r`rh; v/;k;

laxhr o le; fl)kUr

3-1 Hkkjrh; laxhr esa le; ds vk/kkj ij Loj jkxksa dk xk;u
le; o izHkko
3-2 ikbFkkxksjl fl)kUr esa laxhr
3-3 ikbFkkxksjl fl)kUr esa T;ksfr"k
3-4 ikbFkkxksjl dk laxhr vkSj T;ksfr"k 'kkL= eas ;ksxnku

lxxvi
jkxksa dk le; fl)kUr &
laxhrdyk dh ftu vusd ijEijkvks ij leh{kk;qDr fpUru gks jgk gS
muesa ls le; fl)kUr Hkh gSA laxhr] oSfnd ;qx ls vc rd viuh vfoHkkT;
ijEijk dk Lokeh gSA blesa lkexku gks tkfr;ska dk xk;u gks ;k jkx xku
lHkh ds dk;Zdky esa le; vuqdwy lkaxhfrd iz;ksxksa dh ppkZ cukcj cuh
jgh gSA
laxhrdyk vius vkjfEHkd :i ls le; fl)kUr ds fufnZ"V vuqikyu
ls ml le; Hkh ugh cp ikbZ ;tqosZn esa lkexku ds le;kuqdwy ikyu
vuqikyu dk ,d n`"VkUr izLrqr gS&
v- jFkUrja lke f=o`RLrkseks xzh"e_rq%A
vk- o`gRlke iapn'kLrkseks xzh"e_rq%A
b- oS:ia lke lIr;'kLrkseks o"kkZ _rq%A
bZ- 'kEojjSDrs lkeuh gseUrq_rqA
osn ok³~e; ds fo'ys"kd vusd ijorhZ vkpk;ksZa esa ls mifu"kndkjksa dh
rikZ"k;d O;k[;k vR;Ur egRoiw.kZ gSA
NUnksX;ksifu"kn esa lkeizdkjksa ds ;Fkk le; xkus dk mYys[k feyrk gSA
lkexku esa ftu ik¡p izdkjksa& fgadkj] izLrko] mn~xhFk] izfrgkj vksj fu/ku dk
fo/kku gSA
laxhr edjUn esa ukjn us jkx oxhZDj.k dh ftu iz.kkfy;ksa dk mYys[k
fd;k gS] muesa le;kuqdwy oxhZdj.k Hkh gSA
vr% ge dg ldrs gSA fd leSa&leSa lqUnj loS] :i d:i u dks;Z
vFkkZr~ bl lalkj esa dksbZ Hkh oLrq cnlwjr ugh gksrh] cfYd le;≤ ij
izR;sd oLrq vkius vki esa lqUnj o ;ksX; gSA blh fu;e ds rgr] fnu jkr ds
24 ?k.Vksa esa xk;s tkus ij izR;sd jkx vius vki esa us dsoy lqUnj izrhr gksrs

lxxvii
gSA blfy, Hkkjrh; 'kkL=h; laxhr ds jkxksa ds xk;u le; fl)kUr d fooj.k
fn;s x;s gSA ftls ik'pkR; laxhr esa ^^Fine key theory of ragas** dgk gSA
xk;u le; fl)kUr gh xk;u le; pØ Hkh dgk tkrk gSA fnu jkr
24 ?kUVksa esa xk;s tkus ij izR;sd jkx vius vki esa u dsoy lqUnj izrhr gksrs
gSA cfYd izHkkoh Hkh gksrs gSA blfy;s Hkkjrh; 'kkL=h; laxhr ds jkxksa ds xk;u
le; fl)kUr ds fooj.k fn;s x;s gSA ftl ik'pkR; esa Fine key theory of
Raga dgk gSA

xk;u le; fl)kUr gh xk;u le; pØ gS jl pØ esa fdu jkxksa ds

Lojksa dk xk;u djus ls vkuUn dh izkfIr gks ldrh gSA vFkok eu dks lwdwu
fey ldrk gSA blh dk fooj.k jkxksa ds xk;u dk le; fl)kUr dgykrk gSA
dqN jkxksa dk xk;u izkr% dky esa dqN jkxksa dk fnu nksigj us vkSj
dqN jkxksa dks jkf= esa xk;s tkus ij vk|kfRed lUrks'k izkIr gksrk gS D;ksafd
jkxksa dk eq[; mn~ns'; ^^jatdkstu~ fpRrkuke~ ljkx dfFkrksa cq/kS%A**
eu dks vkuUn iznku djus okyh Lojkofy;k¡ gh fo}kuksa ds er ls
jkx gSA
jkxksa dk xk;u le; dksjh dYiuk ugha gS cfYd ;g gekjs eu twMk
gqvk gSA izkphu le; ls u dsoy jkx jkfxfu;ksa] _pkvksa vkSj Hkjrdkyhu
tkfr;ka Hkh le;uqlkj xkbZ tkrh FkhA D;ksafd bu lHkh dk ?kfu"V lEcU/k ^jl*
ls gSA
ftruh Hkh x;s fo/kk,a gS eU= _Ppk,a] tkfr;ka vksj jkxksa dh jpuk Lojksa
ls gksrh gSA izR;sd Loj dk viuk ^jl* viuk vUnkt vkSj viuk izHkko gksrkgS]
rks O;fDr fo'ks"k esa ,d Hkko ,d :>ku iSnk gksrk gSA tks mlds lkjs O;fDrRo
dk fuekZ.k djrk gS] fQj jkx vkSj jkfxfu;ka ds ewyrRo Loj vkSj y; xfr gSA
ftudk O;Dr djrs djus dk ,d rjhdk le; gksrk gS tks gekjs ckg~; vkSj
vkUrfjd vaxksa esa lUrqyu iSnk djus gesa ekufld lqdwu nsrk gSA

lxxviii
 blfy;s izkphu dky ls ydj vkt rd jkxksa ds xk;u le; fl)kUr
dks Lohd`r fd;k tkrk gSA tc leLr czãk.M dk d.k&d.k le; dh lhek
esa ca/kk gqvk gSA lw;ksZn; gksuk i`Foh dk viuh nwjh ij pDdj yxkuk vkSj
Tokj HkkVk dk vkuk tkuk ;gka rd fd izR;sd izk.kh 'okl fd;k Hkh ,d rjhds
ls pyrh gSA ;fn bu fØ;kvksa esa fdlh Hkh izdkj dk vojks/k gS rks izkd`frd
vkink,a] Hkwpky] vkSj ckn vkfn vkse yxrs gS blh rjg gekjh 'oklksa esa dHkh
T;knk gksus yxrk rks MkDVj dh lgk;rk dh t:jr iM+ tkrh gSA mlh izdkj
jkx jkfxfu;ak esa ftu Lojksa dk iz;ksx fd;k tkrk gS muds xk;u dh lhek
gksrh gSA mlh izdkj dqN jkx izkr% dky] dqN fnu&nksigj vksj dqN jkx
jkf= esa xk;s tkus ij vPNk yxrs gSA
mlh rjg dqN jkx fdlh [kkl ekSle esa xk;s tkrs gS tSls &
1- clUr _rq esa clUr jkx
2- Qkxqu ds eghuks esa jkx dkQh] Hkheiyklh
3- o"kkZ _rq esa eYgkj vax okys jkx vkfn
le;kuqlkj jkxksa dk xk;u&oknu gekjs eu efLr"d vkSj 'kjhj dks iwjh
rjg ls izHkkfor vo'; djrk gSA
izkr%dky ls ysdj jkf= rd gekjs euksHkko cnyrs jgrs gSA ;g
euksoSKkfud lR; gSA iy iy esa gekjs efLr"d esa ifjorZu vkrk gSA mu Lojksa
ds yxkus ls jkxksa ds le; fl)kUr dk fo'ys"k.k fd;k x;k gSSA
xk;u le; fl)kUr ij rhu rRoksa ds ys ds izdk'k Mkyk gSA
1- Lojksa }kjk jkxksa ds le; fu/kkZj.k djukA
2- jkxksa ds oknh lEoknh }kjk le; Kkr djuk
3- e/;e Loj }kjk jkxksa ds le; tkuuk
Lojksa ds }kjk jkxksa ds xk;u le; tkuus ds fy, fo}kuksa us izkr%dky
ls ysdj lk;adky] fQj lka;dyk ls ysdj jkf=dky rd Lojksa ds rhu oxZ

lxxix
cuk;s] ftuds vk/kkj ij fnu vkSj jkr ds 24 ?k.Vks esa jkxksas xk;u le; dk
,d pØ pyrk jgrk gSA
;g xk;u le; pØ euq"; ds ewM ds vuqlkj fu/kkZfjr fd;k x;k gSA
ftlds vUrxZr js /k dksey Lojksa dk oxZ] nwljk js /k 'k) Lojksa dk oxZ vkSj
rhljk x uh dksey Lojksa dk oxZ bUgha Lojksa dk pØ fQj lk;a ls izkr% dky
rd pyrk gSA
1- js /k dksey Lojksa dk og oxZ gSA
2- js /k 'kq) Lojksa dk oxZ gSA
3- x uh dksey okyk oxZ
4- jkxksa dk le; pØ
1- js] /k dksey Lojks adk oxZ&

 4&7 izkr% xk;s ctk;s tkrs gSA ftudk le; izkr% 4 cts ls 7
cts rd ds chp esa gksrk gS bu jkxksa esa ¼js /k dksey rFkk 'kq) e/;e ½
dkiz;ksx fd;k tkrk gSA
pwafd izkr% 4 ls 7 cts dk le; fnu vkSj jkf= dh lfU/k csyk gS] ;kfu
jkf= [kRe gksuk rFkk fnu dk mn; gksukA bl le; tks jkx xk;s ctk;s tkrs
gSA os lfU/k izdk'k jkx dgykrs gSA ftlesa js o /k dksey rFkk 'kq) e/;e dk
gksuk vko';d gSA vr% bl oxZ esa jkx vf/kdrj HkSjo FkkV ds jkx gksrs gSA
mnkgj.k& HkSjo] jkedyh tksfx;k

 blh izdkj lfU/kcsyk ;k lfU/kdky lk; 4 ls 7 cts rd dk

gksrk gSA ftl le; fnu lekfIr ij o jkf= vkxeu gksus yxrh gSA vr% bl
le; tks jkx xk;s ctk;s tkrs gS lk;adkyhu lfU/kizdk'k jkx dgykrs gSA
bl oxZ ds ¼jkxksa esa js] /k dksey gksrs gS fdUrq e/;e ¼e Vhdk dk
iz;ksx½ vfuok;Z gksrk gSA vr% bl lk;adkyhu lfU/kizdk'k jkx vf/kdrj iwfrZ
FkkV ekjok FkkV ds vUrxZr vkrs gSA

lxxx
mnkgj.k& iwohZ jkx] ekjok jkx] dY;k.k
2- js /k 'kq) Lojksa dk oxZ &
4 ls 7 cts rd xk;s tkus okys jkxksa ds i'pkr~ 7 ls 10 ;k 12 cts ds
chp esa xk, tkus okys jkxksa dk le; vkrk gSA
ftldh fo'ks"krk ¼fj"kHk vkSj /kSor dk 'kq) gksuk rFkk 'kq) xU/kkj dk
iz;ksx gksuk½ blh Øe ls lka;dkyhu lfU/kizdk'k jkxksa ds ckn 'kq) js /k okys
jkf= ds xk;u dk le; vkrk gSA pwafd lka;dkyhu jkxksa esa rhoz e/;e dh
iz/kkurk jgrh gSA lkFk gh rhoz rFkk 'kq) nksuksa izdkj ds e/;e;ks dk iz;ksx Hkh
gksrk gSA ij bu jkxksa esa 'kq) fj"kHk /koSr vkSj 'kq) xU/kkj dk iz;ksx fd;k
tkrk gSA bu jkxksa ds xkus dk le; lk;a 7 cts ls 10 ;k 12 cts rd dk
gksrk gS rFkk bl oxZ esa vf/kdka'k fcykoy dY;k.k vkfn ds jkx vkrs gSA
3- x uh dksey okyk oxZ &
Lojksa dk rhljk oxZ xU/kkj rFkk fu"kkn dksey okys jkxksa dk gksrk gSA
;s jkx vkHkw"k.k fnu rFkk jkf= esa 12 cts ls 4 cts rd xk, ctk, tkrs gSA
bl oxZ dh jkxksa dh fo'ks"krk gS fd xU/kkj o fu"kkn dksey rFkk 'kq)
e/;e dk iz;ksx gksrk gSA
bl oxZ esa dkQh] vklkojh] HkSjoh] rksM+h vkSj [kekt FkkV ds jkx vkrs
gSA ;fn ;s jkx lka;dkyhu gksrs gSA rks mueas rhoz e/;e vkSj fdUgh jkxksa esa
'kq) rFkk rhoz nksuksa e/;eksa dk iz;ksx fd;k tkrk gSA
bl izdkj izkr% 4 ls 7 cts] 7 ls 12 cts] 12 ls 4 cts rd vkSj blh
Øe ls lk;a 4 ls 7 cts] 7 cts ls 12 cts vkSj 12 ls 4 cts Hkksj rd jkxksa
ds xk;u le; dk pØ fnu vkSj jkr ds 24 ?k.Vksa esa pyrkgSA ftls Hkkjrh;
laxhr esa jkxksa ds xk;u le; pØ dh laKk nh gSA
jkxksa dk le; pØ &
1- izkr% dkyhu lfU/k izdk'k jkx

lxxxi
 js&/k dksey e/;e 'kq)
HkSjo FkkV] HkSjoh FkkV
2- 7 ls fnu ds 12 cts fnu
js&/k 'kq) e/;e
fcykoy dY;k.k
3- 12 cts fnu ls lk;a 4 cts
x&uh dksey
jkx dkQh] vklkojh
4- lka;dkyhu lfU/k izdk'k js&/k dksey e rhoz 4 ls 7 cts lk;a iwohZ
ekjok] rksM+h
5- 7 cts ls 12 cts jkf= rd js & /k 'kq) okys dY;k.k
6- 12 cts jkf= ls lqcg 4 rd

 jkxksa ds oknh lEoknh Lojksa }kjk jkx dk le; tkuuk & ftl izdkj
jkxksa esa yxus okys Lojksa }kjk] jkxksa ds xk;u le; fu/kkZfjr fd;k tkrk
gS mlh izdkj jkx eas yxus okys iz/kku Lojksa ;kfu oknh lEoknh Lojksa ds
}kjk Hkh jkxksa ds le; irk fd;k tk ldrk gSA jkx dk oknh Loj
jktk gksrk gS vFkkZr~ jkx dk izk.k Loj thr Loj gSA oknh Loj ds fy;s
dgk tkrk gSA
 ^^ftl Loj ls jkx dk Lo:i pyus vkfn dk irk pyrk gks og oknh
Loj gSA
 vr% ftl jkx dk oknh Loj lIrd ds iwokZax gksrk gS og jkx
iwokZxoknh ;k iwokZx jkx dgykrk gS vFkkZr~ lIrd dk iwokZax Loj

lxxxii
 ^lkjs& js& x&e&i gSA blesa tks Loj jkx dk oknh ;k eq[; Loj gksrk
gSA og iwokZax ;k iwokZxoknh jkx dgykrk gSA vFkkZr~ fo}kuks us bu iwokZaxoknh
jkxksa dk xk;u le; nksigj 12 ls jkf= ds 12 cts rd ekuk gSA
mnkgj.k &
jkx ;eu] fcgkx vkSj [kekt vkfn jkxksa dk oknh Loj xU/kkj gSA pwafd
xU/kkj Loj lIrd ds iwokzax dk Loj gSA vr% ;s lHkh jkx iwokZxoknh gSA vkSj
bu jkxksa dk xk;u le; fnu 12 cts ls jkf= 12 cts ds chp blh izdkj
ftl jkx dk oknh Loj lIrd ds mÙkjakx dk Loj ;kfu
^^e&i&/k&fu&lk**
^e* ls dksbZ Loj jkx dk oknh gksrk gS] og jkx mÙkjkax ;k mÙkjkxoknh
Loj dgykrk gSA ;s jkx jkf= 12 cts ls fnu ds 12 cts ds chp eas xk;s
tkrs gSA
mnkgj.k &
jkx HkSjo vkSj ns'kdkj vkfn bu jkxks dk okfn Loj /kSor gS tks mÙkjkx
dk Loj gS vkSj ;s jkx izkr%dky xk;s tkrs gSA
vr% eksVs rkSj ij oknh lEoknh Lojksa ls Hkh jkx xk;u dk le; xk;k
tk ldrk gSA
ftl jkx dk oknh Loj lIrd ds iwokZx esa gS rks fu'pr :i ls
lEoknh Loj mÙkjakx esa gksxkA
bl izdkj oknh Loj mRrjkx esa gksxk rks iwokZax esa lEoknh Loj gksxk
bl rjg jkx esa oknh lEoknh nks egRoiw.kZ Loj gSA
MkW- eqdqUn ykV fy[krs gS &
Vaadi is the predominent note or neighooring note of the raags.
Infeact it is very lize of a raaga,

lxxxiii
 vFkkZr~ oknh Loj jkx dk egRoiw.kZ Loj gS ;g jkx dk tho Loj gS tks
jkxksa ds le; lhek dk ladsr nsrk gSA
e/;e Loj ds }kjk jkxksa dk xk;u le; &
Hkkjrh; laxhr esa 7 Lojksa esa e/;e Loj dks v/;n'kZd Loj dgk tkrk
gS v/o n'kZd dk vfHkizk; gSA
¼jkLrk½ v/o $ n'kZd ¼fn[kuk½ v/on'kZd vFkkZr og Loj tks jkxksa dks
jkLrk fn[k;sA jkLrk fn[kus dk vFkZ gS jkxksa ds xk;u le; dks crkus okyk
LojA
blfy;s e/;e Loj ds nks :i gS &
1- 'kq) e/;e 2- rhoz e/;e
'kq) e/;e fnukxs;rk dk izrhd gS vFkkZr~ izkr% 4 cts ls fnu nksigj
rd ftu jkxksa dk xk;u oknu gksrk gSA mlesa vf/kdrj 'kq) ek/;e dk
iz;ksx gksrk gSA cfYd ;fn dksbZ jkx ,slk gS tks rhoz e/;e okys FkkV ls
mRiUu gksrh gS mlesa ;fn 'kq) e/;e izcy gksrk gS] rks jkx fnu esa xk;k tkus
okyk jkx gSA
mnkgj.k ds fy, jkx yfyr] fj"kHk&/kSor dksey vkSj rhoz e/;e okys
FkkV iwohZ ls mRiUu gSA fu;ekuqkj bls lka;dkyhu jkx gksuk pkfg, fdUrq jkx
yfyr esa 'kq) rFkk rhoz nksuksa izdkj ds e/;eksa dk iz;ksx gksrk gS fdUrq rhoz
e/;e dh vis{kk 'kq) e/;e dk vf/kd iz;ksx gksus ds dkj.k jkx yfyr dks
izkr% dky xk;k tkrk gSA vr% 'kq) e/;e fnux;srk dk izrhd gSA
blh rjg rhoz e/;e lk;a vkSj jkf{kdk izrhd gS ;fn lka;dkyhu fdlh
jkx esa nksuks e/;eksa dk iz;ksx fd;k tkrk gSA
ml le; 'kq) e/;e dh vis{kk rhoz e/;e dk vf/kd iz;ksx gksrk gS
tSls jkx iwohZA

lxxxiv
 blls ;g fl) gksrk gS] fd 'kq) e/;e okys jkx fnu x;s gS vkSj rhoz
e/;e lk;axs; gSA vr% e/;e Loj ds }kjk jkxksa dk le; fnuxs;rk vkSj jkf=
xs;rk vklkuh ls Kkr fd;k tk ldrk gSA
ysfdu buesa Hkh miokn gSA tSls dY;k.k FkkV ls mRiUu jkx fgUMksy esa
dsoy rhoz e/;e dk iz;ksx gksrk gS]fu;e ds rgr mldk xk;u lka; esa gksuk
pkfg,A
fdUrq ;g jkx izkr% 7 cts ds yxHkx xk;k tkrk gSA ;g ,d viokn
gSA vf/kdrj fnu xs; jkxksa esa 'kq) e/;e vkSj lk;a rFkk jkf= esa xk;s tkus
okys jkxksa esa rhoz e/;e dk iz;ksx gkrk gS] fu;e ds rgr bldk xk;u lk;a
esa gksuk pkfg;sA rhoz e/;e iz/kku jgrk gSA blhfy, laxhr fo}kuksa us e/;e
Loj dks v/on'kZd Loj dgk gSA jkLrk fn[kus okyk LojA
ITC SRA INDIAN MUSIC ARCHIVES }kjk Hkkr[k.Ms th }kjk fn;s x;s
jkx le; pØ dk foospu &

Indian Classical Music

A paradise for those of us, who are eager to enhance our knowledge of North
Indian Classical Music through hindi films, mainly, but also from non-film ghazals,
sufi.. & any other popular musical compositions which may help us appreciate the
nuances of the different raagas… please check contents of this blog, which also has
all the indices...

Introduction -
The object of a raaga is to express a certain emotional mood and sentiment
without any reference to time and season. As such, there are no hard and fast rules
about when a particular raaga may be sung. But while the beauty of the raaga may not
be marred by the time of the day it is sung, the rasa (mood) of the raaga that the artist
is responsible for evoking may be enhanced by following time-cycle sussestions for
raagas.

The classification of Raagas according to time is said to be ancient and

determined by its vaadi and the anuvadi swaras – which are said to be more effective

lxxxv
if performed at a particular time. The effect of notes was experienced by musicians
even in the Vedic times. Thus singing of notes and pitch and place differ in Sama-
gana from morning to noon to evening. Music is often defined as language of
emotions and the relation between musical notes and emotion is established. The
nature and intensity of emotions undergo a continuos change from dawn to dusk. It is
thus in accordance with the principle of consonance to establish all arts resting on
human feelings, in direct relation to emotions.

Interestingly, out of the 40 original Principles of Indian Classical Music as

stated by Vishnu Narayana Bhaatkhande, 19 actually comment on time-cycles of
raagas (mentioned later). One who sings knowing the proper time remains happy.
And, a quote “by singing Raagas at the wrong time one ill-treats them. Listening to
them, one becomes impoverished and sees the length of one’s life reduced.” (Sangita-
makaranda, I, 23-24).

Bhaatkhande’s comments on time-cycles of raagas :

1. Reversing (changing) the Vaadi swara from purvang to uttarang of the scale,
can change the Raaga and its time of singing.

2. Fixing the time of Raagas is based on 3 categories shown below:

a. Komal Re, Dha;

b. Shuddha Re, Dha and

c. Komal Ga, Ni.

3. Ma is called adhav-darshak swara and it decides whether the Raaga is to be

sung at the time of day or night.

4. Where the swaras Komal Ga, Ni are present, the Raaga will be sung in the
afternoon or mid-night.

5. Sandhi-prakash Raagas are normally followed by Raagas with Re, Ma, Dha,
Ni shudha.

6. Shadaja, Madhyam and Pancham are important swaras in the Raagas of third
prahar of day or night.

7. Tivra Madhyam is mainly present in the night time Raagas and rarely in the
day time Raagas.

lxxxvi
8. Sa, Ma and Pa swaras are accepted as a part of purvaang and also the uttaraang
of the scale (Saptak). So the Raagas with the Vaadi swara from these notes can
be performed at any time and they are called ‘Sarav-Kalik-Raagas”.

9. The beauty of the Raaga can be enhanced by performing at the time defined.

10. The Raagas of first prahar of the night with both Madhyams, Shuddha Ma is
present in Aroh and Avaroh but Tivra Ma is utilized in Avaroh only and the
Thaat with Tivra Madhyam is used for this type of Raagas instead of thaats
with Shudha Madhyam.

11. The rule in Raagas of first prahar of night: Nishadh in Aaroh and Gandhar in
Avaroh are used as Vakra-Swara. Normally Nishadh is weak in Avaroh.

12. Each thaat can produce Poorva-Raagas and Uttar-Raagas.

13. ‘Par-Male-Praveshak’ Raagas (with the character of two thaats) are rendered
at the time of entering from one thaat’s Raagas to another thaat’s Raagas.

14. ‘Sandhi-Prakash’ Raagas are sung at the time of sunrise and sunset and they
are followed by the Raagas with Re, Ga, Dha shudha or Raagas with Ga, Ni,
Komal. Normally in the Pratah kaalin sandhi prakash raag, Re and Dha are
never absent. And in Sayam kaalin sandhi prakash raag Ga and Ni are
normally not absent.

15. Sa, Ma and Pa swaras are prominent in the Raagas sung after twelve in the
morning and night.

16. Swara Re and Dha are either absent or insignificant in the Aaroh of afternoon
Raagas but Ga and Ni are at their bursting magnificence.

17. In the morning Raagas Komal Re, Dha are prominent and sunset time Raagas
have prominence of Shuddha Dha and Ni.

18. ‘.NSrG’ combination of swaras immediately indicates the ‘Sandhi-Prakash’

(daybreak or twilight) Raagas.

19. Poorva Raagas are highly structured in their Aroh and Uttar Raagas are more
elaborate in Avaroh.

lxxxvii
 ITC SRA INDIAN MUSIC ARCHIVES }kjk oxhZdj.k &

Raagas may be divided into the following types, based on the time-
divisions of a full day:

1. The Poorva / Poorvi / Dinegeya / Suryamsa raagas sung during the Poorva
Bhaag or diurnal half of the day i.e. the 12-hour period from 12 noon to 12
midnight - these are Poorvang Vaadi ragas i.e. their vaadi swar lies in the
poorvang of the saptak (octave) i.e. Sa Re Ga Ma. Shuddh Madhyam is
prominent in the morning Raagas. The important points to be noted are that
uptil afternoon 4pm, after the Shuddha Rishabh and Shuddha Dhaivat group,
come raagas with Komal Gandhar and Komal Nishad like raagas Asavari,
Jaunpur. Here both Madhyams may be used with Shuddha Madhyam
assuming prominence in some and Teevra Madhyam in others. In these raags
Gandhar will surely be komal. The Rishabh and Dhaivat can be Shuddha or
Komal. Then, later in the evening 7pm – 10pm, Teevra Madhyam is
prominent e.g. Yaman, Bhoopali. Again, at night, from 10pm - dawn 4am,
Raagas like Bageshree, Jaijaivanti, Malkauns with Komal Gandhar and Komal
Nishad raagas are sung after the Shuddha Rishabh and Shuddha Dhaivat
raagas. In these raags Gandhar will surely be komal. The Rishabh and Dhaivat
can be Shuddha or Komal. Further 2-hourly subdivisions are:

lxxxviii
 i. 12noon - 2pm (Afternoon): Raagas Brindavani Sarang, Shuddha
Sarang (Thaat Kafi), Raaga Gaud Sarang (Thaat Kalyan).

ii. Noon - 3 p.m.: Raagas of Kafi thaat - Bridabani Sarang, Shuddh

Sarang, Bhimpalasi, Pilu; Raagas of Kalyan thaat - Gaud-Sarang.

iii. 2pm - 4pm (Late Afternoon): Raaga Bhimpalasi (Thaat Kafi), Raaga
Multani (Thaat Todi).

iv. 3 - 6 p.m.: Raagas of Purvi thaat - Purvi, Purya-Dhanashri, Shri,

Triveni; Raagas of Marwa thaat - Marwa, Purya; Raagas of Todi thaat
- Multani; Raagas of of Kafi thaat - Pat-Manjari.

v. 4pm - 6pm (Dusk - Saayam-Kaaleen-Sandhi-prakash Raagas, qv):

Raagas Poorvi, Shree (Thaat Poorvi), Raaga Patdeep (Thaat Kafi).

vi. 6pm - 8pm (Evening): Raagas Yaman, Hameer, Shuddha Kalyan

(Thaat Kalyan), Raaga Puriya (Thaat Marwa).

vii. 6-9 p.m.: Raagas of Kalyan thaat - Yaman, Bhupali, Hamir, Shuddh
Kalyan, Chhay-Nata; Raagas of Bilawal thaat - Hansadhwani.

viii. 8pm - 10pm (Late Evening): Raagas Jayjaiwanti, Desh (Thaat

Khamaj), Raaga Kedar (Thaat Kalyan), Raaga Durga (Thaat Bilawal).

ix. 9 p.m. – midnight: Raagas of Bilawal thaat - Shankara, Durga, Nand,

Maluha Kedar, Bihag and its forms; Raagas of Khamaj thaat - Khamaj,
Jaijaiwanti, Regeshwari, Bhinna Shadja, Gara; Raagas of Kafi thaat -
Kafi, Malhar and its forms, Bageshwari.

x. 10pm - 12midnight (Night): Raagas Bihag, Shankara (Thaat Bilawal),

Raagas Bageshri, Chandrakauns (Thaat Kafi).

2. The Uttar Ratrigeya / Chandramsa raagas sung during the Uttar Bhaag or
nocturnal half of the day i.e. the 12-hour period from 12 midnight to 12 noon -
these are Uttarang Vaadi ragas i.e. their vaadi swar lies in the uttarang of the
saptak (octave) i.e. Pa Dha Ni Sa. The important points to be noted are that
during morning 7am – 10am, Shuddha Madhyam is prominent Eg. Bilawal,
Deskar. After the Pratah-Kaaleen-Sandhi-prakash Raagas, the influence of
shuddha Rishabh and shuddha Dhaivat starts rising. Hence these raagas are
rendered at this time. In this category Gandhar is essentially shuddha. Later in

lxxxix
the morning, after 10am, i.e. after the Shuddha Rishabh and Shuddha Dhaivat
group, come raagas with Komal Gandhar and Komal Nishad like raagas
Asavari, Jaunpur. Here both Madhyams may be used with Shuddha Madhyam
assuming prominence in some and Teevra Madhyam in others. In these raagas
Gandhar will surely be komal. The Rishabh and Dhaivat can be Shuddha or
Komal. Further time-wise subdivisions are:

i. 12midnight to 2am (Midnight): Raaga Malkauns (Thaat Bhairavi),

Raaga Darbari Kanada (Thaat Asavari), Raaga Shahana (Thaat Kafi),
Raaga Adana (Thaat Asavari).

ii. Midnight - 3a.m.: Raagas of Kafi thaat - Bahar, Nayaki Kanada;

Raagas of Asavari thaat - Darbari Kanada, Shahana Kanada; Raagas of
Bhairavi thaat - Malkauns.

i. 2am - 4am (Pre-Dawn): Raaga Sohini (Thaat Marwa), Raaga Paraj

(Thaat Poorvi).

ii. 3-6 a.m: Raagas of Purvi thaat - Basant, Paraj; Raagas of Marwa thaat
- Sohoni, Lalit; Raagas of Bhairav thaat - Kalingda.

iii. 4am - 6am (Dawn - Pratah-Kaaleen-Sandhi-prakash Raagas, qv):

Raaga Bhatiyar, Lalit (Thaat Marwa).

iv. 6am - 8am (Early Morning): Raagas Bhairav, Ramkali, Jogia (Thaat
Bhairav).

v. 8am - 10am (Morning): Raagas Ahir Bhairav (Thaat Bhairav), Raagas

Bilaskhani Todi, Komal Rishabh Asavari (Thaat Bhairavi), Raaga Todi
(ThaatTodi).

vi. 10am - 12noon (Late Morning): Raaga Bhairavi (Thaat Bhairavi),

Raagas Deshkar, Alahiya Bilawal (Thaat Bilawal), Raaga Jaunpuri
(Thaat Asavari).

vii. 6-9 a.m.: Raagas of Bilawal thaat - Alahya Bilawal, Shuddh Bilawal,
Devgiri Bilawal, Shukla Bilawal, Kukubh Bilawal; Gunakali and
Sarpada; Raagas of Bhairav thaat - Ahir-Bhairav; Ramkali, Jogiya
Bhairav-Bahar; Raagas of Bhairavi thaat - Bhairavi, Bhupali-Todi,
Bilaskhani Todi; Raagas of Kalyan thaat - Hindol;

xc
 viii. 9 a.m. - 12 noon: Raagas of Todi thaat - Gurjari Todi, Miyan-ki-Todi;
Asavari thaat: Raagas such as Asavari, Komal Re Asavari, Sindh
Bhairavi; Raagas of Kafi that - Sugharai, Sur Malhar; Raagas of
Bilawal thaat - Deshkar.

3. The Sandhi-prakash raagas sung at sunset or sunrise, during the cross-over

times – here Madhyam plays a very important role and in most of them,
Rishabh is komal and Gandhar, Nishad are shuddha. Dhaivat can be komal or
shuddha.

i. Pratah-Kaaleen-Sandhi-prakash Raagas (PKSPR):

i. Rendered during dawn i.e. punctuating the end of night and

commencement of day – mostly contain the shuddha Madhyam along
with Komal Rishabh and Komal Dhaivat e.g. Raag Bhairav, Kalingada.
These are then followed by raagas with both Madhyams e.g. Raagas
Ramkali, Lalit. (it should be noted that following PKSPR, the influence of
shuddha Rishabh and shuddha Dhaivat starts rising. So those from mainly
Kalyan, Bilawal and Khamaj thaats are rendered later from morning 7am
– 10am. In this category Gandhar is essentially shuddha, and Shuddha
Madhyam is prominent e.g. Bilawal, Deskar). Raagas with Shuddha
Rishabh and Shuddha Dhaivat are rendered after the Sandhi-prakash
raagas.

ii. 4am - 6am (Dawn): Raaga Bhatiyar, Lalit (Sandhi Prakash Raagas
from Thaat Marwa).

ii. Saayam-Kaaleen-Sandhi-prakash Raagas (SKSPR:

i. Rendered during twilight / dusk i.e. punctuating the end of day and
commencement of night – mostly contain teevra Madhyam Eg. Raag
Marwa, Poorvi, going on to Shree, Multaani. Later, with raagas such as
Bihaag, shuddha Madhyam starts getting prominent. (it should be noted
that following SKSPR, the influence of shuddha Rishabh and shuddha
Dhaivat starts rising. So those from mainly Kalyan, Bilawal and Khamaj
thaats are rendered later from evening 7pm to 10pm. In this category
Gandhar is essentially shuddha and Teevra Madhyam is prominent e.g.
Yaman, Bhoopali).

xci
 ii. 4pm - 6pm (Dusk): Raagas Poorvi, Shree (Sandhi Prakash Raagas
from Thaat Poorvi), Raaga Patdeep (Thaat Kafi).

So if we know the vaadi swar of the raga, we can roughly estimate the time of
its rendering.

vr% ge dg ldrs gS fd bl izdkj jkxksa ds xk;u le; fl)kUr Lojksa

ds rhu oxksZa ij vk/kkfjr gS o ;g oxZ ,slk pØ curk gS tks fnu vkSj jkr ds
24 ?kUVksa esa ?kwerk jgrk gSA
ikbFkksxksjl dk laxhr esa ;ksxnku &
ikFkksxksjl laxhr esa cgqrkf/kd :fp ysrs FksA ikbFkksxksjl ,d laxhrK
vkSj xf.krK FksA ikSjkf.k dFkk ds vuqlkj ikbFkkxksjl us [kkstk fd laxhr ds
uksV Loj dks xf.krh; lehdj.kksa eas vuqokn fd;k tk ldrk gSA ;g rc gqvk
tc og ,d fnu ,d dke dj jgs yksgkj ds ikl ls gS vkSj lkspk dh mudh
fugkbZ dh pksV ls mRiUu gksus okyh vkokt lanj vkSj lkaetL;iw.kZ FkhA mlesa
;g fu/kkZfjr dj fy;k fd tks Hkh oSKkfud fu;e ysrk gS og vo'; gh
xf.krh; gksuk pkfg;s vkSj bl laxhr eas ykxq fd;k tk ldrk og yksgkj ds
ikl x;k vkSj mlds vkStkjksa dks ns[kdj ;g irk yxkus dh dksf'k'k dh ;g
dSls gqvkA mlesa ik;k fd frgkbZ;ka ,d nwljs ds lk/kkj.k vuqikr esa FkhA ,d

xcii
igyh ds vk/ks vkdkj dh Fkh vkSj nwljh vkdkj dh 2@3 Fkh ikFkksxksjl us
la[;k ds fl)kUr dks foLrkjiwoZd Li"V fd;kA bl vk/kkj ij ge dg ldrs
gS fd ikbFkskxksjl lkm.M gkjeksuh Ldsy ij fu/kkZfjr fd,A
laxhr l`f"V /ofu vkUnksyuksa dk ifj.kke gSA /ofu dEiUu o vkUnksyu
ij vk/kkfjr gksrh gSA
"The number of complete vibration which occur in a second is called
the frequency of the vibration. The pitch of a sound depends only on the
frequencey of the vibration by which it is produced it does not depend on the
nature of the vibration. It is frequency of the vibration the determines the
pitch of a sound. It there is on clearly defined frequency there is no clearly
defined pith beacause the sound is no loner musical.

"The pitch of a sound depends on the rapidity of those vibrations rapid

vibration producting what we call a high pitch and slow ones what we call a
low pitch. That rate of vibration per second we call the frequency of the
notes.

/ofu rjaxksa ds HkkSfrd fl)kUr ds vk/kkj ij laxhr &

oLrqvksa ds ¼daiUu½ ds dkj.k gh /ofu rjaxs mRiUu gksrh gS okid ds
fdlh ek/;e esa izokg ds dkj.k mRiUu fopyu dh izfØ;k dks rjax dgrs gSA
ek/;e ds ijek.kqvksa ds dEiUu ds dkj.k muds chp gksus okyh Vdjko dh
fØ;kvksa ls /ofu dh drkZ ,d LFkku ls nwljs LFkku ij izHkkfor gksrh gSA
mnkgj.k &
V;wfuax QksdZ ij tc ge fdlh Loj ds cus gFkksM+s ls okj djrs gS rks
mldh Hkqtk,a daiUu djus yxrh gS o daiu djus yxrh gS o daiu ds dkj.k
mRiUu /ofu rjaxs ek/;e esa cgko ds dkj.k ncko mRiUu djrh gS ftlds
dkj.k ek/;e dh gok ds tSlk fn[krk gSA
bl izHkko ds dkj.k ek/;e esa ,d fuf'pr nwjh ds varjky esa v.kq
la?kkfur gksus yxrs gS] tcfd vU; LFkkuksa ij mudh laKk de gks tkrh gSA
xciii
 /ofu rjaxksa ds dkj.k fuf'pr nwjh ds varjky esa v.kqvksa dk le`) pqafd
gok esa tc /ofu rjaxs cgrh gS rks ek/;e ds d.k /ofu rjaxksa dh fn'kk ds
lekUrj fn'kk esa gh MkSyrs gSA
,d daiu djrk rkj daiu dh fn'kk fdl izdkj /ofu rjaxksa ds ek/;e
esa Congitudinal rjaxs mRiUu djrk gS ogh n'kkZ;k x;k gSA
vr% ge dg ldrs gS fd daiu fLFkfr esa dbZ oLrqvksa esa /ofu rjaxs
mRiUu djrh gS ;g euq"; ds xys esa fLFkr Vocal cords gks ldrs gSA
fdlh laxhr esa mi;qDr midj.k tSls ok;fyu ;k oh.kk ds rkj dk
daiu fdlh Hkh oLrq dks dafir djus ls /ofu mRiUu gksrh gSA
ik'pkR; Ldsy &
ik'pkR; laxhr esa LojlIrd dks ^vEMscw* ds uke ls tkuk tkrk gSA
/ofu fl)kUr ds vuqlkj fdlh laxhr iz.kkyh dk Loj lIrd laoknh Lojksa ls
curk gSA vk/kqfud /ofu foKku esa rhu laokn izeq[k ekus tkrs gSA
1- lk&lka
2- lk&i
3- lk&e
Hkkjrh; laxhr ds Loj ¼lk] js] x] e] i] /k] fu] ½ dh ik'pkR; laxhr esa
do Re, Me, fa, sol, La, si ik'pkR; laxhr esa bUgsa laf{kIr uke fn;kA C, D,
E, F, F, G, A, B, C, Do

ik'pkR; laxhr esa lIrd esa vkB Lojksa dk lekos'k gSA Hkkjrh; laxhr
esa vkSj ik'pkR; laxhr ds dh vkUnksyu la[;k esa cgqr vUrj gSA D;ksafd muds
vkSj gekjs LojkUrj vyx&vyx muds ;gk eq[;r;k Lojksa dk vUrjky fn[kus
ds fy, rhu izdkj ds Tones ekurs gSA

xciv
 nwjh ukiuk@Shruti
i. Major tone

ii. Minor tone

iii Semi tone

ik'pkR; Lojksa dk vUrjky bl izdkj gSA

C 9 D 10 E 16 F 9 G 10 A 9 B 16 C
8 9 15 8 9 8 15

major minor semi major minor major semi

tone tone tone tone tone tone tone

;fn bUgha vUrjkyksa ds vk/kkj ij mudh vkUnksyu la[;k ns[ks rks

Hkkjrh; Loj vkSj if'peh Lojksa ds vkUnksyu la[;k dk Øe bl izdkj gSA
if'peh fgUnqLrkuh Loj if'peh vkUnksyu fgUnqLrkuh
Loj la[;k vkUnksyu la[;k
C lk 240 240
256 2
js dksey 254
17
D js 270 270
288 288
x dksey
E x 300 17
301
13
F e 'kq) 320 320
1 14
es rhoz 337 338
2 17
G i 360 360
384 3
?k dksey 381
17
A /k 400 405
432 432
fu dksey

xcv
 B fu 450 4
452
93
C lka 180 480

ik'pkrR; laxhr esa eq[; nks Hkkx gksrs gSA tks gkjeuh ij vk/kkj gksrs
gSA gkjeuh ls rkRi;Z gS fofHkUu Lojksa dh e/kqj lkewkfgd /ofu ,sls fo'ks"k Øe
ls mRiUu dh tk;s mlls laxhr ds vkuUn dh izkfIr gSA Harmony is the
clothing of melody.

1- MkbVksfud Scale
2. bDoyh VSEiMZ Scale

MkbVksfud Scale bDoyh VSEiMZ Scale

lk 240 240
js 256 254-27
js 270 269-39
x 288 285-41
x 300 302-38
e 320 320-36
es 3371@2 339-41
i 360 389-59
/k 384 380-98
/k 400 403-63
fu 432 427-63
fu 450 453-6
lka 480 480

xcvi
 ikbFkksxksjl ,d xzh nk'kZfud FksA mUgksaus laxhr ds fl)kUrksa dks xf.kr
ds vk/kkj ij ekuk vkSj vkDVso dh jpukA ikbFkksxksjl us tks Ldsy cuk;k
mls ikbFkksxksjl Ldsy dgkA
mUgksaus ok| ds rkj ij Lojksa dh LFkkiuk djs Ldsy ds jpuk dh ;k
dgs fd
Harmonic Studies the relation of math, ratios in music.

mUgksaus nks fl)kUr fn;s &

i. law of actava

ii. law of fiveteen

i. law of actava -

bl fl)kUr ds vuqlkj ok| ds rkj dh yEckbZ dks 2%1 ds vuqikr esa

ckaVk tk;s rks yEcs Hkkx esa tks Loj mRiUu gksxk mldk 8 Loj] NksVs Hkkx ds
vUr esa mRiUu gksxkA yEcs Hkkx esa Bksl Hkkx ls Åpk Loj mRiUu gksxkA
mnkgj.k&
yEcs Hkkx ds 'kq: esa e/;e ^lk* vkSj NksVs Hkkx ds vUr esa ^lk* izkIr
gq, tSls & e/; ^l* dh vkUnksyu dh la[;k 240 gS rks mlesa vkBos Loj dh
vkUnksyu la[;k Hkh blh fl)kUr ds vk/kkj ij Kkr dh tkrh gSA

1 ^l* 240× 2@1¾480 lka

e/; lk dk Octave Loj lka vk;k

2 ^lk* 440× 2@1¾960 lka

vFkkZr~ rkj ^lka* dk vk vkBoka Loj vfr rkj lka vk;kA

ii. Law of fifteen -

;fn rkj dks 3%2 ds vuqikr esa ckaVk tk; rks yEcs Hkkx ls tks Loj
mRiUu gksxk mldk ikapoak Loj NksVs Hkkx ds 'kq: esa fey tk;sxkA

xcvii
yEcs Hkkx ls "kM~t vkSj NksVs Hkkx ds :i esa iape Loj fudysxkA tSls &
l¾ 120 3@2 ;k 120 3 ¾ 360 i
e/; l dk ikapok Loj ^i* fudyk ftldh vkUnksyu la[;k 360
fudyh
i ¾ 360 3@2 ;k 180 3 ¾ 540 js
vFkkZr~ e/; ls ikapok Loj rkj lIrd ds lHkh Lojksa dh vkUnksyu
la[;k lkr dh tk ldrh gS tks bl izdkj gS&
lk js x e i /k fu lk
240 510 303 320 360 405 455 480
3@4 5@8

ikbFkksxksjl Ldsy &

lk js x e i /k fu lk
0 270 102 124-5 176-5 226-5 277-6 300

ikbFkkxksjl Ldsy ik'kkpkR; Ldsy

lk 240 240
js 270 270
x 303 3@4 300
e 320 320
i 360 360
/k 405 400

xcviii
 fu 455 5@8 450
lka 480 480

1- ikbFkkxksjl Ldsy ds lk js e lka

leku gS
ik'pkR; Ldsy ds lk js e i lk

2- ikbFkkxksjl Ldsy ds x /k fu Loj

leku gS
ik'pkR; Ldsy ds x /k fu Loj
vr% tks laxhr jpuk lk js x i lka ij ctkbZ tk;sxh oks nksuka Jksrkvksa
dks e/kqj izrhr gksxhA

 ikbFkkxksjl fl)kUr esa T;ksfr"k'kkL=

xf.krh; iz.kkyh vkSj T;ksfr"k dh bdkb;ka izphu nqfu;k Hkj esa tkus
tkrs gSA nks i{kksa ds oxksZa dk ;ksx vius d.kZ ds oxZ ds cjkcj gksrk leksl esa
570 esa tUes] ikbFkkxksjl ,d T;skfr"k o laxhrdkj vkSj ,d vk/;kfEd xq:
FksA ;s izcq) vkRek ls laokn djus esa l{ke gks x, vkSj vius fiNystUeksa
tkdj 11000 tUeksa dh dYiuk dj yh vkRekKku feyus ds ckn og vius
f'k";ksa dks foKku o n'kZu dk Kku nsaxs rFkk mudk Kku nsus dk rjhdk
lkm.M FkkA ftls mUgksaus ifo= /ofu ds uke ls iznf'kZr fd;kA
ekuk tkrkgS fd ikbFkkxksjl ds gj xzg dh viuh vkokt FkhA mUgksaus
uacj dk iz;ksx djds b /ofu dk izfrfuf/kRo fd;kA
Alphabet Value

A, J, S 1 ¼cq/k½
b, k, t 2 ¼'kqؽ

xcix
 c, l, u 3 ¼i`Foh½
d, m, b 4 ¼eaxy½
e,n ,w 5 ¼xq:½
j , o, x 6 ¼'kfu½
g , p, y 7 ¼rk:.kh½
h, q, z 8 ¼o:.k½
i, r 9 ¼;e½
ikbFkkxksjl 1 ls 9 rd vax ds vykok izkd`frd rjhds ls izR;sd
o.kZekyk ds fy;s ,d fo'ks"k uEcj fn;kA 11 o 22 lQyrk o foQyrk dk
vad ekukA og gj la[;kdk ldkjkRed o udkjkRed xq.kgksxkA ikbFkkxksjl
us bu 9 uEcj dks vad T;skfr"k dgk¡
ldkjkRed udkjkRed
1 igy] ur~Ro] O;fDrRo] lkgl 1 LFkk;Z] vkyL;] vkØkedrk]
dk;Zdkjh {kerk vgadkj
2 lgkdkfjrk] lnHkko] izse] 2 leosn'khy] mNMrk dk;jrk]
lk{ksnkjh] dwVuhfr papyrk vf/kd
3 dykRed vkSj jpukRed vkRe 3 fujk'kkokn] <hyk] okrkZ
vfHkO;fDr] dYiuk] lq'khyrk] vfr'k;ksfDr
mRlkg
4 jpukRed] O;fDr O;ogkfjdrk] 4 dYiuk] rkfdZd] pje]
vkns'k fcyMj esgurh xEHkhjrk fcekjh ls f?kjk gqvkA
5 jpukRed Lora=rk] dkeqdrk] 5 papyrk] ykijokgh] cSpuh]
cgqeq[kh izfrHkk] Kku] euksjatu ?kcjkgV

c
 6 dykdkj] tehnkj] ?kj o cPpksa 6 laonsu'khy] 'khryrk ?kcjkgV]
dk I;kj] nwljksa ds fy, dY;k.k lnSo vdsyk ugha gksuk lh[kuk
pkfg,A
7 vk/;kfRedrk] euksxr fo'ys"k.k] 7 LokFkZ] vkyL; vkØkedrk
oSKkfud vuql/kku Kku vgadkj
8 dk;Zdkjh {kerk] laxBu vf/kdkjh] 8 v/khjrk ds I;kj ekuorkokn
U;k; iz'kklu dh deh cgqr T;knk
HkkSfrdokn
9 ijksidkjh LoHkko] ekuorkokn] 9 ewMh vkSj vkosxh mPp thou
lgkuqHkwfr] fuLokFkZrk] fnO; mnkj ds fy, LokFkZ iSls ds ekeyksa
esa ykijokgh >qdko lh[kukA
10 varKku] jks'kuh] izsj.kk v/;kRed] 10 cgqr T;knk laosnu'khyrk
Hkfo";ok.kh dh {kerk vO;ogkfjdrk] rafrdk rekr
ey feyki dh QdZ
11 HkkSfrdokn] v/;kfRed xq: 11 dkys tknw dh Hkkoukvksa vkSJ
O;ogkfjd] 'khryrk O;ogkfjdrk vkd"kZ.k ds chp
la?k"kZ

ikbFkksxksjl ds vuqlkj ,d O;fDr ds iwjs HkkX; esa mldk tUe o uke

o tUe dh frfFk ls mlds lEiw.kZ thou ds fØ;k dykiksa dk irk pysxkA
vr% ,d O;fDr ds thou esa laa[;k egRoiw.kZ gSA
ikbFkksxksjl T;ksfr o 'kkL= esa viuk iwjk uke vkSj vyx T;ksfr"k la[;k
vkSj pØ dh x.kuk djus ds fy, tUe frfFk dk mi;ksx djrs gSA
ikbFkkxksjl us czãk.M la[;k ds 'kklu dks vkns'k fn;k vkSj mlds
izHkko'kkyh fo'okl esa T;ksfr"k dh Hkho dks vkdkj nsus esa enn dh A

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 muds xf.krh; dke ls gesa xzgksa ds ekuo ls fj'rs jkf'k pØ us dh
rduhd ds igyqvksa dk le>k;kA ,d f=dks.k dh lgh i{kksa ls lEcfU/kr A2
+B2 = C2 dk QksewZyk T;ksfr"k x.kuk esa iz;ksx fd;kA

ikbFkkxksjl }kjk T;ksfr"k o laxhr esa cgqrh; ;ksxnku &

ikFkkxksjl uacj ds lcls cM+s Lokeh FksA ikbFkkxksjl us 6 oh 'krkCnh
iwoZ yksgkj dks gFkksM+h ls ekjrs gq, lquk rFkk ml gFkksM+h ds lkm.M ls mUgkssus
Music note mRiUu fd;kA

bl ekeys esa jkf'k ds otu dks Music note fu;fU=r djus ds fy,
yx jgk FkkA
ikbFkkxksjl us Instrument ds rkj dh yEckbZ ds vuqikr ds }kjk
viuh dYiuk dh gqbZ /ofu dks lqukA og rkj ij vyx fgLls ij vk?kkr
djrs o vyx /ofu dk mudks Kku feyrkA
1/1 Whole ring

3/4 diatessaron

2/3 Diapente

1/2 Diaparson

blls 2 rjg dk lIrd rS;kj gqvkA

1- 9% 18 ¾ 1 % 2
2- 18 % 27 ¾ 2 % 3
xzhd v{kj ds vkdkj esa la[;k ds bl f=dks.k vkakdM+k ds tUe tkr
dgrs gSA

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 ikbFkksxksjl }kjk i`Foh tks Hkh dsUnz ls nwjh ds vuqlkj viuh d{kk d{k
cnyrh gSA ml gj d{kk esa ,d fo'ks"kK Lrj mRiknu gksrk gSA rFkk lkr xzgksa
ls izR;sd xzkgd dh nwjh ,d rkj ds foHkktuksa dh rjg gSA ikbFkkxksjl dk bl
fl)kUr ;g dguk ;k fd czãk.M esa ,d izdkj dh /ofu ges'kk gksrh jgrh gSA
tks vke rkSj ij lqukbZ ugha nsrhA rFkk gekjh izd`fr ds lkFk y; ds jp esa
ykSfdd pØ yxkrs jgrs gS bl vk/kkj ijbFkkxksjl ds xf.krh; rjhds ls laxhr
o T;ksfr"k dk lEcU/k LFkkfir gqvkA

Maths

Discrete Continuous

Absolute Relative Static Moving

Arithmetic Music Geometry Astrology

astrologiecal] Dr khushi A Sahni

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