, is to be
elaborated further according to the accepted norms of developing the themes
inherent in the raga.
‘Khayal has two types.

1. Bada Khayal
2. Chota Khayal
A bada khayal is normally followed a chota khayal (a short, small

khayal). This is a composition in the same raga as of the bada khayal, but at a
faster tempo. It is sung in tala-s such as teentala or ektala which are capable of
being played at faster tempi without any loss of their essential character. A
chota kahayl allows more scope for tan-s and boltan-s on account of its fast
tempo.
Sometimes, a khayal is sung in madhyalya, and then it reaps

advantages of both words: it can include slower elaborations as well as faster
ones. However, many a musician finds it difficult to strike a balance between the
two words.
Origin of Khayal
1. According to some scholars, in fifteenth and sixteenth century, Sultan
Husain Shah discovered it and made it popular.
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2. Other than this Mugal Badshah, Muhammad Shah’s court was adored by
two famous scholars, Sadarang and Adarang, who devised thousands of
khayals and taught them to their disciples. Those khayals are popular till
today.
Difference between ‘Dhrupad’ and ‘Khayal’
1. ‘Dhrupad’ is an old song whereas ‘Khayal’ is a modern song.
2. In ‘Dhrupad’, the poems are quite long whereas in ‘Khayal’, they are not
that long but short.
3. ‘Dhrupad’ is a forceful and masculine song, wheres Khayal is a light and

melodious song.
4. ‘Dhrupad’ is sung in the ‘raga’ of serious mood whereas ‘Khayal’ is sung

in all types of ‘ragas’
5. Dhrupad has four parts wheres, Khayal has two parts.
6. In Dhrupad there is no alaap and taan, wheres these two plays an

important role in Khayal.
Thumri
26
The term is derived from the Hindi verb thumakna which means ‘to walk with
dancing steps so as to make the ankle-bells tinkle’. The form is, thus,
connected with dance, dramatic gestures, mild eroticism, evocative love-
poetry and folk songs of Uttar Pradesh, though there are regional variations.
It is possible to maintain that thumri had its prototype in the ancient

Harivamsha (A.D. 400) which describes a musical presentation called
chalkiya consisting poetry, dance and dramatic gestures. Later, Rajatarangini
of kalhana discusses dombika gayan and its similarly with, what is later
described as, jhumri is strikeing. In the medieval Manasollasa (A.D. 1131)
tripadi, a musical form is described as “treating themes of love and separation,
a three-line composition sung by women who embellish the song to bring out
shades of meaning.” Further on, Sangitdamodara(A.D.1500) refers to a genre
called jhumri. It says “replete with love-sentiments, not bound by the
constraints of prosodic rules, sweet as a wine, the rhythm-oriented jhumri is
sung by dancing females.
It is customary to give credit to Wazid Ali Shah of Lucknow (1822-

1887) for having invented the form. However, as there are earlier references to
strings of thumri, perhaps, it would be more appropriate to praise him for
having an encouraging attitude towards the form and giving unstinted
patronage to its practitioners.
From all historical references, it becomes clear that the form is

distinguished by moderate and suggestive dance movements, equally
restrained abhinaya (not to be considered synonymous with acting, a term
with much narrow connotation), and music which has a gentle and feminine
eroticism as its moving spirit. Contemporary thumri has reached its present
state through a gradual growth of the musical tendencies and cultural needs of
a society which listened to music with more and wider expectations.
Structure: As in khayal, thumri too has two parts, the sthayi and the antra. It
favours tala-s such as Deepchandi, Roopak, Addha and Punjabi. These tala-s
are characterized by a special lilt, nearly absent in the tala-s used in khayal.
Thumri compositions are mostly in raga-s such as Kafi, Khamaj, Jogiya,
Bhairavi, Pilu and Pahadi. A common feature of these and other such raga-s is
the free movement they allow the artist, since they do not depend for their
identity on rigidly formulated tonal sequences, irrespective of the
compositions involved. In fact, one may say that they have a built-in provision
for mixing raga-s for moving out of the raga actually presented in order to add
colour to the proceedings.
27
By and large, thumri singers prefer three strategies of presenting the
form though there are variations according to the composition selected,
temperament of the singer, and the thematic trust. The three well-known
strategies are:
1. Bol-bant: distributing words of the selected composition in rhythmic
frameworks to create lilting patterns.
2. Bol-banav: evoking subtle shades of moods through combinations of

words and melodic phrases.
3. Utilizing certain modes of non-verbal expression, almost interchangeably,

to deepen a particular mood of sentiment. This is normally achieved by
including graceful dancing as well as gestures along with the thumri and
intermittently falling back on the words of the composition, thus,
generating dramatic overtones.
An effective use of one or more of these strategies enables artists to

achieve an important entirely different from that of khayal though a number of
khayal-s has thematic content and texts, similar to that of thmri-s.
After elaborating the chosen compositions a singer enters the final

phase by doubling the tempo of the tala and inviting the tabla-accompanist to
employ special compositions known as laggi-s, which are delicate and sprightly
rhythmic patterns woven in order to electrify and arouse the audience, as also to
allow the singer some respite. Singing in double tempo is known as dugun. After
some melodic variations in the dugun the singer returns to the original tempo.
Tarana
28
‘Tarana’ is a type of ‘geet’ only. In it, there are such words which carry no
meaning. In ‘Tarana’ there are two parts ‘sathayi’ and ‘antra’. Here the speed of
the taal is increased gradually and it is ended by reaching the maximum speed.
According to scholars, ‘Tarana’ was originated by Amir Khusaro’ came to
Hindustan, then they got afraid of the Sanskrit language of this land. There has
been a grave reason behind that Amir Khusaro was a great scholar of Arabian
language. He sang many Hindustani ragas by wining many meaningless words.
Tose meaningless words are known as ‘tarana’. In the singing of ‘Tarana’, ‘raga’
and ‘taal’ are especially kept in mind. There is no meaning of words in the
singing of ‘Tarana’. The main aim of tarana is preparation and rhyming for
showing this.
In modern times, the singer sings ‘tarana’ after a ‘chota khayal’ (Fast
composition). It is so popularized that it is used in films also.
Tappa
This form has reportedly been inspired by the folk songs of camel-drivers in the
Punjab area. Couched in Punjabi and pushtu languages and set in raga-s generally
used for other ‘lighter’ forms of vocal music such as thumri, the tappa is
characterized by jumpy, flashy, and quick tonal movements. The recurring
melodic embellishments are jamjama, gitkari, khatka, amd murki- all with a
considerable capacity to surprise listeners. It uses tala-s and theka-s which are
conductive to the general character of the music that tappa projects. The form has
proved attractive enough to get a combined expression with khayal the result
being a compositional genre known as tapkhayal.
Dadra
29
Normally, the term brings to mind a lilting tala of six beats, popular in music of
many types and climes. However, in the present context, the reference is to form
of light vocal music in dadra tala. In other respects, such as importance of words,
freedom taken with the raga-outlines or the raga-s chosen to render the
composition the form resembles thumri. It is, therefore, logical that the form
should always be coupled with thumri in the performing tradition. The parallel
case of dhamar would come to mind, through dhamar is from the category of art
music. As already explained, dhamar is always coupled with dhrupad. It may not
be far fetched to suggest that forms of music named after tala-s seem to be
complementary to some other major forms they are usually coupled with,
irrespective of the category under discussion
MEANINGS OF RAGAS:
30
Indian classical music based on Raga system. Ragas are most prominent feature
of Indian classical music. Without ragas we can’t think about classical music.
The history of Indian classical music is based upon the ragas system.
Raga has been originated from the word “Ranja” ( ). Ranja

is the word of Sanskrit language which means to give happiness or to let feel
happy. The other meaning of Ranja is to please. Hence the special sound of the
composition has svara and varana, which beautifies and enlightens the heart of
listener, is called Raga. The second meaning of raga is melody which gives you
pleasure, feelings and sentiments.
Raga is originally an important aspect of Indian music. The

foundation of Indian music is totally originated from the ragas. Scholars are
having different opinions about ragas.
According to Bharata: he wrote in “Natya Shastra” in third century

that, in whole world, drama without music is like a picture without colors.
Without Raga drama does not have any feeling or sentiments.
During seventeen century pandit Somnath has describe ragas in his

Granth “Rag—Vibodh”as: Raga is an arrangement of sound, consisting of
musical notes, which possesses VARNA and furnishes gratification of the senses.
During same century in SANGEET PARIJAT by Pandit Ahobal

has defined raga as pleasant feeling which we obtain while playing and hearing
Swara.
Bhatkhande has defined ragas in his book”lakshya Sangeet” as

ragas are different series of notes within the octave, which from each other by the
prominence of certain fixed notes and by the sequence of particular notes. And he
define that those swara who give filling to listeners are called raga.
In modern time all musicians are following same statement of

Pandit V. Bhatkhande. According to musicians the second name of ragas are
fillings or sentimental. The sequence of particular Swara who gives filling to the
mind is called Ragas.
RULES OF RAGAS:
1. Ragas are always originated from Thata. Raga must belong to thata.
31
2. Ragas must have five notes. If any raga has less than five notes then
it is not called raga.
3. Ragas are played as well as sung also.
4. Without SA we can not accept ragas.
5. Raga must have swara and Varna. It is essential for ragas to have
swar and varna. Without swara and varna ragas can not be
originated.
6. Ragas must have name and clearly defined ascending and
descending order of notes.
7. Ragas must have jati and proper time.
8. Every Raga must have one Vadi and one Samvadi Swara.
9. Ragas must have mood and Rasa, for example:
Raga Mood Rasa
Jogiya Sorrow Kaurna

Bahar Joy Shringara
Dardari Gravity Karuna
Adana Valour Veera
Khamaj Love Shringara
10. Ragas are depend on their time theory means every raga has
particular time for sing and play and they also related seasons for
example:
Months Ragas
March -- April Hindol

May -- June Deepak
July --- August Megh
September -- October Bhairav
November --- December Shree
January ---- February Malkauns
Jati of ragas
According to scholars the numbers of notes of ragas decides the jati of ragas. The
jatti of ragas can be categorized in to three sub divisions-
1. Odav Jati Ragas

32
2. Sadava Jati Ragas
3. Sampurna Jati Ragas
1. Odav Jati Ragas- The meaning of Odhav is 5 (Five). If five svara are used
in ragas than it is called Odhav Jatti Ragas. There are three categories in
Odav Jati ragas.
Odhav
Odhav- Odhav Odhav- Shadav Odhav- Sampurana
(A) Odhav- Odhav (B) Odhav- Shadav (C) Odhav- Sampurana
(A) Odhav- Odhav – If Raga has five Swara in ascending order and five in
descending order then jati of raga will be Odhav- Odhav.
(B) Odhav- Shadav-- If Raga has five Swara in ascending order and six in
descending order then jati of raga will be Odhav- Shadav.
(C) Odhav- Sampurana-- If Raga has five Swara in ascending order and all
in descending order then jati of raga will be Odhav- Sampurana.
2. Shadhav Jati Ragas- The meaning of Shadav is 6 (six). If six swara are
used in ragas than it is called Shadav Jati Ragas. Shadhav Jati Ragas also
have three categories.
Shadav
33
Shadav – Odhav Shadav – Shadav Shadav – Sampurana
(A) Shadav- Odhav (B) Shadav - Shadav (C) Shadav – Sampurana
(A) Shadav - Odhav – If Raga has six Swara in ascending order and five in
descending order then jati of raga will be Shadav - Odhav.
(B) Shadav - Shadav-- If Raga has six Swara in ascending order and six in
descending order then jati of raga will be Shadav - Shadav.
(C) Shadav - Sampurana-- If Raga has six Swara in ascending order and
all in descending order then jati of raga will be Shadav - Sampurana.
3. Sampuran Ragas- Sampuran is also the word of Sanskrit language which

means all. If all swara are used in ragas than it is called Sampurana Jati
Ragas. Sampurana Jati Ragas also have same three categories.
Sampurana
Sampurana – Odav Sampurana – Shadav Sampurana – Sampurana
(A) Sampurana- Odhav (B) Sampurana - Shadav (C) Sampurana – Sampurana
(A) Sampurana- Odhav- If Raga has all Swara in ascending order and five
in descending order then jati of raga will be Sampurana - Odhav.
34
(B) Sampurana - Shadav-- If Raga has all Swara in ascending order and
six in descending order then jati of raga will be Sampurana - Shadav.
(C) Sampurana - Sampurana-- If Raga has all Swara in ascending order

and same in descending order then jati of raga will be Sampurana - Sampurana.
The classifications of Jati of ragas are very important in modern time also. But
main thing in this catagories it is also to be noted here carefully that “SA”
(Shadaj) the fixed Swara of the octave or Thata can never be dropped one at a
time. SA swara is very important notes of any raga.
Introduction of Raga Yamana
35
Thata -- Kalyana
Vadi -- Ga (Gandhar)
Samvadi -- Ni (Nishad)
Jati --- Sampurna-Sampurna
Time --- Night (First Prahara)
Nearest Raga ---- Yamana kalayana, Shyama kalayana,
Notes Avoided --- None
Swara --- Ma Teevra
Ascent ---- Ni Re Ga Ma Pa Dha Ni SA
Descent --- SA Ni Dha Pa Ma Ga Re SA
Main phrase ---- Ni Re Ga Re Ga, Ni Re Sa, Re Ga Ma Pa Re,

Ni Re Sa.
Introduction – Raga Yamana is main representative of kalayana

group and directly comes from the kalyana thata. According to Hindustani raga
sangita Yamana raga is the creation of “Amir Khushro”. But some scholars
pretend it’s originally comes from Persia and the oldest name of yamana was
Amen. The word Amen is originated from Persian language. According to
Persian language the meaning of Amen is prosper. During mom dens period the
mom dens who transformed the Hebrew word “Amen” in to “Imana” but both
words (Amen and Imana) have same meaning prosper. The meaning of prosper is
kalayana and kalayana is the word of Sanskrit language so according to musical
epics kalayana is main representative raga as well as thata.
There is some controversy between raga yamana and kalayana. Some scholars
say that Yamana name comes from Karnataka raga Yamuna kalayana. According
to Hindu scriptures Yamuna was the sister of Lord Yamraj. Yamuna is the name
of Holy River also. In Hindustani music musicians deny this thing according to
them Yamana kalyana and yamana is different ragas. In yamana kalyana
36
musicians are using both Madhyama (Shudha Ma and Teevra Ma) but in Yamana
raga they are using only teevra Ma (Madhyama).
In modern era raga yamana is known as Imana also. Musicians

are using teevra madhyama in raga yamana and both Madhyama in raga yamana
kalyana so that’s way yamana kalayana is nearst raga of yamana but because of
Madhyama we can identify both ragas. According to time theory of music the
time of raga yamana is first part of night. Vadi swara in raga yamana is Ga
(Gandhara) and Samvadi swara is Ni (Nishad). In ascent and descent order there
are using Swara so that’s way the jati of this raga is Sampurna-Sampurna. But
there is some controversy about ascent and descent order. Some musicians are
starting ascent order with Ni (Nishad). For e.g. Ni Re Ga Ma Pa Dha Ni Sa. But
others musicians are starting ascent order with Sa (Shadaj) for e.g. Sa Re Ga Ma
pa Dha Ni Sa. Some musicians are avoiding Pa (Pancham) in ascent order.
According to there gharana musicians are using ascent and descent order.
Even after controversy this raga is very famous.

Musicians are using this raga in modern time also they are using this raga in
classical music, light music as well as filmy music. In classical music (Vocal &
Instrumental) raga Yamana is very detail raga. Lot of Maseetkhani gat & slow
compositions ( ), Razakhani, Fast compositions ( )
are there in this raga. Even this raga is very famous in filmy music as well as
light music. Lot of filmy songs are there in this raga.
Introduction of Raga Kafi
Thata -- Kafi
37
Vadi -- MA ((Madhayam)
Samvadi -- SA (Shadaj)
Jati --- Sampurna-Sampurna
Time --- Mid Night
Nearest Raga ---- Bhimplasi
Notes Avoided --- None
Swara --- Ga & Ni (Komal)
Ascent ---- SA RE GA MA PA DHA NI SA
Descent --- SA NI DHA PA MA GA RE SA
Main phrase --- SA RE GA MA PA, MA PA GA RE
Introduction – Raga Kafi is main representative raga of

kafi group and directly comes from the kafi thata. Musicians are using Ga and Ni
komal and rest of the swara are shudha. That’s way the jati of this raga is
sampurna – sumpurna. The nearest raga of kafi is Bhimplasi but in raga
Bhimplasi we are avoiding Re and Dha in ascent order but in Kafi raga we are
not avoiding any Swara we are using all swara in ascent order. Because of ascent
order we can make different between both ragas. According some musicians any
time we can sing as well as play this raga. But according to time theory of music
the particular time of this raga is mid night.
According to musicals scripture raga kafi is one of the

oldest and famous raga. This raga was very popular during mom duns period.
Some scholars pretend that mom duns has originated Kafi raga. They use this
raga very much during there festival. They sing hori during holi festival which
we are using modern time also.
38
In modern era still musicians are using Kafi raga. Some
artists are using both Ga (Shudha & Komal) in this raga. But they are calling
them Mishar Kafi. They are using this raga in classical music, light music as well
as filmy music. In classical music (Vocal & Instrumental) raga Kafi is very detail
raga. Lot of Maseetkhani gat, slow compositions ( ),
Razakhani, Fast compositions ( ) are there in this raga. Even this
raga is very famous in filmy music as well as light music. Lots of filmy songs are
there in this raga and artists are performing Dadra, Thumri, Hori in this raga.
Introduction of Raga Jounpuri
39
Thata -- Aswari
Vadi -- DHA (Dhavat)
Samvadi -- GA (Gandhar)
Jati --- Shadav-Sampurna
Time --- After noon
Nearest Raga ---- Asawari
Notes Avoided --- GA in ascent
Swara --- GA, DHA & NI (Komal)
Ascent ---- SA RE MA PA DHA NI SA
Descent --- SA NI DHA PA MA GA RE SA
Main phrase --- RE MA PA SA, DHA PA GA, RE MA PA
Introduction- Raga Jounpuri directly originated from

Asavari thata. Raga Jounpuri is not main representative raga of Asavari thata
but it comes in Asavari Group. Artist are avoiding Ga in ascent order and
using all Swara in decent order so that’s why the jati of this raga is Shadav-
Sampurana.
Musicians are using Ga Dha and Ni komal and rest of the Swara are shudha. The
nearest raga of raga Jounpuri is Asvari. Musicians are using same Swara in raga
Asvari and Jounpuri but they are avoiding Ni (Nishad) in ascent order and using
komal Re in raga komal rishabh Asvari. In Jounpuri raga instead of Ni (Nishad)
they are avoiding Ga (Gandhar). So because of ascent order we are able to make
different between both ragas.
But some scholars pretend that the King Husain Sharki

originated raga Jounpuri and sung this raga first time. He was one of the great
vocalist and king of Jounpur so that’s way the king kept the name of raga
Jounpuri on the behalf of his kingdom name Jounpur.
40
Musicians are using this raga in modern time also
they are using this raga in classical music, light music as well as filmy music. In
classical music (Vocal & Instrumental) raga this is detail raga. Lots of
Maseetkhani gat, slow compositions ( ) Razakhani, Fast
compositions ( ) are there in this raga. Even this raga is very
famous in filmy music as well as light music. Lots of filmy songs are there in this
raga.
Introduction of Raga Malkauns
41
Thata -- Bhairavi
Vadi -- MA (Madhayam)
Samvadi -- SA (Shadaj)
Swara --- Ga, Dha & Ni (Komal)
Notes Avoided --- Re (Rishabh) and Pa (pancham) both

In ascent and decent order
Jati --- Audav- Audav
Time --- Mid Night (Third part)
Nearest Raga ---- Chanderkauns & Bhairavi
Ascent ---- SA Ga Ma Dha Ni Sa
Descent --- SA Ni Dha Ma Ga Sa
Main phrase --- DHA NI SA MA, GA MA GA SA
Introduction- Raga Malkauns originated from Bhairavi

thata. This raga is not main representative raga of Bhairavi group. Musicians are
using Ga (Gandhar) Dha (Dhaivat) and Ni (Nishad) komal and rest of the Swara
are shudha. They are avoiding Re (Rishabh) and Pa (pancham) both in ascent and
decent order so that’s way they are keeping in raga in Audav- Audav jati.
According to time theory of ragas the time of this raga is Mid Night (third part).
The nearest raga of Malkauns is Chanderkauns. But in Chanderkauns raga
musicians are using shudha Ni (Nishad) and in Malkauns they are using komal
Ni (Nishad). According to scholars if we will use shudha Ni in raga Malkauns it
will become Chanderkauns raga itself so because of only Ni (Nishad) we can
make different between both raga. Some musical artiest believe that the other
nearest raga of Malkauns is Bhaiavi. It’s true that in raga Bhairavi musicians are
using Ga (Gandhar) Dha (Dhaivat) and Ni (Nishad) komal. But they are using
komal Re (Rishabh) in Bhairavi raga and shudha Re (Rishabh) in Malkauns. So
because of only Ni (Nishad) we can make different between both ragas.
42
According to musicals scripture it’s true that Malkauns
raga is the one of the oldest raga but raga Malkauns had lots of name. The oldest
name of this raga was Bhalkauns and some called Maalkans also.
But in modern era this raga is famous with the name of

Malkauns only. Musicians are using this raga in modern time also they are using
this raga in classical music, light music as well as filmy music. In classical music
(Vocal & Instrumental) raga Malkauns is very detail raga. Lot of Maseetkhani gat
& slow compositions ( ), Razakhani, Fast compositions (
) are there in this raga. Because we have to avoid Pa (Pancham) in ascent as well
as decent order so vocalist and instrumentalist are tuning their Pa (pancham)
string of instrument with Ma (Madhayam). Even this raga is very famous in filmy
music as well as light music. Lot of filmy songs are there in this raga.
Introduction of Raga Alhaiya Bilaval
Thata -- Bilaval
43
Vadi -- Dha (Dhavat)
Samvadi -- Ga (Gandhar)
Jati --- Shadav-Sampurna
Time --- Morning (First part)
Nearest Raga ---- Bilaval
Notes Avoided --- MA in ascent
Swara --- NI (Nishad) both (Shudha &Komal)
Ascent ---- SA RE GA PA DHA NI SA
Descent --- SA NI DHA NI DHA PA MA GA RE SA
Main phrase --- GA PA DHA NI, SA NI DHA NI DHA PA
Introduction – Raga Ahlaiya Bilaval is originated

from Bilaval thata but this raga is not main representative raga of Bilval group.
Musicians are avoiding Ma (Madhayam) in ascending order but using all swara in
descending order so that’s way the jati of raga Ahlaiya Bilaval is Shadav-
Sampurna. According to time theory of ragas the time of this raga is morning
(First part).
The nearest raga of Ahlaiya Bilaval is raga Bilaval. But

in Bilaval raga musicians are using shudha Ni (Nishad) and in Ahlaiya Bilaval
they are using both Ni (Nishad), (Shudha &Komal). According to scholars if we
will use both Ni (Nishad), (Shudha &Komal) raga Bilaval it will become raga
Ahlaiya Bilaval itself. Musicians are avoiding Ma (Madhayam) in ascending
order in both ragas. So because of with Ni (Nishad), (Shudha &Komal) we can
make different between both ragas.
It’s true that raga Ahliya Bilaval is very famous in

modern time. Because of popularity of this raga some people say that Ahilya
Bilval and Bilval is name of one raga. But it’s not true both are different ragas.
44
Instrumental) raga this is detail raga. Lots of Maseetkhani gat, slow compositions
( ) Razakhani gat, Fast compositions ( ) are
there in this raga. Even this raga is very famous in filmy music as well as light
music. Lots of filmy songs are there in this raga.
Introduction of Raga Des
Thata -- Khamaj
45
Vadi -- Re (Rishabh)
Samvadi -- Pa (Pancham)
Notes Avoided --- Ga (Gandhar) and Dha (Dhaivat) in ascent
Jati --- Audav-Sampurna
Time --- Mid night
Swara --- Ni (Nishad) both (Shudha in ascent & Komal in

Descent)
Ascent ---- SA RE MA PA NI SA
Descent --- SA Ni DHA PA MA GA RE SA
Main phrase --- RE MA PA NI DHA PA, MA GA RE GA NI SA
Introduction of raga Des: Des raga is derived

from Khamach thata. In this raga use of GA (Gandhar) and DHA (Dhaivat) while
ascending is not allowed so that’s way the jati of this raga is Audav-Sampurna.
Difference of opinion regarding the Vadi and Samvadi notes is still there. Some
are opinion of RE (Rishabh) and PA (Pancham) as its Vadi and Samvadi notes
and the others say PA (Pancham) and RE (Rishabh) its Vadi and Samvadi notes.
This raga is played at second part of night. Musicians are using Ni (Nishad) both
(Shudha in ascent & Komal in Descent) in this raga.
Instrumental) raga this is not a detail raga. So less of Maseetkhani gat, slow
compositions ( ) are there in this raga.but lot of Razakhani,
Fast compositions ( ) are there in this raga. Even this raga is very
46
famous in filmy music as well as light music. Lots of filmy songs are there in this
raga.
Composition in Raga ragas
Composition in Raga Yamana
47
Raga Yamana Maseet Khani Gat (slow composition) in Teen Taal
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Sthayi GAGA RE SASA NI RE
Bol of Mizrav DIR DA DIR DA RA
GA GA GA RERE GA MAMA PA MA GA RE SA
DA DA RA DIR DA DIR DA RA DA DA RA
Antara GAGA RE MAMA PA NI
SA SA SA SASA NI DHADHA PA MA GA RE SA
Raga Yamana Raza Khani Gat (Fast composition) in Teen Taal
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
48
Sthayi -- GA MAMA PA MA DHA PAPA MA GA NI RERE GA RE
Bol of Mizrav -- DA DIR DA RA DA DIR DA RA DA DIR DA RA
GA GAGA RE SA
DA DIR DA RA
Antara-- GA MAMA PA MA DHA NINI RE SA NI DHADHA PA MA
Bol of Mizrav -- DA DIR DA RA DA DIR DA RA DA DIR DA RA
GA GAGA RE SA
DA DIR DA RA
Raga Yamana Raza Khani Gat (Fast composition) in Teen Taal
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Sthayi NI RERE GA RE
49
Bol of Mizrav DA DIR DA RA
GA -- GA RE GA MAMA PAPA MAMA MA- GARE -RE SA
DA $ DA RA DA DIR DIR DIR DA$ RADA $RA DA
Antara MA PAPA DHA NI
Bol of Mizrav DA DIR DA RA
SA NINI DHA PA MA PAPA MAMA GAGA MA- GARE -RE SA
DA DIR DA RA DA DIR DIR DIE DA$ RADA $RA DA
Composition in Raga Kafi
Raga Kafi Maseet Khani Gat (slow composition) in Teen Taal
50
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Sthayi RERE GA RESA GA MA
PA PA PA PADHA NI NINI DHA MA GA RE SA
Antara RERE NI DHANI PA MA
DHA NI SA REGA RE NINI DHA MA GA RE SA
Raga Kafi Raza Khani Gat (Fast composition) in Teen Taal
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
51
Sthayi SA RERE GAGA RERE GA- GASA- SA RE
Bol of Mizrav DA DIR DIR DIR DA$ RADA $RA DA
PA -- MA PA GA- GARA- RE SA
DA $ DA RA DA$ RADA $RA DA
Antara PA PAPA MA GA DHA DHADHA NI SA
Bol of Mizrav DA DIR DA RA DA DIR DA RA
NI DHADHA NINI PAPA GA- GARA- RE SA
DA DIR DIR DIR DA$ RADA $RA DA
Composition in Raga Jounpuri
52
Raga Jounpuri Maseet Khani Gat (slow composition) (Teen Taal)
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Sthayi SASA RE MAMA PA NI
DHA DHA PA PAPA DHA MAMA NI PA GA RE SA
Antara MAMA GA PAPA DHA NI
SA SA SA SASA NI NIDHA NI PA GA RE SA
Raga Jounpuri Raza Khani Gat (Fast composition) in Teen Taal
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
53
Sthayi SANI RESA NISA DHANI DHA- DHAPA –MA PA
Bol of Mizrav DIR DIR DIR DIR DA$ RADA $RA DA
GA -- RE SA RE MAMA PA DHA
DA $ DA RA DA DIR DA RA
Antara MA PAPA DHANI RESA GA- GARE -RA SA
Bol of Mizrav DA DIR DIR DIR DA$ RADA $RA DA
NI DHAPA MA PA RE MAMA PA DHA
DA DIR DA RA DA DIR DA RA
Composition in Raga Alhaiya Bilawal
54
Raga Alhaiya Bilawal Maseet Khani Gat (slow composition) in Teen Taal
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Sthayi GARE GA PAPA DHA NI
SA SA SA SASA NI DHANI DHA PA GA RE SA
Antara GAGA MA PAPA DHA NI
SA GA RE SASA NI DHANI DHA PA GA RE SA
Raga Alhaiya Bilawal Raza Khani Gat (Fast composition) in Teen Taal
55
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Sthayi GAGA MAMA GA- GA,RE -RE SA PA PAPA DHA NI
Bol of Mizrav DIR DIR DA$ RA,DA $RA DA DA DIR DA RA
SA -- DHA NI DHA PA
DA $ DA RA DA RA
Antara DHA NI SASA RERE NINI SASA NI- NID,HA -DHA PA
Bol of Mizrav DA RA DIR DIR DIR DIR DA$ RA,DA $RA DA
SA -- DHA NI DHA PA
DA $ DA RA DA RA
Composition in Raga Malkauns
56
Raga Malkauns Maseet Khani Gat (slow composition) in Teen Taal
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Sthayi GAMA GA SASA DHA NI
SA MA MA GAGA MA DHANI DHA MA GA RE SA
Antara GAGA MA MAMA DHA NI
˚
SA SA SA NISA DHA NINI DHA MA GA RE SA
Raga Malkauns Raza Khani Gat (Fast composition) in Teen Taal
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
57
Sthayi GAGA MAMA GA- GA,NI -NI SA GA MAMA DHA NI
Bol of Mizrav DIR DIR DA$ RA,DA $RA DA DA DIR DA RA
SA -- DHA NI DHA MA
DA $ DA RA DA RA
Antara NI SA GAGA SASA NINI SASA DHA- NI,DHA –DHA MA
Bol of Mizrav DA RA DIR DIR DIR DIR DA$ RA,DA $RA DA
SA -- DHA NI DHA MA
DA $ DA RA DA RA
Composition in Raga Des
58
Raga Des Maseet Khani Gat (slow composition) in Teen Taal
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Sthayi NISA RE MAMA PA NI
SA SA SA SASA RE NINI DHA PA GA RE SA
Antara MAPA NI SASA RE RE
GA RE SA NINI DHA PAMA PA MA GA RE SA
Raga Des Raza Khani Gat (Fast composition) in Teen Taal
59
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Sthayi RE MAMA PAPA DHADHA MA PA NI NI
Bol of Mizrav DA DIR DIR DIR DA RA DA RA
SA -- DHA PA MA- GA,RE -RE SA
DA $ DA RA DA$ RA,DA $RA DA
Antara DHA MAMA PAPA NINI GA- GA,RE -RE SA
Bol of Mizrav DA DIR DIR DIR DA$ RA,DA $RA DA
SA NINI DHA PA MA- GA,RE -RE SA
DA DIR DA RA DA$ RA,DA $RA DA
TAAL
Tala is an important concept and play vital role in Hindustani music as well as
Karnataka music. In importance and evoluction, tala is at par with raga in music.
60
According to scholars, ragas and tala taken together, Go a long way in
distinguishing Indian music from other system of the world. In entire world there
are two major dimensions in music, the melodic and the rhythmic means ragas
and tala. Entire music is based on these two pillars.
The term tala is derived from the Sanskrit root word

Tal. According to Sanskrit language the meaning of Tal is base. Tala is providing
base to Indian music. Musicians can’t compose any thing without tala. In
performing arts tala plays a vital role. Tala gives proper base to singing, playing
instruments and dance.
According to others scholars Tala combination of

two words Ta + La. Ta means taandav dance, when Lord Shiva happy he use to
perform taandav dance and La means lasya dance, which means the dance that
was performed by Parvati, done with complete involvement. When Ta and La
come in close context with each other then originates the tala. According to
musical scripture when Shivji played his Damru, the sound that comes out is
called as tala. After that Lord Ganesha the son of Lord Shiva played tala first
time.
Tala, as an idea, is embedded in the concept of time

which of course has many varieties. For example clock time enables us to count
seconds, minutes and hours, refer to the past, present and future. Then we have
“psychological time” which seems to shorten hours of happiness and lengthen
minutes of sorrow, as it were. These two varieties of time are clearly beyond our
control. Further they in themselves do not have value or quality attached to them.
According to some scholars the meaning of Tal is

palms. So meaning of tala is to strike with plums. Early musicians easily are
imagined to have employed claps or palm strokes to mark time in dance, vocal
music as well instrumental music.
As the case of raga it is the creator, who takes decision

of bestowing quality of time by differentiating musical time for other two
varieties. Clock time can not be manipulated, a feature which distinguished it
from musical time because the musicians creates and manipulates his time and
gains control over it. Musician creates time by thinking out, imagining a
beginning to and a divided flow of time as the first step.
Scholars had given different definitions about Tala.

Here the definitions of tala which scholars had given.
61
According to Bharata, he wrote in “Natya Shastra” in third century that– Every
language needs grammar without grammar we can not speak any language like
the same way without tala we can not think about music. Tala is the grammar of
music. In music the measurement of time unit is called tala.
Tala gives base to vocal music, instrumental music and dance. In other words tala
gives proper arrangements to music. This definition of tala was given in “Sangeet
Ratnakar” by pandit Sharangdav.
Bhatkhande has defined tala in his book”lakshya Sangeet”—Tala is the

foundation of Indian classical music. Tala gives joy and happiness to the listener.
Every student of music has to take knowledge of taal. Without knowledge of taal
music students can not do any thing in music.
During modern time Theka is very important part of any Taal. It is also
compulsory to learn Theka of Taal for students of music. The meaning of Theka
is, tala is an abstract concept of aesthetically patterning time for the purpose of
providing rhythm in music. It is also known that each tala is given certain
syllables as its vocabulary, depending on the instrument it is played on. Keeping
the same fundamental pattern of time division it is, however, possible to
introduce minor but aesthetically satisfying variation with the help of sound-
syllables employed in the ‘language’ of rhythm instruments. These variations on
the original tala-s are known as theka-s. many melodic compositions can charm
only when certain theka-s are employed and discerning music lovers and artists
make it a point to note when such theka-s are employed.
Vilambit, Madhya and Drut Tempo: Generally, three kinds of tempo (Speed)
vilambit (slow), Madhya (medium) and drut (fast) are used according to
requirement. No rules are laid down for the order in which the tempo is to be
employed. However, the normal movement towards climax in most of the
presentation is form slow to fast. Further, no objective forms are followed in
quantifying the tempi. Tradition is delightfully vague on the issue! For example,
62
it tells us that the Madhya is twice the vilambit, and when one enquires about the
measures of Madhya, the answer is “half of the drut”! In another word, one has
the freedom to decide what one’s Madhya is, but once this is decided the other
two tempi are automatically fixed.
Tihai: It is very important part of Taal. Tihai is the word of Hindi language and
combination of two words “Tih + Ai” means which comes three times is called
Tihai. A very attractive, easily recognized and frequently used music-making
unit, the tihai is to consecutively employ a phrase, section or even larger
segments of melodic and rhythmic progressions three times. In Indian classical
music Tihai play very vital role during performance of performer.
Dadra Taal
Single bool of Dadra Taal

63
1 2 3 4 5 6
Dha Dhin Na Dha Tin Na
Double bool of Dadra Taal
1 2 3 4 5 6
Dha Dhin Na Dha Tin Na Dha Dhin Na Dha Tin Na
Triple bool of Dadra Taal
1 2 3 4 5 6
Dha Dhin Na Dha Tin Na Dha Dhin Na Dha Tin Na Dha Dhin Na Dha Tin Na
Introduction of Dadra Taal – There are six beats

in Dadra taal and two divisions ( ). Both divisions have same 3 beats.
st th
There are clap ( ) on 1 beat and 4 beat is blank ( ). In modern time
musicians are using Dadra taal in light music as well as in filmy music. Lot of
bhajan, gazal and filmy songs are there in this taal. Classical musicians are using
this taal for dhun and fast composition. Dadra is the name of singing type also.
64
But Dadra taal and Dadra singing are totally different. According to scholars
Dadra taal is very suitable for Dadra singing.
Rupak Taal
Single bool of Rupak Taal

65
1 2 3 4 5 6 7
Tin Tin Na Dhin Na Dhin Na
Double bool of Rupak Taal
1 2 3 4 5 6 7
Tin Tin Na Dhin Na Dhin Na Tin Tin Na Dhin Na Dhin Na
Triple bool of Rupak Taal
1 2 3 4 5 6 7
TinTinNa DhinNaDhin NaTinTin NaDhinNa DhinNaTin TinNaDhin NaDhinNa
Introduction of Rupak taal- There are seven beats

and three divisions in rupak taal. The 1st (first) division has three beats and 2nd
(second) and 3rd (third) divisions have two-two beats. There are claps ( ) on
th th st
4 (fourth) and 6 (sixth) beat and blank ( ) on 1 (first) beat.
66
During modern era musicians are using this
taal very much. They are using this taal in classical music, light music and filmy
music. In classical music they are composing dhun and first composition (
) Razakhani gat in this taal. In light music they are performing lot of gazal and
bhajan in this taal.
Rupak taal is very famous but difficult taal.

Rupak taal different taal from others taal. Because greenly others taal are having
clap ( ) on 1st (first) beat for e.g. teen taal, Ek taal, Dadra taal, Char taal ect.
But Rupak taal is having blank ( ) on 1st (First) beat. Instrumentalists are
giving there solo performances in Rupak taal and using tabla to give there
performances.
The similar taal of Rupak taal is Teevra taal.

Teevra taal is also having seven beats and three divisions and also having three
beats in 1st (first) division and two-two beats in 2nd (second ) and 3rd (third)
division.
Teen Taal
Single bool of Teen taal
67
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Dha Dhin Dhin Dha Dha Dhin Dhin Dha Dha Tin Tin Ta Ta Dhin Dhin Dha
Double bool of Teen taal
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Dhadhin Dhindha Dhadhin Dhindha Dhatin Tinta Tadhin Dhindha Dhadhin Dhindha Dhadhin Dhindha Dhatin Tinta Tadhin Dhindha
Introduction of Teen taal: Teen taal is the one of the

oldest taal and one of the basic taal in Indian classical music. There are 16
(sixteen) beats and four divisions in Teen taal. Every division has four beats.
There are claps ( ) on 1st (first) 5th (fifth) and 12th (twelfth) beats and
blank ( ) on 9th (ninth) beat.
In modern era musicians are using this taal very much.

They are using this taal in classical music, light music as well as filmy music. In
classical music (Vocal & Instrumental) Teen taal is very important taal. Lots of
Maseetkhani gat, slow compositions ( ) Razakhani gat, Fast
compositions ( ) are there in this taal. In light music lots of
thumri gazals and bhajans are there in this taal. Even lots of filmy songs are there
in this taal.
The second name of Teen taal is king taal.

According to scholars because we are using Teen taal very much in classical
music and Teen taal is basic taal in classical music so that’s way the second name
of this taal is king taal. In modern time Teen taal is very popular taal. Tabla
players are giving there solo performance in Teen taal even classical dancers are
using Teen taal frequently to give there dance performances.
68
The nearest taal of Teen taal is Tilwade taal.
Tilwada taal is also having 16 (sixteen) beats and four divisions and every
division has same four beats.
According to famous tabla player pandit Chottelal

Mishra the modern musician pandit Anokhelal Mishra was the magician of Teen
taal. Some musicians are using Teen taal in Karnataka music and using others
instruments to perform this taal.
Tilwada Taal
Single bool of Tilwada taal
69
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Dha Tirkit Dhin Dhin Dha Dha Tin Tin Ta Tikit Dhin Dhin Dha Dha Dhin Dhin
Double bool of Tilwada taal
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Dhatirkit Dhindhin Dhadha Tintin Tatikit Dhindhin Dhadha Dhindhin Dhatirkit Dhindhin Dhadha Tintin Tatikit Dhindhin Dhadha Dhindhin
Introduction of Tilwada taal: Tilwada taal is the one of

the oldest taal and one of the main taal in Indian classical music. There are 16
(sixteen) beats and four divisions in Teen taal. Every division has four beats.
There are claps ( ) on 1st (first) 5th (fifth) and 12th (twelfth) beats and
blank ( ) on 9th (ninth) beat.
In modern era the important thing of this taal is musicians

are using this taal very much in classical music only. In classical music (Vocal &
Instrumental) Teen taal is very important taal. Lots of Maseetkhani gat, slow
compositions ( ) as well as Razakhani gat, Fast compositions
( ) are there in this taal. Till date no filmy song has been
composed in this taal. Musicians are not using this taal In light music.
The nearest taal of this taal is Teen taal. Teen taal is also having 16 (sixteen)
beats and four divisions and every division has same four beats.
Japh taal
Single bol of Japh taal
70
1 2 3 4 5 6 7 8 9 10
Dhin Na Dhin Dhin Na Tin Na Dhin Dhin Na
Double bol of Japh taal
1 2 3 4 5 6 7 8 9 10
Dhinna Dhindhin Natin Nadhin Dhinna Dhinna Dhindhin Natin Nadhin Dhinna
Triple bol of Japh taal
1 2 3 4 5 6 7 8 9 10
Dhinnadhin dhinnatin Nadhindhin Nadhinna Dhindhinna Tinnadhin Dhinnadhin Nadhindhin Natinna Dhindhinna
Introduction of Japh taal— There are 10 (ten) beats in japh taal and four
divisions. 1st (first) division and 3rd (third) division have two-two beats and 2nd
(second) and 4th (fourth) divisions have three-three beats. There are claps ( )
st rd th th
on 1 (first), 3 (third) and 8 (eighth) beats and blank ( ) on 6 (Sixth)
beat.
The nearest taal of this taal is Sulfakta taal. Sulfakta taal

is also having 10 (ten) beats. But according to number of divisions both are
dissimilar. Japh taal is having 4 (Four) divisions but there are 5 (Five) divisions
in Sulfakta taal.
71
In modern era the important thing of this taal is that
musicians are using this taal very much in classical music only. In classical music
(Vocal & Instrumental) this taal is one of the famous taal. Lots of Maseetkhani
gat, slow compositions ( ) as well as Razakhani gat, Fast
compositions ( ) are there in this taal.
Keharva Taal
Single Bol of Keharva
72
1 2 3 4 5 6 7 8
Dha Ge Na Ti Na Ka Dhin Na
Double Bol of Keharva
1 2 3 4 5 6 7 8
Dhage Nati Naka Dhinna Dhage Nati Naka Dhinna
Triple Bol of Keharva
1 2 3 4 5 6 7 8
Dhagena Tinaka Dhinnadha Genati Nakadhin Nadhage Natinna Kadhinna
Introduction of Keharva Taal – There are 8 (Eight)

beats in Keharva taal and two divisions ( ). Both divisions have same 4
(Four) beats. There are clap ( ) on 1 (First) beat and 5th (Fifth) beat is blank
st
( ). In modern time musicians are using Keharva taal in light music as well
as in filmy music. Lot of bhajan, gazal and filmy songs are there in this taal.
Classical musicians are using this taal for dhun and fast composition.
73
According to scholars Keharva taal is very suitable for
folk music as well as Dhol and others rhythmic instruments.
Ek Taal
Single bol of Ek Taal
1 2 3 4 5 6 7 8 9 10 11 12
74
Dhin Dhin Dhage Tirkit Tu Na Kat TA Dhage Tirkit Dhin Na
Double bol of Ek Taal
1 2 3 4 5 6 7 8 9 10 11 12
Dhindhin Dhagetirkit Tuna Katta Dhagetirkit Dhinna Dhindhin Dhagetirkit Tuna Katta Dhagetirkit Dhinna
Introduction of Ek taal— There are 12 (Twelve) beats in Ek taal and six

divisions. Every division has same two-two beats. There are claps ( ) on 1st
(First), 5th (Fifth), 9th (Ninth) and 11th (Eleventh) beats and blank ( ) on 3 rd
(Third) and 7th (Seventh) beats.
The nearest taal of this taal is Char taal. Char taal is also
having 12 (Twelve) beats and six number of divisions. Both taal are having claps
and blanks on same number of beats.
In modern era the important

thing of this taal is that musicians are using this taal very much in classical music
only. In classical music (Vocal & Instrumental) this taal is one of the famous taal.
Lots of Maseetkhani gat, slow compositions ( ) as well as
Razakhani gat, Fast compositions ( ) are there in this taal.
Char Taal
Single bol of Char Taal
75
1 2 3 4 5 6 7 8 9 10 11 12
Dha Dha Dhin Ta Kit Dha Dhin Ta Tit Kat Gade Gan
Single bol of Char Taal
1 2 3 4 5 6 7 8 9 10 11 12
Dhadha Dhinta Kitdha Dhinta Titkat Gadegan Dhadha Dhinta Kitdha Dhinta Titkat Gadegan
Introduction of Char taal— There are 12 (Twelve) beats in Char taal and six
divisions. Every division has same two-two beats. There are claps ( ) on 1st
(First), 5th (Fifth), 9th (Ninth) and 11th (Eleventh) beats and blank ( ) on 3 rd
(Third) and 7th (Seventh) beats. The second name of this taal is Chau taal.
The nearest taal of Char taal is Ek taal. Ek taal is also

having 12 (Twelve) beats and six number of divisions. Both taal are having claps
and blanks on same number of beats.
In modern era the important thing of this taal is that

musicians are using this taal very much in classical music only. In classical music
(Vocal & Instrumental) this taal is one of the famous taal. Lots of Maseetkhani
gat, slow compositions ( ) as well as Razakhani gat, Fast
compositions ( ) are there in this taal.
Dhamar Taal
Single bol of Dhamar Taal
1 2 3 4 5 6 7 8 9 10 11 12 13 14
76
Ka Dhi Ta Dhi Ta Dha S Ga Ti Ta Ti Ta Taa S
Double bol of Dhamar Taal
1 2 3 4 5 6 7 8 9 10 11 12 13 14
Kadhi Tadhi Tadha Sga Tita Tita TaaS Kadhi Tadhi Tadha Sga Tita Tita TaaS
Triple bol of Dhamar Taal
1 2 3 4 5 6 7 8 9 10 11 12 13 14
Kadhita Dhitadha $gati Tatita TaaSka Dhitadhi Tadha$ Gatita Titataa $kadhi Tadhita Dha$ga Titati Tataa$
Introduction of Dhamar Taal— there are fourteen beats in and four divisions in
Dhamar taal. There are claps ( ) on 1st (First), 6th (sixth) and 11th (Eleventh)
beats and blank ( ) on 8th (Eight) beat.
Dhamar is the name of singing type also. But Dhamar taal and Dhamar singing
are totally different. This taal is use in only classical music. According to
scholars Dhamar taal is very suitable for Dhamar singing. Musicians are using
Tabla and Pakawach instruments for performing this taal. According to scholars
Dhamar taal is one of the oldest and difficult taal.
Dipchandi
Single bol of Dipchandi Taal
1 2 3 4 5 6 7 8 9 10 11 12 13 14
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Dhin Dhin $ Dha Ga Tin $ Ta Tin $ Dha Ga Dhin $
Double bol of Dipchandi Taal
1 2 3 4 5 6 7 8 9 10 11 12 13 14
DhinDhin $Dha GaTin $Ta Tin$ DhaGa Dhin$ DhinDhin $Dha GaTin $Ta Tin$ DhaGa Dhin$
Introduction of Dipchandi Taal- There are fourteen beats and four

divisions ( ) in this taal. There are claps ( ) on 1st (First), 4th (Fourth)
and 11th (Eleventh) beats and blank ( ) on 8th (Eight) beat. In this taal 1st
(First) and 3rd (Third) divisions have three – three beats and 2nd (Secound) and 4th
(Fourth) divisions have four – four beats.
In modern time musicians are using this taal in light music

as well as in filmy music. Lot of bhajan, gazal and filmy songs are there in this
taal. Classical musicians are using this taal for dhun and fast composition. This
taal is very famous in folk music.
According to scholars the nearest taal of Dipchandi is Zumra

taal. Both taal are having same numbers of beats and divisions but Zumra taal is
not popular like Dipchandi taal.
Comparison between Teen Taal and Tilwada Taal
Similarity between Teen Taal and Tilwada Taal
78
1. According to beats- Both taals are having 16 beats and 4 divisions
(vibhag) and every division has 4 beats so according to number of beats
both are same.
2. According to clap and blank- Both taals are having clap on same number
i.e. 1st, 5th and 13th beat and blank on 9th beat so according
to clap and blank both are same.
3. According to classical music- In modern time musicians are using both

taals in classical music. They are performing slow compositions as well as
fast compositions in both taals so according to classical music both are
same.
Dissimilarity between Teen taal and Tilwada taal
1. According to boal- It’s true that both taals are having same number of
beats and divisions, but both taals are having different boals in every
division, so according to boal both are different.
2. According to music- Its true that scholars are using both taal in classical
music but they are using teen taal in light composition as well as film
songs but till date no film song has been composed in tilwada taal so
according to music both are different.
3. According to slow & fast composition- Musicians are using slow as well as
fast composition in teen taal but in tilwada taal mostly they use slow
composition
Comparison between Ek taal and Char taal
Similarity between Ek Taal and Char Taal
79
1. According to beats- Both taals are having 12 beats and 6 number of
divisions (vibhag) and every division has 6 beats so according to number
of beats both are same.
2. According to clap and blank- Both taals are having clap on same number
i.e. 1st, 5th, 9th and 11th beat and blank on 3rd and 9th beats so according
to clap and blank both are same.
3. According to classical music- In modern time musicians are using both

taals in classical music. They are performing slow compositions as well as
fast compositions in both taals so according to classical music both are
same.
Dissimilarity between Ek Taal and Char Taal
1. According to boal- It’s true that both taals are having same number of
beats and divisions, but both taals are having different boals in every
division, so according to boal both are different.
2. According to music- Its true that scholars are using both taal in classical
music but they are using teen taal in light composition as well as film
songs but till date no film song has been composed in tilwada taal so
according to music both are different.
3. According to slow & fast composition- Musicians are using slow as well as
fast composition in Ek taal but in Char taal mostly they use fast
composition.
Comparison between Ek Taal and Japh Taal
Similarity between Ek Taal and Japh Taal
80
1. According to Instruments: musicians are using tabla instrument for
performing both taal so according to instrument both taal are same.
2. According to classical music: musicians are using both taal in classical

music. In classical music all the musicians are performing slow
compositions ( ) as well fast compositions ( ) , so
according to music both are same.
3. According to popularty: Its true that both taals are very old taal but in
modern era both taal are popular among the musicians. So according to
papularty both taals are same.
Dissimilarity between Ek Taal and Char Taal
1. According to beats: Ek taal is having twelve beats but Japh taal is having
ten beats even both taals are having different divisions. So according to
beats both are dissimilar.
2. According to divisions: Ek taal is having six number of divisions but Japh

taal is having four number of divisions so according to number of divisions
both are dissimilar.
3. According to claps and blanks: Ek taal is having clap on 1st, 5th, 9th and
11th beat and blank on 3rd and 9th beats but Japh taal is having claps on 1st
(first), 3rd (third) and 8th (eighth) beats and blank ( ) on 6th (Sixth)
beat. So according to claps and blanks bot are dissimilar.
4. According to bol: It’s true that musicans are using both taals are using in
classical music, but both taals are having different boals in every
division, so according to bol both are different.
Some Major Theoreticians and Their Contributions in Music
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Miyan Tansen
Born- 1506
Death-1589
There would be not any person in India who has not heard the name of
Tansen. It has passed nearly 750 years to his death but it seems that he died just
few days before.
The real name of Tansen was Tana Mishra and his father’s named was
Markand Pande. Some people called ‘Pande ji’ and ‘Mishra’. There are varied
views about the life duration of Tansen. Some critics rely his life duration from
1532 century to 1585century or 1589 century. But others think that Tansen lived
from 1540 to 1610 century. Some scholars pretend that Tansen lived from 1506
to 1589 century.
Achievements - Miyan Tansen, who was one of the nine jewels or navaratnas in
the court of Emperor Akbar, is regarded as the greatest of all musicians India has
ever produced till date. He has composed several ragas and is said to have played
a pivotal role in crating the classical genreofnorthIndianmusicweknowtoday.
Miyan Tansen, who was one of the nine jewels or navaratnas in the court of
Emperor Akbar, is regarded as the greatest of all musicians India has ever
produced till date. Normally referred to as just Tansen, he is said to have played a
pivotal role in crating the classical genre of north Indian music we know today.
Read on to know more about Tansen, who was born in a Hindu family at Behat
near Gwalior in the MadhyaPradesh state.
Makarand Pande, the father of Tansen, was a poet and had originally named his
son Ramtanu. Having an inclination towards music from childhood, this boy
started taking a musical training under the legendary Swami Haridas from the
Indian holy city of Brindavan and later became a singer in the court of King
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Ramchandra of Reva. From here, he was passed on to the court of Emperor
Akbar as a gift. And it was here that the life history of Miyan Tansen changed
forever.
The title Miyan was conferred upon Tansen by Emperor Akbar and he embraced
Islam at the hands of the great Sufi mystic Shaykh Muhammad Ghaus of
Gwalior, who acted as both his teacher and spiritual guide. Apart from his own
guru, Tansen is said to have no equal during his time. Infact his voice was so
melodious that it's often said to have created miracles while Tansen was singing.
For instance, Tansen could beckon the rains by Raga Megh Malhar and light up
fires with Raga Deepak.
The legendary Miyan Tansen is said to have composed numerous ragas, which
have continued to remain cornerstones in the Indian classical music repertoire
ever since. Some of them are Miyan ka Bhairav known today as Bhairav, Darbari
Todi, Darbari Kanada, Miyan ki Todi, Miyan ki Malhar, Miyan ki Mand, Miyan
ki Sarang and Rageshwari. Almost every gharana or school strives to trace its
origin to him, though some try to go further back to poet Amir Khusrau.
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Pandit Vishnu Narayan Bhatkhande
Pandit Vishnu Narayan Bhatkhande (August 10, 1860 – September 19, 1936) was
an Indian musicologist who wrote the first modern treatise on Hindustani
Classical Music (The north Indian variety of Indian classical music, an art which
had been propagated earlier for a few centuries mostly through oral traditions.
During those earlier times, the art had undergone several changes, rendering the
raga grammar documented in scant old texts outdated.
Ragas used to be classified into Raga (male), Ragini (female), and Putra
(children). Bhatkhande reclassified them into the currently used Thaat system. He
noted that several ragas did not conform to their description in ancient Sanskrit
texts. He explained the ragas in an easy-to-understand language and composed
several bandishes which explained the grammar of the ragas. He borrowed the
idea of lakshan geet from the Carnatic music scholar Venkatamakhin.
Vishnu Narayan Bhatkhande was born in 1860, into a Chittapawan Brahmin

family in Walkeshwar, Mumbai. He was educated at Elphinstone College in
Mumbai and Deccan College in Pune. He graduated with a degree in Law in
1885 and joined the legal profession in 1887. Later he served a short stint as a
lawyer in the High Court in Karachi.
During his college days, Bhatkhande began learning sitar playing from
Vallabhdas. He later learned vocal music from Raojiba, a Dhrupad singer. He
also trained in other aspects of classical music under Belbagkar, Ali Husain
Khan, and Vilayat Hussain Khan. He became a member of Gayan Uttejak
Mandali, a musical circle in Mumbai.
Career
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Research in music
Bhatkhande traveled throughout India, meeting with ustads and pandits, and
researching music. He began the study of ancient texts such as the Natya Shastra
and Sangeet Ratnakara.[2]
Music notations developed by Bhatkhande
After the death of his wife and his daughter, Bhatkhande abandoned his legal
practice and devoted the rest of his life to systematizing the prevailing forms of
Hindustani music and building on that system a coordinated theory and practice
of music. During his travels in India, he spent time in Baroda, Gwalior, and
Rampur; an unverified claim says he collected some works of Tansen. Ustads
like Mohammad Ali Khan, Asgar Ali Khan, and Ahmed Ali Khan of Jaipur gave
him more than 300 precious compositions of the Manarang Gharana.
Bhatkhande's first published work, Swar Malika, was a booklet containing

detailed descriptions of all prevalent ragas. In 1909, he published Shri
Mallakshaya Sangeetam, in Sanskrit, under the pseudonym 'Chatur-pandit'. To
make this cultural heritage accessible to the common man, he published
commentary on his own Sanskrit grantha in Marathi over a span of several years;
it was published over four volumes bearing the title: Hindustani Sangeet
Paddhati. These volumes form today the standard text on Hindustani music, an
indispensable starting point for any student of Hindustani Classical Music. His
disciple S N Ratanjankar, famous musician Shri Dilip Kumar Roy, Ratanjankar's
disciple K. G. Ginde, S.C.R.Bhatt, Ram Ashrey Jha 'Ramrang' and Sumati
Mutatkar are among the notable scholars who followed in the footsteps of
Bhatkhande. His notation system became standard and though later scholars like
Pt. V. D. Paluskar, Vinayak Narayan Patwardhan and Pt. Omkarnath Thakur
introduced their improved versions, it remained a publisher's favorite. It suffered
a setback with onset of desktop publishing, which found inserting marks above
and below Devanagari text cumbersome; as a result, books carrying compositions
yielded to theoretical texts. A recently developed notation system Ome Swarlipi
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follows the logical structure introduced by Pt. Bhatkhande but uses symbols
instead of Devanagari alphabets.
After travelling widely and having discussions with practitioners of various

schools, Bhatkhande arranged all the ragas of Hindustani classical music across
10 musical scales, called thaats. Though the thaats do not encompass all possible
ragas, they do cover the vast majority, and are a key contribution to Indian
musical theory. The thaat structure corresponds to the melakarta system of raga
arrangement in Carnatic music, the south Indian variety of Indian classical music.
Bhatkhande wrote all of his works under one of the two pseudonyms, Vishnu
Sharma and Chaturpandit. Bhatkhande started schools and colleges in India for
systematic teaching of Hindustani music. In 1916, he reorganized the Baroda
state music school, and later, with the help of the Maharaja of Gwalior,
established the Madhav Music College in Gwalior.
In 1926, Rai Umanath Bali and his nephew Dr. Rai Rajeshwar Bali, then
education minister of United Provinces established Maris College of Music in
Lucknow, Bhatkhande preparing the course material. The college is now renamed
Bhatkhande College of Hindustani Music, now known as Bhatkhande Music
Institute (Deemed University). Preparation of that course material was a
landmark achievement of Bhatkhande since musical knowledge used to be passed
on orally in earlier times from Gurus and Ustads to their disciples.
Bhatkhande prepared the Hindustani Sangeet Karmik Pustak Malika as a series of

textbooks. He also started the tradition of the All India Music Conferences to
provide a common platform for discussion between Hindustani and Carnatic
classical musicians.
Death
Bhatkhade suffered paralysis and a thigh fracture in 1933. He died in 1936 on

Ganesh Chaturthi day.
The Post and Telegraph Department of India paid homage to Bhatkhande by

releasing on September 1, 1961 a commemorative stamp containing his portrait.
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Pandit Vishnu Digambar Paluskar
Pandit Vishnu Digambar Paluskar (August 18, 1872 – August 21, 1931) was a
Hindustani musician. He sung the original version of the bhajan Raghupati
Raghava Raja Ram.
Early life and background
Vishnu Digambar Paluskar was born in Kurundwad, a small town falling under
the Deccan division of Bombay Presidency during British rule, presently in
Maharashtra. His father, Digambar Gopal Paluskar, was a singer of Kirtan—a
religious song.
He went to a local school in Kurundwad for primary education. But tragedy

struck Paluskar at an early age. During a Hindu festival called Datta Jayanti, a
fire-cracker burst near his face damaging both his eyes. Being a small town, there
was no immediate treatment available and Paluskar lost his eyesight.
The king of Miraj recognising the talent in the boy put him under the guidance of
Balakrishnabuwa Ichalkaranjikar, a learned musician. Paluskar trained under him
for 12 years till in 1896 the relations between the teacher and student became
strained.[1]
Career
After that Paluskar began touring the country and studied the musical traditions
in each part of Northern India. He went from place to place and visited many
royal families in cities like Baroda and Gwalior, well known for their patronage
of musicians. But he broke a long standing tradition of Indian music by giving a
public concert in Saurashtra and charging a nominal fee. Concerts by musicians
were always given in palaces or temples but never in public. He studied
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Brijbhasha, a dialect of Hindi, spoken at Mathura. He met Pandit Chandan
Chaube and learnt Dhrupad music from him. Paluskar reached Lahore in 1901
where he decided to settle down and establish a music school.
Gandharva Mahavidyalaya
On May 5, 1901 Paluskar founded the Gandharva Mahavidyala, a school to

impart formal training in Indian classical music. It was a school open to all and
one of the first music schools in India to run on public support and donations
rather than the patronage of the royalty. The school was a challenge to the
traditional teacher-student method of training music where a student lived under
the roof of the teacher. Many students from his early batches became respected
musicians and teachers in North India. This brought a change in the way people
looked at classical musicians. They started treating musicians with respect which
was not associated with the profession earlier.
In September 1908 Paluskar went to Bombay (now Mumbai) to establish another

branch of the school. As the work-load increased, Paluskar shifted the school
from Lahore to Bombay. To accommodate all the students, he took loans and
built a new building for the school and built hostels for the students. He worked
very hard and gave several concerts in public places but could not gather
sufficient funds to pay his debt. Finally, when he was on a concert tour in 1924,
his creditors attached his properties and auctioned off the school. This was a big
blow to Paluskar.
Political career
Paluskar came in contact with leaders of the Indian independence movement like
Lala Lajpat Rai, Lokmanya Tilak and Mahatma Gandhi. When Lala Lajpat Rai
was arrested in 1907 he sang a composition of the famous song Pagree Sambhal
Jatta. He used to attend the conventions of the Indian National Congress and sing
his own composition of Vande Mataram, the national song of India, in Raga Kafi.
Paluskar was a master of taking old religious songs and setting them into
classical tunes. Paluskar composed the tune of the devotional song Raghupati
Raghava Raja Ram. This was Mahatma Gandhi's favourite Bhajan and was sung
daily by the satyagrahis during the famous Dandi March. He also composed a
variation of the patriotic song Saare Jahan Se Achcha. Such was his fame that
when King George V came to India, Paluskar was asked to perform at the Royal
Garden of Lahore.
88
Famous Compositions
Pandit Vishnu Digambar Paluskar, the father of Indian Classical Music, is known
for uplifting Hindustani classical music, but is well known for singing the famous
hymn of the lord "Raghupati Raghava Raja Ram, Pateeta Pavan Seeta Ram".
He gave this hymn, to Mahatma Gandhi (Mohan Das Karamchand Gandhi) &
instructed him to spread the name of the lord, throughout the country, as the
lord's name only has the power of liberating the country (India). His hymn is still
sung throughout the world, with much fervor & respect, & is said to arouse
bhakti & true love for the lord.
Death and legacy
Paluskar died on August 21, 1931. On 21 July 1973, the Posts and Telegraph
Department, Government of India paid homage to Pandit Paluskar by releasing a
commemorative stamp. Today Paluskar is seen as the musician who brought
respect to the profession of classical musicians and took Hindustani classical
music out from the traditional Gharana system to the masses of India. He has
written a book on music called Sangeet Bal Prakash in three volumes, and also
written 18 volumes on ragas. His disciples like Vinayakrao Patwardhan,
Omkarnath Thakur, Narayanrao Vyas, Shankarrao Vyas, and B.R. Deodhar,
became renowned classical singers and teachers. His son Dattatraya Vishnu
Paluskar (D.V. Paluskar) was also trained in classical music and carried on the
mission of his father. In 2000, the India Today magazine named Pandit Paluskar
to be one of the 100 people who shaped India.
89
Introduction of Pt. Sharangdev’s creation ‘Sangeet Ratnakar”
Every North Indian Music student is more acquainted with the musical
scripture ‘sangeet Ratnakar’ than its creator Sharangdev. It is because this Granth
is considered to be the foundation of Indian music. Sharangdev was the
creator/writer of an ancient and famous Grantha ‘Sangeet Ratnakar’ is the crown
of available musical Ratnas.
At every step there is a reference of this Grantha. This grantha was created
almost seven hundred years ago in 13th century, while whole India used to follow
the same pattern in music and there was no division between North Indian music
and South Indian music. That is why it is known as base for both types of music.
It is well known that this Grantha has been written in Sanskrit language, so very
few people can understand it.
Nobody knows the exact date of birth of Sharangdev but it is sure that he
was born in beginning of thirteenth century. Some historians say that he was born
after the year 1210. His ancestors were Kashmiris who later on established in
Devgiri. His father Shri Sodhlal was a very intelligent, wise and soft natured who
was employed as an officer in the court of king Millabh. Even the king also
regarded Sharangdev so he was educated in the palace itself. Pt. ji worshipped all
gods, studied all the Shastras, revered the wise people, visited many placed learnt
lot of things and he wrote the Grantha ‘Sangeet Ratnakar’.
Contributions in Music
Pandit Sarngdeva has given various definitions in music.
According to Pandit Sarngdeva-: The sound witch comes immediately after the
Shruti and gives pleasure to the listener heart is called Swara. Ragas arise out of
Swara and Swara arise out of Shruti
According to Pt. Sharang Dev- Human hearts has 22 slanting veins. So that’s
why we have 22 Shrutis in number. Every Shruti has a link with these veins. This
means that these 22 Shruti are produced by these 22 veins. All swara based on
these 22 Shrutis according to Chatush-Chatush-Chav reles.
According to Pt. sarngdeva: - Nada is a sound on which the whole

world is based. He describes it as: Nada makes the letters of the alphabet. The
90
letters of the alphabet from words, and words creates sentence which is basic of
communication (Sound) and sound controls human behavior.
Secondly Nada is a way to reach the God. According to Sarngdeva if we will
worship of Nada God will worshiped.
According to Pt. Sarangdev the slow composition that is having 3-4 lines is called
dhrupad
According to pandit Sarngdeva which he described in Sangeet Ratanakar that -: A

specific arrangement of swara patterns is called Alankara
According to Pt. Sarangdev: Pt. sarangdev has defined varna in musical

scriptures ‘Natya Shastra’ that varna is the act of singing and is of four kinds:
1. Sthayi
2. Arohi
3. Avrohi
4. Sanchari
According to them Shuddha Tanas are those which have the same scale as
Shuddha Murchchanas.
Pandit Sarngdeva has defined Gamaka: the grace that please the mind of the
hearer is a Gamaka. In other way the quiver moments of Swara which gives
pleasure to the listener is called Gamaka.
According to Pt. Sharangdev, Gram is such a group of ‘Swara’ where

‘Murchhna’ is independently created. He has described three types of ‘Gram’ in
his book i.e. Shadaj Gram, Madhyam Gram, Gandhar Gram. But he specifically
mentioned that ‘Gandhar Gram’ is created by Gods and Goddesses so it is found
only in heaven.
Pandit Sharang Dev in his book “Sangeet Ratnakar” while describing Murchana
says that grama is that group of Swara which gives birth to Murchana.
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Pandit Ahobala
Introduction:
Pt. Ahobala was a resident of South India. His father’s name was Shri
Krishna who was an eminent Pandit of Sanskrit. After getting specialization in
Sanskrit and music Pt. Ahobala shifted to North India. He stayed in Dhanbad and
he was employed in the court of king Shahjhan. There he wrote a Granth
‘Sangeet Parijat’ in 1650. in the history of music this Granth has a very vital role.
He was the founder of ‘Shruti’ and he combined ‘Shruti’ with scientific
measures. ‘Sangeet parijat’ became so popular that it was translated in Persian
language in 1724 by Shri Deenanath and in Hindi language by Shri Kalinda in
1974 which was published by Sangeet Karyalya ‘Hathras’.
Contributions in Music
Pandit Ahobala has given various definitions in music.
According to Pandit Ahobal, “There are 22 shruti on seven Swara, based on

Chatush Chatush Chev rules. He decided seven shuddha Swara and five vikrit
Swara.
Shuddha Swara are –Sa, Re, Ga, Ma, Pa, Dha, Ne,
Vikrit Swara are – Re, Ga, Ma, Dha, Ne.
So according to Pt. Ahobal the total number of Swara are twelve with Shuddha
and Vikrit forms of Swara and he described the scientific relation between Swara
and Shruti.
According to Pandit Ahobal-: The sound which is audible is called Shruti.

According to history of Indian music, Ahobal was the founder of Shrutis. He
described the scientific relation between Svara and Shruti. According to him the
relation between Shruti and Svara is the same as that between as snake and his
kundali, where snake is to be considered as Svara and kundali as Shruti. He told
the whole world that there are 66 shrutis in one octave which can audible but
only 22Shrutis can be use in music.So he described 22 Shruti in numbers and
followed the Chatush-Chatush-Chav rules and whole old scholars were following
him.
During seventeen century according to thata, the

classification of ragas becomes popular. It is clearly depicted in the famous
scriptures of the contemporary time that is “Sangeet- Parijaat
92
During seventeen century in SANGEET PARIJAT by Pandit Ahobal has defined
raga as pleasant feeling which we obtain while playing and hearing Swara.
According to Pt. Ahobala: has clearly mentioned in Sangeet Parijat (name of

book) that song in which all description of swar is given is called varna.
Pandit Ahobal writes in ‘Sangeet Parijaat’ that a group of swaras is called

‘Gram’. He also agrees on three grams only. According to him, among three
grams ‘shadaj Gram’ is the best. Pandit Onkar Nath Thakur in his book ‘Pranav
Bharati’ mentions about only two grams. According to him also ‘gandhar gram’
has disappeared
According to Pandit Ahobal in “Sangeet Parijat”- when there is an ascending and

descending order of swara then occurs Murchana.
93

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Definition of Music

*The word ‘sangeet’ is made of the word ‘geet’ by adding a

* Swara Nidhi pg. 1

Definition of music according to different scholars

1. According to Shakespeare: *Every living thing has some feelings, and

2. According to Martin Luthar: **Music is not considered as a part of

3. According to Sangeet Darpan: ***It has been said in Sangeet Darpan

4. According to Pandit Sharangdev: ****Pandit Sharangdev has written in

* History of Indian music Ch-07

There will be no exaggeration to say that music is present in every

1. From religious point of view and Religious scriptures: *If we carefully

2. Role of nature in music: According to an African scholar Ifari, ** when

* History of Indian music by Dr. Sunita Sharma

* Sangeet Ratnakar Exolanation by Kallinath

In the development of music, ‘Vedas’ have played an important role. From

‘Atharva Veda’ and ‘Yajur Veda’ give us the knowledge of

Ramayana is an epic, which shows that what the real state

In the age of Mahabharata, was developed to its peak.

All the three arts i.e. Singing, Playing musical Instrument

It is too difficult to learn music of any kind only through

Definition of Swara- Any sound, which is vibrating continuously and is still on

Swara is a combination of two words sva+ra where

According to Pandit Ahobal: “There are 22 shruti on seven Swara, based on

Shuddha Swara: The second name of Shuddha Swara is Natural Swara.

According to Pt. Nikhil Banerjee Swara play a dominant role in

These four categories of swara Vadi, Samvadi, Anuvadi

SA, RE, GA, MA, PA, DHA, NI

Shudha Swara Chal Swara

Achal Swara Komal Swara Teevra Swara

According to Pt. Sharang Dev- Human hearts has 22 slanting

According to Kallinath-: When the sound breaks on the first

According to Mantanga Muni-: Just as milk gets transformed

According to Pandit Ahobal-: The sound which is audible is

According to old Scholers rule of distributions of Swara in Shrutis

According to Pt.Nikhil Banrege: The musical sound which is

According to other scholars Shrutis are successively higher

According to new Scholars rule of distributions 0f Swara in Shrutis

Entire scholars are following Chatush-Chatush-Chav rules for distributions of

Shrutis Name of Shrutis According to old scholers According to New scholers

According to Pt. sarngdeva: - Nada is a sound on which the whole

Secondly Nada is a way to reach the God. According to Sarngdeva if

Comparison between Nada and noise

During seventeen century according to thata, the

By the end of seventeen century controversy surfaced

Then “Pandit Vayankattmukhi” with the help of his

Modern musician late pandit Vishnunaryana Bhatkande had

According to pandit Vishnunaryana Bhatkande the

1. Thata must have seven swara in proper order of the scale.

Here the names of ten principal thata are given below:

Ten thata of Hindustani music with sing

Dissimilarity between Ragas and Thata

2. According to swara sequence – Thata have all seven swara in proper

3. According to ascending order --- There is no requirements for descending

4. According to performance – Musicians can’t perform thata. Its means we

8. According to notes avoid. According to musical scriptures we can’t avoid

First time, we had seen this word dhrupad in music

Upto 17 th century dhrupad was very popular among all

Dhrupad name is derived from the Sanskrit word

Dhrupad performance is the singing of slow

Dhrupad has four parts 1. Sthayi 2. Antra 3. Sanchari 4.

1. Sthayi: It means base or foundation. The word Sathayi is derived from

3. Abhog: It is the part which joins stahyi and antra.

‘Khayal has two types.