শ্রী শ্রী গুরু গ ৌরাঙ্গৌ জয়তঃ

সহজ/সরল মৃদগ শিক্ষা পদ্ধশত

( শিঙ্জ শিঙ্জই শিখুি মৃদগ মাত্র এক সপ্তাঙ্হ )

by Bal Govind Das

Lesson3

Lesson-4
2

IN-phase-1
 OUT-Phase-1 OUT-
Phase-2

Pra

2-2-2-2-2-2-2-2-2-2-2-2-2----- 108 Times

1-1-1-1-1-1-1-1-1-1-1-1-1------108 Times

One Two Three Four should pronounce by mouth.

|
Practice | |
2---1--- 2---1--- 2---1--- 2---1---

|……..108 Times
|
Practice | |
I---O--- I---O--- I---O--- I---O---

|……..108 Times
 Lesson-1
Samsara dabanala……/Namaste Narashimhaya……../ Tulasi Krishna preasi namo namah/Jaya Jaya Gora Chander…../ Prabhupader
Hare Krishna Kirtan

There are 6 principal male ragas, namely Bhairav, Malkauns, Hindol, Deepak, Shri and Megh ragas . Following
is the short depiction of the ragas and the associated raginis :

 raga – Bhairav
Raag Bhairav is known to be the first raga, that emanated from Shiva himself. A simple and common
raga, it is deemed as a morning raga.
Raginis – Bhairavi, Punyaki, Bilawali, Aslekhi, Bangli
 raga – Malkauns
Malkauns is one very beautiful raga, derived from the Bhairavi Thaat. This raga is said to have been
created from Siva’s Taandav (cosmic dance), so it has a vigour and energy about it.
raginis - Gaundkari, Gandhari, Seehute, Devagandhari, Dhanasri
 raga – Hindol
This raga depicts love and personifies kama or love and the beauty that is Krishna . A simple raga to
sing, it is also very pleasing to the ears.
raginis - Telangi, Devkari, Basanti, Sindhoori, Aheeri
 raga – Deepak
Tansen, one of the ‘navaratnas’ in Emperor Akbar’s court, is said to have lighted lamps with this strong,
vibrant raga.
raginis - Kachheli, Patmanjari, Todi, Kamodi, Gujri
 raga – Shri
This is a very old raga, taken from the Poorvi Thaat. As the name suggests, it is also a very auspicious
 raga.
raginis - Bhairavi, Gauri, Karnati, Sindhavi Asavari

Position Swara (स्वर) Short name Notation Mnemonic[19] Half-steps from Sa

1 Shadja (षड् ज) Sa S sa 0

2 Shuddha Rishabha (शु द्ध ऋषभ) Ri R₁ ra 1

Chatushruti Rishabha (चतुश्रुतत ऋषभ) Ri R₂ ri

3 2

Shuddha Gandhara (शु द्ध गान्धार) Ga G₁ ga

Shatshruti Rishabha (षट्श् श्रुतत ऋषभ) Ri R₃ ru

4 3

Sadharana Gandhara (साधारण गान्धार) Ga G₂ gi

5 Antara Gandhara (अन्तर गान्धार) Ga G₃ gu 4

6 Shuddha Madhyama (शु द्ध मध्यम) Ma M₁ ma 5

7 Prati Madhyama (प्रतत मध्यम) Ma M₂ mi 6

8 Panchama (पञ्चम) Pa P pa 7

9 Shuddha Dhaivata (शु द्ध धैवत) Dha D₁ dha 8

10 Chatushruti Dhaivata (चतुश्रुतत धैवत) Dha D₂ dhi 9

 Shuddha Nishada (शु द्ध तिषाद) Ni N₁ na

Shatshruti Dhaivata (षट्श् श्रुतत धै वत) Dha D₃ dhu

11 10

Kaishiki Nishada (कैतशकी तिषाद) Ni N₂ ni

12 Kakali Nishada (काकली तिषाद) Ni N₃ nu 11

Svara in North Indian system of raga[16][17]

Svara Ṣaḍja Ṛṣabha Gāndhāra Madhyama Pañcama Dhaivata Niṣāda

(Long) (षड् ज) (ऋषभ) (गान्धार) (मध्यम) (पञ्चम) (धै वत) (तिषाद)

Svara Sa Re Ga Ma Pa Dha Ni
(Short) (सा) (रे ) (ग) (म) (प) (ध) (ति)

D♭ (komal re) E♭ (komal ga) F (shuddha ma) A♭ (komal dha) B♭ (komal ni)
12 Varieties (names) C (shadja) G (panchama)
D (shuddha re) E (shuddha ga) F♯ (teevra ma) A (shuddha dha) B (shuddha ni)

( ) Svara in South Indian system of raga[17]

Svara Ṣaḍja Ṛṣabha Gāndhāra Madhyama Pañcama Dhaivata Niṣāda

(Long) (षड् ज) (ऋषभ) (गान्धार) (मध्यम) (पञ्चम) (धै वत) (तिषाद)

Svara Sa Ri Ga Ma Pa Dha Ni
(Short) (सा) (री) (ग) (म) (प) (ध) (ति)

D♭ (shuddha ri) E (shuddha ga) A♭ (shuddha dha) B (shuddha

F♮ (shuddha ni)
16 Varieties C D♮ (chatushruti E♭ (sadharana G A♮ (chatushruti
ma) B♭ (kaishiki ni)
(names) (shadja) ri) ga) (panchama) dha)
F♯ (prati ma)
D♯ (shatshruti ri) E♮ (antara ga) A♯ (shatshruti dha) B♮ (kakali ni)

Notation and practice

Some musicians and litterateurs / keepers of musical knowledge classified the raag system as comprising of 6
main raags, each raage having 5 wives or raaginis and each of them having their ‘putras’ (sons) and their ‘vadhus’
(daughters in law). He says, it is likely that this form of classification had some use during that time, but since
music is dynamic and ‘parivartanshil’ and new raags were being created all the time, some of them did not ‘fit’ in
the raag-raagini’ structure. Hence in the last 3–4 decades, many music litterateurs have stopped using this
system.