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(37

^01 xo-iirHcx.

Indian Music
BY

SHAHINDA
(Begum

Fyzee-Rahamin)

with Preface by

F.

GILBERT WEBB

WILLIAM MARGHANT & GO.

The Goupil Gallery
5

Regent Street
London, S.W.

.. .

.. .

Index.

CHAPTER
"

History of Indian Music"

CHAPTER

CHAPTER

"

"

..

Tales of Indian Music"

..

..

21

III.

38

IV.

Ast-Addhya" (Law of Musical Instruments)

CHAPTER

II.

Raag-Addhya" (Law of Tunes)

CHAPTER

Sur-Addhya'' (Law of Tones)

"

"

I.

69

V.
.

80

Preface
This

book

little

Western minds the

modest

is

attempt to

and

construction, peculiarities

the ancient music of India.

explain
spirit

to

of

Captain Day, in his illuminating

volume on the music of the Decan, or Southern

India, has

revealed the elaborate system which prevailed at one time

in

portion of the Empire, but this

that

of the original system, which had

is

only the offshoot

and growth

birth

its

in

the North in ages which recede from the tract of history

dim regions of legendary

into the

Much
pertain

that

is

the

to

described

imagination

practice, but the points of

brain are as far asunder

regard to their

pages

these

rather

than

may seem

to

possibility

of

the

view of the Eastern and Western

as the social

One

Western realms.

and

in

lore.

respective

fundamental

great

musical

systems of Eastern

outlook

is

fact

with

whereas

that

the Western musician concentrates his attention on the centre

of each note forming a scale, and his ears will tolerate no
variation

from

that

central

point,

the

musician

Eastern

concentrates his attention on the gradations of pitch

the

centre of

strides

To

each

from note

note.

to note, his

Where

the Western

between

musician

Eastern brother glides between.

the latter the approach and the leaving the central point

is all

important.

led to the

It

is this

that has in the

course of ages

wondrous system of varied treatment of

subtle

tonal gradations, and to the multiplication of ornamentations,

well nigh infinitesimal in

number and

and subtle are these gradations that

character.

it is

So

delicate

only cultivated ears

that can perceive them, and recognise their endless variety

and

significance.

The

ability of the trained Indian

by almost endless

individuality

variations

be termed the skeleton of the tune

to

what may

on

unknown

practically

is

This will be perceived by a perusal of the

Europeans.

explanation of "

Much

musician to infuse his

Taans

in

"

Indian Music has

Chapter Seven.
little

or no

meaning

to

Western

ears owing to inability to detect and appreciate tone-shading

as varied and as fleeting as a

The

summer

rainbow.

origin of these fine gradations of pitch undoubtedly

was, and has been developed in great measure by, the thinness

and length of the strings used on the ancient

That there should have been

instruments.

classical Indian

little

endeavour to

thicken these strings or to obtain greater resonance and

must be attributed

to the predeliction of the

sublety of thought which found

power

Eastern mind to

its reflection satisfied

in musical

sounds of delicate quality.

The music
idiosyncracies

extreme

of

all

and mental

delicacy

of

is

ever the

of

its

music

is

countries
states

Indian

echo of the

producers, and the

only

the

faithful

analogue in sound of the elaborate and marvellous complexity

of eastern pattern-making, as seen in
iu the

weavings in

silk

which can only be perceived by the

and evasive

is

its

greatest developments

and wool, the symbolical meanings of

initiated.

Yet more elusive

the music of ancient India which revels in the

gossamars of thought and strivings

to

make

audible the vague

dreamings of the mystic East.

F.

May, 1914.

GILBERT WEBB.


History of Indian Music.
Chapter

JNDIAN MUSIC
It

by

thousand years

three

is

attributed

is

I.

be of Divine origin.

to

old.
It

most complicated and intricate

system of the musics of all nations, and a science
hardly to be excelled by any creation of the
is

the

far

human

mind.

has

It

history, to

highly

found

be

served and handed

of ages and

Like

upon
and

all

the

down

the

and

ancient

fascinating

pre-

texts,

to us, surviving

cycles

ravages of time.
old branches of learning,

religious

traditions

social

coloured
in

of

manners and

faiths,

the

it

observances,

country,

customs

the history of the tunes, and

is

based

legends

depicting

of the

the

people, in

words of the song.

There are various versions as to the origin

Music.
The two mostly quoted

Indian

of

traditions

are

That it is descended from Brhama,

brought into vogue by Mahadeo and Nardaman,
and performed by the great Naiks, i.e., Masters
of Music, from time to time.
(b).
That a strange bird called " Musikar"
1
or Dipak Laat 2 inhabited the Caucasus mountains,
and its beak had seven apertures through each
(a).

it is also the name of a Raag, i.e. male tune in

literally means fire
The peculiarity of this wonderful tune is that when it
the Indian Music.
played with the right notes in the right season its power is so great that
it excites the element of fire in nature, and creates fire.

Dipak

is

Laat means hot scorching winds.

of

openings

these

was

it

able

blow

to

and at different seasons of the

combined these notes into harmony,
and produced Raags, x congenial to that particular
Its
hour of the day and season of the year.
years,
when
and
age was that of a thousand
note,

different

year

its

it

was about

life

to

and accumulated a
and

environs,

absolute

tunes

danced

frenzy,

from

its

end,

around

playing

beak

ecstacy,

into

fell

it

of combustibles from

pile

in

state

notes
of time

length

for

it

various

the

its

of

and
in

When, however, it
harmony with the seasons.
touched upon the notes of the Raag Deepak,
fire was at once ignited, the pile burnt up, and
ultimately it plunged into it, and became Sati.
After a time an egg was created out of the
warm ashes, which in due course became a
Dipak-Laat.

Thus from times immemorial, one

born, lived

ashes, then

is

supposed
This

down

to

of repute

From

is

life,

and

another and

to

in

was

the end turned

The

another.

bird

be extinct now.

the strange and fanciful story handed

posterity,

and

which

every

musician

fond of repeating.

is

the earliest times

was regarded
Divinity,

weird

its

to

bird

as sacred.

and

performed

were professional

celestial

we

find

that

music

was originated from

by divinities.
There

It

beings,

such

as

the

Raag means tunes there are six Raags that are male tunes in the Indian Music,
and each Raag has got its own five or six Raagnis.
These tunes have
seasons of the year, and hours of the day, when they should be played or
sung.
Any departure from the rigid law incapacitates the beauties and
subtleties of the tunes, and violates the sanctity of the Alt.
;

II

Gandharvas and Apsarasas who performed before

the Gods.

Brhama indulged in the Art for relaxation.

Saraswati, the Goddess of Learning and Music,
invented

which
figure

the

among

Veena,

exquisite

bears her

the

Narada

name.

Beings

the Divine

is

in

instrument
a

brilliant

the musical

Shiva in the act of his Divine Dance,

shook the universe with his marvellous performance.
His wife Parbati has been the subject of
many a poetical idea. The " Rudra Been" is the
world.

definite composition of her sleeping lovely

When

form.

was cultivated so freely

among the Gods in Heaven it affected the
mortal beings on earth.
The kings indulged in
it, so
did their subjects, until music study was
Art

importance

of vital

To

the

learn

the

in

very

ancient

ages.

The youths were

was compulsory.

it

taught to sing the Divine Praises and Prayers,

and the secular studies were imparted to them
in

tunes.

Millions of musicians of
in the land,

all

grades flourished

and multitudes of professionals were

supported by the State, free from

Their
secret

one

object

mysteries,

in

life

and

doctrines of the sacred

all

was to
expound

impositions.

unravel
the

the

hidden

Art.

There were no religious rites, ceremonials,

forms and observances inside or outside a home
in which music did not play an important part.
The very existence of the people seemed to
depend upon

its

practice.

12

Temples and shrines, and all sacred places,

were thronged with devotees who were all
absorbed

that

in

" Devotional

The

the

had bards and minstrels,

who

of

music,

Music," night and day.

villages

entertained the
miracles

called

class

village folks

with

Gods, philosophies

of

of

the

and sages, biographies of noble and

and

As

women and
time

on,

India

thrown

in

through

People were

a chronic state of disturbance.

favourite vocations

were deprived

men

recitative.

passed

vicissitudes and historical changes.

the

ascetics

high

love romances in inflected

went

of

tales

Their

were interfered with, and they

of their freedom

to a great extent

of living.

The present degradation, and neglect of

show the remarkable degeneration and low

music,

which the people have sunk.

All the
genius, of which the land was so
rich
and brimful, is effectually crushed out
until no trace of its former glory is left.
To acquire anything of the Indian Music
in
the present day, one has to be specially
gifted by the Gods.
We have no facilities of
learning, in the way of preliminary books or
notations, nor have we any recognised schools

status to

productive

of high

order or merit, accessible to

or seeker of

music.

the

lover

All the mysteries of this

Glorified Art are confined to the ancient Scriptures,

in unintelligible

Brij-Bhasha and Sanskrit, carefully

away from the gaze of the masses

some antique remote corner.

hidden

in


13

certain

families,

Almost

all

celebrated

the male

traditionally

as

great

certain

in

artists.

members among them were

play and sing, and during the

able to

of

down

was handed

Music

number

of

years,

you

interval

heard

of

mighty men like Naik Gopal, Naik Baijoo,

Taansen, Amir
Khusrao, Mir
Nasir Ahmad
Dehlavi, etc. etc., springing up from the unknown,
and stirring the very forces of nature by their
extraordinary performance.

These families are still to be found

they
few and far between, and scattered in the
They have knownorth and south of India.
ledge of these priceless texts, and some are even
;

are

in possession of them, but they

guard these with

secrecy and reverence.

religious

Works on
Few

subjects

Indian Music.

have been more enveloped

in

mystery and darkness than Indian Music. After

a careful research, we find that some great
works were written by eminent masters in the
ancient days, in a most intricate and difficult
language, meant more for the comprehension of
Among the well-known
teachers than students.
authoritative versions existing to-day are

Sangeet Darpan. This is a highly prized

book of importance written in old Sanskrit by
i.

Shastri
It

Chatr

treats

music)

of

Damodar Shavan Bhut

the

Sapt-Addhya

(seven

of

Kasi.

laws

and imparts valuable information.

of

14

This

another old MS.

of value, written more than seven hundred years

Raag-Ratnagar.

2.

is

by Sarang Deo Pandit, containing

ago,

a store

of

information.

Raag-Mala

3.

language

Nagri

in

in

characters

by

Bhasha
Ganga-Dhar.

written

is

Brij

The whole book is written in verse.

There are many more books of more

or less

importance written on the subject from time to

time.

Most of them

mentioned

texts,

are

based on the above-

and when the author has been

unable to grasp the meanings of the masters, he

has reproduced portions.

no books in
the proper order and method have really been
written, pointing out the stages, one after another,

So

that

it

facilitating the

will

be seen that

study of the science.

At the present day the craze

old

arts" has

resulted

in the

for "revival of

establishment of a

few music schools, scattered in Bombay, Baroda,

Poona, Mysore and Calcutta, and self-styled professors

have compiled a series of primers, called

imitating the Western
system of

"notation,"

Most to be regretted is the substitution

harmonium in place of the sweet strains
Sarangi (Indian violin) for accompanying

notation.

of the
of

purposes.

more disastrous metamorphosis cannot be

imagined.
There is not the slightest idea or
semblance of the rich classical and original
Indian melodies in these chopped-out hybrid
tunes, sung

by a number

silly

of students together.

15

Similarly,

some tunes

modern invention
by a band.
They

of

are set to music and played

anything

are

matter

of

constituted

but

Indian

fact

the

that

it

real

Indian

does not lend

tricks of popularising-

almost

much

music
itself

is

so

such

to

as organ-grinding, school

it

choruses, bands, theatre, orchestras,

It is

As

character.

in

etc.

too earnest, real, heavy, beautiful,

Divine,

for

amusement,

light

thorough knowledge of

it

and serious study, of a

and

means self-abnegation

life-time

and more.

Muts.

peculiar

of the

feature

Indian

Music

is

the distressing and confusing institution of Muts,

the classification of Raags (male tunes), and
Raagnis (female tunes) and Talas (times).
In the ancient
Raagmalas and Sungeets

i.e.,

(works on music),

we

an awe-inspiring, deeply

and complex nature.

or

men

that

find

music was of

religious, highly classical

The Gods indulged

in

it,

of great learning and piety, such as those

who had submerged

their

individualities

in

the

Divine path.
Sixteen thousand

and

sixty

Talas

tunes, and

(times) are

three hundred
mentioned as used

by them in those days, almost inconceivable to

our mind and understanding.
" Krishna perfectly intoxicated by his own
music on the flute, commenced to sing.
His

16

sixteen

Gopees

thousand

followed

each

him,

producing a Raag (tune)."

In

middle

the

ages,

was brought

it

comparatively appreciable and systematic

overshadowing the inaccessible heights

so-far Sublime Music.

to

basis,

the

of

Four Muts were decided upon, each named

after the Divinity
i.

who was

the originator of

Sumeshar or Shew Mut.

of the appellations of

Sumeshar

it.

is

one

Mahadeo (Adam).

Mut literally means intelligence. This Mut

named after Mahadeo, and the method of
singing and playing in this Mut is like the
method with which Mahadeo sang and played,
is

and one which

It

each

has

extremely

is

difficult.

Raags, and

six

its

own

Mut.

So

Raag having

six

thirty-six

Raagnis,

Raagnis and eight

Putrs (sons).
2.

Kalinath

who was once

named

playing with a

ball,

alter

Krishna,

on the shores

of the sacred Jumna, with his playmates.

In the enthusiasm of a throw, the ball

into

the river.

Krishna immediately jumped

the water in search of

When

fell

in

it.

he reached the bed of the

river,

he

found himself perched on one of the thousand

heads of a monster serpent.
The King of
Serpents that inhabited the Jumna.
The KingSerpent, on being thus ruthlessly disturbed, was

annoyed, and tried to sting him with the head

on which he sat.

17

Krishna jumped over gracefully on another

head, and thus, by jumping on to different heads,

avoided

deadly

its

of

bit

bites,

he found a

last

at

till

which he successfully tied

the nose of the serpent, and thus freed himself
from danger.
string,

Now

this

and

beauty that

dance,

with

which

the

with

this

from one head

such

caused

it

infinite

peculiarly

movements

elegant

to-day

is

to

grace
pretty

and

pleased

are

historians

and

upon,

of springing

feat

was done

another

to

with

actions,

comment

recognised form of

dancing.

Now when
mastered

the

He

sheer joy.

he got hold of the

he

situation,

Mut has

Raag has

got

and

string,

to

sing

in

sang with a certain method, and

method was called

memorating that incident.

Kalinath

this

Kalinath

began

its

Mut,

com-

Like Sumeshar

Mut,

got six Raags, and each

also

own

six

Raagnis and

eight

Putrs.

Bharat

3.

ascetic

named

called

Bhajans,

easy,

facile

Mui.

So

Bharat,
in

who sang

praise

great

religious

songs

called

of

after

the

Gods, in

an

manner, creating a certain mode of

distinguishing it from the

singing and playing,

two others in method

ment of tunes.

its

of execution and

arrange-

This Mut has six Raags, and each Raag has

own five Raagnis, and eight Putrs and eight

Bharjas (daughters-in-law).

15

This

is

Mut which has

the only

the additional

tunes Bharjas.

Hanuman, or Hanout Mut. So called after

famous general of Raja Ramchandarjee,
Hanuman (King of Monkeys), who conquered
4.

the

Lanka (Ceylon), and, flushed with victory

noted

of Raja

Ramchandarjee

after a certain style.

This style was recognised

ever
in

since,

the

in

sang congratulations in the Court

battle,

and

has been

at once,

to-day very

is

much

vogue

in

Benares.

Bharat Mut, this

Similarly to

Raags,

Raagnis

and

Raag

each

and

eight

has

Putrs.

Bharat Mut are retained in

The
each

last

other

got

Mut has
its

The

six

own

five

Bharjas

of

this.

two Muts are very much akin

in

the

seasons of

the year

to

when

they should be played or sung, also the arrange-

ment
and

of the

tunes, with

slight

variation

here

there.

These Muts show an enormous modification

They were brought to a
in tunes and times.
standard of one's reach and understanding.

The
six

sixteen thousand tunes

Raags (male

tunes),

were reduced

and thirty or thirty-six

Raagnis (female tunes), each Raag having

five

or six

Raagnis,

according to

its

and the three

sixty Talas (times), were reduced

Talas.

its

Bharjas

hundred
to

own

individual

Mut, and eight Putrs (sons), and eight

(daughters-in-law),

to

and

ninety-two

19

Each Mut played the

order which it recognised

tunes

in

certain

one Mut
qualified a tune with a certain attribute with one
or two notes, Teevar (sharp), or Komal (flat), and
;

classed

with

among

it

the Raagnis, while another

Mut

among

the

ranked

similar alteration

for instance,

it

Putrs, and so forth.

This difference of opinion caused an incessant

wrangle, never determining the class of the tune,
but raising an interminable

field

for enquiry

and

research in this branch.

In the reign of that great patron of Arts and
Sciences, the

Emperor Akbar,

the Court Musician

Taan-Sen, of universal fame, made a thorough,

arduous and minute study, of long duration, of
this most superb science, felt the superfluity of
the four Muts, and, after a scientifically lengthy
observation, determined the distinctive and main

and characteristics of each melody,

and revolutionised the system by deciding upon
one Mut only, with its proper order of tunes. He
dealt similarly with the Talas (times), and con-

qualifications

the

centrated

without

ninety-two
the

losing

subtleties

of each

None but

Talas

significances,

tune and

a master

mind

into

twelve,

beauties

and

measure.
like that of

Taan-

Sen could have brought about such a complete

upheaval in so intricate an art.

He
(book

is

supposed to have written a Raag-mala

on a sound, systematic
to his own name.

on music)

and ascribed

it

basis,

32

20

This tended to make music intensely popular

and progressive.
This is the Mut which has been followed
more or less since, and has influenced most of
the modern music also.
the south of India music

In
different

The

character.

is

entirely of a

instruments also differ

good deal from the north they have a system

of their own.
Instead of classifying the tunes
according to Muts, and having so many Raags
and Raagnis, they simply have seventy-two Ragas,
otherwise scales
and each scale has got a name
which signifies the notes of which it is composed.
They follow the early Narada system of music,
and have their own history and traditions.
a

The
elaborate,

North

more

music

India

is

much

more

beautiful and finer of the two.

Sapt-Addhya.
Indian Music

is

comprised of Sapt-Addhya.

Sapt means seven, and Addhya means laws

meaning "seven laws of music," which are as
follows

First. Sur-Addhya.

The

law

which

treats

of tones, including semi-tones, demi-semi-tones, etc.

Second.
treats

of

Third.
of time.

Raag-Addhya.

tunes

or

The

law

which

melodies.

Taal-Addhya.

The

law which treats


21

Fourth.
of musical

Taa-oos,

The

law which

instruments, such as the

Nafeeree,

by

either

Ast-Addhya.

the

Fifth.

Baansri,

treats

Been, Sitar,

Sankh,

etc.,

played

hand or mouth.

Nirt-Addhya.

The

law which

treats

of dancing.
Sixth.

Bhao-Addhya.

of actions and

and

in

law which treats

rhythm with singing

dancing.

Seventh.

Arth-Addhya.

of comprehension

treats

N.B.

movements

The

"Bhao-Addhya"

is

"

it

Nirt-Addhya"

the

songs and

for

The

law

of tunes and
practically
is

which

times.

linked

with

the art of illustrating

dances with

the

movements

arms, and all the parts of the body.

Arth-Addhya" may be acquired by a theoretical study of the science, and a constant

of
"

hearing of

it.

Sur-Addhya. (law of tone).

Chapter

II.

Music is formed of Surs (tones), and

Talas (times). Each is dependent upon the other
for a complete arrangement of a tune, sung or
Indian

played.

The Talas

executed

are

(times),

instruments as the Pakhavaj, Tubla,

The Surs
either

(notes),

be played

or

form

such

etc.

which

tunes,

sung, on

on

may

such instruments

as the Been, Taa-oos, etc.

The Surs (notes), are seven in number, and

are named individually, as
i, Kharaj; 2, Rikhab
Maddhyam;
Pancham
Gandhar;
6, Dhaivat;
5,
3,
4,
:

7,

"

Nikhad

Sargam "

and collectively they are called the

and

to

simplify

their

use in music,

they have abbreviated names to distinguish them,

such

Sa Re Ga Ma Pa Dha Ni.
These Surs (notes), have enticing biographies,
as,

human and supernatural in composition.

They are human in having temperaments,
costumes and colour and,

like

products of nature,

flourish in seasons.

They are descended from Heavenly Bodies,

and trace their lineage from above.
Certain Surs are dominant at certain ages of
mankind. They are produced from various parts
of the body.

23

The

whom

Surs occur
they are taken.

certain

in

animals

from

Those Surs which are possessed with hot

temperaments have the mysterious faculty of
curing those afflicted with rheum, and such
ailments, and vice versa, provided they are sung
by high-minded and noble souls, and at the
specified season of the year, and hour of the day,
when they should be sung then alone the
;

desired effect will be obtained.

the prescribed law

is

The seven notes

violation of

are under the protection of

who

the seven Divinities

Any

regarded as sacrilege.
preside over them.

Interesting Chronicles of Surs (notes).

Kharaj Sa.
protecting Deity

not lend

Komal
It

This
and

Sur

like

is

under the

Pancham does

change into Teevar (sharp) or

permanent.
connected with the first heavens and the

itself to

(flat),

is

Agni,

but

is

planet called Kamar.

It

has a happy temperament.

In effect
Its

it

is

cold and moist.

complexion

And

is

pink.

arrayed in most beautiful white garments

and lovely ornaments.

Its

seasons are

This note

is

all

the seasons of the year.

produced from the abdomen.

sound has been taken from the cry of the

bird Ta-oos (peacock).
Its

It

prevalent in the voice of

is

human

the

being of seventy years.

This tone

harmonious

is

in

all

Raags

the

and Raagnis.
It

tones,

has four Surats (semi-tones) or shades of

Kamoodvati, Manda and

namely, Teevra,

Chan-do

dhuti.

the

Rikhab Ra. This Sur

protection of the God Brhama.
This tone changes

Komal
It

(flat)

is

may

occasion

the

as

Teevar

into

with

connected

the

and the planet called Atarud.

or

(sharp)

require.

heavens

second
It

under

is

has a happy

temperament.
In effect

complexion

Its

red costume, and

season

Its

This note

is
is

is

and dry.

pale green, arrayed

beautifully

the hot

bird

in

season.

produced from the heart.

cry of

Papeeha.

The note is prevalent in the voice

human being when three score years old.
It

etc.,

is

harmonious

in the

of

tunes Deyce, Kaanhra,

and quite unpleasant in Malkaus, Hindole,

It

ornamented.

sound has been taken from the

Its

the

cold

is

it

etc.

has three Surats (shades of tone).

Dayadati, Ran-ja-ni

and Rag-tika.

Gandahr Ga.

This

Sur

is

under

the protecting Divinity Sarasvati.

This changes into sharp or

may

require.

flat

as the occasion

25
It

connected with the

is

third

heavens and

the planet called Zohra.

has a sad temperament.

It

In effect

it

cold and moist.

is

complexion

Its

is

orange, arrayed in crimson

garments.

season

Its

the hot weather.

is

This note

is produced from the chest.

sound has been taken from the cry of

Its

the animal Goos-fund.

It

aged

prevalent in the voice of a

is

human being

fifty.

pleasant in the tunes Kalangra, Khamaj,

and quite unpleasant in Sarang, etc.
has two Surats, Se-ve and Kro-de-he.

It is
etc. etc.,
It

Maddhyam

Ma.

This

Sur

is

under the protection of the God Mahadeo.

It changes into sharp and flat.
It

is

connected with the fourth heavens, and

the planet called Shums.

It

has a restless temperament.

In effect
Its

it

warm and

is

complexion

is

dry.

pale pink, arrayed in reddish

black garments and prettily ornamented.

Its

season

is

the rainy season.

produced from the throat.

sound has been taken from the cry of the
bird Saras (crane).
It

is

Its

It is

of

prevalent in the voice of a

two score

years.

human being

26

This note
etc.,

and unpleasant
It

Malkaos, Bhairaon,

pleasant in

is

Kalyan,

in

etc.

has four Surats, Vajrika, Prasaarini, Preetee,

and Maarjani.

Pancham

Pa. This note

Goddess Lakshmi.

the protection of the

It

permanent

is

under

like Sa.

connected with the

It is

is

fifth

heavens and the

planet called Mirreekh.

It

has a passionate temperament.

In effect

warm and

is

it

complexion

Its

dry.

arrayed

red,

is

yellow

in

garments.
Its

season

Its

the

is

Koyel.

bird
It

the rainy weather.

is

produced from the mouth.

sound has been taken from the cry of

This note

is

prevalent

in

the

voice

of

human

being of thirty years.

It

sounds pleasant

and quite unpleasant

has

It

Alaapnee

four

in the tunes Todi, Aa-sao-ri,

in

Mal-kaus, Hin-dole,

Ragta-Sandeypnee-

Surats,

Rshiti.

Dhaivat Dha.
the protection of the god

the

This

Sur

is

changes into sharp and

It

is

flat.

connected with the sixth heavens

planet called

Mushtari.

has an equable temperament.

In effect

it

is

under

Ganesha.

It

It

etc.

warm and

cold.

and

27
Its complexion is yellow, arrayed
garments with lovely ornaments.

season

Its
It

is

cold weather.

the

produced from the

palate.

sound has been taken from the neighing

Its

of a

is

in vermillion

horse.

This

note

human being

is

prevalent

in

the

voice

It is harmonious in Bilaval-Alaiya,
inharmonious in Zeelaf-Jogiya, etc.

It

has

of a

of twenty years.

three

Mandati,

Surats,

etc.,

and

Rohni, and

Rammya.

Ni-khad
tected

It is

to the
It

Ni.

This

Sur

is

pro-

by Surya.
changeable into sharp and

tune in which
is

it

flat

according

occurs.

connected with

the

seventh

heavens

and the planet called Zohol.

It has a happy and passionate temperament.
it is cold and dry.
complexion is dark, arrayed in black
garments and most beautifully ornamented.
Its season is the cold weather.

In effect

Its

produced from the nose.

sound has been taken from the trumpeting

It is

Its

of an elephant.

This

note

human being
It

is

is

prevalent

the

pleasant in Bi-hag, Puruj,

unpleasant in So-rath,
It

in

voice

of

of ten years.
etc.,

and quite

etc.

has two Surats, Ooggara and Ksho-bhi-ni.

28

Division of Notes.

To portray to our minds the celestial and

most exquisite harmony which the " Shades of
Tones" form in the Indian Music by a cut-anddried theory in black and white is palpably out
of the question.
There are tones, half-tones,
quarter-tones,

and

difference

these

in

imagined,

is

so

sound

sounds,

subtle,

before one

that

one-eighth

has

cadences.

It

beautiful

and

is

The

tones.

can

be

well

and so exquisitely

fine,

consciousness

one

the

has merged into the other of

it

of
its

own

modulations and unexpected

accord, forming soft

"

of
as

unutterably pure, high, classical,

sublime
"

Shades of Tones

in

expression.

These

correspond with the Surats

previously mentioned.

There

is

a certain stage in each

note,

which

neither Teevar (sharp) nor Komal (flat), but a

sound between the two.
This sound or note is

is

Suddh Sur (note) and forms the central

sound of the note.
There are three notes in a
higher key than the Suddh and three notes in a
lower key than the Suddh, and these together
form the seven tones in one tone.
A tone which is one degree higher than the
called the

Suddh

A
Suddh

A
Suddh

is

called Teevar.

tone which
is

called

is

two degrees higher than the

Ta- Teevar.

tone which

is

three degrees higher than the

Tam-Teevar.
A tone which is one degree lower than the
Suddh is called Komal.
is

called

20

A
Suddh

A
Suddh

tone which
is

tone which
is

is

two degrees lower than the

called Ati-Komal.
is

three degrees lower than the

called Shikari.

These are the seven tones

that divide the one

tone.

The

and fineness of these sounds

imagined than written.
To an
untrained ear these delicate shades of tone are
meaningless, and are hardly discernible.
He is
merely conscious of an exquisite flow of sounds,
all blending into one another, making a gracefully

may

subtlety

better

be

delicate whole.

These seven notes correspond with the Surats

already mentioned. These divisions of notes as well
as the Surtis, as given in the olden texts, are too
complicated to understand, and one gets thoroughly
puzzled.
As a matter of fact there are twenty-

two Surats, or sounds, or tones

in the Indian Music,

in one octave,
and the differences in these

merely that of a hairbreadth, hardly distinguishAnd yet

to the foreign ear in a melody.
importance
it is these Surats which are of great
in the formation of a tune and in retaining its
They are distinct sounds
individual character.
and easily heard when a finished performer plays
is

able

or

sings

them slowly

in

a scale, striking

each

note successively.

Young

Asrekar, of Poona, has

made

out a very

clever table, facilitating their comprehension

and

use in tunes, discarding some of the classical

terms and putting them in his own way, which
is simpler and easily understood.

^
Asrekar's Table of Twenty-two Surats.
THE TUNES

SURATS.
i.

Chan-do-vati or Sa

2.

Daya-vati or Ati

Komal

Komal

re

Ran-ja-ni or

4-

Rag-tika or

5-

lo
IRoud-reeJ1

6.

Kro-dhee or Ati Komal ga

7-

Vaj-ri-ka or

3.

Prasaarni or

9to.
i.

Suddh

or

Ditto

re

3-

This occurs

re

Teevar

re

Komal ga

Maddhya ga

Pree-tee or Teevar ga

Maarjani Komal

ma

Maddhya ma

Kshiti or

ma

12.

Ragta or Teevra

13-

Sandeepni or Teevar-tar

14.

Alaapni or Suddh Pa

15-

ma

IN

WHICH THEY OCCUR.

in all the tunes.

tyie

tune Bhairaon,

etc.

Ditto

ditto

Bhairaveen,

Ditto

ditto

Bibhaas,

Ditto

-ditto

Yemen

Kallian,

Ditto

ditto

Todec,

etc.

Ditto

ditto

Bhairaveen,

Ditto

ditto

Malkaus,

Ditto

ditto

Yemen

Ditto

ditto

Bhairaveen,

Ditto

ditto

Poorbee,

Ditto

-ditto

Yemen

Ditto

ditto

Poorya,

the the tunes

etc.

etc.

etc.

etc.

etc.

Kallian,

etc.

etc.

etc.

Kallian, etc.
etc.

where Pa is

Ditto

all

Mandati or Ati Komal dha

Ditto

the tune Bhairon,

16.

Rohini or Komal dha

Ditto

ditto

Bhairaveen,

17-

Rammya

Ditto

ditto

Bibhaas-Malkaus,

18.

Oogra or Teevra dha

Ditto

ditto

Yemen

19.

Ksho-bhi-ni or Ati

Komal

Ditto

ditto

Gond Malaad,

20.

Teevra or Komal

ni

Ditto

ditto

Bhairaveen,

21.

Koo-mood-vati or Maddhya

Ditto

ditto

Malkaus,

22.

Mandha

Ditto

ditto

Yemen

N.B.

or

Suddh dha

ni

ni

or Teevra ni

The

major scale
the

notes

etc.
etc.

Kallian,

etc.

etc.

etc.

etc.

etc.

Kallian, etc.

the European music would correspond with

in

as

use<

follows

Chandovajr

or

Sa,

Roudree or Re,

Preetee or Ga, Ragta or Ma, Alaapni or Pa, Oogra or Dha,

Mandha

or

Ni,

Saptaks (Octaves).

The seven

Indian

notes in the

Music, Sa,

Ma, Pa, Dha, Ni, otherwise called

Sargam" form a Saptak (octave).
There

Re, Ga,

the

"

are

five

Saptaks.

The

lowest

octave

Mandra-tar

called

is

Saptak.

The

next lowest

The

notes of this Saptak are produced from

Mandra.

called

is

the abdomen.

The
Saptak.

from the

The

medium octave is called Maddhyam

The notes of this Saptak are produced
throat.

next

highest

octave

is

Taar-

called

Saptak, and the notes of this octave are produced

from the head.

The

highest octave

qualified

Saptaks, Mandra,

The

five

is

called Taar-tar Saptak.

singer must produce

Maddhyam and Taar

Saptaks and

the

three

with ease.

even more

may be

played on the instrument " Been."

The ascending from

low notes to the

termed Rohi, and
descending from the high notes to the low notes
Sa, Re, Ga, Ma,
in the scale is called Arohi
high

notes

in

scale

the
is

Pa, Dha, Ni, Sa,

is

Rohi,

Ma, Ra, Ge, Sa,

is

Arohi,

and

Sa, Ni, Dha, Pa,

32

Murchana.
Murchana

is that alluring and pleasing oddity

Music which helps to establish the
indefinable charm and the merging of tones which
characterises the melodies so forcibly and so

in the Indian

fully.

Murchana

and

harmonious

the

is

gentle

gliding of sounds, which occur while uniting one

note to the other consecutive one.

There are twenty one Murchanas in the three

Saptaks (octaves), each Murchana comprised of
the sounds created during the blending of one note
into the other of the Rohi (ascending from the
lower notes to the

and

octave),

higher

Arohi

the

in

the

scale

of one

from

(descending

the

higher notes to the lower).

The following are the Murchanas of the

Mandra Saptak
This Murchana
i, Ootra-Manda.
:

formed by starting from the note Sa in the

Rohi scale and coming back to the note Sa in
The following Murchanas are
the Arohi scale.
in their proper order, each having a successive
is

note for a starting point in the scale and coming

back to the same point

4,

Suddh-kharja

7,

Aph-rokta.

5,

2,

Ranjani

Bajhri-karta

3,

6,

Ootra-tha

Ason-kranta

Murchanas of the Maddhyam Saptak: 1,

Klohna
Sobray
2, Harnasuad
Barkay
3,
4,
6, Saddhya
7, Gorpay.
5, Parkharka
Murchanas of the Taar Saptak: 1, Pra
;

2,

Bassala;

Barkhata

3,

7,

Sonkhy

Onta.

4,

Partarka

5,

Roni

6,

33

Harmonious and Inharmonious Notes

in

Tune.
Sambaadi, Ambaadi and Bebaadi.
These are the four expressions given to the notes
which are harmonious or discordant in a tune.
For instance
Baadi,

This term

Baadi.

i.

which

is

dominant and gives colour

like the note "

Ma" in the
Gandhar (flat Ga)

to

a tune,

Raag Bhairon, or the

Raag Malkaus, or Komal

Dha"

in the

"

note

applied to that note

is

in

the Raagni

(female

tune)

Todee.

Sambaadi

2.

expression

the

is

which

is

applied to that note which gives additional brilliancy

Sur

to

a tune, and

helps

the

Baadi

like

the

Dha" in Todee. This note is sub-dominant.

Ambaadi is the expression applied to
3.

"

those notes which are not discordant in a tune.

Bebaadi

4.

is

the expression applied to note

or notes which are

tune

like

"Ga"

in

Teevar

"

completely discordant

Ma"

in

Malkaus, or

in

Teevar

Todee.

Taans.

A
when

Taan
a tune

is
is

a variation

or run which occurs

played or sung.

There are count-

less varieties of executing Taans, and these are

so

numerous

that

a finished performer can

sing

or play a tune for hours with the introduction of

Taans before he has exhausted his stock, and yet
not repeat the same

Taan

twice.


34

This

is

that extraordinary part of the Indian

Music when a musician has the unique opportunity

of asserting his knowledge and
individuality during the course of a performance
by harmonious combinations of notes into Taans
on the spur of the moment.
These Taans are better illustrated sung or
and advantage

To convey any

played.

The
form

are

numberless and

so

As

I
I

uplifted

is

have

said, there

shall

now endeavour

diversified

the octave,
It

sa,

may

possess.

they

so inspiring that
into an enchanted

help

It

convey

to

may seem

that such a small

various classes of
to

demonstrate one

thousand and

five

the seven notes of

ma, pa, dha,

ga,

re,

extent of the grandeur

to

are

Taan which produces

Taans from

kind of
forty

one

what

of mysterious charms and beauties.

full

Taans.

of

an impossibility.

is

inflections, modulations, trills, etc.,

unconsciously
region

idea

definite

they really mean, in writing,

to

ni.

the readers the

and beauties these tunes

impossible, at

number

first

glance,

of notes should be able

produce varied strains of such magnitude, but

a close

study will show

how

skilfully

knowledge it was manipulated

ancient and great masters of music

what

and with
by the

One

Two
different

the

high

note will give you one Taan only

notes
varieties
notes),

you

two

Taans
Rohi (ascending from low

will
:

give

sa,

re.

Arohi

from the high to the low notes),

sa.

of
to

(descending
re,

sa.

35

In

three

Taans

different
3

ga,

notes,

sa, ga, re

sa,

re,

re, ga,

sa

you

get

sa,

ga,

re,

i sa,

ga
5

re,

ga, re, sa

six

ga
and

sa, re.

Four notes produce twenty-four Taans, thus

1 sa,
ma, re
6

sa,

11

sa,

ma,

sa,

re,

re, sa, ga,

ma, sa
21 ma,
ga,

ma,

ga

ma,

ga,

10

sa

sa,

sa,

re,

ma,

8 re,

ga,

ga

re,

ga,

ma, ga, sa

ma, ga;

re, sa,

re,

ma, sa

ga,

re,

sa,

12

re,

re,

ga

ma;

ma

re,

ma, re;

sa,

re,

sa, re,

ga,

3 sa,

ma, ga;

re,

17 ga,
19 ma, ga,
sa
22 ma,
ga, sa
24 ma,
ga,

re; 14

sa,

16

ma, ga, re

ma;

2 sa,

ma;

re, ga,

13

ga,

ma;

18
ma;
ga,
20 ma, ga,
re
ga
23 ma,
15

re,

ga, sa, re,

sa,

sa,

re,

sa,

re.

Five notes have the capability of creating one

hundred and twenty Taans.

If the arrangement of the four notes, permitting twenty-four Taans above, is followed
carefully, it will be seen that five notes must
needs necessarily furnish one hundred and twenty
Taans.
It

is

clear that four notes produce twenty-

four Taans.
only.

It

in itself a

is

group of four notes

Five notes, therefore, have five groupings

of four notes, thus

Sa, re, ga, ma, pa

are the five notes, and in

these the five groups of four notes are

ga,

ma

ma,

pa,

re, ge,

sa,

re

ma, pa
5

pa,

ga,

sa, re,

ga

sa

re,

ma, pa, sa
;

place the

remaining note at the beginning of a Taan.

Each

of these groups of four notes will produce twentyC2


36

four Taans,

Taans, for

Sa

making
example

beginning

the

(at

one hundred and twenty

in all

remaining four notes are

and

Taan)

of

the

ma, pa.

re, ga,

These four notes will supply twenty-four

Taans according to explanation above, thus

sa,

sa,

ma, pa

ga,

re,

ma, pa, ga, re;

When

etc.

hundred

sa,

sa,

twenty

are

ga,

Taans

notes,

Taans
sa,

pa

ma,

ga,

beginning

ma, sa

place the
of
sa,

similarly

start

sa,

re, ga,

ma

will

note

re,

re,

ga, ma,

ma etc.
ma at the
;

remaining

the

will give

this

twenty-four
;

re, ga, pa, sa,

four

twenty-four Taans,

Taans with

the
ga,

re,

following

Taan, and

notes pa,

ma, pa, sa

the

of
start

and the four

yield

will

sa,

re, ga,

re, ga, pa,

Then

notes

pa,

example

like

re at the beginning,

etc.,

by
commence-

exhausted,

Taan, making a scale

ma, pa, sa

ma, ga, pa;

placing the consecutive note re at the

ment of

ma

ga, pa,

re,
re,

twenty-four

these

and

pa,

contain

and the four

twenty-four

Taans, completing the hundred and twenty Taans.

Six notes,

sa,

re,

number

ga,

ma, pa, dha,

at

once

one

hundred and
twenty Taans six times, marking an enormous
increase of seven hundred and twenty Taans.

multiply

the

The same method

of these

Taans

all

of

follows the

building up

throughout, facilitating

their

comprehension.

The

scale of these

groupings of
note which

five

falls

six notes

have six varied

notes each, with the one extra

at

the beginning of each

Taan

37

successively

as

follows

ga, ma, pa,

4 ma, pa, dha,
6 dha,
ga,
2

dha,

re,

sa,

i sa, re,
3 ga, ma,

re;

pa,

ma, pa

ga,

pa, dha, sa;

dha, sa,

re,

ga;

Each of these groups of

notes form one hundred and twenty Taans.
ma.

sa, re,

five

seven

Similarly,

and forty

number
seven

form

notes

Taans,

different

thousand

five

multiplying

the last

hundred and twenty Taans

making five thousand and forty

seven

of

times,

Taans.
In these seven notes,

sa,

ma, pa, dha,

re, ga,

there are seven different groups of six notes

ni,

ma, pa, dha;

re, ga,

sa,

ni,

sa, re

sa,

re, ga,

ma

P a dha,
,

ni,

sa

re, ga,

With

ma, pa, dha,

6 dha,
ga
4

pa, dha, ni, sa, re,

ma.

ma, pa, dhi,

ni,

the one note extra coming

beginning of the scale of these six notes

at the

successively,

in

the

order

of

the

octave,

each

of these groups of six notes yield seven

hundred
and twenty Taans, and seven hundred and twenty
times multiplied by seven is five thousand and
Taans.

forty

The
first,

Raag or Raagni

skeleton of a

then a line

is

taken and repeated

is

with

sung
the

Taans and other kinds of

Taans which I have not mentioned, but always
bearing in mind the scale of the Raag and Raagni

introduction of these

that

is

sung.

For
scales

all

of

adjusted
particular

the Raags and Raagnis have their

variegated
to

the

notes.

which

scale

Raag which

is

These Taans
is

true

sung or played

for

own
are
that


38

Raag Addhya (Law of Tunes)

Chapter

III.

Classification of Tunes.

The order
classified

which the Hanuman Mut has

in

the tunes

is

as follows

There are six great Raags (male tunes).

Each Raag has got its own five Raagnis (female
tunes) and eight Putrs (sons) and eight Bhaarjas
(daughters-in-law) making in all one hundred
and thirty-two tunes.

The important tunes

the six Raags and

are

in number,
minor tunes, though some of these are as
beautiful and stirring in conception.

thirty

Raagnis, the

ninety-six

rest,

are

The Raags
musical energy.

display the most exalted form of

They

highly classical in

heavy and
sentiment and permeated by a
are

rich,

full,

They touch

religio-philosophic vein.

the

deepest

emotional chords of the soul and transport one to

a nobler and loftier realm.

The Raags have

of

original

of time and

purity,

still

crudities of

man

have disturbed or affected

tion

retained

notwithstanding
;

their

the

notes

malices

nothing seems to

their

and sublimity of expression.

godly

concep-

39

They

are very difficult to perform, and none

most profound students or efficient
masters comprehend the varied and numerous
technicalities which constitute their completeness,
and venture to perform them.

but

the

The Raagnis
lighter nature,

deep

are perhaps of a comparatively

though some are equally rich and

and quite as difficult to perform.

in feeling,

These

classical

vary

tunes

notes they possess in the

in

number

the

octave

of

forming their

scales.

In some tunes all the seven

These are termed Sampuran.

notes

occur.

In others, only six notes of the octave form

the

scale

and

have only

five

these are called Khadao.

Others

or less notes of the octave which

complete their scale

these are termed

Odhao.

Variegated Methods of Singing Tunes.

may

There are various methods in which a tune

be sung or played in Indian Music.

Dhurpad.

Dhurpad

is

that

style

of singing which comprises dwelling upon each note

with

masterful

Dhurpad

of

any

control

vided the performer

ancient.

and

is

It is a

some moments.

for

classical tune
is

able to

may be
do

it.

manly and heavy way

the most difficult of

all

sung, proIt is

very

of singing,

methods.

40

The

"division

notes"

of

how

shown

previous

the

in

and

chapter

has

subtle

the space of sound allowed to differentiate

one

is

from

note

vibration in

the

extremely

fine

The

other.

slightest

voice tends to produce a Surti

the

Each note, therefore, should be

struck in its purity and richness of sound, and
So that the
dwelt upon clearly and distinctly.
power of retention, with correct intonation, and
with absolute control, is the first step of most
(shade of tone).

importance

vital

Dhurpad, and

When

the

which

it

notes of a

with

one, so that one

divine and rich

and hold one

sung
sound with

clearly

own

will

historical

i.e.,

N.B.

is

Dhurpad

of any

Raag

conscious of nothing but the

and

magic

first

fill

the

spell.

distinctly in its

magical

effect,

long as

allow.

invariably

and

atmosphere,

Each

own

note

is

purity

of

retained

in

its

power of the pertheme is generally a

It is never sung
one.

the

Its

or a religious

quickly, but
lai,

difficult.

accuracy

that

sounds that

in

glory, as

former

singing

in

learnt

extremely

and precision
demands, a strange tremor overpowers

struck

are

be

to
is

it

in

Bilampat

or

Muddh

or second speed.*

There

are three speeds in which a song may be

sung or played.
ist speed.
Bilampat (slow)
2nd speed. Muddh (of double quickness)
yd speed. Dhurat (of tremendous rapidity).

41

Dhurpad singing
The first part

The second
notes that occur

part

shown

in this part.

called

is

tune

the

in

The open-

called Astaai.

is

ing notes of a tune are

equal

divided into four

is

parts.

Antra.

All

the

in

this

sung

are

portion.

is

The treatment of the higher notes of the tune

shown in the third part called A-bhog.
The last part is called Sanchari. It was

against the royal etiquette of the former days

sing any other class of tunes excepting

in the

the

mode

Dhurpad singing

Durbar.

Khandari

Baani.

It

is

the

of execution and one which

is

also

most

to

Dhurpad
called

difficult

restricted to

is

a very few musical families in India.

Khayal.
tune

may

Khayal of any

be sung.

merges or melts into the other

Wave
float

after

after
in

the

the

wave
air.

other,

classical

Unlike Dhurpad, each

of

note

in quick succession.

delicious

ethereal

melodies

Floods of scales succeed one

forming

pleasing

combinations,

and the effect is like that of a quick rise and

of heavenly strains. Trills, variations, tremors,
and all such productions of the voice have full
Khayal singing was
play in this kind of singing.
invented by Sultan Hussain Sherki in the fifteenth
fall

century, and brought to a state of perfection by

Sadarang, the Durbar singer of

Mohammed Shah

of Delhi.

Tappa.

These were originally

by the camel and mule drivers

in

sung

the Punjab, in

42

which

they

related

story

the

of

Heera

and

Schori, the famous singer in the court of

Ranjhi.

Asaf-Ud-dowlah, the King of Oudh, put new life

and soul into it, and converted the simple ditty
of the desert into a cultivated form of singing.

Hori.

These

beautiful

tain the love stories of Krishna, the

and the Gopis.

most

The method

Thumri.
little

delightful,

songs

sung

These

and

by

of Love,
is

extremely

are

very

are

all

generally composed in

in

popular

and

They

are

India.

Brij-bhasha, and

contain

the characteristic events.

Alaap.
of songs

This

to sing the

is

melody

by inserting such expressions as Aaar,

Naa, Te, Ray, Re, Nom, Ta,

real

God

singing them

of

fascinating.

pretty

all

songs con-

instead of the

etc.,

words of the song.

*&

Sargam. This is to sing the tune

song by the notes of the song instead
of the words, such as sa, re, ga, ma, etc.

of the

Tarwat.

This

is

sing

to

the

tune

song by inserting the expressions of the

Tubla (the drum-like instrument to keep time),
and not the words of the song, such as Dhirkat,
of the

Tirkat, Dar, Dhina, etc.

Bhajan.

These

are

ligious songs of appealing nature

pathetic

re-

sung by Jogees

43

on the strange instrument called

Ek-tara, and also by devotees in the temples.
Apart from these methods there are also
(ascetics)

ways of
The

other

occasions.

singing
varied

songs
parts

of

different

at

country

the

have their own individual characteristic singing

like
Lach-chi in Punjab
or
Maand sung in
Rajputana. Maand are evening tunes sung by
a maiden who goes to fetch water from a well
or by a mother rocking a baby to sleep. They
are very beautiful.
Garbas are gay, joyous

sung

tunes

Kathiawar on some

Gujerat and

in

They

move in a circular form

rhythmic movements bending their

group of young maidens.

with slow
lithe

and gracefully beating

their

in

festive occasions

by

hands

figures

rhythm.

Expressions denoting Information

about Raags and Raagnis.

The following

are certain musical expressions

used in giving information about the Raags and

Raagnis.

Maarg
to

those

exactly
the

Raags

alike

mode

of

in

Raagnis

and
all

parts

execution

of the

should

be

Khandari-Bani

Dhurpad

sung

are

that

so as not to be comprehensible to
or

applied

expression

the

is

country but
so

difficult

like

all,

singing.

Maarg

the
is

celestial.

those tunes

Deysi

is

which

are

the

expression

sung

used

differently

for

every-

44

where,

but

be

facile

so

Deysi

method

the

so

as

be

to

singing

its

should

by

understood

all.

terrestrial.

is

Suddh
those tunes which
purity

original

of

is

the

have

expression

retained

the

given

to

notes

of

untempered by any freak of time

Raags (male tunes) and a

or man, like the six

few important Raagnis (female tunes).

Salink are those tunes which have

These are many.
semblance of other tunes.

Sanke-Run
are

tunes which

are those

two
These are

either created out of the combination of

Suddh

tunes, or five or six Raagnis.

numerous.

Maha-Salink

are

those which

are

There are

formed from Salink and Sanke-Run.

Some are of a remarkably
no end of these.
and

beautiful

classical

nature.

of Musicians.

Qualifications

In

ancient days

the

there

were

institutions

where a student acquired knowledge,

and attained a certain degree that qualified him
in
his
profession, and
gave him a certain
of music

standing

There

is

and
a

position
veritable

in

the

vocabulary

musical
of

world.

titles,

that

45

marked the
I

shall

Naik
who

science,

past master in the

and correct-

also able to produce pupils equally

Beyjoo and Gopal were Naiks.

Gandharp was
an

Raags

the

all

in their original purity

was

degree

highest

the

rendered

only

not

and Raagnis
ness, but

was

who was

conferred on he

great.

which he belonged.

different grades to

quote a few important ones.

performer

efficient

Taan Sen was

able

to

and

Deysi.

Gandharp.

Gooni was

who was

the degree given to

Maarg

of

the degree given to him

execute Deysi well.

Pandit

was

who

he

learnt

the

science to perfection in theory but not in practice.

Oottam

was

name given to
him who had such an extraordinary command
the

over his singing that he could sing without any

accompaniment, and

way on
(note).

not

This

be

dependent

for Tal

his instruments

(time)

in any
and Sur

quite extraordinary in the Indian

is

Music, and only an efficient student could aspire

to

attain

this

rank.

Maddhyam

was one who was more

or less dependent upon his accompaniment.

Addhyam
dependent upon

his

was he who was

accompaniment

for

entirely
singing.


46

Qualities of Voice.

The
thirteen

singer

had

qualities

in

be

to

Mirisht. That
who heard it.

affect all

Mudhr. That

with

distinguished

voice

his

the

voice

should

the voice should be

sweet and entertaining.

Jhapal.
be

neither

and

rich,

very

That

the

nor

loud

voice

should

very low, but

and that while singing he

full

should

be

able to retain the breath for a long time and not

suffer

from short breath.

Taras-than.

That the three Saptaks

should be executed with equal

facility

and

ease.

Sakha-ba. That the voice should

be possessed of the power to create laughter in
the assembly.

Kaaran.

That

the voice should be

possessed of such pathos so as to produce deep

feeling

and

tears.

Komal.
soft

and

That

the voice should be

stirring.

Sara-dak.

That

the

voice

should

be big and heard distinctly at a distance.

Ghan. That
clear without

tremor.

the

voice

should be


47

Sang-da.
(variations)

To

execute

all

the Taans

with great ease.

Gaad. That the command should

be so entire so as to be able to produce loud
and soft at will.
Salchan.
length

To

be

able

to

sing

at

without break.

of

Parjar. That the singer should be

prepossessing appearance and noble dis-

position.

Defects of Musicians.
There were several objectionable mannerisms
which disqualified a singer.
A long list of
them is given in the sacred books.
The
following are a few
:

Sandasht.

To

with

sing

closed

teeth.

To sing with
Sankat. To sing without confidence.
with a tremor
Kanpat. To

Bhut.

fear.

start

in

the voice.

Karaagi.

To sing with

mouth wide

open.

To
Kagay. To
Kapal.

sing with flourishes.

start

and noise.

with

commotion

48

Karaba.
a

To

crane

the

neck

like

camel.

Jumbuk. To

shake and whirl the

head and neck while singing.

Parsari.

To

make

frantic

gestures

with the hands.

Nameelak.

To

closed

Abagpat.
all

to

eyes

tight.

To

sing with the words

jumbled up together, and rolling

so as

with

sing

in the throat

be incomprehensible.

Stekaree.

To

sing by taking sharp

quick breaths.

Saan-nasik.

To

sing with

a nasal

twang.

Rava-chat.

That

the voice should

be shaky.

disturbed

Asethat. That the voice should be

and disquiet.

Nasar.
closed

and

That

the voice

should be

That

the voice

should

tight.

Kagay.
like

Karish.
thin

be

the crowing of a crow.

and

That

the voice

should be

flat.

Bhikan.

That

the voice should re-

semble the braying of a donkey.

49

An

efficient

was supposed

singer

these and several other injunctions

follow

to

he was

also

upon the hearers

carefully instructed to impress

with the " sum" of the song.

"

tune,

Sum"

is

where

the important beat or juncture of a

all

the

attention

deeply concentrated.

hearers

of the

words

In other

is

it

is

the

climax of the song.

The
mark the

He

singer

should

occasion by

discriminate

also

and

singing opportune songs.

should have a good memory, and should be

something of a poet.
The musician of olden days must have been
an ideal personage
He was regulated by all the
laws so appropriately and becomingly laid down
!

for a

master of such an agreeable

The modern musician

is

art.

apparently void of

these pleasing qualifications, his study in etiquette

is

apparently neglected and ignored, and that

the reason why modern singing very

in grimaces, painful gestures

is

often results

and most disagreeable

sounds.

Raags and Raagnis.

All the Raags, Raagnis, Putras and

and other tunes have names

to

tribes,

are

named

some

countries, etc.

after

them
no confusion.

distinguish

from each other, so that there

Some

is

some
the composers, some
after

They have

Bharjas

Deities,

after

the

after

the

also appointed seasons

of the year and hour of the day

when they should

So

Musicians abide by this law

be sung or played.
strictly.

may

It

be thought, perhaps,

that

it

is

merely a matter of imagination or the habit of

centuries that a cultivated ear cannot tolerate a

song out of season or time.

Behag

when sung

appealing sentiments

morning

it

beauty.

Similarly,

is

an

loses

it

in

its

the

depths of your

the

stirs

In the

and loses

sung

Aa-saori

day

highest thoughts, at night

falls

night.

at

entirely discordant

early hours of the

and

meanings

sweet

of

full

is

its

charm and

flat.

This

habit

neither

is

nor imagination, but

a deeper mystery pervades the arrangement.

There are certain notes that are characterised
by hot temperaments. These are dominant in the
tunes to be played or sung in the hot months.

Then
with
in

are

there

the

other notes that are attributed

tunes to be played in the cold

The law-makers
and

These are important

temperaments.

cold

profound

ravelled

the

study, and

monised

students

hidden

secrets

made sure

with

nature.

of

certain

and adjusted the notes

that

season.

days were ardent

of olden

They un-

sound

of

by long

certain sounds

har-

notes in certain seasons,

in

accordance with nature.

The twenty-four hours

of

a night and day

are divided into eight parts, and each part lasts

for three hours.
six o'clock to nine

The

first

o'clock.

morning part

The

is

from

tunes that are


5i

played or sung
dreamy and pure,
dha are komal (flat).
species which are eight
be

to

during these hours are

and the notes re, and

Bhairaon and all its
and Ramkali are sung
at this time.
Re, ma, dha are komal.
Nine to twelve is the second morning part,
and all the notes that occur in the tunes to be
slow,

sung and played

in these

hours are komal

Aa-saori, Bhairaveen and Todee, and

which are
it

At noon exactly Sarang

Rohi are Teevar, and

the
in

a brilliant bright melody.

is

Sarang

the Arohi.

notes in the scale,

From twelve
Dhaani,

asri,

re,

ma, pa,
Ga,

the
six

morning
p.m.,

tunes,

five

ma and

ni in

that

were

da,

become

Teevar.

Purya-dhanasri

Poorvi,

played in these hours.

played at about six o'clock.

in these tunes

has
ni.

three Bheempalaasi, Dhana-

re,

in

are

Odhao, and

komal, and

to

Ga,

become Teevar, and

re,

Shri

and

Raag

ma and

ni,

dha become

komal.

From six to nine all the

Yemen Kallian and all the

notes become Teevar.

Kallian tunes, which

are numerous, are played in these hours.

From

nine to twelve p.m. are played Bihaag,

Sankra, Deyce,

etc.

are komal

ni

sa,

are played.

komal
Three

Maarwa

to

ma and

is

are

tunes

is

viz.,

played

is

All the notes in

etc.,

these

like

The komal notes now change

six.

into Teevar.

kind

all its

They

are

all in

Teevar

notes.

At about midnight, Bagesari, Behar, Adaana and

such are played, and ga, ma, and ni again become
komal in these tunes.
D2

52

From twelve

to

three

a.m.,

kinds

all

of

Kaanhras, which are eighteen in number, are played

famous Durbari, excepting Sugrai

Kaanhra, which is played in the morning. Malkaus
The notes re and
is also played after midnight.
including

the

pa do not occur in these tunes.

komal.

From

Sohni Paraj,

three to six a.m. are played Hindole

The komal notes

etc.

change into Teevar, and

is

becomes

Sohni, which

adding pa to the scale

and

it

Malkaus
becomes Hindole, which

Then by adding

Odhao.

komal, the

re

tune

Shadhao, and then by

is
it

of

becomes

Basant

Paraj.

Both the

played in these hours.

Lalit are also

Teevar and the Komal

When

All the rest are

ma

occur in these tunes.

the Raags are sung in the proper season

and time and with perfect knowledge of the science,

an absolute sense of calm and inner satisfaction
is

derived, hardly to be expressed.

In such a state of perfection the Raags are

supposed to be possessed of supernatural powers.
They have chronicles of their births, which
point out the mysterious sources from which they

They have

have originated.
legends

recording

their

a series of interesting

life

histories.

are benefactors of humanity by

bodily ailments.

They charm

curing
the

They
various

elements

of

nature, and invoke fire and water, in short, perform

miracles.

The

idea

of

personifying

nature seems to be quite

all

common

the
in

forces

of

Hinduism.

53

the Raags and Raagnis are impersonated.

There are quatrains and verses, illustrating the
form, colour, symbolism and significances which
mark each tune. The Raags and Raagnis have
been favourite themes with old Indian artists,
who have painted them over and over again,

All

but a fine illustration

is

rarely

seen.

54

Chronicles of Raags and Raagnis.

Mahadeo, the God of Music, is distinguished
by having five heads, each of the four heads
being turned towards the four quarters

the

of

globe, north, south, east and west, while the fifth

head

And from

turned towards the heavens.

is

Raags or demigods Bhairon, Hindole, Deepak, Shri and Megh

originate.
The sixth Raag Malkaus is come out of
Parvati, the wife of Mahadeo.
Brhama created the
thirty Raagnis or nymphs, and each Raag or
demi-god was presented with five Raagnis of
each of the

five heads, the five great

sympathetic strains,

and

whom

he preserved with the

Saraswati, the Goddess of Music

tenderest care.

Learning, and the wife

world

the

in

and

graceful

exquisitely

shape

of

Brhama,

of

left

legacy

poetic

the

to

Veena, the

the

an

most

cherished and valued of musical instruments in

and the demi-god Narada was

India,
to

practise
"

appointed

it.

From Nada {sound) arose Surti.

From Surti came Swara ((one).
And from Swara was formed Raga (scale)
And from Raga was created Gita (tune)
So

that

Raag
excite

means

different

Bhairaveen,
valour

soul

the

is

of Gita

passions,

and

emotions and
of

significant

Maarwa, of

Malkaus, of passion

fear

sound."

is

different

such

as

Beauty

Nut,

of

Shri,

Aa-saori, of

Bihaag, of joy and brightness.

tunes

feelings,

of

grandeur

renunciation

-,---

<%

Wft;

1.

^^-11--

I.

RAAG-BHAIRAON

55

Raag Bhairaon. This Raag originfrom that head of Mahadeo which is

turned southwards.
This tune, along with its
Raagnis, Putras and Bharjas, may be played in
ates

the months of September and October.

for
It

its

performance

sumpooran,

is

the octave for

early

is

i.e.,

has

ni in

the

all

The time
to

the

sunrise.

seven notes of
ga,

ma,

Rohi and Arohi.

In

Sa, re, (komal)

its scale.

pa, dha. (komal)

dawn

form

it is like Mahadeo, having five

heads, four
heads turned towards the four directions, north,

south,

east

and

west, while

the

He

turned towards the heavens.

as

a Jogi Sanyasi

the world).
his

tresses,

(one

who

has

fifth
is

head

is

represented

retired

from

His body is besmeared with ashes,

gray with dust, are gathered on the

two Gangs (rivulets) oose out

These
knot, and flow on either side.
are the two sacred rivers in India, the Ganga
and the Jumna.
A jewelled Kangan (bracelet)
is fastened on his wrist, and a crescent in the
centre of the head.
The third eye of wisdom
is located
between the eyebrows.
Two black
venomous serpents coil subdued round his arms,
on the forehead is the sacred mark of religion.
He is seated on a skin of a tiger in the heavens,
encircled by glittering clouds, holding a spike in
Around
one hand, and a rosary in the other.
top of the head
of

his

his

throat

is

chaplet

of eight

his

human

skulls,

conquered enemies.
Bhairaon has five Raagnis Berari, Madhmaad,
Bhairaveen, Sindhavi and Bengal. The Raagnis
:

50

are

represented as ideal graces of

most divinely

The

radiance

fair

they

and of
shed

womanhood,

incomparable beauty.
is

so

great

that

it

shames the Sun, who hides his face behind the

clouds, and the
Moon withdraws in modest
retirement on seeing their sweet lustre.

'V

'

/ -jj

<4Ss2d

%
>

:-C;

'

!
-

II.

RAAGNI-BHAIRAVEEN.

,j

57

Bhairaveen
exquisitely proportioned.

sylph-like and most

All the tender fresh-

is

ness and bloom of shy young maidenhood

fourteen years is her birthright.
Her hair,

humid with the Shanan

(sacred bath),

is

of
still

thrown

back in a heavy dark mass. From beneath

her
long drooping eyelashes there escapes
an ineffable

giving a calm serenity to the

prohle.
Her slim hands are clasped
reverence.
Her whole attitude is bent
light,

beautiful
in

in

submission

of

religious

fervour a

breathing
poem of devotion at the altar of " Linga."
She has taken out her garland of heavily
scented golden Champa (flowers) and consecrated it to the gods.

Her scheme of colour of costume and jewels

red and white.
Her dainty person is bejewelled and enveloped in an opalescent gossamer
of fairy imagination.
The temple of Mahadeo
is

on the summit of a hill encircled by a

Flowering blooms of the Lotus scent the
atmosphere.
Two young maidens are engaged
in playing and singing on the Majera (musical

is

built

fort.

Pearly
dawn is creeping invisibly,
bathing the realm with a delicate and roseate
light.
This is the enchanted hour when the
tune of Bhairaveen is sung.
bells).

The
ga

(komal),

changes
is

tune

(komal),
ni
in

ma

is

Sampooran.
(komal),

(komal),

in

ma
the

Sa,

re

(teevar),

Rohi.

the Arohi, and only one

(komal),
pa,

The

ma

dha
scale

(teevar)

retained.

N.B.

The

Tumboora (musical instrument) in the hands

of the singing girl in the painting is a mistake on
the part of the artist. It should be a Majera.

IV.

RAAGNl

AA-SAO-R1.

59

Aa-sao-ri
It

has an ascetic character.

represented as a female Jogi (one

is

renounced
inside

the

protection,

and

warm

sun's

is

arrayed
of

has

promontory
by water and beneath
Its delicate, massive and
seated on a

world)

a fort surrounded

a huge Sandal tree.

perfumed foliage bent

ance

who

shading

rays.

morning.
the

in

Jogan,

towards
her

her

from

tender

in

the

morning

The hour for its performHer dawning womanhood is

simple

defining

the

salmon

coloured

beautiful

and

garb
subtle

of her figure.
Her raven hair is massed
on the top of the head.
On the white brow
gleams the sacred mark of religion in camphor.
Her slumbrous eyes are heavy and languorous
with the power of her own music.
Her sweet

lines

mouth

on blowing the soul-stirring

notes of the Poongi (musical instrument).
Her
personality glows with music.
The serpents
and peacocks are attracted beyond control. They
creep and crawl towards her fascinating being
amazed and entranced, wholly worshipping her.

N.B.

The

is

intent

Sandal wood tree has an

so has the flute Poongi.

affinity

to

serpents,

6o

Raag Malkaus.
originated from

Parvati,

the

This
wife

Raag

has

Mahadeo.

of

The tune, with its Raagnis, Putrs and Bharjas,

may be sung in January and February, which are
The hour
the months congenial to these tunes.
in
It

which it should be performed is past midnight.

Odhao, and has sa, ga, ma and ni notes in

is

the

scale.

represented

All

the
a

as

glorified

deep, passionate and

in blue, his

He

are

He

komal.

image

of

the

severed

hand and a naked sword

is

rich,

Dressed

mystical melody.

dreamy eyes are

holding

is

notes

veiled with emotion.

human head

in the other.

He

in

one

stands

entranced, listening to the delicious music by the

maidens
either

in the undefined distance.

side

are

the

" Morechals"

Towering on
(insignia

of

royalty).

kali,

Malkaus has five Raagnis Lambhavati, GunTodi, Gouri and Koukab. The Raagnis are
bevies

fair

of

each lovelier than

beauties,

dreaming away the warm hours of

other,

pleasant and sweet musings.

cross

their

eternal

N.B.

serene

path

gay sunshine of

The

No

life

the
in

cares or troubles

no clouds disturb the

their lives.

idea of conquering enemies is a favourite one in

the Indian Music. The Raags were qualified as brave
undaunted warriors overcoming their formidable

opponents.

V.

RAAG

MALKAUS

VI.

RAAGNI TODI

6i

Todi is represented as a young

maiden of ravishing fairness.
Dressed in white
and gold, with the sacred mark of camphor and
saffron on her brow, she stands on a hilltop in
the jungle, wholly absorbed in playing the Been.

Her pulses

beat in rhythmical whirl of

motion,
causing the young crimson to mount the alabaster
of her cheek.
Her dark depths of eyes catch
the gold of the rising morning sun the time for

performing this tune.

The wild deer venture within

in
meek submission and

precincts

the

sacred

adoration,

completely fascinated and subdued by so glorious

a picture and so thrilling a music.

N.B.

Certain
todi

is

tunes attract certain animals in nature.

The
always associated with the deer, whom it

subjugates.

62

Raag Hindole. This Raag has

sprung from that mouth of Mahadeo which is
turned towards the north. The months in which
it

for

performance

its

advanced.

far

It

dha,

The

ni.

latter

teevar (sharp)

are

In form

on

seated

it

when

is

the

in

scale

who

is like

the

ma,
ni,

of Love,

Hindola (cradle) playing the Bansri

eyes

dark

God

Krishna, the

in

are
as

forehead.

brimful

by

his

Gopees,

responsive motion of

The

songs and his Bansri.

his

locks

five

ga,

sa,

Rohi and Arohi.

the

swinging him

are

four notes, ga, ma, dha,

in

(musical instrument), surrounded

their

the night has

Odhao, and has only

is

notes of the octaves

of

The

should be played are March and April.

hour

of

liquid

mirth

musk are braided

Rainbow coloured

depths

and

away

love

from

draperies

of

gossamer airiness encircle the graceful forms of

the young maidens, kissing the blooming cheeks
and falling lightly over their heads.
Jewels
shed their

brilliant lustre,

loveliness

of face

Raagnis

Bilawal,

and

enhancing the chiselled

figure.

Ramkali,

The

Hindole has

Lalit,

five

Deo-sakh and

Raagnis live in a nest of

sweet thoughts.
Their
years of musical life roll smoothly by.
Patmanjari.

swansdown

in their soft

i
i

mi
<g

._

.-

.,.

'

."'''-'^^ ::S3S03BffiTOraKJ

VII.

RAAG

HINDOLE.

'

l-'f

rf&P

';'"

it'.

'-

/III.

RAAGN!

LALIT.

'

'

6a

63

Lalit

specimen

Her

fair

the

skin

is

behind

fire

graceful

in

rich

neck

alabaster, with

like

the

defies

richness

tresses

gauzes

pressure

round

float

each

her

exquisite

perfect

thrown

are

quivering

of

dense

in

revealed

partly

is

long, dark

silken

reclines

with

jewelled

divan,

cloud

the

on

subjugating the

with a garland of flowers

senses

ma

Arohi

occur

the

in

(komal) ga,
ni.

by her

A woman

standing near her

Sampooran and both the ma, komal

is

teevar

differs

She

besprinkled

gazing on her rapturously.

attendance,

and

is

of the

them.

flower

the

behind.

shadow

lashes which veil

ease

perfumed

the large limpid

of

in

and

tints

proportions,

poetic grace and indefinable elegance.

It

delicate

of jewels

The

line.

The mysterious expression

in

poised on

head

beautiful

dainty

aristocracy.

profusion on arms, throat, ears, head and

disclosing

eyes

as

feminine

finest

Her

it.

Golden

feet.

represented

is

of

ma

Sa,

(komal) ga,

Rohi

in

(komal),
ni,
re.

this

and

tune.

ma

(teevar)

dha (komal)

The
Rohi

Arohi.

scale

Sa

re

dha (komal)

pa, ma, (teevar)

64

Raag Deepak. The tune of fire

created out of that mouth of Mahadeo
which is turned towards the East.
This tune,
with its Raagnis, Putrs and Bharjas, may be
played in the months of May and June, the
Deepak

is

time of the year.

The hour of its
performance is dusk, when the shades of night
are beginning to gather on the waning light of
This tune has the remarkable power
the day.
of invoking fire in nature, and, if played at the
hour, with
that
correctness which
it
right
demands, the effect is so magical that all the
It is a very comlights burn instantaneously.
hottest

plicated

and

classical

tune.

Rohi
the Rohi and Arohi.
pa,
sa.
pa, dha (komal),
(komal),
(komal),

ni,

sa,

ga,

pa,

The

Sa,

scale differs in
ga,

Arohi

ma

ma

Sa,

(teevar),

(teevar),
ni,

ga,

dha
re

sa.

This mystic Raag is extinct now, and the

legend attached to its extirpation is that the
court musician Taan-sen was singing it in the
presence of the mighty emperor Akbar.
His
whole soul poured into the song.
Sound after
sound vibrated through the air and petrified the
His song had no ending, till at last
hearers.
even nature was moved beyond control. Fire

was

ignited

and the place was

in

flames.

This incident proved fatal for the tune and

none has dared to sing it since. The awe and
fear with which it is regarded, even to-day, is
beyond belief. The greatest musician will bend
his head in reverence and silence at the very
name and will refuse the honour of singing it.
which happened
It is strange that an incident

IX.

RAAG

DEEPAK

65

centuries

ago should still exercise the same

stronghold on the minds of the people, as if it

happened

The

to-day.

notes

are there, the melody is there,

one has the courage and boldness to
smg it, and the deplorable fact remains that
one of the six great Raags is lost to the world,
perhaps for a mere superstition.
The tradition
goes on to say that the record may only break
if the world produces another Taan-sen, which

but no

is

not likely.

Deepak

man

in

in

red,

of

his

represented as a handsome young

life, most gorgeously robed
The brilliancy
sparkling in darkness.
is

the prime of

person

is

enormous
and shoot

so

penetrate the gloom

that
like

the rays
tongues of

fire.

Deepak has five Raagnis, Kaamode, Deysi,

Kanhra, Kidara and Nut.
These female tunes have variegated qualifications.
Kamode and Deysi are personifications
Kidara has lost her
of "beauties in distress."
individuality in thoughts of Mahadeo and her
contemplation of the Deity has been so deep
that her person has actually assumed the form
of the Divinity.
She is represented as Mahadeo.

Nut and Kanhra are magnificent women

with moral and physical courage.
" Daring and bold in war.
Arduous and impatient in love."
Nut is represented as a conquering hero,
having overcome her enemy after a brief struggle,
and holds a severed head in one hand, and a naked

sword

in the other.

66

Kaanhra
is

cut

handsome

dressed in white, covered with shimmering

Her brow

gems.

clear

and dignity of manner and personality.

features,

She

has

is

spotted with the sacred

of religion in camphor.

mark

She holds one tooth of

hand, and a naked

a subdued elephant in one

A massive grey elephant is

sword in the other.
cowering before her, supplicating for his lost tooth.
Her

delicate nostrils are dilated in disdain.

dark eyes flash

fire.

She gives him

Her

withering

glance.

There are eighteen varieties of this tune, and

most of them are Salink, i.e. having a semblance

of other tunes.

The time

for

its

performance are the early

hours of the night.

N.B.

may seem strange to note that some of the representations of tunes are so crude that they have absolutely
no bearing with music.
How could warrior-like

It

women

be classed among the Raagnis, who are

over again associated with all that is
exquisitely chaste and refined, ever young and living
in the lap of luxury and gaiety. And yet strangely enough
such is the case.

fighting

over

and

"f

RAAGNI KAANHRA.

XI.

RAAG

MEGH.

67

Raag Megh. This

has come out

Mahadeo which is turned
heavenwards.- The months in which it should be

of

the

fifth

head of

played are July and August.

and

the lord of rain.

It

is

It

charms the element

acts

as

a spell

to

of water

bring

forth

nature

in

torrents

of

may be played at
Megh is represented as a dark handsome man of formidable appearance.
He holds a naked sword in
rain flooding the country.
all

times

the

in

rainy

It

season.

the hand, flourishing in mid-air as

if

to rent the

He

very skies, growling and snarling in rage.

scowls heavily.
is

His eyes are

drawn upwards and

twisted

The heavens
Thunder and

lightning tear the

atmosphere,

rendering

are

His hair

fierce.

like

turban.

blackened with angry clouds.

an

murky and

altogether

thick

dreadful

aspect.
It is

Sampooran,

sa,

re,

ga, ma,

pa,

dha, ni

(komal) and ni (teevar) in Rohi and Arohi.

Megh has five Raagnis

Gojri, Tunk
and Deyce-kar.

Bhopali,

Malar,

All

lovely

are

maidens of young years leading happy

unbroken joys and pleasing thoughts.

lives

E2

of

68

Gojri is represented as a blushing

young maiden, dressed in an orange bodice and
a

crimson

limbs,

seated

engaged

in

wound

scarf
in

playing

with her companion.

round

her

and

beautiful

meadow,
singing on the Been

flower-besprinkled

o
CD

a
<
<
cc

CJ:^

69

AstvAddhya (Law of Musical Instruments)

Chapter

The
with

form of musical culture consinging.

A person blessed

highest

sidered in

IV.

India

is

and understanding is
specially favoured.
Singing is not perfect unless
accompanied by instruments for Tal (time) and
a

Sur

(intonation).

The next
the

voice

beautiful

order

in

musical world

musical

instruments

variety

and

separate

are

in

Their

and

meant only

of

infinite

under

classed

under

go

functions

are

are

are

great

four

Some

varied.

accompanying purposes

for

in

The

(playing).

India

They

grace.

divisions

headings.

accomplishment

of

Waadan

is

to

songs and other instruments, and have no special

bearing, significance or beauty when played by
such as Sarangi, Tubla Pakhawaj,
Tamboora, etc.
Others are important instruments and are played by themselves, and are
full of richness, beauty and intricacy, such as
themselves,

the

Been, Sitar, Sarode, Bansri,

The

come

which
India

following are

Tut,

Betat,

Tut
that

or

are

with

the

all

strung
silken

etc.

the four headings under

musical

Ghun and

comprises

instruments
Sekhar.

those

with brass
and cotton

of

or

instruments
steel

cords,

wires,

and

are

70
struck

shape

the

by

either

finger nails

or

of

ivory,
of
wood,
arrangement of wire in
Mizraab.
finger end called

piece

little

These
instruments
Tamboora, etc.
Betat
have

at

are

stretched

skins

form

are

Been,

the

instruments

those

hollow

the

in

one end and are

wood

bow,

etc.

Ghun

are the

species of drumlike

struck

by the

hand or

stick

Pakhavaj, Tubla, Dhole, Nakkara,

like

that

circular

played with

such as the Sarangi, Taoos, Dilruba,

instruments

Sarode,

of

etc.

Sekher. These are the pipe-like

instruments blown by the mouth either by full
or

half

Senai,

breaths,

etc.

There are
to

play

the

five

instruments which

masterful

with

management
are

Poongi,

Bansri,

Nafeeri,

like

of

Murdung,

Been,

learned

facilitates

skill

and

instruments,

other

if

Sarangi

Senai,

the

these

and

Rubaab.
i.

By

acquiring

Been

the

Tamboora and such

Been being the

Sitar and

its

perfection

most easily
most intricate

are

manipulated,

instrument of

to

kind.

By

becoming an expert on the Pakhavaj,

Tubla, Dhole, Duff, Champ, Dhoomus, etc., may be
played without much effort.
These are all the
species of the drum and Pakhavaj is the most
2.

difficult

of

methods of

its

kind.

playing

hand, some by rods

and

have

All

some
so

are
on,

individual

struck

but

by the
the

beat

and

time is more or less similar.

Pakhavaj
has the most numerous and intricate beats.
3.

is

Of

the most

perfection

and

difficult

this

if

learnt

is

the other instruments of

all

like

Tota-gazi,

are

easily

Poongi,

Bansri,

All

acquired.

mouth, either

by

or

half

Senai

instruments

pipe-like

the

all

are
full

its

Bheer,

Nai,

to

kind,
etc.,

blown

by the
breaths, and the

fingers are pressed on and lifted off the openings

to

produce notes.
Sarangi

a bow,
that

of

if

its

easily
5.

a stringed instrument played by

is

and

the

this is

class

most

difficult

of

kind,

its

so

played well the other instruments

Taoos,

like

Dotara,

very

are

etc.,

acquired.

The

perfection,

fifth

instrument, which

struments of

its

kind

if

Rubaab.

is

learnt

other

learning of

the

facilitates

If

this

to
inis

learnt with excellence Sarode, Sur-been, Jantroo,

and such are quickly

The

most

ancient

attributed to the
the

learnt.

Been and

music

Deity Mahadeo,

Dairoo

for

his

of

who
own

India

is

invented
pastime.

Been is the musical representation of the

Goddess Parbati and very pretty legends record
the

origin of this instrument.

Those

that

are invented

by the Deities are

regarded as sacred, and the profoundest respect

is

paid to them.
Ganeshji, the Belly-God, invented the classi-

cal

drum Murdung

or Pakhavaj after the

style


72

Dairoo, and

of

from

species.

Many

struction and

were

Pakhavaj

Tubla, Dholak, Dhoomus,

instruments

of

invented

other

drum

simpler

con-

Champ and

like the

beauty followed the Been,

Sur-been, Sur-singar, Tamboora,

Sitar,

etc.

The fabled Bansri was the invention of the

Love-God Krishna, who intoxicated his milkmaids
(gopees) with its sweet and enticing strains.

Hakeem Bu

Senai was invented by

and named

after

Ali Senai

Tota-gaxi, Aadh-guzi,

followed in later years.

etc.

Sarangi
a

him Uns.

is

also the invention of a

much

comparatively

later

Hakeem

of

Dotara,

period.

Kamaancha, Taoos, and similar instruments came

existence

into

The
creation

after.

stirring

Omar

of

and appealing
Aiyyar noted

was

Nai
for

the

clever

his

pranks.

Algooza,

Pungi and such came into practice

later.

The

majestic

drum

struments of
(a)

are

The

its

of war.

kind were made

played

Smaller

in-

later.

following are the instruments that

played by the

metal bars

was

Nakkara

before royalty or in times

fingers,

and are

fitted

with

Rudr Been

is

glorious heirloom

of ages and

the King of instruments invented

by the God of Music, Mahadeo. The beautiful

legend attached to

its

origin runs

thus

73

Mahadeo once saw

Parbati

reposing most

perfumed

breath

breathing

her

gracefully,

Her

music.
in

delicate breasts rising

Her arms and

rhythm.

soft

and following

were

wrists

laden

with bangles.

Mahadeo
gazed
his

at

long and silently and retained

it

memory.

The

lovely picture

mental equilibrium and

at

last

by the ravishing

intoxicated

left

into

settled

it

the unrivalled

The long neck

of

figure
breasts,

Parbati.

and

in

his

him no peace until

and extrain

the

musical

Been

represents the straight lithe

The

the metal

most exquisite of

it

disturbed

definite

ordinary composition, resulting

instrument,

vision

all

two gourds her ivory

frets

her bracelets, and

the exquisite

sound, her

musical breathing.

To

handle a Been

is

a most arduous task, a

life-time of practice can alone produce a master.

The player is seated with folded legs, with one

gourd resting on the left shoulder, and the other
The style of perresting on the folded legs.
forming on the Been is mostly in the Alaapchaari, and the correct accompaniment is the
The wires are struck with Mizraabs
Pakhavaj.
and the
right

on

nails,

hand.

kept long for the purpose, of the

The

left

hand

fingers

are

pressed

the fixed frets to create notes.

handsomely ornamented with inlaid

ivory and real gold and silver painting, and is
It

is

altogether an

expensive luxury.

74

Saraswati Veena, so called after

Goddess of Music and Learning Saraswati,

the

who

similar

Been

the

to

paintings.

the

in

holding

represented

invariably

is

strument

It

having a

form,

in

the

in-

somewhat

is

finger

and a sloping
gourd on top, and
the sacred head of a carved lion at one end.

board
gourd

the bottom

frets

and

the instrument of Southern India and

is

It

metal

with

fitted

at

accompanied by Pakhavaj.
It
slanting,
pressed
and held
with

The wires

and

hand,

right

struck with

are

the

played seated

is

the

hand fingers

left

arm.

right

the fingers of

run

the

up
This

and down pressing the bars unsupported.

a comparatively easier Been of the two.

is

It

is

gold and

with

silver.

Sitar
of

worked

and

beautifully carved

is

happy

most

Amir Khusrao, whose name

invention

so well

is

known

It has always been one

most popular instruments.

in the musical world.

of the

A
it,

of music

particular style

and one which

is

called

is

the
of

neck
the

strikes

is

moveable

and is
the right arm pressing the gourd

held slanting.

hand

right

the

wires,

frets

Gut Toda.

Sitar.

highly ornamented

invariably

played seated,

played upon

ore and

The drum Tubla accompanies

It

is

to

a
the

form

On

Mizraab
left

the
is

fingers

the notes.

first

finger

worn which
press

the


75

Ektara

modest little instrument of one wire only, used by wandering

mendicants, who sing Bhajans (hymns) on it.
A bit of skin is stretched in the hollow circular
form, and on the neck or rod one wire is strung.
That one wire is struck at intervals to accompany the song.
The sound is exceedingly
is

Tamboura

is

pathetic.

by the demi-god

invented

by

This was

itself.

Naradja.

has

It

sloping gourd and a long neck strung by four

The object of this instrument is

merely to accompany songs and other instruments
that are played individually.
wires

only.

It

the

played seated

is

legs,

shoulder.

and

the

The

first

the gourd rests between

neck
finger

on

rests

of

the

the

right

right

hand

alone strikes the four chords at regular intervals

in

rhythm with the

singer

tune.

fish

The following instruments

bow and have metal bars for

are

water without

is

his

perfectly

like

(b)

by a

of notes

of

played

the guidance

Kamaancha.
of

out

Tamboura.

wood,

and

skin

This

is

made

stretched on

the

entirely

lower

and the upper portion is just like a

and like
Sitar, and the lower like a Sarangi
the Sarangi, it is played with a bow.
portion


76

It

mostly used

is

in

Punjab

accom-

as

paniment to songs.

Taoos, so
beautiful colour
It

is

and shape

painted in

beautiful

board

bird.

and

Sitar,

the

of

tail

is

the

It

is

of

the

finger

straight

moveable frets just

lower portion is the

the fascinating bird.

its

like that of a peacock.

the metallic shades

all

Its

with

fitted

because

called

the

like

head of

seated with

played

a bow.

Dilruba.

The only

difference

the head

of

This
that

is

a peacock and

is

similar to Taoos.

Taoos has got

the
this

has not.

It

is

played seated with a bow-

(c)
The following instruments
bow and have no metal bars

are played with

Sarangi.

Is the violin of the

East

Its tone is delicate and sweet, and is quite a

It is a
necessary asset to singing and dancing.

very popular instrument

fluctuations, inflections

all

over India.

All the

and variations of a voice

can be most beautifully imitated on this instrument.

skin

is

stretched on the lower squarish portion,

and two groupings of wires are placed upon the

surface, one above the other. The upper ones are
played with a bow.
are

notes

played

may

created

It

on

has no
the

frets,

surface

so that the

wires.

standing or seated just as the

require.

It

is

occasion

77
It

times.

the invention of a

is

The legend

relates that

Hakeem of former
a Hakeem was once

and worn out with heat and

fatigue rested beneath a huge tree.
Suddenly
some sweet strains of music struck his ears he
travelling on

foot,

and searched

astonished, attentively,

listened

in

vain from whence the sounds came, until at last

looking up he discovered a wonderful phenomenon,

the object of his search.

The

dried

skin

of

monkey was

dead

stretched between two branches

entangled

with

dried guts, and the

wind blowing through it

caused melodious sounds. He carefully removed
the skin and guts, replaced them on a construction
of wood, and after some years of labour, with
due modifications and additions, completed the
present day Sarangi.
Sarangis, made in Jaunpori, are most known.
its

Sazinda.
instrument

invented

This
by

is

quaint looking

Guru

Amritsar, whose temple in that

Amardasji
city

is

so

of

well

known. It is made entirely of wood and has an

oval, hollow form beneath, and a strip of wood
across on which wires are strung
It is
placed
in the same position as the Sarangi, and played
The fingers are pressed on the
with a bow.
wires to form notes.

Hindustani
stringed instrument

Sarangi,
called

and

used

is

Dotara:

This

two-

like a simplified miniature

by

the

peasantry.

It

is

Dotara, which literally means two wires.

78

Marwari
used

Marwar.

in

Dotara. This
has

It

gourd of a

cocoanut with a skin stretched over

is

made

It

is

of

wood on which

only

is

are strung

half

The neck

it.

two

wires.

played with a bow.

The

(d)

no

have

wires,

and are played

very difficult

frets,

They

plectrum.

are

have

instruments

following

all

four

with

learn,

to

and are played seated.

Rubaab This
invention

the

made

of

of

wood and

portion.

It

supposed to be

is

Zulquarnein.

skins stretched on

It

is

the lower

played with a

piece of wood and the

made by manipulation of the wires.

Sarode-

Is similar

but different

in

in

are

notes

triangular

Rubaab,

is

has got four wires, and

surface

seven below, called Taraps.

to

It

has two groups of wires, one below

The

the other.

Sikandar

construction

form.

It

has

gourd with skins stretched over

and the neck ends in a hook-like arrangement

circular hollow
it

on

top.

Ghaartar.
This instrument

is

Literally

much

wires.

akin to Sarode in con-

struction, but differs slightly in

Sur Been.

four

Was

shape.

invented by Kaale

Saheb, Prince of Delhi.

It

The

is

like

surface

is

the Sitar in shape with the

covered with a thin plate of

bars.
steel.


79
It has two groups of wires, four on the surface
and seven below.

made

Sur Singhar. Like Rubaab it is

wood and skins stretched on the lower

of

portion that widens

Owing

to

into an ovalish elongation.

extreme complications there are

its

who

very few musicians

instrument.

Bahadur

attempt

one

Sen,

musicians of Rampur,

play this

to

court

the

of

an expert on the Rubaab

is

and Sur Singhar.

Tarab.

made out
on

the

This

of one piece of

widened

wires but no

lower

a quaint instrument

is

wood and
portion.

of

many

has

It

The method

frets.

skin stretched

playing

its

ground and
struck by a long, thin semi-circular strip of wood.

is

peculiar.

(e)

The

It

is

laid

following

blown by the mouth

are

the

bottom

the

pipe-like instruments

Algooza. It
bamboo and black wood.
at

on

flat

than

the

is

It

is

top

made

flute

slightly

and

has

of

wider
seven

apertures at equal intervals.

Pair of Algooza. These are two

pipes of similar kind blown at one time and
used by the peasantry.

Nai

has been the theme of

It
and love-ditties.
Aiyyar to ensnare

is

the invention

maidens

with

all

of
its

poets

Omar
magic

8o

sounds.

It

exactly like

is

the

gun

barrel of a

and has seven openings.

Bansri.

The

fabled.

It

the crea-

is

Krishna-Kanhaiya to
Love-God
entangle the Gopees (milkmaids) in its charmed
the

of

tion

He

meshes.

we have

succeeded well, for

endless

tuneful legends and songs depicting the surrender

of lovely maids

Yog

force of
It

accompanied by the Duff.

is

shape.

In

has one

windy

and

rare

sacred.

without this Conch.

upside

shell

nature.

down

in

the temples and shrines the conch

all

blown and

first

is

of

species

is

very

Is

manifestation of sound in

the

is

Sankh
is

place of worship
It

the

(meditation).

Sankh.

No

may be heard through

sacred tones

Its

of themselves.

spite

in

shrill

position

then

note

and

only,

the sound

is

entered.

place

the

placed

if

created on

It

in

own

its

account.
Its

may

tone

be heard in Yog.

Sanghra. This is really a horn of

deer which is blown in the temples and thus

considered sacred.

Turai
is

is

Bheer
flutes of

the

made

entirely of brass

and

played with Duff.

marriage

made

is

one of the

mythological interest.
of

Mahadeo

entirely of copper

It

and

most ancient
was played in

Parbati.

and has a

shrill

It

is

sound.

8i

Karna
awkward
in

to

band

war,

made

and

is

times of important occasions, like

in

marriage

entirely

It

heavy curved pipe

blown hard and played

is

hold.

and

other

big

festivals.

brass and the sound

of

It

is

harsh

is

loud.

ment

Poongi. This is a flute-like instruby conjurors for fascinating and

snakes.
The sound is supposed to

used

subduing

exercise great
It

composed

is

vegetable

and

thin

bamboos with seven

centre of

the

gourd

big opening

vegetable

and

dried

smooth

round

holes are

cleaned

at the

narrow

Singapori

attached

the

in

Two human

below.

hairs

pipes and attached with wax.

are inserted in the

The

of

reptiles.

marrow with an opening

Two

end.

power over these

in

marrow

is

the narrow portion

of the

blown by the mouth and

notes and tunes produced.

It

is

extraordinary

how

the weird

sound of

Poongi affects the serpents. The conjuror

on the floor playing the monotonous tune,
swaying his body to and fro in a circular
movement. The serpent gets strangely fascinated
by the movement.
It
raises its head and unthe

sits

conscious

conjuror

of

all

its

bewitched.

moves

circularly.

spirit

of

music

until

it

gets

surroundings
It

sways

The tune
gets

hold

more
of

it

its

follows

the

body

and

The

gets louder.

and more into

it

completely

it

becomes the embodiment of the tune, breathing

82

melody

the

with

stops

the

snake

drops

glides back

strument.

wire

in

strip

is

down

This

entirely

made

is

fork-like

subjugated,

is

strange

of thin

to

the

Dar

Pir,

close

expressions

like

musically over

The

hand.

left

central

mouth

It

and captivating.

In

whispered

The right hand

The sound is
end.

some parts

is

is

certain

the fork.

rhythmically the curled

of

central

portion

and

are

etc.,

in-

strips

The

arrangement.

elongated and curled at the end.

quite

quite

and,

dark den.

Murchang.
It

conjuror

being broken, the

spell

fatigued

his

into

held in the
held

The

music.

The

motions.

its

taps
soft

of India this

is

a popular pastime.

Uns.

This

instrument

flute-like

is

played in a tiny band of four people called the

Chouki Wala, comprising two Uns

players, one drummer who beats on the Champ
and one bellringer who shakes the Jhoon

Roushan

Jhoona

rhythm.

in

This
precedes
cession

band plays on festive occasions, and

bridegroom in a marriage proor goes in advance of a nobleman's
the

cortege.

The

construction of

tube having seven holes

and three

of metal,

are

held

fitted

is

Uns

is

as

one

strange

another

inserted into a cast cup

little

together with silk strings.

into

follows.

on

the

contrivances

They

mouth

of

are
the


83

The

tube.

first

with a

hole

grass

rare

fixed

is

into

fitted

is

is

disc of ivory,
this

species

of

on

carefully

The grass is soaked for an hour and then

Uns is ready for use.

top.

the

Senai.
of

centre,

" Paalaa "

called

blade of

lastly a

which

needle

in the tube.

the

in

and

needle,

metal

is

way

adjusted half

Hakeem Bu

India for

and

the

The

Ali

Senai.

pupils

prayers

to

the

in

remarkable
It

make
name

invention

is

customary

little

of

in

offering

the

great

philosopher before beginning their studies.

Senai

is

more or

less

similar

to

Uns

in

narrower towards the top

Both tube and cup
are made of black wood.
The metal needle,
ivory disc and blade of grass are adjusted on top
as in Uns, only they vary in size.
This wonderful
grass called
Paalaa
is
appearance.

and widens

Its

at

tube

cultivated in

care.

white

is

It

is

the bottom.

special

or

region with the greatest

red,

very

and

flexible,

only used for the purpose of Senai and such

instruments. All the tunes, with their fluctuations

on

and variations, can be very

finely executed

this.

Senai

band

is

played

called

Noubat.

Noubat

literally

in

the

means

temples

nine

and

in

performers

Two

Senaichees (Senai players), two Nakkarchees

(drummers), one Jhanj (bellringer), one Kar-

naichee

(Karnai

player),

one

Damama (drum
F 2

84

one

beater),

Baaridar (attendant

warm

to

the

drums and fill the hookas for the party), and one
Jamadar (conductor and leader of the band).

was

Noubat
for

band

noblemen,

gateway
tombs,

dead
of

etc.,

or

of

and

living,

royalty,

the

in

mausoleums,

recognition

in

and

kings

placed

mansions,

palaces,

organised

exclusively

majesty of the

dignity and

the

of

their

presence there, living or dead.

The custom
Noubat

is

is

still

prevalent in

India.

played eight times during twenty-

four hours at an interval of every three hours.

In the times

of royalty

it

was

also

war

band and most stirring anecdotes are told of

famous leaders of Noubat who stimulated the
soldiers with courage and zeal.

Sangur and Bhallun are most

brilliant

names

history.
Their magical play and undaunted
prowess inspired the soldiers with fresh energy and
confidence to face the enemy over and over again.
Bhallun and Sangur fell martyrs in the battlefield
and were buried on the spot where they fell.
in

A
the

pilgrimage

musicians

of

made

this

to

class

the

tombs by

and offerings

all

and

paid to their respective names.

tribute

The

sticks with

were entombed.
large beautiful

yielding
fruit.

is

most

which they beat the drums

After some time they grew into

trees

shading

delicious

So runs the

and

tradition.

their

graves

and

large quantities

of

85

(/) The following are the drum species,

struck either by the hand or stick.
These are

only used for keeping the Taal (time).

The Taal

a very complicated factor in the Indian music

is

and varies considerably with each song.

The drum Pakhavaj has

hundred

three

and

it

quite an ordinary thing for a

is

Pakhavaj
for

player to go on playing

number

Pakhavaj

It

It

beats

was

by

invented

the

drum

the classical

is

most difficult of its

accompanied
on Dhurpad
the

is

only

is

finished

varied

of days.

belly-god Ganeshji, and

India.

two or

nearly

got

of beats for each Taal

varieties

of

kind.

and

Hori style of songs, also with classical dancing

and the " Been." It is the shape of a barrel and

made

wood with

of

On

side.

skins

the other the dough.

and

makes

strung

rich

it

with

cords

It

in

is

is

helps the dash of tone

sound.

which

The

are

is
is

loosened
of

the

are

and

singer.

it

is

the

boom

of guns, sometimes

thunder, sometimes it is nasal, sometimes

the cry of birds and animals, and so on.

The

beats of the Pakhavaj are

drum

first

produced

same wording is reproduced on

Each beat has got a name of its own

vocally and the

the

skins

nothing short of a marvel.

Sometimes
it

on

variety of sounds that are produced on the

Pakhavaj

it

either

applied and

tightened according to the voice

The

on

stretched

one side black ink

86

and the knowledge of them means quite a

life-

long study.

They

such

comprise

Dhikat, Dha,

Tika, Giddi, Ghun, Tuk,

It

wonderful how

is

suggested as

if

very

happy

the

is

Sudhar Khan Dhari and

lighter

the

as

Kit,

etc.

words are

somebody was repeating them.

Tubla
of a

expressions

is

invention

a very popular

of

drum

and easier nature to play than the

Pakhavaj.
In

divided
is

appearance
into

two

or

less

more

it

is

Pakhavaj

like

The

parts.
similar.

equally

construction

It

either

is

also

played

squatted on the floor or standing.

The

beats are as follows

Turkat, Kittack,

Dha, Dhin, Dinna,

etc.

Manjera.

These

are metal cups of

extremely pleasant sound, attached to each other

with a loose piece of string, and mostly played in

rhythm with a Tubla.

Both the cups are held

in

the fingers, one heavier than the other, and struck

at intervals.

Even

various beats, and

this tiny little

is

instrument has

struck in a certain method.

Dhoomus and Champ. These

two funny
one

for

little

the

are

drums, one for the right hand and

left.

They

are

earthenware cups,

covered with skins and encased in a cage of cords,

and hang low from the neck of the player on

either side by means of the strings.
It accompanies the flute Uns in the band of Roushan
Chouki Wala.

87

Nakkara.

The

drum.

royal

accompanies the Senai

are

two

The

in

in the band Noubat.

number, one smaller than the

It

They
other.

and placed on the

and the larger one is called
" Nar," and placed on the left side.
The drummer
takes two sticks in both hands, and goes on
smaller

called "Zeel,"

is

right-hand side;

striking according to the tune and time required,

sometimes

both

striking

with

equal

beats

on

each by turns, sometimes unequally, and at other

each

times

stick

drum with equal

strikes

or

unequal beats.

They

are

huge metal cups with thick hides

The sound is loud,

stretched on their surface.

majestic and imposing.

Dhole. Is a barrel shaped drum

by women called Doomnies, on festive
occasions accompanied by songs suited to the
It is easy and vulgar.
occasion.
played

Taasha.
metal

Is

drum made

flat

or clay with a skin stretched on

it,

of

and

struck with two sticks.

Marfa.
the

Is

more or

and struck with one

Taasha are both played in

above,

and
weddings,

similar to

stick.

Marfa

band

at

etc.

Jhanj.

made

less

It

is

Castanet

species

of metal.

Duff.

Is

another

drum, made of
It accompanies

wood, with skin stretched over

two Bansris and one Tarai in a band.
it.

Dairoo. Is the oldest drum of

It is made of wood
India invented by Mahadeo.
and skins stretched on either side, and struck
by two sticks, one in each hand.
It

played in Rajputana.

is

Dairaa.

the hand, and

struck by

Khanjri.

round

Is

drum,

flat

played in bands.

round

Is

drum

flat

played by both hands.

Daphra

is

magnified

Khanjari

played in the Holi festival in Marwar.

Dhulak.

Simplified

of

beats

the

Pakhavaj and Tubla are played on this drum.

Kartal
with

little

Bhajans

is

(hymns)

or

occasions.

Jaltaran.
cups

arranged

in

quantity of

sufficient

a pair of

wooden

bells attached to them.

of notes, and

mournful

These
row
water

It

castanets

accompanies

on

songs

are sixteen

and
to

fitted

form

struck by two curved

sad
china

with

the

scale

rods.

The

sound is more or less choppy, and the style of

Gut-Toda of the Sitar is executed on this
to perfection.
It is accompanied by the Sitar.
This is a rough sketch of the well-known
instruments. There are very many more of lesser
the

importance
different

belonging

have their

own

The music
and has

and

districts

its

to

different

different

provinces,

villages.

They

native music and songs.

of

own

South India

is

quite

distinct

instruments, Raags and Taals.

89

Tales of Indian Music.

Chapter
Music

has

V.

power over animals,

wonderful

and certain tunes exercise fascination on certain

animals.

Siraj-ud-dowlah used to hold concerts in

i.

the jungles for the benefit of the

animals, and

when Todi was played, it attracted the deer,

who would come nearer and nearer, listening
to

the

with

strains

Similarly, Aa-sa-ori

and

rapture

would

attract

pleasure.

serpents and

peacocks.
#

Nai

Mohammad

Mirza

2.

his

in

garden.

Bulbul would play the

The

nightingales

would

hover around him, and flutter from branch to

branch until they would actually drop down in
a state of ecstacy.
#

#
3.

The Prince

of

Mysore would take

musicians to a neighbouring

deadly
circle

snakes.

and

play

district

his court

inhabited by

The performers would form a

As the sounds
the Poongi.

would draw the snakes

from their holes, who came gliding to whence
They would crawl and creep
the sounds came.
towards the players, encircling them on all sides,
sway into them
heads, and
rear up their

would grow

perfectly

louder, they

intoxicated

with the weird sounds.

90

As soon as the music

away quietly without
#

injuring anyone.
#

Kidara, the female tune,

4.

a superstitious belief that those

to grief;

that

why

is

is

it

5.

do you
to

to

play

come

it

It

an

is

air.

have

handle

sacred instrument?"

the

" If

you can produce anyone who

the

courage to play

said,

would

who

Mahadeo went to Naradji and said, "What

know of Been playing that you dare

attempt

Naradji

connected with

is

unpopular.

extremely classical and pretty

#

would

stopped, they

glide

before

me

should acknowledge his superiority."

Mahadeo

at

once

sent

for

Saraswati,

and

with

her

asked her to perform before him.

was

Naradji
great

perfectly

accomplishment,

and

breathless

bowed down

before

her as the presiding Deity of music.

#

Hanouman was very proud

6.

of his musical

attainments, and foolishly boasted about

it.

Rama,

got annoyed, and devised a plan to

hearing

this,

humble

his boastings.

In the jungles there dwelt a noble Rishi

who

practised music with success, until he caused the

Sapt-swaras (seven
in

notes)

to

become embodied

seven lovely nymphs.

On

the

Hanouman
Rishi,

in

pretext
the

of

vicinity

and begged of him

hunting,

to

Rama

took

abode of the
give them some

of the

9i

music.

show

In the meantime,
off

Hanouman, wanting to
up the Veena

qualifications, took

his

proudly and began to play.

Just

then

seven

the

lovely

nymphs

or

notes passed by them, they were going to fetch

Hearing the music one stopped, swayed,

and fell dead. Hanouman had played that note
water.

incorrectly

The sister notes (nymphs) were comfortless

and moaned and lamented her death piteously.
The Rishi seeing all smiled.
Took up the
Veena and struck the notes loudly.
As soon
as the dead note (nymph) was played correctly
revived and gaily rejoined the sister notes
it
and there was much rejoicing.
Hanouman, thoroughly ashamed of himself,
hung his head down and performed penance
for

his

7.

silly

vanities.

there lived a saint-ascetic,

in

Emperor Akbar
named Haridas Swami,

In the reign of the great

Muthra,

whose

music reached

the

wonderful
ears of the

acquisition

of

Emperor and he

He tried his best

was impatient to behold him.
he sent for
failed.
At
last
and
him
see
to
Taan-Sen and confided in him his troubles.
Taan-Sen replied, " He is greater than all
and recognises no man
Emperors, O Emperor
!

on

earth, save his

own

glorious sacred

art,

which

"

92

he respects above
but

you,

you

He

all.

go

to

the

travelled

Muthra and

to

Swami commanding

beheld the great

Raagnis

to

appear

the presence

tunes

of

Bhairaveen came she looked dejected

The Emperor asked her the reason

sad.

What

of her sorrow, and she replied "

am most unhappy.
Sen) who disturbs my

all

power

When
and

own

in their

will

at

glorious and beautiful forms with the

his

Muthra

to

will see him."

Akbar accordingly
of

not come to see

will

you condescend

if

seasons

Akbar
greatness

It

is

can

do?

Tannu (Taan-

this

peace by playing me
and hours not congenial to me

at

perfectly wonderstruck recognised the

Swami.

of the

Music flourished considerably under the

of the Mogul Emperors.

8.

distinguished patronage

Aurangzebe, the

last

great

Mogul Emperor, was

Mahomedan and had

a bigoted

nature, which

music

suffered

stifled,

and devised a scheme

heart.

under

at

his

tearing

window.

to soften

a bier,

their

all

arts

dry

and

The people got

hands.

his

They prepared

breasts and

a caustic,

checked the flow of

hair,

his

hard

and beating their

passed

it

slowly

The solemn and heart-rending

sight impressed him.

He

inquired the reason of

and was told that the Divine

Goddess, Music, had died for want of appreciation

their

wild

grief,

93

and was being buried.

he cried, " so that no
issue

forthwith

"

singer

court

India

that

extraordinary power

such

by way of boasting
the

Dig the grave deep,"

sound or echo should

Taan-Sen, the

9.

greatest

"

night

tunes

that

effect

so

at

over

began

he

noon.
as

far

musician,

had

his

He

the

last

produced,

had

his

music that

singing

one of

sang with such

could

glorious voice

reach the world became enveloped in darkness.

Taan-Sen was once singing the Raag

Deepak in the Court of Akbar and the place was in
10.

flames.

maiden carrying water passed within its

precincts and, hearing the tune and seeing the
place in flames, stopped, set her vessel down,
clasped her hands and bent her figure supplicating the gods to assist her, stood up again
and drawing a deep breath began singing the
" Raag Megh."
She sang this with such sincerity
that the Heavens were disturbed and rain poured
forth

in

It is

torrents extinguishing the flames

performers have often

said that skilful

averted famine by singing the Raag Megh.

*

There are many legends attached

qualities of the Raag Deepak.

11.

fiery

to the

94
In the innermost sanctuary of an old temple

burned

there

sacred

light

through the forgetfulness

it

with

The

fresh

and

disturbance
incident to

all

The famous
burn the

at

would

to

fill

extinguished.

once

They

evil spirit
ills

was

light

despair.

some

and thought

to

the

oil

country was

whole

and

ages,

for

the priests

of

thrown

attached

in

the

hovering round them,

befall the country.

musician, hearing of this, offered

light

with the magic power of the

song.

The Rajah
great honours

land

of the

the

to

escorted

him

with

shrine.

At the hour congenial

to the

Raag he began

his song, and sang it with such effect that there

gleamed a tiny light in the innermost gloom of
Then, one by one, all the Deevas
the sanctuary.
(lamps) in the temple were mysteriously lighted.

He had

averted the calamity.

The end

12.

mightiest singers the

most

tragic.

insisted

on

Naikgopal,

of

one

of

the

world has produced, was

in one of his moods,

Emperor Akbar,
his

singing the

Raag Deepak.

The

celebrated singer had at this stage attained that

high perfection that he would not sing a song

without stirring the supernatural forces of nature.

He begged

of

the

Emperor to hold him

wayward wishes had

excused, but the monarch's

to

be

humoured.

95

Gopal disappeared for six months, and came

back prepared to meet his awful doom.

He

placed himself neck deep in the sacred

Jumna, and began his song.

The
pure notes vibrated the air.
The water began
to heat, and soon began to boil.
The slow
river of the

was more than he could

bear.
He begged of the Emperor to allow him
to discontinue.
Akbar was merciless, and the
unfortunate singer was compelled to resume the
torture

of the

singer

tune.

fatal

In the agony of his

burst forth with

dreadful

tremendous

sufferings

and

vigour,

he

sang

with such power that the

element of

excited in nature, each note

turned to flame and

whole person
consumed his body.
his

exhaled

fire

and

fire

was

slowly

Taan-Sen had four sons, and, unlike

the father, they had no taste for music. The eldest
son, called Bilas Khan, was of a roving nature
and inhabited the jungles. It was a great disappointment to the people to think that none of
his own sons were capable of occupying the
same high position in the musical world as the
noted father, and that one of his pupils would
13.

have to be selected to take

his

place

after

his

death.

In

question

course

now

of

Taan-Sen

time

arose

as

appointed in his place.

to

who

died,

and the

should

be

96

The

fought

pupils

supremacy.

The

among

Khan returned from

his revered father's coffin

and

all

mother
great

steeped

wanderings.

his

Saw

lying on the threshold

sorrow.

in

inconsolable,

In the meantime

He saw

bemoaning

the

his

loss

dear
of

name.

He

stepped into their midst and said "

who can move my

will

for

public could not decide as the

one was as good as the other.

Bilas

themselves

father's

coffin

He

with his song

be awarded the Pugree (turban)."

The

pupils

were staggered to hear

still and frightened.

this bold

proposal and stood

When

no one answered his challenge, he

sang the Raagni Todi with such pathos and
feeling, that the coffin actually moved.
People acknowledged his greatness, and the

Emperor

The

tied

tune

Todi Dhurpad.
melody.

the turban on his head.

is
It

now known
is

a dignified,

Khani
manly and slow

as

Bilas