Syllabus Theory MadhyamaPratham

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Syllabus for practical Vocal and Theory Exams
Madhyama Pratham Syllabus

Total Points: 200, Minimum needed for passing: 70, Practical – Oral exam – 35 minutes : 125 points (minimum needed for passing : 44)
Theory – Written exam – 3 hours : 75 points (minimum needed for passing : 26) Only taanpuraa will be used for oral exams
Theory:
a. Know definitions of all terms from last two years. (Print ‘Syllabus and Theory’ file from Praveshika Pratham and Praveshikaa Poorna web sites).
b. Study following subjects:
1. Divide 22 shrutis in seven swar (modern opinion)
2. Connection of vaadi swar with raga.
3. Origin of sound
4. Vibrations
5. Definition of ‘Aandolan’.
6. ‘Aandolan’s width and its relation with naad’s chhota – badaa pan.
7. Length of a string and its relation to naad’s ‘uuncha – neechapan’.
8. Thaat (mel) and raga’s rules.
9. Thaat’s design in Hindustani classical music according to mathematics.
10. Ten thaats proposed by Pandit Bhatkhande.
11. Sandhiprakaash raga.
12. Classification of ragas based on number of swar (jaati)
13. Write detailed description of ragas studied so far and write their aalaap.
14. Clarify with examples: similarities and differences between ragas studied so far.
15. Types of taan: Saral (shuddha), Koota, Mishra, Sapaat, Vakra.
16. Describe clearly raga’s pakad, uthaav, chalan.
17. Write dugun and chougun of all dhrupads and dhamaars studied so far.
18. Full knowledge of Pandit Bhatkhande and Pandit Paluskar swarlipi (notation styles).
19. Learn to write any composition in both swarlipi (Paluskar and Bhatkhande).
c. Any three biographies with their life’s work and significant events in their lives:
1. Late Pandit Vishnu Narayan Bhatkhande
2. Taansen
3. Pandit Balkrushnabua Ichalkaranjikar
4. Pandit Pannaalaal Ghosh or Pandit Shivkumaar Sharmaa, Maseedkhaan, Rajaakhaan
d. Vocalist’s and instrumentalist’s virtues and merits and flaws
e. Study following definitions:
Anulom, Vilom, Meend, Gamak, Soot, Ghaseet, Jamjamaa, Murkee, Chhoot, types of instruments: Tat (with
strings), Vitat (no strings), Ghan (striking with hand or hammer), sushir (with holes).
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Practical:
a. Swaradnyaan (Knowledge of swar): Recognize Shuddha, Vikrut, Mishrit swar combinations and sign written notated
swar., Sing ‘Kanswar’, ‘Khatka’, ‘Murkee’, Use ‘Meend’, ‘Aalaap’ in aalaap, sing alankaar and use them in expansion of a
raga.
b. Ragadnyaan (Knowledge of raga):
1. One vilambit and one drut khyaal in following ragas: Learn to sing these ragas for 10 minutes.
1) Bhoopaalee, 2) Kalyaan, 3) Baageshree, 4) Bihaag
2. Learn to sing a madhyalay bandish in following ragas with aalaap taan for seven minutes.
Jaunpuri, Malkauns, Hameer, Patadeep, Tilang, Deskaar, Kaalingadaa
3. Have full knowledge of all above ragas.
4. From ragas in item number 2, learn to sing four extra compositions: one dhrupad, one dhamaar (with dugun
and chougun), one taraanaa, and one drut ektaal bandish.
5. Sing one Bhajan / lokgeet (folksong) or tune.
c. Taaldnyaan:
Jhumraa, Vilambit Ektaal, Tilvaadaa, Dhamaar, Sooltaal : Show thekaa with hand and show dugun
Study dugun, tigun and chougun of taal learnt earlier.
Exam format:
Following questions will be asked in oral exam. Total 35 minutes.
Questions Pts
Vilambit bandish in a raga with aalaap, taan 14
Vilambit bandishes in two more ragas with two aalaaps each 8+8
A bandish in medium tempo with aalaap taan in a new raga of this year 12
A medium tempo bandish with 5 taans in another raga 8
Dhrupad or Dhamaar in ‘thaah’ and chougun 15
Taraanaa or drut ektaal bandish 8
Upshastriya (semi classical) type of composition (Bhajan) 8
Thaah and Dugun for a taal from this year 4
Thaah and chougun for a taal from last years 6
Recognize ragas: two from this year and two from last years 8
Recognize swar 6
Bandish of a raga from past exams 4
Sing aalaap for two ragas from past exams 3+3
Read swar lipi (One line of four maatraas) 10
Total 125
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Chapter 1: Theory: Definitions: Explanation of technical words
1. Anulom – Vilom:
The act of going from lower ‘ s ’ to high ‘` ’ in sequence is called ‘Anulom’.
Example: In raga Malkauns: bsfmabs
‘Vilom’ is descending from high ‘` ’ (from taar saptak) to lower ‘Sa’ .
Example in raga Malkauns: sbamfs
2. Khatkaa: While singing a note in drut lay (fast tempo), touching a swar above or below is called ‘Khatkaa’.
Example: mmigrgi (Sing quickly)
3. Soot: Going from lower swar to higher swar or from higher swar to a lower swar in nasal meend.
4. Murkee: Quickly singing more than one swar is called ‘Murkee’.

Example: rsbsrsb or rsnsrsb
5. Uthaav: The swar that are used to start the ragas are called ‘Uthaav’ of that raga.
Example: Raga Kalyaan’s uthaav is: brg,rs,bfbrs
6. Chalan: A raga’s ‘chalan’ (usage, performance or behavior) generally depends on aaroha, avaroha and pakad. The raga is
performed by keeping in mind varjya swar, komal – teevra swar and vaadi – saunvaadi. Because of this fact, even though
Bhoopaalee and Deskaar have same swar, they are displayed as different ragas.
7. Chhoot: When you stay on one swar for a while, prolong it and then execute a taan, this act is called chhoot.
Example: siiii bdpm grsi
8. Aandolan: When you sing a swar with the help of swar behind or in front of it by moving it like a swing, it is called ‘aandolan gamak’.
Example: f
m m
f
m
f
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Chapter 2: General knowledge

1. Division of twenty two shruti in seven swar:
There are twenty two shruti that are useful for music. From these, twelve swar originate to make music. On designated shrutis, at
a specific distance, twelve swar are established. The shruti that is used in singing is called ‘swar’. Each raga uses different shruti.
The shruti that is used in a raga is called ‘swar’, the rest are called shruti. Between two swar, there is at least one shruti. Twenty
two shruti are divided into twelve swar according to following rule:
चतश्च
ु तश्च
ु तश्च
ु ैव षडजमध्यमपन्चम ाः द्वै द्वै निष दग न्ध रौ, नतस्तत ररषभधैवतौ
( Chatushchatushchatushchaiva shadjamadhyamapanchamaaha Dvai dvai ishadagaandhaarou, tisti rishabhadhaivatou )
That is: Sa - Ma - Pa have four shruti each, Re – Dha have three shruti each and Ga – Ni are allocated two shruti each. Ancient and
modern musicians establish swar on these twenty two shruti according to above rules in different ways.
a. Ancient opinion: According to ancient scholars, each swar will be established on the last shruti that is allocated to that
swar. Example: Shadja has four shruti, hence ancient scholars decided the Shadja swar will be on fourth shruti. Rishabh has
three shruti, so Rishabh swar will be positioned on seventh shruti. This way, twelve swar are placed on following shruti.
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
b. Modern Opinion: Modern scholars place each swar on the first shruti out of the shruti allocated to that swar.
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
The above swar’s Sanskrut names are: Shadja, Rishabh, Gaandhaar, Madhyam, Pancham, Dhaivat, and Nishaad. However, while
singing, the swar are pronounced as Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa.
2. Relationship of a Vaadi swar with raga:

Vaadi swar has the most important place in a raga. While improvising a raga, among the swar used in raga, vaadi swar is used most
often. Raga’s character depends on vaadi swar. Skilled singers use vaadi swar is many different ways. Vaadi swar can be at the
beginning or ending of a raga or vaadi swar can be used to perform ‘nyaas’.
Example: Raga Yaman’s vaadi swar is Gandhar. Hence it can be used as follows:
brg, rg, fbrg, br, bg, rkg, prg, rs
Raga’s designated time for singing can be realized by vaadi swar. As we know, ragas that have vaadi swar in poorvaang of
a saptak, have time of singing in a day’s ‘uttaraardha’ or after 12 AM (from midnight to noontime). Such as: Ragas Sohni, Bhairav,
Bilaaval, Jaunpuri, Aasaavaree, Kaalingadaa etc.
One of Raga’s special property is that changing vaadi swar changes a whole raag even though other swar in raga are
similar or same. Examples: Bhoopaalee and Deshkaar; Sohni – Marvaa etc.
By recognizing a vaadi swar in a cluster of swar from any raga, you can recognize a raga.
Example: Raga Malkauns: s, bs, m, gm, sgm, gm, dm, gmgs
In this cluster of swar, Ma is used often and there is nyaas on madhyam, hence we perceive that it is raga Malkauns.
From the above description, students can memorize following points:

1. Vaadi swar is the most important swar in a raga.
2. While developing the raga, vaadi swar is used in many more maatraas than other swar.
3. You can learn raga’s singing time in from vaadi swar.
4. Raga is changed when vaadi swar is changed.
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3. Sound’s (Dhvani’s) origin and vibrations
Everything we hear is a ‘sound’. When we are talking to someone, when two objects collide, water drips from a tap, child cries,
song is heard; all these noises are sounds. We like hearing some sounds and dislike hearing others. Music is related to pleasant
sounds we like to listen. Sound is created from vibrations. When we speak, sound’s vibrations are broadcasted into the air. This is
how we are can hear our conversations. Any two objects colliding, air pressure, blowing air or friction can create sounds. In musical
language, vibrations are called undulations. By thumping on a Tablaa or a percussion instrument, plucking on a string in a string
instrument like Sitaar or Sarod, rubbing a bow on strings of instruments like violin or dilruba; blowing air into shahnai, flute or
clarinet; Pushing air into the bellows of harmonium generates musical sounds. Naad’s (sound) vibrations can be measured
scientifically. When the number of undulations per second are small in a naad or sound, it is a low pitch or broad sound and when
the number of undulations are high per second, the naad or sound is high pitch or shrill.
There are two types of undulations: (a) Regular and irregular (Niyamit and Aniyamit);
(b) Steady and unsteady (Sthir and Asthir)
(a) Regular and irregular: When the number of undulations of a sound are same for every second, it is called a regular
undulation, and when the number of undulations keep changing for each second, it is called irregular undulation.
(b) Steady and unsteady: When the undulations stop in a short period of time, they are called unsteady undulations, while the
undulations that last for a long time are called steady undulations.
Sounds or naad that have regular and steady undulations are useful for making music. In music language, these sounds are
called ‘naad’.
4. Undulation’s width and small or big naad:

When a string is plucked with force, the undulation’s width is larger and the sound is heard loudly. If the string is plucked softly,
the width of undulations is smaller and the volume of sound is small. In both of these cases, the height or pitch of sound is same.
Hence the sound’s small or bigness does not depend on the number of undulations per second, but on the width of the
undulation.
5. String’s length and high or low sounds:

If a long and short string of same gage have same tension, long string will have lower pitch sound and short string will have higher
pitch sound. In long and short strings with equal tension, number of undulations per second for a long string will be lower than
that for a short string. Hence lower sound will be heard from a long string and higher pitch sound will some from short string. The
longer the length of a string, lower is the pitch of the sound emanating from it and vice versa (shorter the length of string, higher is
the pitch of sound). Example: In a Sitar, as the pitch of swar gets higher, the distance between slats gets shorter. Shorter the string,
higher is the number of undulations per second and higher is the pitch of swar. Same way, longer the string, lower is the number
of undulations per second and lower is the pitch of swar. Hence the relation of length of string and the number of undulations per
second is reversed.
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6. Thaat and raga rules

From twelve swar of a saptak, when each time only seven swar – ’srgmpdn’ are selected in a that order, this
construction of swar cluster is called ‘Mel or Thaat’. Thaat can have komal or teevra swar, however, each thaat always has all
seven swar in this order.
In a treatise ‘Lakshya Sangeet’, definition of mel or thaat is written this way:
मेल तवर समूहाः तय द्र र गव्यन्जि शक्तिम ि (Mel swar samohaha syaadraaraagvyanjan shaktiman)
This means – a cluster of swar that is able to create a raga is called ‘Mel or Thaat’.
Thaat has following characteristics or rules:
1. Thaat needs to have seven swar, as ragas with 5, 6, 7 swar can originate from thaat. Hence thaat cannot have less than seven
swar.
2. The sequence of swar is also important. Thaat has to have swar in straight order: ’srgmpdn’. Shuddha and
vikrut swar can be present. Example: In Kalyaan thaat madhyam is teevra ’srgkpdn’(Bhatkhade lipi) and
Bhairavee thaat has all komal swar ‘sefmpab’. (Paluskar lipi).
3. Thaat does not need to have both aaroha and avaroha because the swar for aaroha – avaroha in a thaat are identical and one
does not sing or perform a thaat.
4. Since thaat is not sung or performed, thaat does not need to have vaadi, saunvaadi, pakad, time for singing, aalaap, taan etc.
5. Thaat need not be entertaining.
Raga Rules:
A formation of cluster of swar that entertains and has specific aaroha, avaroha, pakad, vaadi, saunvaadi, time for singing is
called a ‘Raga’. Raga needs to have at least five swar.
According to an ancient book ‘Sangeet Ratnaakar’:
यो यं ध्वनिववशेषततु तवर वर्ण ववभूवषताः | रं जको जि चचत्त ि ं सर गाः कचितो बुधैाः ||
That is: Sound that is adorned by swar and ‘Varna’ and entertains people is called a ‘Raga’.
7. Construction of thaat in Hindustani Classical music based on mathematics

In late seventeenth century, a scholar called Pandit Vyankatmakhee in southern part of India wrote in a book ‘Prakaashikaa’ that according
to mathematics, from one saptak you can construct maximum 72 thaats. Major characteristics of a thaat are as follows:
1. Thaat should always be ‘Sampoorna’ since ragas with five, six or seven swar can originate from a thaat.
2. Thaat has to have swar in this order: srgmpdn , however, swar can be komal or teevra.
3. Two forms of same swar can be next to each other (Komal – Shuddha).
4. Every thaat needs to have same swar in aaroha and avaroha since it is not necessary for a thaat to have ‘avaroha’.
Special characteristics of Pandit Vyankatmakhee’s swar:
1. In both old and modern times, a saptak consists of twelve swar that include shuddha and vikrut swar.
2. For convenience, one swar is recognized by two names.
Examples:
a. ‘Chatuhshruti Re’ or Ga shuddha.
b. ‘Ga komal’ – Shatshruti Ga or ordinary Ga
c. Shuddha Ga – Antar Ga
d. Shuddha Dha – chatuhshruti Dha or Ni shuddha
e. Ni komal – shatshruti or Kaushik Ni
f. Ni shuddha – Ni kaakli
The only reason for naming the same swar with two different names is when a thaat has two forms of same swar (re), calling one form
of that swar by different name allows the thaat to have those swar without problem since a rule for forming a thaat says that a thaat
cannot have two forms of same swar.
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Example: Consider a thaat that has following swar ‘sergmpad’. From these swar, second Re will be called shuddha Ga and
second Dha will be called shuddha Ni. However, changing a name DOES NOT change the swar.
Now let us see Pandit Vyankatmakhee’s thaat construction:
Pandit Vyankatmakhee also believed that a saptak has twelve swar : s,er,fg,mk,p,ad,bn. For a moment remove
teevra madhyam from these and add a Sa from taar saptak: ‘s,er,fg,m,p,ad,bn,` ’. He divided this saptak with only
shuddha madhyam in two halves. First half is called poorvardha and second half is called uttarardha. Each thaat will have SaReGaMa from
poorvardha and PaDhaNiSa from uttarardha.
Poorvardha Uttarardha
(serfgm) (padbns)
(1) sefm pabs
(2) srfm pdbs
(3) segm pans
(4) srgm pdns
(5) serm pads
(6) sfgm pbns
Seven swar are needed to construct a thaat and they are required to be in this order: ‘srgmpdn’. Hence taking four swar
srgm in any form from poorvardha and pdns from uttarardha forms six thaats as shown. When you match each swar
combination from poorvardha with each swar combination in uttarardha, you construct 6 X 6 = 36 thaats. When you replace shuddha
madhyam from these 36 thaats with teevra madhyam, you acquire 36 more thaats.
Hence with this mathematical approach, there are 72 thaats in Karnaatik classical music (South Indian Classical music) according to Pandit
Vyankatmakhee.
32 Thaat in Hindustani Classical Music (North Indian Classical Music)

Note: In Hindsutani classical music (North Indian Classical Music), following mathematical approach is used and hence there are 32 thaats
with this approach in Hindustani Classical Music. In Hindustani Classical Music, each thaat is required to have all seven swar
‘ srgmpdn ‘ in this order. Two forms of same swar (shuddha and komal together) are not allowed in one thaat. When you add
taar saptak Sa, you can create two equal halves of a Saptak as shown. Consider all komal and shuddha notes and you can arrange the two
halves in a following manner. We will include teevra Madhyam later in the discussion.
Poorvardha (First half) Uttarardha (second half)

(serfgm) (padbns)
(1) srgm pdns
(2) segm pans
(3) srfm pdbs
(4) sefm pabs

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When we form a thaat, we take first half from Poorvardha column and second half from Uttarardha column to create one thaat. Each half
from first column has four choices from second column and hence four halves will form four thaats each. Thus, this combination will yield
sixteen thaats. Now when you replace shuddha madhyam with teevra madhyam in each thaat, you will create sixteen more thaats. Thus,
mathematically speaking, Hindustani classical music has thirty two thaats. Pandit Bhatkhande demonstrated that out of these, ten major
thaats should be used. They are as follows.
8. Ten thaats formed by Pandit Bhatkhande

According to north Indian classical music scholar Pandit Bhatkhande, there are ten major thaats. In modern times, Late Pandit
Bhatkhande promoted thaat – raga paddhati and tried to include most ragas in these ten thaats. This paddhati (method) is called janak
– janya paddhati. There are some exceptions to this method.
Ten thaat in Hindustani classical music :

1. Thaat with all shuddha swar - one - Bilaaval
2. Thaat with one vikrut swar - two - Kalyaan and Khamaaj
3. Thaat with two vikrut swar – three – Bhairav, Marvaa and Kaafee
4. Thaat with three vikrut swar – two – Poorvi and Aaasaavaree
5. Thaat with four vikrut swar – two – Bhairavee and Todi
Ten thaat with shuddha and vikrut swar are as follows:
1 Bilaaval srgmpdn All swar shuddha
2 Kalyaan srgkpdn One swar vikrut
3 Khamaaj srgmpdb One swar vikrut
4 Kaafee srfmpdb Two swar vikrut
5 Bhairav segmpan Two swar vikrut
6 Maarvaa segkpdn Two swar vikrut
7 Poorvee segkpan Three swar vikrut
8 Aasaavaree srfmpab Three swar vikrut
9 Bhairavee sefmpab Four swar vikrut
10 Todi sefkpan Four swar vikrut
9. Sandhiprakaash raga:
‘Sandhikaal’ (twilight time) of day and night is called ‘Sandhiprakaash’ (twilight or in between light). This ‘Sandhiprakaash’ arrives two
times in each twenty four hours. At the end of night, the sun rises in east and at the end of a day, the sun sets in the west. Both these
times are called ‘Sandhisamay’ or ‘Sandhiprakaash’. Raga that are performed at these two times are called ‘Sandhiprakaash’ raga. This
time period lasts one prahar. (Prahar is three hours). Morning ‘Sandhiprakaash’ is from 4 AM – 7 AM. Sandhiprakaash raga have Re and
Dha komal, but Ga is required to be shuddha. As an exception, Dha can be shuddha, but komal Re is absolutely necessary. Morning
sandhiprakaash raga mostly have shuddha madhyam and evening sandhiprakaash raga usually use teevra madhyam. Sandhiprakaash
raga always have Re (Re is never varjya in sandhiprakaash raga), since Re has a very important place in sandhiprakaash raga. The times
of sandhiprakaash include raga from Bhairav, Poorvee and Maarvaa thaat. During morning, following sandhiprakaash raga are
practiced: - from Bhairav thaat, – raga Kaalingadaa, Raamkali, Jogiyaa, Bhairav; from Poorvee thaat raga Paraj and from Maarvaa thaat
– raga Sohni, Lalit. In the evening, sandhiprakaash raga such as Poorvee, Puriyaa Dhanaashree, Shree, Maarvaa, Puriyaa etc. are
performed.
Special notes about sandhiprakaash raga:
1. ea komal and shuddha Gandhaar is essential.
2. In morning sandhiprakaash raga shuddha madhyam and in evening sandhiprakaash raga teevra madhyam are predominant.
3. Rishabh (Re) is never varjya.
4. Sandhiprakaash time arrives twice in each twenty four hour period.
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10. Jaati – Division of Raga based on number of swar
Raga’s jaati is based on the number of swar used in that raga. According to rules, raga needs to have at least five swar and at most
seven swar. From the number of swar present in a raga, there are three main ‘Jaati’ of a raga – Odav, Shaadav, Sampoorna.
Raga with five swar is said to have ‘Odav’ jaati, one with six swar ‘Shaadav’ jaati and raga with seven swar is called a ‘Sampoorna’
jaati raga. However, several ragas do not have same number of swar in aaroha and avaroha. Some ragas have five swar in aaroha and
seven in avaroha, or have six swar in aaroha and five in avaroha. Hence there are three main jaati (type) plus each main jaati has two
‘Upjaati’ (sub type); which makes total of nine jaati. They are listed below.
1 Odav – Odav Raga has five swar in aaroha and avaroha.

2 Odav – Shaadav Raga has five swar in aaroha and six swar in avaroha.
3 Odav – Sampoorna Raga has five swar in aaroha and seven swar in avaroha.
4 Shaadav – Odav Raga has six swar in aaroha and five swar in avaroha.
5 Shaadav - Shaadav Raga has six swar in aaroha and six swar in avaroha.
6 Shaadav – Sampoorna Raga has six swar in aaroha and seven swar in avaroha.
7 Sampoorna - Odav Raga has seven swar in aaroha and five swar in avaroha.
8 Sampoorna – Shaadav Raga has seven swar in aaroha and six swar in avaroha.
9 Sampoorna – Sampoorna Raga has seven swar in aaroha and seven swar in avaroha.
11. Types of taan:

From swar that belong to a particular raga, when a singer or instrumentalist sings or plays two, three, four or eight notes in one maatraa,
either with a fixed sequence or without any order or sequence, is called taan. Laya (tempo) for aalaap and taan are different. Aalaap are
performed in vilambit laya and taan in drut laya. There are different types of taan:-
1. Shuddha taan or Saral taan: (Basic or straight taan): This taan uses swar in aaroha – avaroha in that order.
2. Koot taan: (Complex taan) When the sequence or pattern of swar is not systematic, it is called ‘Koot taan’.
Example: ‘sg,rm,gp,rmgrs’.
3. Mishra taan: (Mixed taan): This taan is constructed by a mixture of aaroha and avaroha swar.
Example: ‘ srgmpmge, rg rm ge ges’.
4. Sapaat taan: (Flat taan): In this taan, swar from mandra to Madhya to taar saptak are used in a systematic ascending and
descending fashion. This is called ‘Sapaat taan’ or ‘aarohi – avarohi taan’.
Example: a sapaat taan from raga Kalyaan will be: ‘k dnrgk dnsrsndpkgrs‘.
5. Vakra taan: This taan is same as ‘Koot taan’. ‘Vakra’ is translated as curved or zigzag. Hence when a taan is not straight up and
down, but has lot of twists and turns, it is called ‘Vakra taan’.
12. Singer’s merits (virtues) and faults (flaws):

In a respected book ‘Sangeet Ratnaakar’, author Sharngadev described singer’s virtues and faults in a following manner:
Singer’s merits (virtues):
1. Rhudyashabdah: A singer with sweet, sonorous and tuneful voice.
2. Sushaareerah: Someone who can express the raga properly in a strong voice with a lot of energy.
3. Grahamoksha Vichakshanah: A singer who is skilled in starting and ending a song.
4. Raagraagaangabhaashaanga kriyaangopaanga kovidah: Knowledgeable about a raga’s different aspects like raagaanga, bhashaanga, kriyaanga etc.
5. Prabandha gaan nishnaatah: Expert in singing ‘Prabandha’.
6. Vividhaalaptitatvavit: Person who knows principles of developing raga like avirbhaav, tirobhaav.
7. Sarvasthaanotthagamakeshvanaayaasalsadgati: Effortlessly sings gamak that can originate from all places (mandra, madhya, taar saptak ) in a raga.
8. Aayaktakanthah: One who has mastery over his throat and voice.
9. Taaladnyah: Singer with excellent knowledge of taal.
10. Saavadhaanah: Sings timely compositions in appropriate manner.
11. Jitashramah: Singer with good stamina and can sing for a long time without getting tired.
12. Shudhachhaayaalagaabhidnyah: Understands difference between shuddha, chhaayaalag raagaas.
13. Sarvakaakuvisheshvid: knows difference between all kinds of ‘kaaku’.
14. Anekssthaayasanchaarah: Capable of singing many beautiful places in compositions.
15. Sarvadoshavivarjitah: Devoid of all kinds of faults.
10
16. Kriyaaparah: Someone who practices (riyaaz) regularly.
17. Yuktalayah: Sings in proper laya (tempo).
18. Sughatah: Having pleasant appearance and posture with healthy body.
19. Dhaaranaanvitah: Singer who is Intelligent and has good comprehension of music.
20. Sphoorjannirjavanah: Singing has no obstruction or hindrance.
21. Haarirahahkrudbhajanoddhurah: One who pleases the audience with his/her singing and passionately presents raag.
22. Susampradaayah: Someone who has acquired schooling from a good, highly traditional teacher.
Singer’s faults (flaws):

1. Sandashtah: Grinds teeth while singing.
2. Uddhushtah: Singing too loudly - shouting.
3. Sootkaaree: Singer who makes sucking noises (sss sss).
4. Bheetah: Be afraid or scared while performing.
5. Shankitah: Singing without serenity and much confidence; as if you have sing one way or other (singing in a hurry).
6. Kampitah: Singing in a shaky voice.
7. Karaaleeh: Singing with a very open mouth.
8. Vikalah: Singing off tune (using too many or too few shruti).
9. Kaakee: Singing in a dissonant or grating voice like a crow.
10. Vitaalah: Singing off beat.
11. Karabhah: Lifting neck high like a camel while singing.
12. Udbhatah: Making face like a goat.
13. Zombakah: Stretching veins when singing.
14. Tumbakeeh: Puffing face like a pumpkin.
15. Vakree: Twisting neck while singing.
16. Prasaaree: Stretch, extend or expand hands, feet and also compositions.
17. Vinimeelakah: Singing with closed eyes.
18. Vissah: Boring or tedious or uninteresting performer.
19. Apaswarah: Using varjit swar.
20. Avyaktah: Not pronouncing the words clearly and singing swar ambiguously or vaguely (making ‘gadgad’ sounds).
21. Sthaanabhrashtah: Voice does not reach three octaves.
22. Avyavasthitah: Ignoring rules of raag during improvising. Singing in disorganized haphazard manner.
23. Mishrakah: Mixing shuddha, chhaayaalag raagas or mixing many raagas.
24. Anavdhaanah: Not showing enough attention to sthaayi etc.
25. Saanunaasik: Nasal singing or emitting sur (swar or sounds) through nose.
13. Types of instruments:

From ancient times, several types of musical instruments were used in Bharat (India). In Ajanta, Ellora, Elephanta caves have sculptures of
various instruments. Raamaayan, Mahaabhaarat as well as Ved, Upanishads have descriptions of musical instruements. Lord Shanakar’s
favorite instrument is ‘Damaroo’, Goddess Saraswati plays the ‘Veena’, Naaradmuni likes ‘Taanpuraa’. At war time, Shankha, Dundubhee,
Ranabheri were used. For simplifying the studies, Indian musical instruments are divided into four main sections. In a book ‘Sangeet
Ratnaakar’, author ‘Sharngadev’ wrote:
“ Vaadyatantri tatam vaadyam supiramsushiram matam |

Charmaavanaddhavadanamavanaddham tu vaadyate |
Ghano murtih saa aa bhi ghaataadvaadyate, yatra taddhanam |” - Sangeet Ratnaakar
Four main types of musical instruments are:

Tata – Vitata, Sushira, Ghana and Avanaddha (Aanaddha or Charmavaad)
1. Tata – Vitata : Instruments with strings (Taant) are called ‘Tantu vaadya’ (Tata vaadya or string instruments) . Examples:
Tamburaa (Taanpuraa), Sitaar, Saarangee, Sarod, Santoor, Guitar, Violin, Veena etc.
There are two types of Tata vaadya.
11
a. Vaadya or instruments that are played by stroking or striking the string by a finger or hammer. Examples: Tambooraa
(Taanpuraa), Sitaar, Guitar, Veena are called ‘Tata Vaadya’.
b. The string instruments that are played with a bow are called ‘Vitata vaadya’. Examples: Violin, Saarangee, Raavanhattha etc.
2. Sushir Vaadya: In an musical instrument, when a sound is created by blowing air, inserting air or creating air pressure, those
instruments are called ‘Sushir vaadya’. Examples: Harmonium, Shahanaai, Clarinet, Baansuree (Flute), Bugle, Shankha (Conch shell)
etc. There are two types of ‘Sushir vaadya’.
a. Instruments that produce a musical sound by reeds (strip) – Harmonium, Shahanaai etc.
b. Creating sound by holes – Baansuri (flute), Shankha, Bugle etc.
3. Ghanavaadya: Instruments where sound originates from any wood or metal are called ‘Ghanavaadya’. Examples: Manjiraa,
Jhaanjha, Kartaal, Jaltarang, Kaashthatarang, Naltarang, Kaanchtarang etc. These instruments can be used for solo as well as
accompaniment performances.
4. Aanaddha or Avanaddha vaadya: Instruments made from draping stretched leather or skin on the instrument are called
Aanaddha or Avanaddha vaadya. Striking on the stretched leather or skin or pelt creates a sound. Examples: Tablaa, Pakhaavaj,
Mrudang, Dholak, Damroo, Daflee, Nagaadaa, Dhol, Drum etc. These are called ‘Taalvaadya’ or percussion instruments. They
produce only one swar. Hence these instruments mainly used for laya (tempo) rather than swar or tune. They are mostly used for
providing taal or percussion for vocal, instrumental or dance performances.
Tata – Vitata and Sushir vaadya are used as solo and accompaniment instruments. Ghana vaadya and avanaddha vaadya
are used for accompaniment. However, Tablaa, Pakhaavaj, Jaltarang can also be used for solo performances.
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Chapter 3: Information of raag
1. Raag Jaunpuri
Swar fab komal, other notes are shuddha or pure Varjya swar Gandhaar is varjya in aaroha, no swar is varjya in avaroha
Thaat Aasaavaree Jaati Shaadav Sampoorna
Vaadi Dhaivat (a)
Saunvaadi Gandhaar (f) Samay Second prahar of day
|
Pakad m p d b s ba p, m p mf r m
c c c c
| |
Aaroha s r m p bam, p a b s Avaroha s b a p, a m p r m, p f r s
c c c
(Some scholars believe Jaunpuri’s vaadi sauvaadi are Shadja and Pancham.)
Characteristics of Raag:
1. This is an “Uttaraanga pradhaan” raag
|
2. m p d b s & pa mp rm are main phrases of swar for this raag.
c c c c
3. Shadja, Pancham and Madhyam are nyaas swar.

| | |
4. In ‘aarohee chalan’ (ascending usage or expansion), m p d b s, m p a a s, mpaps
c c c c
following phrases are used.
5. In avaroha, Gandhaar occurs in a zigzag manner like this: ‘ mpf ‘. By using ‘mpf‘ and ‘rmpaap‘,
Aasaavaree raagaanga becomes clear.
s
6. In avaroha, Rishabh is usually used with Shadja as kanaswar: ‘ f rs ‘
7. This raag is considered to express ‘Karuna ras’ or pathos.
Swar vistaar (Swar Expansion)

. . . . . .
1. s, r b s, r b a p, p a s, r m p f r s
s
s r m p I, r m p a ap, a m p r m i
b b
2.
| | | |
3. r m p b a i p, a m, p a b s I, s a, p a s i m p a p s
c c c
| | | | | |
| |
4. p a s r mf r s, r b a p, m p a b s a p, a m p r m, r m p a m p f i sr s
c c c c c c c c c c c
Practically, Jaunpuri is just a different form of Raag Aasaavaree. Many scholars do not think there is much difference in these two raagas.
However, other scholars think it is necessary to differentiate between Jaunpuri and Aasaavaree. We will now compare these two raagas.
Comparison between Jaunpuri and Aasaavaree

Similarities:
1. Both raagas have fab komal and other notes are shuddha or pure
2. Thaat is Aasaavaree for both raagas.
|
3. Following swar are used in both raagas: m p a i s, m p a m p f rs s
4. Both raagas are ‘Uttranga pradhaan’ and time for singing is second prahar of day for both.
Differences:
1. Aasaavaree is a ‘Janak’ raag of thaat Aasaavaree or it is a main raga in thaat Aasaavaree, while Jaunpuri is a ‘Janya’ raag that
originates from thaat Aasaavaree.
2. Aasaavaree’s jaati is ‘Odav – Sampoorna’ since f and b are ‘varjit’ in aaroha. In raag Jaunpuri, only Gandhaar is varjya in
aaroha, hence Jaunpuri’s jaati is ‘Shaadav – Sampoorna’.
|
3. In Aasaavaree, you approach ‘Taar Shadja’ in this manner: m p a I, p a s
| | |
In Jaunpuri, singer moves towards taar shadja like this: m p a b s, m p a i a i s, m p aps
| |
4. In Aasaavaree’s avaroha, there is nyaas on Pancham : Examples: s b a p, sa p
| | |
Jaunpuri’s avaroha has nyaas on Pancham: Examples s b a p, s a p, r b a p
Jaunpuri can also have nyaas on Madhyam like this: p a m p r mi

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2. Raag Malkauns
Swar fab komal, other notes are shuddha or pure Varjya swar Rishabh, Pancham
Thaat Bhairavee Jaati Odav
Vaadi Madhyam (m)
Saunvaadi Shadja (s) Samay Midnight
. .
Pakad a b s m f, s f m f s
. | |
Aaroha b s f m ba b s Avaroha s b, a m, f m f s
1. This raag is effective is all three octaves.
2. This raag has serious disposition.
3. Since all swar are komal, this raag is included in Bhairavee thaat. In Bhairavee raaga’s expansion in uttaranga, often swar phrase
‘ fmabs s‘ is used. This is the reason Malkauns is thought to be generated from Bhairavee thaat instead of Aasaavaree thaat.
4. Shadja, Madhyam and Dhaivat are nyaas swar.
5. You can see Shadja – Madhyam interaction or dialogue element in this raag. You can derive pairs of swar like sm, fa, mb
from this dialogue element. Because of this dialogue element, this raag has considerable capacity for improvisation, expansion or
elaboration as well as beautiful swar phrases.
.
6. A specialty of ‘Kans’ ragaanga, b s f s is seen in this raag.

. . . . . . .
1. s ib f s, b s a I, m a b s, b f s
b s f m I, s f m I, f m a f m f s
2. cc c
| | |
3. s f m a i m, f m a i a, f m a b s a I, a b s i s
| | | | | | | | | | | |
4. s b f s, b s f, m f s, f f s b s a m, f m a f m f s
c c c c c c c
3. Raag Hameer
Swar Two madhyam, other notes are shuddha or pure Varjya swar None
Thaat Kalyaan Jaati Sampoorna
Vaadi Dhaivat
Saunvaadi Gandhaar Samay First prahar of night
Pakad g m ndndp, k p g m r s
| |
Aaroha s r g m nd n s Avaroha s n d p k p g m r s
Characteristics of Raag Hameer:

1. This is an “Uttaraanga pradhaan” raag.
2. This raag is vigorous in nature and is considered to have brave spirit. Raag is more effective in madhya or drut laya (medium or fast tempo).
3. Nyaas is performed on Shadja, Pancham and Dhaivat swar.
4. Even though both madhyam are used in this raag, shuddha madhyam is used more often as compared to teevra madhyam.
5. This is one of the raagas from ‘Kalyaan Panchak’ (five main raagas from Kalyaan thaat). ‘ dkp‘ and ‘ pdpps‘ phrases like Kalyaan raag are seen in
this raag. Also a phrase ‘ gmrs ‘ observed in most raagas from Kalyaan Panchak is also seen in Hameer.
| | |
6. Taar Shadja is approached in three ways: gmdn s pdkps kpdns

. . . . .
1. g m ndnd p, d k p g m r s, s r g m p i g m r s, s d i p d p p s, p g m r s
c c c c c c c c
| |
2. n n n n
s r g m p I, g m d d kp, k p d k p g m dI, s r g m dI, d n p, p d p p s s
n d
c c c c c c c c
| | | | | | | | | | | |
3. s i p d p p s, g m d n s i s, d n s r s I, s g m r s
c c c c
|
4. k p d n s n d n k p, g m nd p g m r s
c c c c
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4. Raag Patadeep
Swar Gandhaar Komal, other notes are shuddha or pure Varjya swar Rishabh and Dhaivat in aaroha, none in avaroha
Thaat Kaafee Jaati Odav Sampoorna
Vaadi Pancham (Pa)
Saunvaadi Shadja (Sa) Samay Afternoon or evening
.
Pakad s f m f r s n, s f r s
. | | .
Aaroha n s f m p n s Avaroha s n d p, m f r s n, s f r s
Characteristics of Raag Patadeep:

1. This raag is not from ancient raagas. Old books do not mention this raag. This raag was created by using shuddha nishaad in raag
Bheempalaasi. This is a modern raag.
2. This raag is an exception to Bhatkhande classification system (Bhatkhande vargikaran paddhati). Since it originates from raag Bheempalaasi,
it is considered to be from thaat Kaafee.
b3. This is an “Uttaraanga pradhaan” raag.
4. In aarohee chalan (expansion in aaroha), ‘ pns‘ and sometimes ‘ pndns‘ phrases are seen and in avarohee chalan, ‘sndp‘ and
‘ pnsdp ‘ are also used.
6. Shadja, Madhyam, Pancham and Nishaad are nyaas swar.

. . . .
1. n s mf r i s, p n s f r i s, n s f m, m f r i s
. . . .
2. n s f m p I, s m, f p, m d i p, d m p f I, m f r s n I, p n s mf r i s
| | | | | | |
3. f m p n s d i p, f m p n n I, p n s i s, n s f r s
| | | | |
4. p n s f r s, n i d n s d i p, f m p n i d n s d i p d m p f, m f r i s
c c c c c
Comparison between Patadeep and Bheempalaasi
Similarities:
1. Both raagas have komal Gandhaar
2. Both raagas are included in thaat Kaafee
3. In both raagas, nyaas is performed on Shadja, Pancham and Madhyam.
4. ‘Chalan’ (expansion style) is same in both raagas. For example: ), ’dpmfimfrs’ phrase is seen in both raagas.
5. The time for performing is afternoon or evening for both raagas.
Differences:
Bheempalaas is one of the ancient raagas, while Patadeep is a modern raag. General opinion is that, Patadeep was created by
1.
using shuddha Nishaad in Bheempalaas.
2. Bhempalaas’s vaadi and saunvaadi are Madhyam and Shadja and Patadeep’s vaadi is Pancham and saunvaadi is Shadja.
Since Bheempalaas’s vaadi is madhyam, it is a poorvaanga pradhaan raag. It is a serious nature raag. Patadeep’s vaadi is
3.
Pancham, hence it is an uttaraanga pradhaan raag. Patadeep’s character is playful.
Madhyam nyaas is very important in Bheempalaas. In Patadeep, there can be nyaas on Madhyam, however, pancham nyaas is
4.
more noticeable in Patadeep.
| | |
5. In Bheempalaas, aarohee chalan is always fmpb i s while pbs & pbdnsdip are also seen in Patadeep.
c c c
| | | |
6. In Bheempalaas, sbdp & r b d p are two avarohee chalan styles, while s n dp&pnsdip are the phrases used in Patadeep.
|
Patadeep does not use rndp

15
5. Raag Tilang
Two Nishad (Suddha n in Aaroha and Komal b in

Swar Varjya swar Rishabh and Dhaivat
avaroha), other notes are shuddha or pure
Thaat Khamaaj Jaati Odav
Vaadi Gandhaar (g)
Saunvaadi Nishaad (n) Samay Second prahar of night
Pakad g m p b p m g
. | |
Aaroha n s g m p n s Avaroha s b p m g, s
1. This is an “Uttaraanga pradhaan” raag.
2. This raag is often used in semi-classical music (Thumri, Daadraa etc.). It has playful character.
3. Shadja, Pancham, Gandhaar and Shuddha Nishaad are Tilang’s nyaas swar.
4. In aarohee chalan (expansion in aaroha), ‘ pns‘ and sometimes ‘ pndns‘ phrases are seen and in avarohee chalan, ‘sndp‘ and
‘ pnsdp ‘ are also used.
| | |
5. Sometimes as a vivaadi swar, only in taar saptak, Rishabh is used in this manner: pnsr s

. . . .
1. g m g s, b p n s, n s g m p g m gs
2. s g m p i p, g m p b i p, b p g m g I, g m p m gmgs
| | | | | | | | | |
3. g m p b i m p n I, n s b p, g m p n n I, p n s n s g s, p n s g m g s
c c c c c c
| | | | | |
4. p n s r s, n s r s b p, b p m g, g m p m g s
c c c c c c
. |
Some swar phrases used in raag Tilang, also appear in Raag Bihaag – Examples: n s g m p, gmpns gmg
However, komal Nishaad in Tilang and Teevra Madhyam in Bihaag bring out the differences in the two raagas.
gmgs : This swar phrase is performed by using meend from Ga to Sa.
In Bihaag, This phrase is performed by using Rishabh as ‘kana’ swar: g m g s r
Along with these differences in chalan, Bihaag and Tilang also have other differences such as thaat, jaati, character of raag.
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6. Raag Deskaar (Deskar)
Swar All notes are shuddha or pure Varjya swar Madhyam (m) and Nishaad (n)
Thaat Bilaaval Jaati Odav
Vaadi Dhaivat (d)
Saunvaadi Gandhaar (g) Samay Early morning
.
Pakad p d g p, g r s,rd s
| | | .
Aaroha s r g p, sd s Avaroha s d p,dg p, g r s rd s
1. This is an “Uttaraanga pradhaan” raag. It is an energetic raag and brave (fearless or daring) in character.
2. This raag has mobility or agility. This raag is enjoyable in madhya and drut laya and in performing taan.
3. Pancham, Dhaivat and taar Shadja are nyaas swar of this raag.
|
4. g p d p di & s d p d -- Nyaas on Dhaivat is done this way. Importance of Dhaivat is proven in this manner.
c c c c c c
pdgp
5. c
This swar phrase is used in this raag. ‘dg’ combination shows Bilaaval raagaang (Bilaaval side of this raag).

| | .
1. s
dsdp, p d g p, g p d p g rs, s rd s
.
2. s r g p I, g p d p d i p, p g s d s
r r
c c c c
| | | | | | | | | | | |
3. s r g p sd d sd d p, g p d s i d p d I, p d r s d p d I, g p sd d sd d s s , s rd s
c c c c c c
| | | | | |
4. p d s r g i r s, s i d p d I, p d g p, g p d p g rs
c c c c c c c c c c c
Comparison between Bhoopaalee and Deskaar
Similarities:
1. Both raagas have all shuddha swar.
2. In both raagas Madhyam and Nishaad are ‘Varjya’ or ‘Varjit’ (omitted or excluded).
3. Jaati is ‘Odav’ for both raagas.
Differences:
Since all swar are shuddha and use of swar phrases like ‘ dg p’ using ‘ dg ‘ combination similar to raag Bilaaval, Deskaar is
included in ‘Bilaaval thaat’. Raag Bhoop (or Bhoopaalee) also has all shuddha swar. However, Bhoop’s chalan (improvisation style)
1.
is very much like raag Kalyaan. Bhoop’s time for singing is first prahar of night, which is the time of raagas from Kalyaan thaat.
Hence Bhoop is classified as a raag that belongs to ‘Kalyaan thaat’.
2. Bhoop’s vaadi and saunvaadi are Gandhaar and Dhaivat; while raag Deskaar’s vaadi and saunvaadi are Dhaivat and Gandhaar.
3. Because of the above reason, Bhoop is poorvaanga pradhaan raag and Deskaar is uttaraanga pradhaan raag.
.
4. d i s r g i s r s g, g r p g - Performing nyaas on Gandhaar in this manner is an important part of raag Bhoop.
|
In raag Deskaar, nyaas is performed on Dhaivat: g p d p d, sdpd
. . .
g rsrd s
5. In Bhoop’s avaroha, Rishabh is emphasized this way: g r idds Deskaar ‘s avaroha uses Rishabh as a kanaswar (grace note)
. .
Bhoop is serious7.
natured raag. It is effective in aalaap and in vilambit laya (slow tempo). The swar phrase grdidis creates serious atmosphere in
raag Bhoop. Deskaar is a playful raag. It is enjoyable during Madhya or Drut laya performances and taan.
7. Time for singing raag Bhoop is the first prahar of night. Deskaar’s singing time is early morning.
17
7. Raag Kaalingadaa (Kalingada)
Swar e, a komal, All other notes are shuddha or pure Varjya swar None.
Thaat Bhairav Jaati Sampoorna
Vaadi Pancham (p)
Saunvaadi Shadja (s) Samay Last prahar of night. (early morning sandhiprakaash raag)
(Sandhiprakaash: Early morning or twilight glow of light)
Pakad a p, a m p, g m e g, m g e s
| |
Aaroha s e g m p, g m p a n s OR Avaroha snap,mpapmg,mge s OR

s e g m p a n ` ` na p mge s
1. This raag is performed mostly in Madhya or Taar saptak (middle or high octave).
2. Looking at swar, this raag is similar to raag Bhairav; however, there is a difference in the overall character or maeup of these two raagas. In
Bhairav, there are oscillations performed on Rishabh and Dhaivat. There are no such oscillations in Kaalingadaa.
3. Aarohee chalan (ascending improvisation) is straightforward in this raag. However, in avaroha, chalan is straight until Pancham and then the
notes are arranged in twisted fashion like this: “ pa mp gm eg “, followed by straight “ mges “
4. Nyaas on Nishaad is performed in this manner: ‘gmpani, napani’ and nyaas on Gandhaar is achieved this way: pa mp gm eg I .
5. Kaalingadaa is a playful raag. Compositions like Daadraa – Bhajan are sung in this raag. It is considered to be suitable for devotional compositions.

1. s i e g, e g m g I, m g es, s n a n s e g m g I, g m p m p, g m e g, m g e s
s
c c c c c c c c c c c c
2. s e g m p I, g m g p I, g m p a, p a, m p, g m e g i e g m g e s
c c c c c c c c c c c c
|
3. g m g m p, m p a, p a n a p I, g m p a n i a p, g m p a n I, n s
c c c c c c c c c c c c c c
| | | | | | | | | | | | | |
4. a n s e s, s e g m, e g, m g e s, s n a p, m p a p, m p, g m, e g, m g e s
c c c c c c
Raag Kalingadaa’s behaviour can be observed as different than Raag Bhairav based on chalan, nyaas swar, vaadi – sauvaadi, time.
Comparison between Raag Bhairav and Raag Kaalingadaa

Similarities:
1. Both raagas have ‘Bhairav Anga’ (Bhairav style or body), and have same swar.
2. Both raag have e, a komal and rest of the swar are shuddha.
3. Both raagas are Sampoorna raagas.
Differences:
1. Bhairav’s vaadi – saunvaadi are Dhaivat and Rishabh respectively and Kaalingadaa’s vaadi – saunvaadi are Pancham and Shadja.
Raag Bhairav is an early morning twilight raag, while Raag Kaalingadaa is presented after Raag Paraj, in last prahar of night.
2.
Bhairav is a ‘Janak’ raag (Main raag of Bhairav thaat, which gives rise to many other ‘janya’ raagas).
Main difference between Bhairav and Kaalingadaa is in their natures. In Bhairav, Rishabh and Dhaivat are both performed with
3. oscillations. Dhaivat has ‘kanaswar’ (grace note) of Nishaad and Rishabh has ‘kanaswar’ of Gandhaar or Madhyam. In
Kaalingadaa, Rishabh and Dhaivat go straight instead of oscillations.
Bhairav’s chalan (movement or expansion) is more straightforward than Kaalingadaa. Kaalingadaa’s swar arrangements tend to
4.
be little twisted.
5. There is no lingering (stopping and staying) on Gandhaar in Bhairav, as it will change its character and become Kaalingadaa.
In Kaalingadaa, following swar clusters are used again and again:
| | | | | |
6. p a p a m p m p a p m g, e s and ansensnsesnanap
7. Bhairav usually uses “ sgmp “ and Kaalingadaa tends to use simple “segmp “
8. Bhairav’s character is serious and Kaalingadaa favors devotional nature.
18
Taan: Raag Kaalingadaa
1. s e g g e s, s e g m p p m g e s, s e g m p a p m g p m g e s
|
s e g m p a n a p m g p m g e s, s e g m p a n s n a p m g p m g e s
|
2. g m p a p m g p m g e s, g m p a n s n a p m g p m g e s
| | | | | | | | | |
a n s e s n a p m p a p m g e s, s e g m g e s n d p m p m g e s
| | | | | | | | |
3. mapm - g p m g - e g es - s esn - ana p - eges - nesn - anap

| | | | | | | | | |
gmge - e g e s - n e sn - a nap - map m - gpmges
| | | | |
4. s e g s e g e s, g m p g m p g m, p a n p a n p a, n s e n s e s n
p a n p a n a p, m p a m p a p m, g p m g e s
| | |
5. pmge - a p m g - n a pm - e sna - sna p - napm - apmg - pmge - mges

19
Raaga Yaman (Kalyaan)
Introduction:
Swara: Madhyam is Teevra, All other swar are shuddha Thaat: Kalyaan
Vaadi: Gandhaar Saunvaadi: Nishaad
Varjya swaras: Pancham in aaroha Jaati: Sampoorna
Time: First prahar of night
. . .
Pakad n r n g, r, p k g, p
r g r , n r s
. |
Aaroha n r g k d n s
|
Avaroha s n d p k g r s
p
Characteristics of the raaga:

(1) This raag originates from Kalyaan thaat, and of course, it is the main raag in Thaat Kalyaan.
(2) In ancient books and compositions, the aaroha of this raag contains all seven notes:srgkpdns. However,
most often the raag begins with Nishaad.
(3) There are many combination pairs with Shadja – Pancham aspect in this raag, such as: r-d,
s-p, g-n, k –s. For this reason, this raag has a lot of interesting content for expansion and elaboration.
(4) Pa-Re combination is considered typical for Raag Kalyaan. Raag also uses NiReSa.
(5) In original raagas, this is a very popular raag.
(6) This raag is useful for khyaal singing (slow composition), but is also used extensively in light music and film songs.
(7) When shuddha madhyam is used in small quantities in avaroha, this raag becomes ‘Yaman Kalyaan’ or ‘Jaimini
Kalyaan’.
(8) While improvising or expanding, one can also use Pa-Sa aspect relation or combination. That is why some music
scholars consider this to be a ‘Sampoorna’ raag.
Raaga elaboration and expansion (Vistaar):

. . . . . . . .
1 s n r s, s n d p, k, d n i d s
.
2 n r g, g r k g, r g k p r s
c c c
. .
3 n r g, r g k, r g, g g p, p k g r, n r s
. . . .
4 n r g k, d i p, g k, d n n d p, p k g, g r, k g, p r,n d n r s
d
. | |
5 n r g k, d n, k d k, n d p, g k d n i d s, s n d n dp,p k g k, r g,r g kprs

c c c c
| | | | | | | .
6 n r g r g k, g k d n s
n s, d n r g r s, s n d p, k d n d p k, g pr n r s
c c c c c c c
20
Raaga Bhoopaalee
Introduction:
Swaras: All swar are shuddha (pure or basic) Thaat: Kalyaan
Vaadi: Gandhaar Saunvaadi: Dhaivat
Varjya swaras: Madhyam and Nishaad Jaati: Odav - Odav
Time: First prahar of night
.
Pakad g r p g, g r s
ds
| |
Aaroha s r g p
g s
d s
| . .
Avaroha s d p p
g r, s
d sd s

(1) All notes are pure in this raag, but it is considered to be originating from Kalyaan thaat and singing time is same as
raag Kalyaan.
(2) This is a ‘Poorvaang pradhaan’ (first half of aaroha is prominent) raag. Vaadi is Gandhaar.
(3) This raag has serious nature.
(4) With undulations on Dhaivat in mandra saptak, the character of this raag becomes clear. Dhaivat uses Sa for
kanaswar.
(5) While singing, swar in a firm or solid manner.
(6) Even though there are only five swar in this raag, lot of improvisation is easily possible while singing.
(7) There should never be any nyaas on Dhaivat in aaroha as follows:
sdp gp gd, srgpd, dgpd.
(8) Nyaas on Rishabh shows character of this raag clearly.
(9) This raag is performed mainly in mandra and madhya saptak.

. . . . .
1 s sdsd s, d s r, s r s s s
d sd s
c c c c
. . .
2 d s grgr g, g r p g, g p d p g r, d,d, s
c c c c
. | | | | | |
3 d s r g, s r g I, g p s
d sd, p g r, g p sdsd s, sd d, p gr,
| . .
gp d s d p g r, g r, p g, d p g r, d d s
c c c
| | | | | | | | | | | . .
4 sr g r g p g p d s
d s, d s r, s r g r, d sds,s d p g r, d ds
| | | | | | | | | | | | . .
5 s s d p g r, g p sdsd s, d s r g r, g r d s, s d p gr,g r p g,dpgr,dds
c c c c c c
21
Raaga Baageshree
Introduction:
Swaras: Gandhar Nishad Komal Thaat: Kaafee
Vaadi: Madhyam Saunvaadi: Shadja
Varjya swaras: Rishabh, Pancham in aaroha Jaati: Odav-Sampoorna
Time: Second prahar of night
. .
Pakad d b s m, f r m, m f r s
m
|
Aaroha s m
f m d b s
|
Avaroha s b d m p d m m
f r s
c

(1) This Raag originates from Kaafee thaat (Janya raag from Kafee Thaat), hence it uses komal Gandhar and Komal
Nishaad.
(2) In this raag, undulations are done while singing Gandhar and Nishaad.
(3) While singing Gandhaar, Madhyama ‘kanaswar’ (grace note) is used and for Nishaad, Dhaivat or Shadja is used as
‘kanaswar’.
(4) ‘Nyas’ is done on Gandhar in ‘poorvaang’ (first half of aaroha), and on Dhaivat in ‘uttaraang’ (second half of aaroha).
Examples for Gandhaar: smfmf, fmdmf, mpdmf
Examples for Dhaivat: sfmd, bdmfmd, mdsbbd, dbsbd
(5) Pancham is ‘varjya’ in aaroha of this raag. In avaroha, Pancham us used in a twisted fashion and in particular
combination of swaras.
(6) Even though Pancham is used much less than other swaras, it is an important swar in this raag, since the particular use
of Pancham brings out true characteristics of this raga.
(7) Rishabh swar is varjya or varjit in aaroha, however, sometimes it is used like this in aaroha:
rfmfrs.
(8) This raga has twisted combinations of swar in avaroha, but in straight or simple taan, sometimes Pancham is used in a
straight fashion like: sbdpmfrs.
Sometimes taan eliminates Pancham altogether like this: sbdmfrs
(9) Some music scholars start this raga with Nishaad.
(10) d–m combination is considered strong in this raga.

. . . . . . . .
1 s b b d, d b d s,d b s,mf r s
c c
. . . . . .
2 b s r b s b d, d b s m m f, s f m f r s
c c c c
3 s f m, f m d i m,m p d i m f, r f m f r s
|
4 b s f m d m, f m d b b d, m d b s b d, m p d m f rs
c c c
| | | | | | | | |
5 f m bdsbsb d s, d b s mf r s, r b sbd, m d b dm, m p d mf, r frfm f rs
c c c
22
Raag Bihaag
Swar Two Madhyam Varjya swar Rishabh and Dhaivat in aaroha
Thaat Bilaaval Jaati Odav – Sampoorna
Vaadi Gandhaar Samay Second prahar of night
Saunvaadi Nishaad Nyaas Pancham
. .
Pakad n s g m p, p kg m g, r n s
. | | .
Aaroha n s g m p n s Avaroha snd p k gmg, r n s

c c
1. Even though Bihaag has two Madhyam, it is included in Bilaaval thaat.
Older singers did not use teevra madhyam in a clear or pronounced manner. Instead they used it as a kana swar or grace
2.
note. Example: pi gmg
k
Rishabh, Dhaivat are varjya in aaroha, and even in avaroha, nyaas is not done on these notes. They are used in this manner:
3. n i d p, g i r s
c c
4. This raag starts with Mandra Nishaad.

5. Bihaag is said to be a raag with many ‘meend’.
6. Dhrupad singers do not use teevra Madhyam in Bihaag, khyaal singers on the other other hand, use both Madhyam.
7. Raag Bihaagdaa is the closest raag to raag Bihaag.
. . . . . . . .
1. snpnns,pnsrrsnnsgirs
cccccc
. .
2.
nsg,gmgp k gmg,rns
3. r
nsgmigp,gmpnndp,kg m gi s
. | ||
s
4. nsgm,gmpn nns,snidpkgmg,rs
c
. | | | |||| ||| |
5. nsgmpkgmpn,ns,pnsg,sgmgirsrnsnidp,dkpkgmgirs
ccccccccc c
23
Chapter 4: Taal
Taal : Information, Thekaa, Dugun, Tigun, Chougun:
Pnadit Bhatkhande and Pandit Paluskar Lipi
Praveshikaa Pratham Exam (Information and Thekaa only – Oral exam)

Daadraa, Keharvaa, Teentaal, Ektaal, Jhaptaal, Choutaal (Chaartaal)
Praveshikaa Poorna Exam: (Information, Thekaa and Dugun - Oral and written exams)
1. Recognize taal playing on tablaa.
2. Show Thaah and Dugun laya (single and double tempo) with hand while reciting numbers or bol (taal words).
3. Show dugun of Vilambit Ektaal, Choutaal, Dhamaar, Roopak and Teentaal with hand while reciting bol (taal words).
(Dhamaar, Roopak, Daadraa, Keharvaa, Teentaal, Ektaal, Jhaptaal, Choutaal)
Madhyamaa Pratham Exam:

1. Show with hand while reciting bol:
Jhoomraa, Vilambit Ektaal, Tilvaadaa, Dhamaar, Sooltaal (Information, Thekaa and Dugun - Oral and written exams)
2. Show with hand while reciting bol : Dugun, Tigun, Chougun of taal studied earlier.
Roopak, Daadraa, Keharvaa, Teentaal, Jhaptaal, Choutaal (Information, Thekaa, Dugun, Tigun, Chougun - Oral and written exams)
Madhyamaa Poorna Exam:

1. Say and show Dugun of Roopak, Deepchandi, Choutaal
2. Ability to say 2 into 3 OR 3 into 2 with help of numbers, or, convert any one taal into other taal.
Information, and identify when a taal is playing on Tablaa.
Learn to say and show Dugun, Tigun, Chougun for all Taal from previous years.
24
Praveshikaa Pratham
Taal Daadraa: Dhaa Dhee Naa Dhaa Tee Naa Taal Kervaa: Dhaa Ge Naa Tee Na Ka Dhi Na
Maatraa (Beats): 6, Vibhaag or Khanda (sections) : 2 (3,3) Maatraa (Beats): 8, Khanda (sections) : 2 (4, 4)
Taalee: 1 (on 1st beat or Maatraa) Taalee: 1 (on 1st beat or Maatraa)
Khaalee or Kaal: 1 (on 4th Beat or Maatraa) Khaalee or Kaal: 1 (on 5th Beat or Maatraa)
Taal Teentaal Taal Ektaal
Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa
Maatraa (Beats): 16, Vibhaag or Khanda (sections) : 4 (4, 4, 4, 4) Maatraa (Beats): 12
Taalee: 3 (on 1, 5, 13 beat or Maatraa) Vibhaag or Khanda (sections) : 6 (2, 2, 2, 2, 2, 2)
Khaalee or Kaal: 1 (on 9th Beat or Maatraa) Taalee: 4 (on 1, 5, 9, 11th beat or Maatraa)
Khaalee or Kaal: 2 (on 3rd and 7th Beat or Maatraa)
Taal Jhaptaal: Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Taal Choutaal – Chaartaal
Maatraa (Beats): 10, Vibhaag or Khanda (sections) : 4 (2, 3, 2, 3) Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana
Taalee: 3 (on 1, 3, 8 beat or Maatraa) Maatraa (Beats): 12

Vibhaag or Khanda (sections) : 6 (2, 2, 2, 2, 2, 2)
Khaalee or Kaal: 1 (on 6th Beat or Maatraa)
Taalee: 4 (on 1, 5, 9, 11th beat or Maatraa)
Praveshikaa Poorna
Taal Dhamaar Taal Roopak

Kat Dhi Ta Dhi Ta Dha I Ga Ti Ta Ti Ta Taa I Tee Tee Naa Dhi Naa Dhi Naa Tee
Maatraa (Beats): 14, Vibhaag or Khanda (sections) : 4 (5, 2, 3, 4) Maatraa (Beats): 7, Vibhaag or Khanda (sections) : 3 (3, 2, 2)
Taalee: 3 (on 1, 6, 11 beat or Maatraa) Taalee: 2 (on 4th and 6th beat or Maatraa)
Khaalee or Kaal: 1 (on 8th Beat or Maatraa) Khaalee or Kaal: 1 (on 1st Beat or Maatraa)
Madhyamaa Pratham
Taal Jhoomraa Taal Tilvaadaa

Dhin I Dhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin I Taa Tirakita Dhin Dhin DhaaGe Tirakita Dhaa Tirakita Dhin Dhin Dhaa Dhaa Tin Tin Taa Tirakita Dhin Dhin Dhaa Dhaa Dhin Dhin
Maatraa (Beats): 14, Vibhaag or Khanda (sections) : 4 (3, 4, 3, 4) Maatraa (Beats): 16, Vibhaag or Khanda (sections) : 4 (4, 4, 4, 4)
Taalee: 3 (on 1, 4, 11 beat or Maatraa) Taalee: 3 (on 1, 5, 13 beat or Maatraa)
Khaalee or Kaal: 1 (on 8th Beat or Maatraa) Khaalee or Kaal: 1 (on 9th Beat or Maatraa)
Taal Sooltaal
Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee
Maatraa (Beats): 10, Vibhaag or Khanda (sections) : 5 (2, 2, 2, 2, 2)
Taalee: 3 (on 1, 5, 7th beat or Maatraa)
Madhyamaa Poorna
Taal Deepchandi Taal Aadaa Choutaal Maatraa (Beats): 14,

Dhaa Dheen i Dhaa Dhaa Teeni Taa TeeniDhaa Dhaa Dheeni Dheen Tirakita Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa
Maatraa (Beats): 14, Vibhaag or Khanda (sections) : 4 (3, 4, 3, 4) Vibhaag or Khanda (sections) : 7 (2,2,2,2,2,2,2)
Taalee: 3 (on 1, 4, 11 beat or Maatraa) Taalee: 4 (on 1, 3, 7, 11 beat or Maatraa)
Khaalee or Kaal: 1 (on 8th Beat or Maatraa) Khaalee or Kaal: 3 (on 5th, 9th, 13th Beat or Maatraa)
Taal Teevraa Dhaa Din Taa Kita Taka Gadee Gana
Maatraa (Beats): 7, Vibhaag or Khanda (sections) : 3 (3, 2, 2)

Taalee: 3 (on 1st, 4th and 6th beat or Maatraa)
Khaalee or Kaal: There is no khaalee
25
ताल दादरा Taal Daadraa
म त्र : 6, ववभ ग (खंड) – 2 (3, 3), Maatraa (Beats): 6, Vibhaag or Khanda (sections) : 2 (3,3)
त ली : 1 (पहली म त्र पर), Taalee: 1 (on 1st beat or Maatraa)
ख ली : 1 (चौिी म त्र पर) Khaalee or Kaal: 1 (on 4th Beat or Maatraa)
भातखंडे ताल – ललपी Pandit Bhatkhade Taal – Lipi (Taal script)
ठे का ध चध ि ध ती ि ध
Thekaa Dhaa Dhee Naa Dhaa Tee Naa Dhaa
X O X
दग
ु न
ु ध चध ि ध ती ि ध चध ि ध ती ि ध
DhaaDhi NaaDhaa TeeNaa DhaaDhi NaaDhaa TeeNaa Dhaa
Dugun
(Double X O X
speed)
Dugun – Single cycle

दग
ु ुन ध चध ि ध चध ि ध ती ि ध
Dugun Dhaa Dhee Naa DhaaDhi NaaDhaa TeeNaa Dhaa
(Double X O X
speed)
ततगुन ध चध ि ध ती ि ध चध ि ध ती ि ध चध ि ध ती ि ध
DhaaDhiNaa DhaaTeeNaa DhaaDhiNaa DhaaTeeNaa DhaaDhiNaa DhaaTeeNaa Dhaa
Tigun
(Triple X O X
speed)
Tigun – Single Cycle

ततगन
ु ध चध ि ध ध चध ि ध ती ि ध
Tigun Dhaa Dhee Naa Dhaa DhaaDhiNaa DhaaTeeNaa Dhaa

(Triple X O X
speed)
चौगन
ु ध चध ि ध ती ि ध चध ि ध ती ि ध चध ि ध ती ि ध चध ि ध ती ि ध
DhaaDhiNaaDhaa TeeNaaDhaaDhi NaaDhaaTeeNaa DhaaDhiNaaDhaa TeeNaaDhaaDhi NaaDhaaTeeNaa Dhaa
Chougun
(Quadruple X O X
speed)
Chougun – Single Cycle
चौगुन ध चध ि ध - - ध चध ि ध ती ि ध
Dhaa Dhee Naa Dhaa - - Dhaa Dhi NaaDhaaTeeNaa Dhaa
Chougun
(Quadruple X O X
speed)
26
पलुस्कर ताल – ललपी Pandit Paluskar Taal – Lipi (Taal script)
ठे का ध चध ि ध ती ि ध
Dhaa Dhi Naa Dhaa Tee Naa Dhaa
Thekaa z z z z z z Z
1 + 1
दग
ु ुन ध चध ि ध ती ि ध चध ि ध ती ि ध
DhaaDhi NaaDhaa TeeNaa DhaaDhi NaaDhaa TeeNaa Dhaa
Dugun Xx Xx Xx Xx Xx Xx z
1 + 1

दग
ु न
ु ध चध ि ध चध ि ध ती ि ध
Dhaa Dhi Naa DhaaDhi NaaDhaa TeeNaa Dhaa
Dugun z z z Xx Xx Xx z
1 + 1
ततगुन ध चध ि ध ती ि ध चध ि ध ती ि ध चध ि ध ती ि ध
DhaaDhiNaa DhaaTeeNaa DhaaDhiNaa DhaaTeeNaa DhaaDhiNaa DhaaTeeNaa Dhaa
Tigun H h h H h h H h h H h h H h h H h h z
1 + 1
Tigun – Single cycle
ततगुन ध चध ि ध ध चध ि ध ती ि ध
Dhaa Dhi Naa Dhaa DhaaDhiNaa DhaaTeeNaa Dhaa
Tigun z z z z H h h H h h z
1 + 1
चौगुन ध चध ि ध ती ि ध चध ि ध ती ि ध चध ि ध ती ि ध चध ि ध ती ि ध
DhaaDhiNaaDhaa TeeNaaDhaaDhi NaaDhaaTeeNaa DhaaDhiNaaDhaa TeeNaaDhaaDhi NaaDhaaTeeNaa Dhaa
Chougun C c c c C c c c C c c c C c c c C c c c C c c c
1 + 1
Chougun – Single cycle
चौगुन ध चध ि ध - - ध चध ि ध ती ि ध
Dhaa Dhi Naa Dhaa - - Dhaa Dhi NaaDhaaTeeNaa Dhaa
Chougun
z z z z C c c c C c c c
1 + 1
27
Praveshikaa Pratham Exam
ताल केरवा Taal Kervaa

म त्र : 8, ववभ ग (खंड) – 2 (4, 4), Maatraa (Beats): 8, Khanda (sections) : 2 (4, 4)
त ली : 1 (पहली म त्र पर), Taalee: 1 (on 1st beat or Maatraa)
ख ली : 1 (प ाँचवी म त्र पर) Khaalee or Kaal: 1 (on 5th Beat or Maatraa)
भातखंडे ललपी Pandit Bhatkhade Taal – Lipi (Taal script)
ठे का ध गे ि ती ि क चध ि ध
Dhaa Ge Naa Tee Na Ka Dhi Na Dhaa
Thekaa X O X
दग
ु ुन ध गे ि ती िक चधि ध गे ि ती िक चधि ध
Dugun Dhaa Ge Naa Tee Na Ka Dhi Na DhaaGe NaaTee NaKa DhiNa Dhaa
(Double X
Speed) X O

दग
ु न
ु ध गे ि ती ध गे ि ती िक चधि ध
Dugun Dhaa Ge Naa Tee DhaaGe NaaTee NaKa DhiNa Dhaa
(Double X
Speed) X O
ततगुन ध गेि तीिक चधिध गेि ती िकचध िध गे ि तीि कचधि ध

Tigun DhaaGeNaa TeeNaKa DhiNaDhaa GeNaaTee NaKaDhi NaDhaaGe NaaTeeNa KaDhiNa Dhaa
(Triple
speed) X O X

ततगुन ध गे ि ती ि - ध गे ि तीि कचधि ध
Tigun Dhaa Ge Naa Tee Na - DhaaGe NaaTeeNa KaDhiNa Dhaa
(Triple
speed) X O X
चौगन
ु ध गेि ती िकचधि ध गेि ती िकचधि ध गेि ती िकचधि ध गेि ती िकचधि ध
Chougun DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa Dhaa
(Quadruple
speed) X O X

चौगन
ु ध गे ि ती ि क ध गेि ती िकचधि ध
Chougun Dhaa Ge Naa Tee Na Ka DhaaGeNaaTee NaKaDhiNa Dhaa
(Quadruple
speed) X O X
28
पलस्
ु कर ललपी Pandit Paluskar Taal – Lipi (Taal script)
ठे का ध गे ि ती ि क चध ि ध
Dhaa Ge Naa Tee Na Ka Dhi Na Dhaa
Thekaa z z z z z z z z Z
1 + 1
दग
ु न
ु ध गे ि ती िक चधि ध गे ि ती िक चधि ध
DhaaGe NaaTee NaKa DhiNa DhaaGe NaaTee NaKa DhiNa Dhaa
Dugun Xx Xx xx Xx Xx Xx xx Xx z
(Double
speed) 1 + 1
दग
ु ुन ध गे ि ती ध गे ि ती िक चधि ध
Dhaa Ge Naa Tee DhaaGe NaaTee NaKa DhiNa Dhaa
Dugun z z z z xx
Xx Xx Xx z
(Double
speed) 1 + 1
ततगन
ु ध गेि तीिक चधिध गेि ती िकचध िध गे ि तीि कचधि ध
DhaaGeNaa TeeNaKa DhinNaDhaa GeNaaTee NaKaDhi NaDhaaGe NaaTeeNa KaDhiNa Dhaa
Tigun H h h H h h H h h H h h H h h H h h H h h H h h z
(Triple
1 + 1
speed)
ततगुन ध गे ि ती ि - ध गे ि तीि कचधि ध

Dhaa Ge Naa Tee Na - DhaaGe NaaTeeNa KaDhiNa Dhaa
Tigun z z z z z H h h H h h H h h z
(Triple
speed) 1 + 1
चौगुन ध गेि ती िकचधि ध गेि ती िकचधि ध गेि ती िकचधि ध गेि ती िकचधि ध

DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa Dhaa
Chougun C c c c C c cc C c c c C c c c C c c c C c c c C c c c C c c c z
(Quadruple
1 + 1
Speed)
चौगुन ध गे ि ती ि क ध गेि ती िकचधि ध

Dhaa Ge Naa Tee Na Ka DhaaGeNaaTee NaKaDhiNa Dhaa
Chougun z z z z z z C c c c C c c c z
(Quadruple
Speed) 1 + 1
29
ताल तीनताल Taal Teentaal

म त्र : 16, ववभ ग (खंड) – 4 (4, 4, 4, 4), Maatraa (Beats): 16, Vibhaag or Khanda (sections) : 4 (4, 4, 4, 4)
त ली : 3 (1, 5, 13 म त्र पर), Taalee: 3 (on 1, 5, 13 beat or Maatraa)
ख ली : 1 (9 वी म त्र पर) Khaalee or Kaal: 1 (on 9th Beat or Maatraa)
ठे का ध चधं चधं ध ध चधं चधं ध

Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa
Thekaa X 2
ध नतं नतं त त चधं चधं ध ध

Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa Dhaa
O 3 X
दग
ु ुन ध चधं चधंध ध चधं चधंध ध नतं नतंत त चधं चधंध
DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa
Dugun
(Double X 2
speed)
ध चधं चधंध ध चधं चधंध ध नतं नतंत त चधं चधंध ध
DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa Dhaa
O 3 X

दग
ु न
ु ध चधं चधं ध ध चधं चधं ध
Dugun
(Double X 2
speed)
O 3 X
ततगुन ध चधंचधं ध ध चधं चधंध ध नतंनतंत त चधंचधं ध ध चधं चधंध ध चधंचधंध

DhaaDhinDhin DhaaDhaaDhin DhinDhaaDhaa TinTinTaa TaaDhinDhin DhaaDhaaDhin DhinDhaaDhaa DhinDhinDhaa
Tigun 2
X
ध नतंनतं त त चधं चधंध ध चधंचधंध ध चधंचधं ध ध नतं नतंत त चधंचधंध ध

DhaaTinTin TaaTaaDhin DhinDhaaDhaa DhinDhinDhaa DhaaDhinDhin DhaaDhaaTin TinTaaTaa DhinDhinDhaa Dhaa
O 3 X
ततगुन ध चधं चधं ध ध चधं चधं ध

Tigun
X 2
ध नतं - - ध चधंचधंध ध चधंचधं ध ध नतं नतंत त चधंचधंध ध

Dhaa Tin - - Dhaa DhinDhinDhaa DhaaDhinDhin DhaaDhaaTin TinTaaTaa DhinDhinDhaa Dhaa
O 3 X
30
चौगन
ु ध चधंचधंध ध चधंचधंध ध नतंनतंत त चधंचधंध ध चधंचधंध ध चधंचधंध ध नतंनतंत त चधंचधंध
DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa
Chougun
X 2
ध चधंचधंध ध चधंचधंध ध नतंनतंत त चधंचधंध ध चधंचधंध ध चधंचधंध ध नतंनतंत त चधंचधंध ध

DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa Dhaa
O 3
चौगुन ध चधं चधं ध ध चधं चधं ध

Chougun
X 2
ध नतं नतं त ध चधंचधंध ध चधंचधंध ध नतंनतंत त चधंचधंध ध

Dhaa Tin Tin Taa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa Dhaa
O 3
31
ताल तीनताल : पलस्
ु कर ललपी Taal Teentaal : Pandit Paluskar Taal – Lipi (Taal script)
ठे का ध चधं चधं ध ध चधं चधं ध
Thekaa z z
z z z z z z
1 5
ध नतं नतं त त चधं चधं ध ध

Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa Dhaa
z z z z z z z z Z
+ 13 1
दग
ु ुन ध चधं चधंध ध चधं चधंध ध नतं नतंत त चधं चधंध
DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa
Dugun Xx Xx xx Xx Xx Xx xx Xx
(Double 1 5
speed)
Xx Xx xx Xx Xx Xx xx Xx z
+ 13 1
दग
ु ुन ध चधं चधं ध ध चधं चधं ध
Dugun z z z z z z z z
(Double 1 5
speed)
Xx Xx xx Xx Xx Xx xx Xx z
+ 13 1
32
ततगुन ध चधंचधं ध ध चधं चधंध ध नतंनतंत त चधंचधं ध ध चधं चधंध ध चधंचधंध

DhaaDhinDhin DhaaDhaaDhin DhinDhaaDhaa TinTinTaa TaaDhinDhin DhaaDhaaDhin DhinDhaaDhaa DhinDhinDhaa
Tigun H h h H h h H h h H h h H h h H h h H h h H h h
(Triple 1 5
speed)
ध नतंनतं त त चधं चधंध ध चधंचधंध ध चधंचधं ध ध नतं नतंत त चधंचधंध ध
DhaaTinTin TaaTaaDhin DhinDhaaDhaa DhinDhinDhaa DhaaDhinDhin DhaaDhaaTin TinTaaTaa DhinDhinDhaa Dhaa
H h h H h h H h h H h h H h h H h h H h h H h h z
+ 13 1
ततगुन ध चधं चधं ध ध चधं चधं ध

Tigun z z z z z z z z
(Triple
speed) 1 5
ध नतं- - - ध चधंचधंध ध चधंचधं ध ध नतं नतंत त चधंचधंध ध

Dhaa Tin - - Dhaa DhinDhinDhaa DhaaDhinDhin DhaaDhaaTin TinTaaTaa DhinDhinDhaa Dhaa
z z H h h H h h H h h H h h H h h H h h z
+ 13 1
चौगन
ु ध चधं चधं ध ध चधं चधं ध ध नतं नतं त त चधं चधं ध ध चधं चधं ध ध चधं चधं ध ध नतं नतं त त चधं चधं ध
DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa
Chougun C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c
(Quadruple 1 5
speed)
ध चधं चधं ध ध चधं चधं ध ध नतं नतं त त चधं चधं ध ध चधं चधं ध ध चधं चधं ध ध नतं नतं त त चधं चधं ध ध
DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa Dhaa
C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c z
+ 13 1
चौगन
ु ध चधं चधं ध ध चधं चधं ध
Chougun z z z z z z z z
(Quadruple 1 5
speed)
ध नतं नतं त ध चधं चधं ध ध चधं चधं ध ध नतं नतं त त चधं चधं ध ध
Dhaa Tin Tin Taa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa Dhaa
z z z z C c c c C c c c C c c c C c c c z
+ 13 1
33

ताल एकताल Taal Ektaal
म त्र : 12, Maatraa (Beats): 12
ववभ ग (खंड) – 6 (2, 2, 2, 2, 2, 2), Vibhaag or Khanda (sections) : 6 (2, 2, 2, 2, 2, 2)
त ली : 4 (1, 5, 9, 11 वी म त्र पर), Taalee: 4 (on 1, 5, 9, 11th beat or Maatraa)
ख ली : 2 (3 ति 7 वी म त्र पर) Khaalee or Kaal: 2 (on 3rd and 7th Beat or Maatraa)
ठे का चधं चधं ध गे नतरककट तू ि

Dhin Dhin DhaaGe Tirakita Too Naa
Thekaa X O 2
कत ् त ध गे नतरककट धी ि चधं
Kat Taa DhaaGe Tirakita Dhee Naa Dhin
O 3 4 X
दग
ु ुन चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa
Dugun
(Double X O 2
speed)
चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि चधं
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
O 3 4 X
दग
ु ुन चधं चधं ध गे नतरककट तू ि
Dugun
(Double X O 2
speed)
O 3 4 X
ततगन
ु चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि चधं चधं ध गे नतरककट तू ि
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa
Tigun
X O 2
कत ् त ध गे नतरककट धी ि चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि चधं

Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
O 3 4 X
ततगुन चधं चधं ध गे नतरककट तू ि

Tigun
X O 2
कत ् त चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि चधं

Kat Taa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
O 3 4 X
34
चौगुन चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि

Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa
Chougun
X O 2
चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि चधं

Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa
O 3 4 X
चौगुन चधं चधं ध गे नतरककट तू ि

Chougun
X O 2
कत ् त ध गे चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि चधं

Kat Taa DhaaGe Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa
O 3 4 X
ताल एकताल : पलस्

ु कर ललपी Taal Ektaal : Pandit Paluskar Taal – Lipi (Taal script)
ठे का चधं चधं ध गे नतरककट तू ि
Thekaa z z X x cccc z z
1 + 5
कत ् त ध गे नतरककट धी ि चधं
Kat Taa DhaaGe Tirakita Dhee Naa Dhin
z z X x cccc z z Z
+ 9 11 1
दग
ु ुन चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa
Dugun X x C c vvvv X x Xx C c vvvv Xx
(Double 1 + 5
speed)
X x C c vvvv X x Xx C c vvvv Xx z
+ 9 11 1
दग
ु न
ु चधं चधं ध गे नतरककट तू ि
Dugun z z X x cccc z z
(Double 1 + 5
speed)
X x C c vvvv X x Xx C c vvvv Xx z
+ 9 11 1
35
ततगुन चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि चधं चधं ध गे नतरककट तू ि

Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa
Tigun H h j j llll h h H h j j llll h h H h j j llll h h
(Triple 1 + 5
speed)
कत ् त ध गे नतरककट धी ि चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि चधं
Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
H h j j llll h h H h j j llll h h H h j j llll h h z
+ 9 11 1
ततगुन चधं चधं ध गे नतरककट तू ि

Tigun z z X x cccc z z
(Triple
speed) 1 + 5
कत ् त चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि चधं

Kat Taa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
z z H h j j llll h h H h j j llll h h
z
+ 9 11 1
चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि

चौगन
ु
Dhin Dhin DhaaGe Tirakita
C c v v yyyy
Too Naa Kat Taa
C c c c
DhaaGe Tirakita Dhee Naa
v v yyyy c c
Dhin Dhin DhaaGe Tirakita
C c v v yyyy
Too Naa Kat Taa
C c c c
DhaaGe Tirakita Dhee Naa
v v yyyy c c
Chougun 1 + 5
(Quadruple
speed) चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि चधं
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
C c v v yyyy C c c c v v yyyy c c C c v v yyyy C c c c v v yyyy c c z
+ 9 11 1
चधं चधं ध गे नतरककट तू ि

चौगुन Dhin Dhin DhaaGe Tirakita Too Naa
z z X x cccc z z
Chougun 1 + 5
(Quadruple
speed) कत ् त ध गे चधं चधं ध गे नतरककट तू ि कत ् त ध गे नतरककट धी ि चधं
Kat Taa DhaaGe Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
z z X x C c v v yyyy C c c c v v yyyy c c z
+ 9 11 1
36

ताल झपताल Taal Jhaptaal
त ली : 3 (1, 3, 8 वी म त्र पर), Taalee: 3 (on 1, 3, 8 beat or Maatraa)
ठे का चध ि चध चध ि नत ि चध चध ि चध
Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Thekaa X 2 O 3 X
दग
ु ुन चध ि चध चध ि नत ि चध चध ि चध ि चध चध ि नत ि चध चध ि चध
Dugun Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
(Double
speed) X 2 O 3 X
दग
ु ुन चध ि चध चध ि चध ि चध चध ि नत ि चध चध ि चध
Dugun Dhi Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
(Double
speed) X 2 O 3 X
ततगन
ु चध ि चध चध ि नत ि चध चध ि चध ि चध चध ि नत ि चध चध ि चध ि चध चध ि नत ि चध चध ि चध
Tigun Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
(Triple
speed)
X 2 O 3 X
ततगुन चध ि चध चध ि नत - - चध ि चध चध ि नत ि चध चध ि चध
Tigun Dhi Naa Dhi Dhi Naa Ti - - Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
(Triple
speed)
X 2 O 3 X
चौगुन चध ि चध चध ि नत ि चध चध ि चध ि चध चध ि नत ि चध चध ि चध ि चध चध ि नत ि चध चध ि चध ि चध चध ि नत ि चध चध ि चध
Chougun Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
(Quadruple
speed) X 2 O 3 X
चौगुन चध ि चध चध ि नत ि - - चध ि चध चध ि नत ि चध चध ि चध
Chougun Dhi Naa Dhi Dhi Naa Ti Naa - - Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
(Quadruple
speed) X 2 O 3 X
37
ताल झपताल : पलुस्कर ताल – ललपी Taal: Jhaptaal : Pandit Paluskar Taal – Lipi (Taal script)
ठे का चध ि चध चध ि नत ि चध चध ि चध
Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Thekaa z z z z z z z z z z Z
1 3 + 8 1
दग
ु ुन चध ि चध चध ि नत ि चध चध ि चध ि चध चध ि नत ि चध चध ि चध
Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Dugun Xx Xx Xx Xx Xx Xx Xx Xx Xx Xx z
1 3 + 8 1
दग
ु ुन चध ि चध चध ि चध ि चध चध ि नत ि चध चध ि चध
Dhi Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Dugun z z z z z Xx Xx Xx Xx Xx z
1 3 + 8 1
ततगुन चध ि चध चध ि नत ि चध चध ि चध ि चध चध ि नत ि चध चध ि चध ि चध चध ि नत ि चध चध ि चध
Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Tigun H h h H h h H h h H h h H h h H h h H h h H h h H h h H h h z
1 3 + 8 1
ततगन
ु चध ि चध चध ि नत - - चध ि चध चध ि नत ि चध चध ि चध
Dhi Naa Dhi Dhi Naa Ti - - Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Tigun z z z z z z H h h H h h H h h H h h z
1 3 + 8 1
चौगुन चध ि चध चध ि नत ि चध चध ि चध ि चध चध ि नत ि चध चध ि चध ि चध चध ि नत ि चध चध ि चध ि चध चध ि नत ि चध चध ि चध
Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa DhiNaa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Chougun C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c
1 3 + 8 1
चौगुन चध ि चध चध ि नत ि - - चध ि चध चध ि नत ि चध चध ि चध
Dhi Naa Dhi Dhi Naa Ti Naa - - DhiNaa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Chougun z z z z z z z C c c c C c c c C c c c
1 3 + 8 1
38
ताल चौताल चारताल Taal Choutaal – Chaartaal
म त्र : 12, Maatraa (Beats): 12
ववभ ग (खंड) – 6 (2, 2, 2, 2, 2, 2), Vibhaag or Khanda (sections) : 6 (2, 2, 2, 2, 2, 2)
त ली : 4 (1, 5, 9, 11 वी म त्र पर), Taalee: 4 (on 1, 5, 9, 11th beat or Maatraa)
ख ली : 2 (3 ति 7 वी म त्र पर) Khaalee or Kaal: 2 (on 3rd and 7th Beat or Maatraa)
ठे का ध ध ददं त ककट ध
Dhaa Dhaa Din Taa Kita Dhaa
Thekaa
X O 2
ददं त ककट तक गदद गि ध

Din Taa Kita Tak Gadi Gana Dhaa
O 3 4 X
दग
ु ुन ध ध ददं त ककट ध ददं त ककट तक गदद गि
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Tak Gadi Gana
Dugun
(Double X O 2
speed)
ध ध ददं त ककट ध ददं त ककट तक गदद गि ध
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Tak Gadi Gana Dhaa
O 3 4 X
दग
ु न
ु ध ध ददं त ककट ध
Dugun
(Double X O 2
speed)
ध ध ददं त ककट ध ददं त ककट तक गदद गि ध
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Tak Gadi Gana Dhaa
O 3 4 X
ततगन
ु ध ध ददं त ककट ध ददं त ककट तक गदद गि ध ध ददं त ककट ध
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa
Tigun
X O 2
ददं त ककट तक गदद गि ध ध ददं त ककट ध ददं त ककट तक गदद गि ध

Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
O 3 4 X
ततगुन ध ध ददं त ककट ध

Tigun
ददं त ध ध ददं त ककट ध ददं त ककट तक गदद गि ध

Din Taa Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
O 3 4 X
39
चौगुन ध ध ददं त ककट ध ददं त ककट तक गदद गि ध ध ददं त ककट ध ददं त ककट तक गदद गि
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana
Chougun
X O 2
ध ध ददं त ककट ध ददं त ककट तक गदद गि ध ध ददं त ककट ध ददं त ककट तक गदद गि ध
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
O 3 4 X

चौगुन ध ध ददं त ककट ध
Chougun
X O 2
ददं त ककट ध ध ददं त ककट ध ददं त ककट तक गदद गि ध

Din Taa Kita Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
O 3 4 X

ताल चौताल : पलस्
ु कर ललपी Taal: Choutaal : Pandit Paluskar Taal – Lipi (Taal script)
ठे का ध ध ददं त ककट ध
Dhaa Dhaa Din Taa Ki ta Dhaa
Thekaa z z z z xx z
1 + 5
ददं त ककट तक गदद गि ध

Din Taa Kita Taka Gadi Gana Dhaa
z z Xx xx Xx xx Z
+ 9 11 1
दग
ु ुन ध ध ददं त ककट ध ददं त ककट तक गदद गि
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana
Dugun X x X x cc x X x Cc cc cc cc
(Double 1 + 5
speed)
1 ध ध ददं त ककट ध ददं त ककट तक गदद गि ध
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
X x X x cc x X x Cc cc cc cc z
+ 9 11 1

दग
ु ुन ध ध ददं त ककट ध
Dugun z z z z xx z
(Double 1 + 5
speed)
2 ध ध ददं त ककट ध ददं त ककट तक गदद गि ध
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
X x X x cc x X x Cc cc cc cc z
+ 9 11 1
40
ततगुन ध ध ददं त ककट ध ददं त ककट तक गदद गि ध ध ददं त ककट ध

Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Tak Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa
Tigun H h h H jj h H h jj Jj jj jj H h h H jj h
(Triple 1 + 5
speed)
ददं त ककट तक गदद गि ध ध ददं त ककट ध ददं त ककट तक गदद गि ध
Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
H h jj Jj jj jj H h h H jj h H h jj Jj jj jj z
+ 9 11 1
ततगुन ध ध ददं त ककट ध

Tigun z z z z xx z
(Triple 1 + 5
speed)
ददं त ध ध ददं त ककट ध ददं त ककट तक गदद गि ध
Din Taa Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
z z H h h H jj h H h jj Jj jj jj z
+ 9 11 1
ध ध ददं त ककट ध ददं त ककट तक गदद गि ध ध ददं त ककट ध ददं त ककट तक गदद गि
चौगुन Dhaa Dhaa Din Taa
C c c c
Kita Dhaa Din Taa
Vv c c c
Kita
vv
Taka
vv
Gadi
vv
Gana
vv
Dhaa Dhaa Din Taa
C c c c
Kita Dhaa Din Taa
Vv c c c
Kita
vv
Taka Gadi
vv vv
Gana
vv
Chougun 1 + 5
(Quadruple
speed) ध ध ददं त ककट ध ददं त ककट तक गदद गि ध ध ददं त ककट ध ददं त ककट तक गदद गि ध
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
C c c c Vv c c c vv vv vv vv C c c c Vv c c c vv vv vv vv z
+ 9 11 1

ध ध ददं त ककट ध
चौगुन Dhaa
z
Dhaa
z
Din
z
Taa
z
Ki ta
xx
Dhaa
z
Chougun 1 + 5
(Quadruple
speed) ददं त ककट ध ध ददं त ककट ध ददं त ककट तक गदद गि ध
Din Taa Kita Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
z z Xx C c c c Vv c c c vv vv vv vv z
+ 9 11 1
41
Praveshikaa Poorna Exam

ताल धमार Taal Dhamaar
ठे का कत ् चध ट चध ट ध i
Kat Dhi Ta Dhi Ta Dhaa i
Thekaa
X 2
ग नत ट नत ट त i कत ्
Ga Ti Ta Ti Ta Taa i Kat
O 3 X
दग
ु न
ु कत ् चध ट चध ट ध Iग नत ट नत ट त i
Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa i
Dugun
(Double X 2
speed)
1 कत ् चध ट चध ट ध Iग नत ट नत ट त i कत ्
Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa i Kat
O 3 X
दग
ु ुन कत ् चध ट चध ट ध i
Dugun
(Double X 2
speed)
कत ् चध ट चध ट ध Iग नत ट नत ट त i कत ्
2
O 3 X
ततगुन कत ् चध ट चध ट ध I ग नत ट नत ट त I कत ् चध ट चध ट ध I
Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I kat Dhi Ta Dhi Ta Dha I
Tigun
X 2
1
ग नत ट नत ट त I कत ् चध ट चध ट ध I ग नत ट नत ट त i कत ्
Ga Ti Ta Ti Ta Taa I Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa I Kat
O 3 X

ततगुन कत ् चध ट चध ट ध i
Tigun
X 2
2
ग नत - कत ् चध ट चध ट ध I ग नत ट नत ट त i कत ्
Ga Ti
- Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa I Kat
O 3 X
42
चौगुन कत ् चध ट चध ट ध I ग नत ट नत ट त I कत ् चध ट चध ट ध I ग नत ट नत ट त I
Kat Dhi Ta Dhi Ta Dha I Ga Ti Ta Ti Ta Taa I Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I
Chougun
X 2
1
कत ् चध ट चध ट ध I ग नत ट नत ट त I कत ् चध ट चध ट ध I ग नत ट नत ट त I कत ्
Kat Dhi Ta Dhi Ta Dha I Ga Ti Ta Ti Ta Taa I Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I
O 3 X

चौगुन कत ् चध ट चध ट ध i
Chougun
X 2
2
ग नत ट - - कत ् चध ट चध ट ध I ग नत ट नत ट त I कत ्
Ga Ti Ta
- - Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I
O 3 X
ताल धमार : पलस्

ु कर ललपी Taal : Dhamaar: Pandit Paluskar Taal – Lipi (Taal script)
ठे का कत ् चध ट चध ट ध i
Thekaa z z
z z z z z
1 6
ग नत ट नत ट त i कत ्
Ga Ti Ta Ti Ta Taa i Kat
z z z z z z z Z
+ 11 1
दग
ु ुन कत ् चध ट चध ट ध i
Dugun z z z z z z z
(Double
speed) 1 6
Xx Xx xx Xx Xx xx Xx z
+ 11 1
दग
ु न
ु कत ् चध ट चध ट ध Iग नत ट नत ट त i
Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa i
Dugun
Xx Xx xx Xx Xx xx Xx
(Double
speed) 1 6
Xx Xx xx Xx Xx xx Xx z
+ 11 1
43
ततगुन कत ् चध ट चध ट ध I ग नत ट नत ट त I कत ् चध ट चध ट ध I
Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I kat Dhi Ta Dhi Ta Dha I
Tigun H h h H h h H h h H h h H h h H h h H h h
(Triple 1 6
speed)
1 ग नत ट नत ट त I कत ् चध ट चध ट ध I ग नत ट नत ट त i कत ्
Ga Ti Ta Ti Ta Taa I Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa I Kat
H h h H h h H h h H h h H h h H h h H h h z
+ 11 1
ततगुन कत ् चध ट चध ट ध i
Tigun z z z z z z z
(Triple
speed) 1 6
2 ग नत I कत ् चध ट चध ट ध I ग नत ट नत ट त i कत ्
Ga Ti I Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa I Kat
z z H h h H h h H h h H h h H h h z
+ 11 1
कत ् चध ट चध ट ध I ग नत ट नत ट त I कत ् चध ट चध ट ध I ग नत ट नत ट त I
चौगुन Kat Dhi Ta Dhi Ta Dha I Ga Ti Ta Ti Ta Taa I Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I
C c c c C c c c C c c c C c c c C c c c C c c c C c c c
Chougun 1 6
(Quadruple
speed) कत ् चध ट चध ट ध I ग नत ट नत ट त I कत ् चध ट चध ट ध I ग नत ट नत ट त I कत ्
Ta Dha I Ga Taa I Kat Dhi I Ga Ti Ta Ti Ta Taa I
1 Kat Dhi Ta Dhi
C c c c C c c c
Ti Ta Ti Ta
C c c c C c c c
Ta Dhi Ta Dhaa
C c c c C c c c C c c c
Kat
z
+ 11 1

कत ् चध ट चध ट ध i
चौगुन z z z z z z z
1 6
Chougun
(Quadruple
speed) ग नत ट - - कत ् चध ट चध ट ध I ग नत ट नत ट त I कत ्
Ga Ti Ta
2 - - Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I Kat
z z z C c c c C c c c C c c c C c c c z
+ 11 1
44
ताल रूपक Taal Roopak

म त्र : 7, ववभ ग (खंड) – 3 (3, 2, 2), Maatraa (Beats): 7, Vibhaag or Khanda (sections) : 3 (3, 2, 2)
त ली : 2 (4, 6 वी म त्र पर), Taalee: 2 (on 4th and 6th beat or Maatraa)
ख ली : 1 (1 ली म त्र पर) Khaalee or Kaal: 1 (on 1st Beat or Maatraa)
ठे का ती ती ि चध ि चध ि ती
Tee Tee Naa Dhi Naa Dhi Naa Tee
Thekaa
1 2
दग
ु ुन ती ती ि चध ि चध ि ती ती ि चध ि चध ि ती
Dugun Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee
(Double
speed) 1 2

दग
ु ुन ती ती ि - ती ती ि चध ि चध ि ती
Dugun Dhi Naa
Tee Tee Naa - Tee Tee Naa Dhi Naa Tee
(Double
speed) 1 2
ततगुन ती ती ि चध ि चध ि ती ती ि चध ि चध ि ती ती ि चध ि चध ि ती
Tigun Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee
(Triple speed) 1 2

ततगुन ती ती ि चध - - ती ती ि चध ि चध ि ती
Tigun
(Triple speed)
Tee Tee Naa Dhi - - Tee Tee Naa Dhi Naa Dhi Naa Tee
1 2
चौगुन ती ती ि चध ि चध ि ती ती ि चध ि चध ि ती ती ि चध ि चध ि ती ती ि चध ि चध ि ती
Chougun Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee
(Quadruple
speed) 1 2
चौगुन ती ती ि चध ि - ती ती ि चध ि चध ि ती
Chougun
(Quadruple
Tee Tee Naa Dhi Naa - Tee Tee Naa Dhi Naa Dhi Naa Tee
speed)
1 2
45
ताल रूपक : पलुस्कर ताल – ललपी Taal Roopak : Pandit Paluskar Taal – Lipi (Taal script)
ठे का ती ती ि चध ि चध ि ती
Tee Tee Naa Dhi Naa Dhi Naa Tee
Thekaa z z z z z z z Z
+ 4 6 +
दग
ु ुन ती ती ि चध ि चध ि ती ती ि चध ि चध ि ती
Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee
Dugun Xx Xx Xx Xx Xx Xx Xx Z
+ 4 6 +
दग
ु ुन ती ती ि - ती ती ि चध ि चध ि ती
Dugun Tee Tee Naa - Tee Tee Naa Dhi Naa Dhi Naa Tee
z z z Xx Xx Xx Xx Z
+ 4 6 +
ततगुन ती ती ि चध ि चध ि ती ती ि चध ि चध ि ती ती ि चध ि चध ि ती
Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Dhi Tee Naa Dhi Naa Dhi Naa Tee
Tigun H h h H h h H h h H h h H h h H h h H h h z
+ 4 6 +
ततगुन ती ती ि चध - - ती ती ि चध ि चध ि ती
Tigun Tee Tee Naa Dhi - - Tee Tee Naa Dhi Naa Dhi Naa Tee
z z z z H h h H h h H h h z
+ 4 6 +
चौगुन ती ती ि चध ि चध ि ती ती ि चध ि चध ि ती ती ि चध ि चध ि ती ती ि चध ि चध ि ती
Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee
Chougun C c c c C c c c C c c c C c c c C c c c C c c c C c c c
+ 4 6 +
चौगन
ु ती ती ि चध ि - ती ती ि चध ि चध ि ती
Tee Tee Naa Dhi Naa - Tee Tee Naa Dhi Naa Dhi Naa Tee
Chougun z z z z z C c c c C c c c
+ 4 6 +
46
Madhyama Pratham Exam
ताल झम
ु रा Taal Jhoomraa
ठे का चधं iध नतरककट चधं चधं ध गे नतरककट

Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita
Thekaa
X 2
नतं iत नतरककट चधं चधं ध गे नतरककट चधं

Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin
O 3 X
दग
ु ुन चधं iध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट
Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita
Dugun
(Double X 2
speed)
चधं iध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट चधं
Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin
O 3 X

दग
ु ुन चधं iध नतरककट चधं चधं ध गे नतरककट
Dugun
(Double X 2
speed)
O 3 X
ततगन
ु चधं iध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट चधं iध नतरककट चधं चधं ध गे नतरककट
Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita
Tigun
X 2
नतं iत नतरककट चधं चधं ध गे नतरककट चधं iध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट चधं
Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin
O 3 X

ततगुन चधं iध नतरककट चधं चधं ध गे नतरककट
Tigun
X 2
नतं iत - चधं iध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट चधं
Tin iTaa - Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin
O 3 X
47
चधं iध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट चधंiध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट
चौगन
ु DhiniDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGeTirakita DhiniDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita
Chougun
X 2
चधं iध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट चधंiध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट चधं
DhiniDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGeTirakita DhiniDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin
O 3 X
चौगुन चधं iध नतरककट चधं चधं ध गे नतरककट

Chougun
X 2
नतं iत नतरककट - - चधं iध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट चधं
Tin iTaa Tirakita - - Dhin iDhaa

Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin
O 3 X
ताल झम
ु रा : पलस्
ु कर ललपी Taal Jhumraa : Pandit Paluskar Taal – Lipi (Taal script)
ठे का चधं iध नतरककट चधं चधं ध गे नतरककट
Thekaa z xx cccc z z xx cccc
1 4
नतं iत नतरककट चधं चधं ध गे नतरककट चधं

Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin
z xx cccc z z xx cccc Z
+ 11 1
दग
ु ुन चधं iध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट
Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita
Dugun X cc Vvvvx X cc vvvvx Cc vvvv xx Cc vvvv
(Double 1 4
speed)
X cc Vvvv x X cc vvvv x Cc vvvv xx Cc vvvv Z
+ 11 1
दग
ु ुन चधं iध नतरककट चधं चधं ध गे नतरककट
Dugun z xx cccc z z xx cccc
(Double
speed) 1 4
X cc Vvvv x X cc vvvv x Cc vvvv xx Cc vvvv Z
+ 11 1
48
ततगुन चधं iध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट चधं iध नतरककट चधं चधं ध गे नतरककट
Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita
Tigun H jj llll H h jj llll h jj Llll h h Jj llll h Jj llll h H jj llll
(Triple 1 4
speed)
नतं iत नतरककट चधं चधं ध गे नतरककट चधं iध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट चधं
Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin iDhaa Tirakita Dhin DhinDhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin
H jj llll H h jj Llll h jj llll h h Jj llll h Jj llll h H jj llll z
+ 11 1
ततगुन चधं iध नतरककट चधं चधं ध गे नतरककट

Tigun z xx cccc z z xx cccc
(Triple
speed) 1 4
नतं iत - चधं iध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट चधं
Tin iTaa - Dhin iDhaa Tirakita Dhin DhinDhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin
z xx h h jj llll h h Jj llll h Jj llll h H jj llll z
+ 11 1
चधं iध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट चधंiध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट
चौगुन DhiniDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Titakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita
Dhin iDhaa Tirakita
Chougun C vv yyyy c C vv yyyy c Vv yyyy c c Vv yyyy c vv Yyyy c c vv Yyyy c vv yyyy C c vv yyyy
(Quadruple 1 4
speed)
चधं iध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट चधंiध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट चधं
DhiniDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Titakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita
Dhin iDhaa Tirakita Dhin
C vv yyyy c C vv yyyy c Vv yyyy c c Vv yyyy c vv Yyyy c c vv Yyyy c vv yyyy C c vv yyyy z
+ 11 1
चौगन
ु चधं iध नतरककट चधं चधं ध गे नतरककट
Chougun z xx cccc z z xx cccc
(Quadruple
speed) 1 4
नतं iत नतरककट - - चधं iध नतरककट चधं चधं ध गे नतरककट नतं iत नतरककट चधं चधं ध गे नतरककट चधं
Tin iTaa Tirakita - - Dhin iDhaa
Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin
z xx cccc c c c vv Yyyy c c vv Yyyy c vv yyyy C c vv yyyy z
+ 11 1
49
ताल ततलवाड़ा Taal Tilvaadaa

ठे का ध नतरककट धीं धीं ध ध तीं तीं

Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen
Thekaa X 2
त नतरककट धीं धीं ध ध धीं धीं ध

Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
O 3 X
दग
ु ुन ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen
Dugun
(Double X 2
speed)
ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं ध
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
O 3 X

दग
ु ुन ध नतरककट धीं धीं ध ध तीं तीं
Dugun X 2
(Double
speed)
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
O 3 X
ततगुन ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं ध नतरककट धीं धीं ध ध तीं तीं
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita DheenDheen Dhaa Dhaa Dheen Dheen Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen
Tigun
X 2
त नतरककट धीं धीं ध ध धीं धीं ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं ध
Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Teen
O 3 X

ततगुन ध नतरककट धीं धीं ध ध तीं तीं
Tigun
X 2
त नतरककट - - ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं ध
Taa Tirakita - - Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Teen
O 3 X
50
ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं
चौगुन Dhaa Dhaa Dheen Dheen
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen
Chougun
X 2
ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं ध
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
O 3 X
चौगन
ु ध नतरककट धीं धीं ध ध तीं तीं
Chougun
X 2
त नतरककट धीं धीं ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं ध
Taa Tirakita Dheen Dheen Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
O 3 X
ताल ततलवाड़ा : पलस्

ु कर ललपी Taal Tilvaadaa : Pandit Paluskar Taal – Lipi (Taal script)
ठे का ध नतरककट धीं धीं ध ध तीं तीं
Dhaa Ti ra ki ta Dheen Dheen Dhaa Dhaa Teen Teen
Thekaa
z cccc z z z z z z
1 5
त नतरककट धीं धीं ध ध धीं धीं ध

Taa Ti ra ki ta Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
z cccc z z z z z z Z
+ 13 1
दग
ु ुन ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं
Dhaa Ti ra ki ta Dheen Dheen Dhaa Dhaa Teen Teen Taa Ti ra ki ta Dheen Dheen Dhaa Dhaa Dheen Dheen
Dugun X vvvv Xx xx Xx Xvvvv Xx xx Xx
(Double 1 5
speed)
Dhaa Ti ra ki ta Dheen Dheen Dhaa Dhaa Teen Teen Taa Ti ra ki ta Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
X vvvv Xx xx Xx Xvvvv Xx xx Xx z
+ 13 1
दग
ु ुन ध नतरककट धीं धीं ध ध तीं तीं
Dugun z cccc z z z z z z
(Double 1 5
speed)
Dhaa Ti ra ki ta Dheen Dheen Dhaa Dhaa Teen Teen Taa Ti ra ki ta Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
X vvvv Xx xx Xx Xvvvv Xx xx Xx z
+ 13 1
51
ततगुन ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं ध नतरककट धीं धीं ध ध तीं तीं
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita DheenDheen Dhaa Dhaa Dheen Dheen Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen
Tigun H llll h H h h H h h llll h h H h h H h llll H h h H h h
(Triple 1 5
speed)
त नतरककट धीं धीं ध ध धीं धीं ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं ध
Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa Tirakita DheenDheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
H llll h H h h H h h llll h h H h h H h llll H h h H h h z
+ 13 1
ततगुन ध नतरककट धीं धीं ध ध तीं तीं

Tigun z cccc z z z z z z
(Triple
speed) 1 5
त नतरककट - - ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं ध
Taa Ti ra ki ta - - Dhaa Tirakita DheenDheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
llll h h H h h H h llll H h h H h h
z cccc H h h z
+ 13 1
ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं
चौगन
ु Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen
C yyyy c c C c c c C yyyy c c C c c c C yyyy c c C c c c C yyyy c c C c c c
Chougun
(Quadruple 1 5
speed)
ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं ध
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
C yyyy c c C c c c C yyyy c c C c c c C yyyy c c C c c c C yyyy c c C c c c z
+ 13 1
चौगुन ध नतरककट धीं धीं ध ध तीं तीं

Chougun z cccc z z z z z z
(Quadruple 1 5
speed)
त नतरककट धीं धीं ध नतरककट धीं धीं ध ध तीं तीं त नतरककट धीं धीं ध ध धीं धीं ध
Taa Ti ra ki ta Dheen Dheen Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
z cccc z z C yyyy c c C c c c C yyyy c c C c c c z
+ 13 1
52
ताल सल
ू ताल Taal Sooltaal
म त्र : 10, ववभ ग (खंड) – 5 (2, 2, 2, 2, 2), Maatraa (Beats): 10, Vibhaag or Khanda (sections) : 5 (2, 2, 2, 2, 2)
त ली : 3 (1, 5, 7 वी म त्र पर), Taalee: 3 (on 1, 5, 7th beat or Maatraa)
ख ली : 2 (3, 9 वी म त्र पर) Khaalee or Kaal: 2 (on 3rd and 9th Beat or Maatraa)
ठे का ध ध ददं त ककट ध ककट तक गदी गि ध

Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
Thekaa
X O 2 3 O X
दग
ु न
ु ध ध ददं त ककट ध ककट तक गदी गि ध ध ददं त ककट ध ककट तक गदी गि ध
Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
Dugun
(Double
speed)
X O 2 3 O X
Dugun – Single cycle - -
दग
ु न
ु ध ध ददं त ककट - ध ददं त ककट ध ककट तक गदी गि ध
Dugun Dhaa Dhaa Din Taa Kita - Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
(Double
speed) X O 2 3 O X
ततगुन ध ध ददं त ककट ध ककट तक गदी गि ध ध ददं त ककट ध ककट तक गदी गि ध ध ददं त ककट ध ककट तक गदी गि ध
Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
Tigun
(Triple
speed)
X O 2 3 O X
Tigun – Single cycle - -

ततगुन ध ध ददं त ककट ध - - ध ध ददं त ककट ध ककट तक गदी गि ध
Tigun Dhaa Dhaa Din Taa Kita Dhaa - - Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
(Triple
speed)
X O 2 3 O X
चौगन
ु ध ध ददं त ककट ध ककट तक गदी गि ध ध ददं त ककट ध ककट तक गदी गि ध ध ददं त ककट ध ककट तक गदी गि ध ध ददं त ककट ध ककट तक गदी गि ध
Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
Chougun
(Quadruple
speed) X O 2 3 O X

चौगुन ध ध ददं त ककट ध ककट - -धध ददं त ककट ध ककट तक गदी गि ध
Chougun Dhaa Dhaa Din Taa Kita Dhaa Kita - - Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
(Quadruple
speed)
X O 2 3 O X
53
ताल सूलताल : पलुस्कर ताल – ललपी Taal Sooltaal : Pandit Paluskar Taal – Lipi (Taal script)
ठे का ध ध ददं त ककट ध ककट तक गदी गि ध

Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
Thekaa z z z z xx z xx xx xx xx Z
1 + 5 7 + 1
दग
ु ुन ध ध ददं त ककट ध ककट तक गदी गि ध ध ददं त ककट ध ककट तक गदी गि ध
Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
Dugun X x Xx cc x cccc cccc Xx Xx cc x cccc cccc z
1 + 5 7 + 1
Dugun – Single cycle - -
दग
ु न
ु ध ध ददं त ककट ध ध ददं त ककट ध ककट तक गदी गि ध
Dhaa Dhaa Din Taa Kita Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
Dugun z z z z xx Xx Xx cc x cccc cccc z
1 + 5 7 + 1
ततगन
ु ध ध ददं त ककट ध ककट तक गदी गि ध ध ददं त ककट ध ककट तक गदी गि ध ध ददं त ककट ध ककट तक गदी गि ध
Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
Tigun H h h H jj h jj jj jj jj h h H h jj H jj jj jj jj h H h h jj h jj jj jj jj z
1 + 5 7 + 1
Tigun – Single cycle - -
ततगुन ध ध ददं त ककट ध - - ध ध ददं त ककट ध ककट तक गदी गि ध

Tigun Dhaa Dhaa Din Taa Kita Dhaa - - Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
z z z z xx z h h h H h h jj h jj jj jj jj z
1 + 5 7 + 1
चौगन
ु ध ध ददं त ककट ध ककट तक गदी गि ध ध ददं त ककट ध ककट तक गदी गि ध ध ददं त ककट ध ककट तक गदी गि ध ध ददं त ककट ध ककट तक गदी गि ध
Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
Chougun C c c c vv c vv vv vv vv c c C c vv c vv vv vv vv C c c c vv c vv vv vv vv c c C c vv c vv vv vv vv
1 + 5 7 + 1
चौगन
ु ध ध ददं त ककट ध ककट - -ध ध ददं त ककट ध ककट तक गदी गि ध
Chougun Dhaa Dhaa Din Taa Kita Dhaa Kita - - Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
z z z z xx z xx c c c c C c vv c vv vv vv vv
1 + 5 7 + 1
54
Chapter 5: Biographies
1. Biography of Pandit Vishnu Narayan Bhatkhande
Pandit Vishnu Naaraayan Bhaatkhande has a very important place in the history of Hindustani
classical music. There was a time when darkness reined in the classical music field due to ignorance,
characters or patterns of raagas were unclear. During this time, Pandit Bhaatkhande tirelessly travelled,
studied ancient books, consulted senior musicians and tenaciously established clear understanding of
practical and theoretical aspects of Hindustani classical music.
He was born in a respected Brahmin family in a district of Mumbai, in a town called Waalkeshwar,
on 10th August, 1860. He received a legacy of love of music from his parents. As a child, when he heard
his mother singing a song, he would immediately imitate it. Along with his excellent education in schools
and colleges, he continued his quest to study classical music. He played Sitaar very well and also learnt
vocal music. He started practicing law after finishing his B.A L.L.B studies. He used to frequent music
concerts and carefully listened to many vocalists and instrumentalists. That is when he realized that many
accomplished artists are not familiar with rules of raagas and moreover, they are not even interested in
music theory.
After observing this state of music field, he decided to improve the situation in both practical and
theory of classical music. First he travelled in southern part of India in 1904. He extensively researched
ancient books, carefully studied Vyankatmakhee’s theory of seventy two thaat (or mel). He had discussions
with many well-known musicians. Similarly, he travelled northern part of India and learnt about North Indian
classical or Hindustani classical music. When some musicians refused to teach him anything unless he
made a commitment by a formal ceremony of ‘Gandaa-Bandhan’ , Pandit Bhaatkhande did not hesitate
and went through with the ceremony. ( ‘Gandaa-Bandhan’ or ‘Amulet Bond’ is ‘tying a musical knot’: in
older days, a student and teacher would formally commit to study music in a ceremony where a teacher
would tie a gandaa or an amulet on student’s wrist. This was a serious mutual commitment and promise
from both student and teacher.) He wanted to acquire knowledge in the field of music by any means
necessary and he did not have any ego or false pride. He observed that in north India, there is a Raag –
Raagini’ system that has some faults and shortcomings. Pandit Bhaatkhande published six consecutive
books where he consolidated Khyaal, Dhrupad, Dhamaar etc. and that opened a treasure trove of music
knowledge to all musicians. He organized music conferences in many cities across India. In these
conferences, many music scholars exchanged ideas and presented their theories. First conference was in
Barodaa in 1916, and a proposal was brought forward to establish ‘All India Music Academy’. These
conferences helped spreading music. He established music colleges at many places and started organized
or institutionalized programs for studying music. In Lakhnow, he established ‘Mairis Music College’, which
is now called ‘Bhaatkhande University of Music’. ‘Madhav Sangeet Vidyaalay’ in Gwalior and Music
College in Baroda are noteworthy. Bhaatkhande ji published four books called ‘Bharatiya Sangeet
55
Paddhati’ in Marathi language. These books contain valuable collection of well researched complicated
topics in music. He also wrote an amazing Sanskrit book called ‘Lakshya Sangeetam’. From books like
“Short Historical Survey”, “A Comparative Study”; it is obvious that for enhancement of art of music,
Bhatkhande ji worked very hard. In many world class universities, his ‘Kramik Pustak Maalikaa’
(Successive book series) is adopted as a standard text book. With “ Vishnu Sharmaa ” as a pen name, he
wrote “Shreemallakshya Sangeetam” and “Abhinav Geet Manjaree”. With a nick name “Chatur”, he wrote
several compositions, hence he is also known as “Chatur Pandit Bhaatkhande”.
With Pandit Bhaatkhande’s efforts, Indian classical music (both theory and practical) became well
organized. Instead of raag - raagini system, ten thaat were established. Ancient music practice and theory
was changed during muslim period. Pandit Bhaatkhande supported it with new theories and made it stable.
He created a written script for writing music. He obtained ancient hereditary Hindi compositions from
families of musicians (khandani or gharaanaa) and consulted Hindi linguists and scholars to give the them
a wholesome, refined form. He published these compositions in six volumes of ‘Kramik Pustam Maalikaa’.
With his Sanskrut book “Lakshya Sangeetam”, he constructed a strong scientific support for modern music.
He did not feel insulted when he had to commit to a “Gandaa Bandhan” ceremony to obtain know how from
other artists. He travelled tirelessly to hunt for ancient books. In music conferences, he collected artists
from various traditions and gharaanaas on same pulpit or stage. He organized panels for interactions of
thoughts and opinions, determined verified forms of raagaas, discussed theories, formed solid connection
between music theory and practice.
He was very disciplined during his journeys, and did not waste time in sightseeing historic or tourist
places. He did not like to waste time in attending or hosting parties. If someone gave him an address of a
musician or music scholar, he would make the journey no matter how far. While studying books, if some
topics were difficult to understand, he would discuss them with scholars to make it simple.
He was a selfless person. He did not desire money. He shied away from fame. He learnt Urdu and
Farsi language from ‘Munshi’, so he could understand books written in Urdu and Farsi. When he found a
rare composition, he would show it to his friend Mr. Girishrao Karnaad and ask for his opinion. He used to
make three copies of rare bandishes or compositions. One for himself, one for his good student
Shreekrushna Naaraayan Raatanjankar and one for Girishrao Karnaad ji. His watchfulness about studies is
evident in many ways.
He had great faith. Every morning after a bath and sandhyaa (prayer), he used read Rudra. He fell ill
in 1935. Until then in his first 75 years of life, he was fairly healthy. He was uneasy for the last year of his
life and this master mind of music passed away on 19th September 1936.
56
2. Biography of Samraat Taansen
India is proud of many her classical vocalists. Sangeet Samraat (Emperor of Music) Taansen is
celebrated as one of the best. His excellent contribution to the enhancement of the ‘Dhrupad’ style of
singing is well known.
There are many legends and fables associated with Taansen rather than any historical verified
documents. However, his fame is as overwhelming now as it was in his life time.
It is generally known that he was born in a place called ‘Behat’ near town of Gwalior. His father’s
name was Mukundrao Pande. Some people say it was Makarand Pande. Makarand Pande was a good
singer and earned a living by narrating and singing verses from ‘Puraan’ (mythological stories). Taansen
was born in his home in the year 1532. His original name is said to be ‘Tannu’, ‘Tanna’, ‘Trilochan’,
‘Tansukh’ or ‘Raamtanu’.
Taansen’s earlier studies were done with his father Makarand Pande and Guru Sufi saint ‘Gous
Muhammad’ in Gwalior. After this he acquired higher education in Music from Swaamee Haridaas in
Vrundaavan. With this divine teacher’s benevolent attention, Taansen received excellent knowledge at a
very young age.
Taansen met Swaamee Haridaas by coincidence. Swaamee Haridaas came to Vaaraanasee (a holy
town) on pilgrimage with his students. Swaamee ji got fascinated by Taansen’s handsomeness, his
excellent talent to imitate voices and his proven capacity to entertain people. Swaamee ji told Makarand
Pande of his wish to accept Taansen as his student and take Taansen with him to his place.
Father Makarand Pande agreed and Taansen’s music instruction began from that day.
The Guru (teacher) was Taansen’s life’s singular treasure and focus of attention. Swaamee
Haridaas taught Taansen about 200 dhrupads.
Taansen was an excellent composer. He mostly wrote dhrupads, which are found scattered in many
books. The biggest collection of dhrupads can be found in ‘Raag Kalpadrum’ edited by Shree
Krushnaanand Vyaas (year 1898). It is known from studying these available dhrupads that they are mostly
related to descriptions of God’s praises, knowledge, devotion, king’s praises, goddesses, and Krishna
leelaa.
Before coming to samraat Akbar, Taansen was a royal vocalist in King Raamchandra’s court. By
this time he was substantially well known. Samraat Akbar heard his praises and he sent invitation to
Taansen and asked him to be a royal singer in his court. Raajaa Raamchandra reluctantly bid Taansen
goodbye.
It is said that Taansen’s name was not Taansen. It is a title given to him because of his talents.
Taansen entered Akbar’s court in the year 1556. He was a court singer and one of the ‘Navaratna’s.
He became so famous because of his singing talents that he is considered to be a ‘Sangeet Samraat’
(music emperor) of his time.
57
There are several legends about his singing, such as his Deepak raag would light up extinguished
lamps on their own, Megh raag would bring rains at any odd time, and even rocks would liquate etc.
Apart from being a great singer, Taansen was a great scholar and musician. He modified ancient
raagaas and developed new ones, such as ‘Darbaari Kaanadaa’ and ‘Miyaan ki Malhaar’ etc.
‘Sangeetsaar’ and ‘Raagmaalaa’ are theoretical books written by him.
Taanseen passed away in year 1585 in Delhi and his tomb was established in Gwalior.
To keep Taansen’s memory alive, Indian government organizes a music conference every year in
Gwalior. Many new comers as well as respected established artists present their art at this function in his
honor.
58
3. Biography of Gaayanaachaarya Pandit Baalkrushnabuaa Ichalkaranjikar
Maharashtra has produced many individuals who derived inspiration from role models in Indian
mythology and lived their lives like respected sages. Gaayanaachaarya Pandit Baalkrushnabuaa
Ichalkaranjikar is one of them. He learnt singing style of Gwalior gharaanaa (family or hierarchy) from
Pandit Vaasudevbuaa Joshi with great service to his Guru and hard work. Pandit Baalkrushnabuaa
Ichalkaranjikar was the first one to introduce and popularize Gwalior gharaanaa gaayakee (singing style) in
the state of Mahaaraashtra. He taught his hard earned vocal music to his students and created a musical
community. He also brought music to respected peoples’ houses in society and established a dignified
place for music.
This extraordinary man was born in 1849 near a town of ‘Ichalkaranji’ in a small village called
‘Bedag’. His was a family of priests for generations. However, Baalkrushna ji’s father Raamchandra had
learnt a little music and he was a performing vocalist. Hence Raamchandra often travelled to different
places. He was very pleased when he noticed that his son’s voice was remarkably capable of fast
development. He taught Baalkrushna ji some dhrupads and other arrangements (prabandh). Raamchandra
ji wished for his son to be a singer. But Baalkrushna ji’s mother passed away after a short illness and
Raamchandra ji took Baalkrushna to his uncle’s place.
Baalkrushna was not happy doing priest’s duties at his uncle’s place. When one day he refused to
go to receive alms as a priest, his uncle got upset and insulted him. Baalkrushna ji replied ‘I will return only
after I become a great scholar’ and left his uncle’s place.
He left home to look for a teacher (guru). He stayed with a versatile (choumukhee) singer
Devajeebuaa Paranjape for four years and learnt dhrupad, dhamaar, tappa style of singing. But because of
Guru’s wife’s strange behavior he had to leave and be on his own again.
He became disappointed and went to Kaashee on pilgrimage. One monk from Kaashee took him to
Pandit Vaasuvbuaa’s place. Vaasudevbuaa was a student of Hassu – Haddu khan and was a famous
singer from Gwalior gharaanaa. However, Vaasuvbuaa refused to teach Baalkrushna. Baalkrushna ji made
a vow that ‘I will learn from you’ and went back to Kaashee. In a temple near Kaashee he started a fasting
ritual. After fifteen days a goddess appeared in his consciousness and told him ‘Joshibuaa is waiting for
you on the banks of Gangaa river’.
Seeing how hard Baalkrushna ji was working to learn vocal music, Vaasudevbuaa was impressed
and brought Baalkrushna with him to Gwalior. There Baalkrushna received special Gwalior gharaanaa
taaleem (schooling) for nine years. Thus Baalkrushna ji acquired an excellent combination (confluence) of
Dhrupad and prabandh singing from his father, Tappaa style from Dev ji for four years and special khyaal
style singing from Vaasuvbuaa.
59
‘Be victorious’ was the blessing Baalkrushna ji received from his Guru and then he set off for world
conquest towards north India. He performed in Jayapur with ‘Bhoogandharva (celestial singer on earth)
Rahimat khaan’ and received accolades from many respected singers.
His performance in a Vasantotsav (Spring Festival) celebrations in Gwalior was so good that people
felt that Vaasudevbuaa himself was singing. Vaasudevbuaa was also very pleased with his student’s
extraordinary singing. He gave blessings to his worthy student and said ‘collect good music related
material from any source, you will flourish’. He also asked him to enter gruhasthaashram (get married).
Baalkrushna set off for Mahaaraashtra. That time he had opportunity to listen to Haddu khan’s son
Mahammad khaan and by his own Guru’s instruction Baalkrushna ji performed with Mahammad Khaan in
many places and learnt his singing style and powerful taan (Jabde ki taan).
Gwalior gharaanaa’s mature singing style used to manifest in Baalkrushna ji’s concerts. He used to
sing every composition’s Sthaayee (first stanza) twice and then sing antaraa. He had a special discipline in
his singing. He used to sing aalaap (free style improvisation) from Madhyam in mandra saptak (lower
octave) to Pancham in taar saptak (higher octave). In this his bol aalaap (free style improvisation of singing
with lyrics) included significant special features. Baalkrushna ji used to sing badaa khyaal, then sing
cchotaa khyaal and taraanaa from same raga to finish singing one raag. His gaayakee (singing style) was
straight and pure but very beautiful at the same time. His singing style was serene and solemn like a formal
court. He knew many compositions like ashtapadi and tappa by heart. He had masterful command over
many bandishes (compositions).
He had a genuine wish to share his hard earned knowledge of music. He worked tirelessly to spread
music and establish music as a respected art form in society. Names of his students who continued his
singing tradition are: Ganpatbua Bhilavadikar, Pandit Vishnu Digambar Paluskar, Anantbua Joshi,
Gundobua Ingale, Neelkanthbua Jangam, Vaamanbua Chaphekar, Yashvantbua Miraashee, Bhaatebua,
Kaalebua, Goa ki Dattibai, Chandrabai etc. He founded ‘Gaayan Samaaj’ (singing community) in Mumbai
and started a magazine called ‘Sangeet Darpan’.
In his old age Baalkrushna ji’s wife and young accomplished son passed away. He became sad and
his health went downhill. He became ill due to recurrence of asthma. In 1926 this musical stalwart genius
passed away.

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1

© Anjali Nandedkar, nandedkarproductions.com

Madhyama Pratham Syllabus

Study dugun, tigun and chougun of taal learnt earlier.

4. Murkee: Quickly singing more than one swar is called ‘Murkee’.

Chapter 2: General knowledge

2. Relationship of a Vaadi swar with raga:

From the above description, students can memorize following points:

4. Undulation’s width and small or big naad:

5. String’s length and high or low sounds:

6. Thaat and raga rules

7. Construction of thaat in Hindustani Classical music based on mathematics

Special characteristics of Pandit Vyankatmakhee’s swar:

Now let us see Pandit Vyankatmakhee’s thaat construction:

(1) sefm pabs

(2) srfm pdbs

(3) segm pans

(4) srgm pdns

(5) serm pads

(6) sfgm pbns

32 Thaat in Hindustani Classical Music (North Indian Classical Music)

Poorvardha (First half) Uttarardha (second half)

(1) srgm pdns

(2) segm pans

(3) srfm pdbs

(4) sefm pabs

8. Ten thaats formed by Pandit Bhatkhande

Ten thaat in Hindustani classical music :

Ten thaat with shuddha and vikrut swar are as follows:

1 Bilaaval srgmpdn All swar shuddha

2 Kalyaan srgkpdn One swar vikrut

3 Khamaaj srgmpdb One swar vikrut

4 Kaafee srfmpdb Two swar vikrut

5 Bhairav segmpan Two swar vikrut

6 Maarvaa segkpdn Two swar vikrut

7 Poorvee segkpan Three swar vikrut

8 Aasaavaree srfmpab Three swar vikrut

9 Bhairavee sefmpab Four swar vikrut

10 Todi sefkpan Four swar vikrut

1 Odav – Odav Raga has five swar in aaroha and avaroha.

11. Types of taan:

12. Singer’s merits (virtues) and faults (flaws):

Singer’s faults (flaws):

13. Types of instruments:

“ Vaadyatantri tatam vaadyam supiramsushiram matam |

Four main types of musical instruments are:

3. Shadja, Pancham and Madhyam are nyaas swar.

7. This raag is considered to express ‘Karuna ras’ or pathos.

Swar vistaar (Swar Expansion)

Comparison between Jaunpuri and Aasaavaree

Jaunpuri can also have nyaas on Madhyam like this: p a m p r mi

Swar vistaar (Swar Expansion)

Characteristics of Raag Hameer:

Swar vistaar (Swar Expansion)

Characteristics of Raag Patadeep:

Swar vistaar (Swar Expansion)

Comparison between Patadeep and Bheempalaasi

Patadeep does not use rndp

Two Nishad (Suddha n in Aaroha and Komal b in