Vocal Hindustani

Grade 7
Extended Programme
FOUNDATION

MAHATMA GANDHI INSTITUTE

under the aegis of the
Ministry of Education, Tertiary Education,
Science and Technology
 Vocal Hindustani
Grade 7
Extended Programme
FOUNDATION
Textbook

Based on the National Curriculum Framework

2016

MAHATMA GANDHI INSTITUTE

under the aegis of the
Ministry of Education, Tertiary Education,
Science and Technology.
Republic of Mauritius
2020
 Mahatma Gandhi Institute (2019)

All rights reserved.No part of this publication may be reproduced, stored in a

retrieval system, or transmitted in any form or by any means, electronic,
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of the Copyright owner.

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Tel: (230) 240 46 30

First published 2018

Reprinted 2019

While every effort has been made to trace the copyright holders for reproductions,
we might have not succeeded in some cases. We offer our sincere apologies
and hope that they will take our liberty in good faith. We would appreciate any
information that would enable us to acknowledge the copyright holders in our
future editions.All materials should be used strictly for educational purposes.

ISBN: 978-99903-39-94-9
 Performing Arts
(Indian Music and Dance) Panel
Mr. K. Mantadin Project Coordinator
(organisation and development)
Senior Lecturer (Tabla),
Head Department of Percussion Instruments
Mahatma Gandhi Institute

Dr A.S. Peruman Panel Coordinator

Senior Lecturer (Vocal Carnatic)
Head, Department of vocal,
MGI

Writing Team Vocal Hindustani

Mr S. S. Mungroo - Team Leader
Lecturer (Vocal Hindustani) - MGI

Mr A. Chuttoo - Educator (Vocal Hindustani) - MGI

Mrs R. Nobin - Educator (Vocal Hindustani) - M.O.E, T.E, Sc. & Tech.

Vetter
Mrs A. Jankee - Educator (Vocal Hindustani) - PSEA

Proof Reading
Mrs A. Jankee - Educator (Vocal Hindustani) - PSEA

Graphic Designers - MGI

(cover, illustration, layout and photography)
Ms. Darshini Jadoo Ms. W. Buctowar
Ms. Vaneeta Jatooa Ms. K. Chinnaiyan
Mr. Vishal Napaul Mr. M.S.K Meyakhan

Word Processing Operator

Mrs. N. Mugon
 Acknowledgements
Mrs S. N Gayan, GOSK, Director General, Mahatma Gandhi Institute and
Rabindranath Tagore Institute for her continued advocacy for music
education especially Indian Music and Dance.

Dr (Mrs) V Koonjal, Director, Mahatma Gandhi Institute for her

unwavering support to this project.

The Performing Arts (Indian Music and Dance) panel is also grateful
to the following persons:
Mr. T. Mauree - Director Schooling - MGI
Mrs.U. Kowlesser - Registrar - MGI
Dr (Mrs) P.M. Hungsraz - Senior Lecturer (Vocal),
- Head School of Performing Arts, MGI
Mrs. S. Seboruth - Ag. Music Organiser (Oriental)-(M.O.E, T.E, Sc.
& Tech. )

Quality Vetting Team

Dr J. Chemen - Associate Professor Head, Centre for Quality
Assurance - MGI (Coordinator)

Mrs V. Bissessur - Doolooa - Senior Lecturer (Vocal Hindustani) - RTI

Mrs K. Jugurnauth - Educator (Vocal Hindustani)- M.O.E, T.E, Sc. & Tech.
Mrs K. Pudaruth - Educator (Vocal Hindustani), MGI
Miss M. Lallmomode - Lecturer, Head Department of Design and
communication - MGI
Mrs D.M.G Samy - Deputy Rector MGSS
Mrs C. A. Naidu - Educator (English) MGSS

Administrative Staff
Mrs.H. Chudoory
Mrs. S. Appadoo
Mrs. G. Checkooree
Mrs.K.P. Binda
Mrs. P. Purmessur
Administrative Officer - MGI
Clerical / Higher Clerical Officer - MGI
Clerical / Higher Clerical Officer - MGI
Clerical / Higher Clerical Officer - MGI
Word Processing Operator - MGI

• The parents and their wards for giving us the permission to

reproduce their photographs and images in the textbook.
 Foreword
‘Where the mind is allowed to stumble upon cascades of emotion and where
the surprise of creative exchange comes out of tireless striving towards
perfection’
Rabindranath Tagore

Should music, dance, arts, drama be taught in schools? Do such subjects matter ?

As in the case of all debate, there are those who are for and those who are
against. The decision, in the context of the reforms leading to the Nine Year
Continuous Basic Education, to include teaching of the performing arts in the
secondary school curriculum shows that ‘the ayes have it.’ At least for the time
being.

Traditionally, music teaching takes place in a one-to-one mode. The piano

teacher teaches one student at a time, so does the sitar guru. Dance is more of
a group experience. But for each of these disciplines, the context of institutional
level teaching introduces opportunities of reaching a broader cross-section of
population, thereby giving rise to fresh challenges. Students come from a variety
of social and cultural environments which expose them to different types,
genres and registers in the arts. Students also come with different levels of
aptitude. These are but two of challenges encountered.

From another perspective, it has been repeatedly pointed out that the ‘digital
natives’, while definitely coming to learning with resources hitherto not
available, may, in the process, be losing their ability to grasp, decipher and
understand emotional language. In short they may be losing empathy.

The ultimate aim of arts education in the curriculum is to provide a pedagogical

space where the young will be able to explore their own affective responses to
forms of artistic expression, to develop sensibility, while acquiring a whole set of
skills, including not only spatial awareness, pattern recognition or movement
coordination, but also the benefits of group and team work, of joint effort,
higher level creative thinking and expression, as well as an overall sense of
shared pleasure and of achievement. This is what emotional intelligence is all
about.

The specialists who prepared the syllabus and the present textbooks for Indian
music and dance had all the above in mind while undertaking the task. The
teacher training for these disciplines needs to be a continuous process of
exchange between curriculum developers, teaching practitioners,
textbook-writers and learners.

The MGI is particularly happy to be part of this major development, at a time

when the country is looking at new avenues for continued economic
development, and more importantly at new avenues to enhance equity, social
justice and inclusion. It is our small contribution to the ‘grande aventure’ of
holistic education.

Mrs Sooryakanti Nirsimloo-Gayan, GOSK

Director-General (MGI & RTI)
 Preface
This textbook is the first instructional material in the field of Performing Arts (Indian
Music and Dance) written by a team of experienced Mauritian teachers and
experts in Vocal Music, Instrumental Music and Dance.

It has been designed on the Aims, Objectives and the Teaching and Learning
Syllabus of the Performing Arts from the National Curriculum Framework (2015),for
those learners who have embarked on the Extended Programme under the Nine
Years Continuous Basic Education Programme.

The Performing Arts Curriculum is articulated around four strands: Performing,

Creating, Responding and Performing Arts and Society. Thus, the textbook takes
into account the development of key skills and understandings under the four
strands.

This set of textbooks for the students of the Extended Stream lays the foundation in
each discipline and provides learners with the essential knowledge, skills and
attitudes needed to progress towards higher grades. The contents and activities
have been arranged progressively so as to attain the targets of the Nine Years
continuous Basic Education. It also takes into consideration the multicultural nature
of our society and its traditions.

This textbook is a support material that gives direction to the educators in the
teaching and learning process by linking the curricular components, curricular
expectations, pedagogical principles and assessments.

A textbook is not an end in itself like any other instructional material. It is a means
to facilitate learning to take place in a continuous and continual manner.

Learning objectives in each chapter of the textbook reflect the curricular

outcomes. It will help the teacher to design his/her lesson plans which will further
ease the teaching and learning transaction towards achievement. Teachers will
have to plan their work so that learning takes place in an effective and efficient
way. They will have to provide appropriate and enriched experiences and modify
the teaching and learning strategies according to the needs of learners to cater
for student diversity. Student diversity should not be seen as a means to narrow the
gap between individual students, but rather to encourage them to fulfill their
potential.

The practical aspects of the discipline have been integrated under “practical”
with step-by-step technique laying emphasis on the mastery of skills from one level
to another.

We are aware that children construct knowledge in their own way and have
different learning styles.The textbook has been designed to cater for such needs.
Special features and a generous number of illustrations, pictures, concept maps
and activities have been included to promote collaborative learning and other
additional skills like team spirit, cooperation and understanding diverse nature of
learners. These would help teachers to organise their interactions at classroom
level. Teachers may rearrange learning materials and activities to facilitate
learning. In the process of learning and teaching, educators have to pay
constant attention to learners’responses in order to adjust the strategies and
progress of learning and teaching, and to give appropriate assistance to learners
wherever necessary.

Assessments in the form of activities, projects and questions are also included at
the end of each chapter. These are check points to assess the learners. It will help
teachers gather evidences about the expected level of learning taking place in
the learners.

I would also request all the Educators to go through the National Curriculum
Framework (2015), the Teaching and Learning Syllabus of the Performing Arts
(Indian Music and Dance) documents and especially the “Important Note to
Educators” which has been provided as appendix in the textbook to have a
thorough understanding of the Philosophy and Perspective behind those
documents and their implications in the implementation of the Reform process in
the education system.

I hope that this new journey of learning Indian Music and Dance will be an
enriching one.

Mr. K. Mantadin,
Project Co-ordinator - Performing Arts (Indian Music and Dance)
Senior Lecturer (Tabla),
Head Department of Percussion Instruments
Mahatma Gandhi Institute
 Important Note To Educators
This teaching and learning syllabus of Indian Music and Dance has been designed
on the spiral curriculum model in which core components and essential topics are
revisited within the three years. It caters for both the theoretical and practical
aspects of each discipline.

It also comprises different blocks of knowledge and skills and each block is supported
by specific learning outcomes which cover all the three domains of learning;
cognitive, psychomotor and affective.

The Listening and Viewing component has been integrated in the syllabus as it is a
key factor in the development of music and dance abilities. Teachers should provide
a wide variety of listening and viewing experiences for learners to stimulate active
listening and viewing through questioning, prompting and suggestion.

In order to achieve the objectives of the syllabus and to keep a good balance
between theory and practical sessions, the teacher will have to plan his / her work
and teaching and learning activities according to the topics to be taught as specified
in the scheme of studies. However, educators may modify the sequence of the topics
in which they wish to teach for the smooth running of the course.

Educators should:

1. Ensure that learners use the knowledge, skills and understanding developed from
grades 1-6 and build upon that prior knowledge to construct new knowledge.

2. Provide learning experiences that include opportunities for hands-on and

interactive learning, self-expression and reflection.

3. Find a variety of ways to align their instruction with the Aims, Learning
Outcomes and Specific Learning Outcomes by focusing on active learning and
critical thinking.

4. Provide learning activities that are appropriate in complexity and pacing.

5. Provide opportunities for individual and multiple groupings.

6. Actively engage and motivate students in the process of Learning Music and
Dance.
7. Develop the ability in the learners to use and understand the language of Music
and Dance through listening and viewing as well as responding to live and
recorded repertoires.

8. Enrich the musical experience of the students by gaining an understanding of the

cultural and historical context of music and dance exploring personal connections
with them.

9. Carry out active listening and viewing sessions through the use of
Information Learning Technologies(ILT’s). This will facilitate developing their
investigative and methodological
abilities.

10. Model and demonstrate accurate and artistic musical and dance techniques.

11. Differentiate Music and Dance instruction to meet a wide range of students
needs.

12. Educators should also ensure that learners'

• Show proper care and maintenance of classroom instruments

• Demonstrate respectful behavior as performers and listeners
• Participate in classroom protocole and traditions for music making
and dance

13. Reinforce effort and provide recognition.

14. Discuss student performances by using peer assessment as a tool.

15. Give opportunities to students to assume various roles in music performances,

presentations and collaborations.

16. Motivate students to maintain a musical collection and portfolio of their own
work over a period of time. It can be an individual or group initiative that the
learner will undertake under the supervision of the educator.
 Table of contents

Chapter 1 - Music 1

Chapter 2 - Naad 15

Chapter 3 - Swara Saptak and Alankara 21

Chapter 4 - Voice Culture 31

Chapter 5 - Taal Laya Padhant 37

Chapter 6 - Raag 47

Chapter 7 - Notation System 55

Chapter 8 - Classification Musical Instrument 61

Chapter 9 - Vocal Forms 69

Glossary of terms 74
Learning Objectives:
At the end of this chapter, learners should be able to:
• Define the term ‘music’
• Recognise the importance of music in society
• Name the different styles of music and music cultures around the world
• Define the term ‘Sangeet’
• List the two styles of Indian music.
 CHAPTER 1 MUSIC

1.0 INTRODUCTION TO MUSIC

‘MUSIC’ is an art form which is expressed through beautiful sounds.

Music combines both voices and instruments and is often referred to
as the universal language. Music knows no boundaries as it connects
people from different cultures. Below are some terms and field of
activities that are connected to the world of music.

Songs/Singers
Musicians/ Instruments

Concerts

MUSIC Sounds

Films/ Serials

Jingles Dance

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 CHAPTER 1 MUSIC

1.0.1 IMPORTANCE OF MUSIC IN LIFE

• A means of entertainment.
• A means of relaxation.
• Helps to develop and strengthen memory.
• Develops creative skills.
• Develops emotional power.
• A means to earn a living.
• Healing power (Music Therapy).
• Performed in temples and churches.
• Enables one to know various cultures through different styles of music.

1.0.2 TYPES OF MUSIC

There are two main types of music around the world:

1. Classical Music/ Art Music 2. Folk Music

Each country has its own culture. Even though languages, styles,
instruments used can be different, yet music around the globe has some
common elements like melody, harmony, rhythm and the capacity to unite
people. That is why we say that music is a universal language. Some of
the most popular music styles around the globe are:

1. Western Music
2. African Music
3. Indian Music
4. Arabian Music
5. Chinese Music
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 CHAPTER 1 MUSIC

1.2.1 WESTERN MUSIC

The western countries have a multicultural and long list of music genres.
The most famous ones are: Blues, Country music, Rock music and Hip-
hop/Rap music.
1. Blues 2. Country music

3. Rock music 4. Hip-hop

https://www.youtube.com/watch?v=JTc1mDieQI8

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 CHAPTER 1 MUSIC

1.2.2 AFRICAN MUSIC

The traditional music of Africa is historically ancient, rich and diverse with
many distinct musical traditions. African Music is mainly performed during
rituals and religious ceremonies and has a unique rhythmic setting for both
singing and dancing.

BAMBOO PAN FLUTE GOURD XYLOPHONE

DJEMBE

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 CHAPTER 1 MUSIC
Mauritius is part of the African continent. However, our population is made
up of people from European, Indian, African and Chinese origins. The two
main traditional forms of music of Mauritius are:

1. THE SÉGA – The traditional ‘sega’ originated from the Africans who
were bought to Mauritius centuries ago. This style has become very
popular and has greatly evolved over the past decades. The singers and
dancers wear very colourful costumes during their performances’.

The most typical instruments used for the sega are:

THE RAVANNE THE TRIANGLE

THE MARAVANNE

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 CHAPTER 1 MUSIC

Ti Frère the famous sega singer, who

contributed to the popularisation of
typical sega, is known as the king
of sega and his real name is Jean
Alphonse Ravaton.

2. THE BHOJPURI FOLK MUSIC –

Bhojpuri folk music in Mauritius is a
treasure that we got from indentured
labourers. They would work in fields
a whole day and at night they would
share their emotions of being together
by singing and dancing. Traditional
Bhojpuri songs are performed on such
occasions like weddings, childbirth or
during harvest period.

https://www.youtube.com/watch?v=RNz5TB_LNCM

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 CHAPTER 1 MUSIC
However, Bhojpuri music became famous through a ceremony called ‘geet
gawai’ during Mauritian indian weddings. Instruments that are commonly
used are:
LOTA AND SPOON KARTAAL

DHOLAK

The UNESCO inscribed the ‘sega

tipik morisien’ and ‘geet gawai’ to
the intangible cultural heritage
of humanity on 27th November
2014 and 2nd December 2016
respectively.

1.2.3 INDIAN MUSIC

Indian music is also known as sangeet. The origin can be traced back to
Vedic days, almost two thousand years ago. Bharata’s Natya Shastra (4th
Century AD) attributes the art and science of music to the samveda. Indian
Music has two main systems namely:

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 CHAPTER 1 MUSIC

1. HINDUSTANI MUSIC – Hindustani Music is the form of Indian classical

music that developed in the northern parts of India.

2. CARNATIC MUSIC - Ancient classical music of South India is known

as Carnatic music.

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 CHAPTER 1 MUSIC

Sangeet is defined as “geetam, vaadhyam tatha nrityam trayam sangitam

uchyate” (Sharangdev) meaning that it is a combination of the three forms
of art including:
• VOCAL MUSIC:

• INSTRUMENTAL MUSIC:

• DANCE:

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 CHAPTER 1 MUSIC

Points to remember
• Music is an art form related to sound.
• Classical, Folk and pop style exist in all cultures.
• Sega and Bhojpuri are the traditional forms of music in
Mauritius.
• Sangeet means vocal, instrumental and dance put together.
• Indian music is divided into Hindustani and Carnatic music.

Key Words
Samaveda, Classical Music, Folk Music, Hindustani and
Carnatic Music, Western and African Music

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 CHAPTER 1 MUSIC

Find the hidden words.

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 CHAPTER 1 MUSIC

Join the dots and write the names of the instruments.

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CHAPTER 1 MUSIC

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 Chapter 2
Naad

Learning Objectives:
At the end of this chapter, learners should be able to:
• List the different kinds of Naad
• List the objects producing Naad
 CHAPTER 2 NAAD

2.0 INTRODUCTION TO NAAD

‘Naad’ in Indian music is given utmost importance. Naad literally means

sound, implying that the whole subject of music relates to Naad.

2.0.1 TYPES OF NAAD

There are two types of Naad:

• Ahat naad • Anahat naad

Ahat naad is divided into two parts;

(a) Musical sound - (pleasant to the ears)
(b) Noise - (unpleasant to the ears).

NAAD - SOUND

AHAT NAAD ANAHAT NAAD

STRUCK SOUND UNSTRUCK SOUND

MUSICAL NOISE DIVINE

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 CHAPTER 2 NAAD

Difference between Noise and Musical Notes

https://www.youtube.com/watch?v=bCm6VpCE9Qc

Points to remember
• There are different types of sound.
• Musical sound is pleasant to the ears.
• Non-musical sound or noise is unpleasant.

Key Words
Sound, Musical sound, Noise.

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 CHAPTER 2 NAAD

Activity 1: Fill in the blanks with the appropriate words.

( noise, ahat, pleasant, musical sound, anahat)
1. Two types of naad are ________________ and ________________.
2. Two forms of ahat naad are ____________ and ________________.
3. Sound heard at a market place is referred as _______________.
4. Musical sounds are ______________ to our ears.

Activity 2: Match the terms with their appropriate statement.

Naad is a good example of noise

Ahat naad refers to sound

Anahat naad is unpleasant to the ears

Musical sound refers to cosmic sounds

Noise regular and pleasant sounds

Loud siren struck sound

Activity 3:
Indicate whether the following statements are true T or false F .

a) Dog barking is a musical sound.

b) The gourd xylophone produces unmusical sound.
c) Fire crackers are musical sounds.
d) The sega can be classified as musical sound.

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 CHAPTER 2 NAAD

Activity 3:
Join the dots of each diagram.
Write the names of what you see.
State whether they produce musical or non musical sound.

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CHAPTER 2 NAAD

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 Chapter 3
Alankaar
Swara - Saptak - Alankara

3
– -

Learning Objectives:
At the end of this chapter, learners should be able to:
• Identify and write the nomenclature of the basic swara-s together with the
twelve consecutive swara-s
• Notate swara-s of the three main saptak-s
• Differentiate between swar, saptak and alankaar
• Sing the seven shudh swara-s in tune
• Define the term alankaar
• Sing alankaar-s with musical notes in different saptak-s.
 CHAPTER 3 SWARA - SAPTAK - ALANKAAR

3.0 INTRODUCTION TO SWARA

‘Swara’ means musical note. There are seven notes in Hindustani

music.

NAMES OF THE SEVEN SWARA-S

ABBREVIATED FORM NAMES NOTATION FORM

SA Shadaj S

RE Rishabh R

GA Gandhaar G

MA Madhyam M

PA Pancham P

DHA Dhaivat D

NI Nishaad N

3.1 SHUDH SWARA-S

Shudh Swara-s are also known as natural notes and are written as:

Sa Re Ga
Ma
Pa Dha
Ni

Or

S R G M P D N

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 CHAPTER 3 SWARA - SAPTAK - ALANKAAR

3.2 CHAL AND ACHAL SWARA-S

The notes Sa and Pa are called ‘Achal Swara-s’ (fixed notes) whereas the
other notes are known as ‘Chal Swara-s’ (movable notes).

3.3 VIKRIT SWARA-S

Chal swara-s are also known as ‘Vikrit Swara-s’ (variables) out of which
four are called ‘Komal Swara-s’.

3.3.1 KOMAL SWARA-S

Komal Swara-s are also known as flat notes and they are lower in frequency
than the natural ones. They are written with a horizontal dash beneath:

Re Ga Dha Ni

Or

R G D N

You must be asking yourself about the fifth note!

3.3.2 TIVRA SWARA

The fifth note is known as ‘tivra swara’ (sharp note), written with a vertical
dash above the note as shown below. It is higher in frequency than the
natural one:

Ma
Or
M

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 CHAPTER 3 SWARA - SAPTAK - ALANKAAR

We can now summarise the twelve consecutive notes used in Hindustani

music.They are in the following order:

S R R G G M M P D D N N

In the following diagram of the keyboard, the 12 consecutives notes are

represented:

Each note is associated

to a specific animal. Try to
find out which 7 animals
they are?

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 CHAPTER 3 SWARA - SAPTAK - ALANKAAR

3.4 INTRODUCTION TO SAPTAK

‘Saptak’ is defined as a group of the seven musical notes. When the higher
shadaj (Sa) is added to the saptak, it becomes an ‘Ashtak’ (Octave). There
are three main saptaka-s in Hindustani music:

3.4.1 MANDRA SAPTAK

LOW SCALE (Mandra Saptak)

A dot is placed beneath the Note when it is in the mandra saptak.

S R R G G M M P D D N N

3.4.2 MADHYA SAPTAK

MIDDLE SCALE (Madhya Saptak)

The notes in this saptak do not have any dot neither above nor below.

S R R G G M M P D D N N

3.4.3 TAAR SAPTAK

HIGH SCALE (Taar Saptak)

The notes of the taar saptak can be recognised by the dots placed above
them.

S R R G G M M P D D N N

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 CHAPTER 3 SWARA - SAPTAK - ALANKAAR

Using
Mathematical
Patterns in Alankara

It is very interesting to know that alankara-s are composed using

mathematical patterns. Let us see how we can proceed.

Step 1: Reading notes like numbers.

1 2 3 4 5 6 7 8
S R G M P D N S

Step 2: Trying a simple pattern.

1 2 3 4 5 6 7 8
S R G M P D N S

C an you guess this pattern?

Try to write the aroha and the avroha with the help of your teacher.

Hints :

1-2 1-3

SR SG .. .. .. .. ..

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 CHAPTER 3 SWARA - SAPTAK - ALANKAAR

PRACTICALS

NOTES TO TEACHERS

You will have to work stepwise for

the practical part of alankara. Some
Alankaras have been included for the
learners to practise. Please follow the
steps below.

Step 1: Choose a standard pitch for the whole class, use an electronic
tanpura or a harmonium.

Step 2: Students should listen to the drone and try to sing the note ‘SA’ in
groups.

Step 3: Gradually make the learners sing in ascending order until they
reach ‘SA’ in the taar saptak.

Step 4: Once you have finished with the aroha, the learners will proceed
in the same way for the avroha.

Step 5: Make sure that all the learners sing their swara-s correctly on the
given pitch.

Step 6: Once learners have been able to sing the aroha and avroha of the
first alankara then you can continue with other alankara-s.
Proceed with only one alankara per week.

Step 7: After having completed the alankara, sing it in:

(i) groups
(ii) individually

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 CHAPTER 3 SWARA - SAPTAK - ALANKAAR

SOME ALANKAAR-S FOR PRACTICE

Alankaar 1:

SS RR GG MM PP DD NN SS
SS NN DD PP MM GG RR SS

Alankaar 2 :

SSS RRR GGG MMM PPP DDD NNN SSS

SSS NNN DDD PPP MMM GGG RRR SSS

Alankaar 3 :

SRG RGM GMP MPD PDN DNS

SND NDP DPM PMG MGR GRS

Alankaar 4 :

SRGM RGMP GMPD MPDN PDNS

SNDP NDPM DPMG PMGR MGRS

Alankaar 5 :

SRSRG RGRGM GMGMP MPMPD PDPDN DNDNS
SNSND NDNDP DPDPM PMPMG MGMGR GRGRS

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 CHAPTER 3 SWARA - SAPTAK - ALANKAAR

https://www.youtube.com/watch?v=ta2EAlQjmAM

Points to remember
• Swara-s are musical notes.
• Swara-s can be shudh, vikrit, (komal, Tivra) chal and achal.
• Names of swara-s are Sa Re Ga Ma Pa Dha and Ni.
• There are 3 main saptaka-s.
• Alankaar-s are essential practice for vocalists.

Key Words
Musical notes, Natural notes, Flat and Sharp notes, Movable
and Fixed notes, Low, Middle and High octave

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 CHAPTER 3 SWARA - SAPTAK - ALANKAAR

1. Complete the staircase going up:

2. How is the action of going up with swaras called?

...................................

3. Try to draw the staircase coming down with the swaras.

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 Chapter 4
Voice culture

Learning Objectives:
At the end of this chapter, learners should be able to:
• Distinguish between good and bad breathing techniques
• List the do’s and don’ts of voice production
• Sit in the right posture
• Practise notes of the lower octave (mandra saptak)
• Demonstrate a positive attitude towards practice.
 CHAPTER 4 VOICE CULTURE

4.0 VOICE CULTURE

4.0.1 INTRODUCTION

The main instrument for a singer is his/her voice. The voice needs
to be trained and cultivated. We should not forget that the voice is a
‘natural’ instrument and it should be well maintained so that it remains
sweet and melodious.

4.0.2 DEFINITION

The process of bringing the voice under control and enriching the voice is
known as voice culture. It involves traditional as well as scientific methods
to improve the quality of the voice.

4.0.3 BREATHING TECHNIQUE

Good breathing technique is a very important step towards voice culture.

If we can master our breath, then we can easily master our voice for
singing.

Good breath control makes your voice

Fine
Clear
Steady

Good breathing skill enables a singer to better control his voice from
wobbling or shaking.

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 CHAPTER 4 VOICE CULTURE

4.0.4 SITTING POSTURES

The best sitting position for Indian classical music is the lotus position or
half-lotus position as shown in the diagram below. Observe the position
and shape of the back.

Lotus position Half-lotus position Straight back

4.0.5 VOCAL EXERCISES – EARLY MORNING PRACTICE

Requirement: Tanpura

Step 1
Establish your tonic note (Sa) and sing the note with long, deep breath.

Step 2
Move in descending order in the lower octave (mandra saptak) posing on
each note with a long breath. Each note should be sung by their names,
example Sa, Ni, Dha, Pa etc.

Step 3
Repeat exercise with ‘aakar’ sound (Aaaaaa…) on each note. The objective
of this exercise is to reach the Mandra Sa called the ‘Kharaj’.

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 Importance of Voice Culture

Know
your own voice
quality, its range
and its
Provides limitations Increases
appropriate the range
remedies for and depth
voice of the
disorders voice

Importance
of
Voice
culture Have
Helps control on
to get rid of breathing while
stage fears singing

Control
over
different
octaves

https://www.youtube.com/ https://www.youtube.com/
watch?v=Ta1h8WekYuI watch?v=Y26OynKfW1Q

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 CHAPTER 4 V OICE CULTURE

THE DO’S AND THE DON’TS IN VOICE CULTURE

Control over voice is very essential for singers. Below are some essential
tips for maintaining a good voice.

• DO USE GOOD BREATH SUPPORT

The lungs are the power
behind the voice. Take
the time to fill your lungs before starting
to sing and do not wait until you are
almost out of breath to inhale again.

• DO LIVE A HEALTHY LIFESTYLE

This includes exercise, healthy eating,
and getting adequate sleep.

• DO DRINK WATER
Stay well hydrated! Your body needs
about six to eight glasses of water daily
to maintain a healthy voice. This water
consumption optimizes the throat’s
mucus production and aids vocal fold
lubrication.

• DON’T ABUSE OR MISUSE YOUR

VOICE
Avoid habitual yelling, screaming, or
cheering. Try not to talk loudly in locations
with significant background noise.

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 CHAPTER 4 VOICE CULTURE

Points to remember
• Breathing Techniques.
• Sitting posture.
• Vocal exercises.
• Do’s and don’ts for a vocalist.

Key Words
Voice, breathing, control, lifestyle, screaming.

Assessment
“A good singer should lead a disciplined life.”
Discuss (150 words)

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 Chapter 5
Taal, laya and padhant

Learning Objectives:
At the end of this chapter, learners should be able to:
• Recognise each of the following components of a taal: Avartan, vibhag, matra, sam,
dusri, khali, tisri, tali, bol and theka
• Define the concept of taal and state its function in music
• List the three types of laya and interpret the co-relation between taal and laya
• Count (with right clappings and wavings of hands) and recite (with correct pronunciation)
all the compositions learnt at a given regular rhythm in thah laya (Basic laya)
• Recognise the action of the hands while counting the taal
• Demonstrate an appreciation of the various rhythmic patterns under study
• Identify the different actions of the hands (kriya-s)
• Memorise the compositions.
 CHAPTER 5 TAAL, LAYA AND PADHANT

5.0 INTRODUCTION TO TAAL

Taal is the unit which measures time in music. Some believe the word
taal is derived from the word tali (To clap) and the main function of taal
is to give rhythm. The musical time is divided into simple as well as
complex metres. Hence, there are many taala-s of different measures
used in musical compositions. The pictures below show different
instruments on which taal is being executed:

Picture 1 - Playing TABLA Picture 2 - Playing RAVANNE

Picture 3 - Playing DJEMBE

Picture 4 - Playing DRUMS Picture 5 - Clapping HANDS

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 CHAPTER 5 TAAL, LAYA AND PADHANT

5.1 COMPONENTS OF TAAL

CHINHA AVARTAN

LAYA VIBHAG

THEKA TALI
TAAL

BOL KHALI

MATRA SAM

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 CHAPTER 5 TAAL, LAYA AND PADHANT

THEKA

Theka is the pre-set syllables by which a taal is recognised. It gives the

taal a form when played repeatedly to establish a unique pattern.

BOL-S

Sounds produced by the tabla are called bols (syllables like dha,
dhin, tin).

MATRA

It is the unit of measurement in music.

SAM

The first and most emphasized beat of a taal. It is represented by the sign
‘X’.

KHALI

The unaccented beat of a tala, denoted by the sign ‘0’.

TALI

Other emphasized beats,other than sam like dusri and teesri represented
by the numbers ‘2’ , ‘3’ and ‘4’ respectively.

VIBHAG

The divisions in a taal.

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 CHAPTER 5 TAAL, LAYA AND PADHANT

AVARTAN

The complete cycle ( one revolution) of a taal, starting from sam

and ending on sam

CHINHA

Chinha refers to the signs and symbols used in notation writing.

LAYA

The term laya refers to speed or tempo in music. In Hindustani music,

we have three different layas namely:

1. Vilambit Laya – Slow tempo

2. Madhya Laya – Medium tempo
3. Drut Laya – Fast tempo

Regularity and rhythm in music is of utmost

importance. Just like the ‘tic toc’ of a clock you
have to be in rhythm while singing, dancing or
playing instruments. When your heart beats
regularly it means that you are in a good health
otherwise, it means that you are not well. This
applies for taal also. Regularity is the key word
in Taal.

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 CHAPTER 5 TAAL, LAYA AND PADHANT

5.2 TAAL KEHERWA (THEORY + PRACTICAL)

Taal Keherwa is a cycle of eight beats divided into two vibhag-s:

TAAL KEHERWA (Cycle of 8 beats In 2 Vibhag-s)

PADHANT –THE COUNTING OF KEHERWA TAAL WITH HAND

MOVEMENTS & RECITING OF SYLLABLES
STEP 1 – DHA
STEP 2 – GE STEP 3 – NA STEP 4 – TI
(CLAP)

STEP 5 – NA
STEP 6 - KA STEP 7 – DHI STEP 8 – NA
(WAVE)

STEP 9 - DHA
(CLAP)

Repetition of step 1 to https://www.youtube.com/

complete one avartan. watch?v=MUlbYTUUaPA

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 CHAPTER 5 TAAL, LAYA AND PADHANT

NOTES TO TEACHERS

Explain the counting of taal stepwise

so that the learners memorise the
syllables together with the hand
movements.

5.3 TAAL DADRA (THEORY + PRACTICAL)

Taal Dadra is a cycle of six beats divided into two vibhag-s:

TAAL DADRA (Cycle of 6 beats In 2 Vibhag-s)

PADHANT –THE COUNTING OF DADRA TAAL WITH HAND

MOVEMENTS & RECITING OF SYLLABLES

STEP 1 – DHA STEP 4 – DHA

STEP 2 – DHIN STEP 3 – NA
(CLAP) (WAVE)

STEP 5 – TIN STEP 6 - NA STEP 7 - DHA (CLAP)

Repetition of step 1 to complete one avartan.

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 CHAPTER 5 TAAL, LAYA AND PADHANT

https://www.youtube.com/watch?v=AZ8DRXokFvA

Points to remember
• Taal measures time in music.
• One unit of time is called matra.
• Theka are prescribed set of bol-s.
• Regularity is the key word in rhythm.
• There are 3 main different laya-s.

Key words
Tali, Beat, Emphasized Beat, Divisions, Tempo, Regularity.

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 CHAPTER 5 TAAL, LAYA AND PADHANT

Assessment
1. Fill in the blanks with the appropriate terms.
( vibhag, sam, taal, khali, keherwa )
a) ____________ is the counting of time in music.
b) ____________ is a cycle of eight beats.
c) The symbol ‘X’ in a taal is known as the ____________ .
d) Taal Dadra has two ____________ .
e) The term used to denote an unaccented beat is known as
__________ .

2. Indicate whether the following statements are true T or F false.

a) Taal is the term used for dance.
b) The sam is a sub dominant note.
c) The action of clapping the first beat of a taal indicates a sam.
d) Dusri is the name given to an empty beat of a taal.
e) There are 10 beats in taal Keherwa.

3. Fill in the missing alphabets to complete the words below.

Hints have been given.
a) B _ L (Syllable)
b) K _ _ _ R _ A (8 beats)
c) A _ _ _ T _ N (Complete cycle)
d) V _ L _ M _ I _ (slow)
e) D_ _T (fast)

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CHAPTER 5 TAAL, LAYA AND PADHANT

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 Chapter 6 NAAD

Raag

Learning Objectives:
At the end of this chapter, learners should be able to:
• Define the term raag
• List the components related to raag
• State the salient features of the prescribed raag (Raag Bilawal)
• Sing the aroha, avroha and pakad of the prescribed raag
• Sing in tune and rhythm with tabla accompaniment or with electronic talamala
one sargam geet in the prescribed raag
• Appreciate indian music through co – operative learning and through solo
and group performance.
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 CHAPTER 6 RAAG

6.0 INTRODUCTION TO RAAG

Raag can be translated as ‘moods’ or a melodic structure consisting of

at least five notes with its ascending and descending movement. ‘Raag’
comes from the Sanskrit word ‘Ranj’ which means to delight; “Ranjayati
iti raag” meaning “that which colours the mind is a raag”.

Below are some components of a raag:

THATA

Specific time of AROHA/

singing AVROHA

JATI RAAG PAKAD

ANUVADI/ VADI/ SAMVADI

VIVADI

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 CHAPTER 6 RAAG

6.1 COMPONENTS OF RAAG

• THATA – Parent scale or family of notes where raag is classified.

• AROHA – The ascending order of notes in a raag.
• AVROHA – The descending order of notes in a raag.
• PAKAD – The typical phrase of a raag which allows one to recognise
the raag.
• VADI SWAR – The most important note in a raag also known as sonant.
• SAMVADI SWAR – The second most important note in a raag (consonant).
• TIME OF SINGING – The part of the day or night at which a raag is sung.
• JATI - The number of notes used in ascending and descending order of
a raag indicates its jati. There are three main jati-s which are known as:
Audav: Five notes
Shaadav: Six notes
Sampoorna: Seven notes

In this chapter you will learn one raag:

1. Raag Bilawal taken from Thata Bilawal

6.2 RAAG BILAWAL - (THEORY)

Raag Bilawal is an early morning raga sung around (07.00 a.m. - 10.00
a.m.), derived from Thata Bilawal and having all the seven shudha
swaras (7 natural notes). The vadi is the note Dha and the samvadi is
the note Ga.

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 CHAPTER 6 RAAG
Aroh a : S R G M P D N Ṡ

Avroha : Ṡ N D P M G R S

Pakad : G P D N Ṡ

Thata : Bilawal

Vadi : Dha

Samvadi : Ga

Jati : Sampoorna - Sampoorna

Time of SInging: 1st Period of the day (7.00 am – 10.00 am)

6.3 RAAG BILAWAL - (PRACTICAL)

For the practical part, your teacher will help you stepwise how to get
acquainted to this beautiful raag. Please note that as prior knowledge
you have already sung aroha and avroha in alankara earlier.

STEP 1 – Now that you have already worked out some of the theory of
raag Bilawal, try to sing the note ‘Sa’ with the help of an electronic tanpura
on the pitch that your teacher will find appropriate for the whole class.

STEP 2 – Gradually you sing the notes S, R, G and M.

STEP 3 – Now you can add the other four notes from the upper tetrachord
that is you have to sing S, R, G, M, P, D, N and S.

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 CHAPTER 6 RAAG

STEP 4 – In the same way proceed with the avroha.

STEP 5 – Now listen to how your teacher sings the pakad and try to sing it.

SARGAM OF RAAG BILAWAL

SET TO TEENTAAL (Cycle of 16 beats)

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
X 2ND O 3RD

Sthayi
G P D
N
Ṡ _ Ṡ _ Ṡ N D P M G M R G M P G

M G R S D N Ṡ N D P M G

Antra
P P D N

Ṡ _ Ṡ _ Ṡ Ṙ Ġ Ṁ Ġ Ṙ Ṡ _ Ġ Ṙ Ṡ N
D P M P D N Ṡ N D P M G

This sargam is taken from

one of the volumes of the
Kramik Pustak Malika written
by Pt. V. N. Bhatkhande. The
books were originally in
Hindi.

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 CHAPTER 6 RAAG

Chota Khayal
https://www.youtube.com/watch?v=RbIYODm3BfI

Points to remember
A raag is a Melodic structure.
• Raagas are categorised under a particular Thata.
• Some Salient features of a raag are: its Vadi, Samvadi,
Aroha, Avroha, Pakad, Singing time and Jati.

Key Words
Sonant, Consonant, Assonant, Dissonant.

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 CHAPTER 6 RAAG

Activity 1: Fill in the blanks with the appropriate words.

Thata, Pakad, Vadi, Jati, Avroha

1. .................... refers to the descending order of notes.

2. The catching phrase of a raag is also known as .................... .

3. ..................... refers to the number of notes used in a raag.

4. The most important note of a raag is known as the .................

swara.

5. Raag is normally classified under a particular .................... .

Activity 2: Find the words listed below.

P E Z Q E K I S J A L I U I W ANUVADI
C C O O H L I A D V Z Y C D V AROHA
G V H R A Y U K J R V M R A A AVROHA
Z D K P H N W H R O R V O V D BHUPALI
X A U K O M A L I H A W J M I BILAWAL
T H N T R H H J H A T I E A H JATI
B I M U A A Z W O K J S O S A KOMAL
C N V T V P I T A J G C P T J PAKAD
W A X R R A P B I L A W A L B PRAHAR
E L D A A C D B U D J H A E R RAAG
X Y H I D A V I V D T U A Q P SAMVADI
I A U I A Z K R C A A G Z G E THATA
R O I Z X N A B Y Y D K H G Y TIVRA
N K P H K A V Y L U R V A A P VADI
W U T U G F B E W G P W E P O VIVADI

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 CHAPTER 6 RAAG

NOTES

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 Chapter 7
Notation System

Learning Objectives:
At the end of this chapter, learners should be able to:
• Interpret the different signs and symbols used in notation system
• Write in notation prescribed composition with correct taal signs
• Notate the theka-s of taal-s prescribed.

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 CHAPTER 7 NOTATION SYSTEM

7.0 NOTATION SYSTEM IN INDIAN MUSIC

Different forms of musical composition exist for vocal music,

instrumental music and dance. In traditional teaching, these
compositions were taught orally. However, when music teaching was
brought into institution, there was a need to put those compositions
in written form. Thus, at the end of the 19th Century, two famous
musicologists, namely Pt. V. N. Bhatkhande and Pt. V. D. Paluskar
came up with two different notation system.
Importance
1. Notation is a means of preserving musical materials.
2. It helps in the transmission of knowledge.
3. It helps to standardise teaching and learning of music.
4. It helps students to memorise the musical compositions.

In 1901 Pt. V. D. Paluskar founded the

‘Gandharva Mahavidyalaya’ in Lahore

Pt. Bhatkhande established the ‘Bhatkhande

Music University’ in Lucknow in 1926.

7.1 BHATKHANDE’S NOTATION SYSTEM

1. S, R, G, M, P, D, N These are shuddha swara-s (pure notes).

2. R G D N These notes are underlined to represent

komal swara-s (flat notes).

3. M A vertical bar above this note shows that

the note is tivra (sharp);

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 CHAPTER 7 NOTATION SYSTEM

4. X, 0, 2, 3 “X” represents the first and most accented
beat of a taal. It is called “Sam” and
is denoted by clapping of hands. “0”
represents “khali”, the unaccented beat of
a taal. It is shown by waving of hand. “2”,
“3” represent other accented beats of a
taal. They are known as “dusri” and “teesri”
and are shown by clapping of hands.

5. D, D A dot below a note indicates a note is in

the mandra saptak (low scale) whereas
if a dot is placed above the note it means
that it is in the taar saptak (high scale).
Notes without dots are found in the
madhya saptak (middle scale).

6. SR The arc below the two notes indicates that

the two notes are being sung in one beat.

8. S A dash placed after a note means that the

note is prolonged by one matra (beat).

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 CHAPTER 7 NOTATION SYSTEM

BRAIN TEASER

How do we call this notation system?

Bhatkhande notation system

https://www.youtube.com/watch?v=Hojrjsvs3oM

• 2 notation sytems in Hindustani music are:

- Bhatkhande system
- Paluskar system
• Bhatkhande’s notation system is easier and more popular,
hence mostly used in Hindustani music.

Key Words
Avagraha, Kan swara, Meend.

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 CHAPTER 7 NOTATION SYSTEM

1. Fill in the blanks with the appropriate words given in the

brackets.
a) Natural notes are also known as ______________ swara. (Shudh,
Vikrit)
b) Flat notes are known as ______________ swara. (Tivra, Komal)
c) When a note is prolonged, it is represented by a ___________.
(dash, dot)
d) A dot below a note shows that the note is in ______________
saptak. (mandra, madhya)

2. Indicate whether the following statements are true T or false F.

a) Flat notes are designated with a vertical dash above.
b) The symbol ‘x’ represents an unnacented beat.
c) S and P are also known as achal swara.
d) Sharp note is also known as tivra swara.

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 CHAPTER 7 NOTATION SYSTEM

NOTES

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 Chapter 8

Learning Objectives:
,
At the end of this chapter learners should be able to:
• Name the different categories of classifying musical instruments
• Classify the various types of musical instruments
• Identify sound produced by different categories of instruments
 CHAPTER 8 CLASSIFICATION OF MUSICAL INSTRUMENTS

8.0: INTRODUCTION

Sounds are produced through different types of musical instruments.

People have been inspired by nature and have devised musical
instruments by using materials available around them.

Some of the oldest instruments were made from animal hide (skin),
animal bones and wood. According to the Natyashastra of Bharat
Muni, there are four categories of musical instruments namely:

1. Sushir Vadya (Aerophones)

2. Tat Vadya (Chordophones)
3. Avnadh Vadya (Membranophones)
4. Ghan Vadya (Idiophones).

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 CHAPTER 8 CLASSIFICATION OF MUSICAL INSTRUMENTS

8.1 CLASSIFICATION OF MUSICAL INSTRUMENTS

With time and evolution, different types of musical instruments have

been invented. Each civilisation and culture around the world has
devised its own instruments which are used on various occasions
for different purposes. This has led to a large variety of musical
instruments which have been classified into four main categories.

CHORDOPHONES
Term used in
TAT VADYA
Indian music

Medium used to Sound produced either by plucking or bowing the

produce sound stringed instruments.

Examples Sitar Veena Guitar Violin

AEROPHONES

Term used in
SUSHIR VADYA
Indian music

Medium used to Sound produced by the direct vibration of air.

produce sound

Examples Shehnai Bansuri Clarinet Saxophone

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 CHAPTER 8 CLASSIFICATION OF MUSICAL INSTRUMENTS

MEMBRANOPHONES
Term used in
AVNADH VADYA
Indian music

Instruments which have one or two surfaces

Medium used to covered with membrane. Sound is produced by
produce sound either beating with hands or sticks on the
stretched membranes.

Dholak Tabla Drum Djembe

Examples

IDIOPHONES
Term used in GHAN VADYA
Indian music

Medium used to Solid instruments sound is produced through the

produce sound instrument itself by friction.

Examples Manjira Chime Triangle Cymbal

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 CHAPTER 8 CLASSIFICATION OF MUSICAL INSTRUMENTS

Tat vadya is divided into three parts

depending on the way it is played:

• Plucked instruments such as the

Sitar, Veena and the Guitar
• Bowed instruments such as the Sarangi
and the Violin,
• Hammered instruments such
as the Santoor.

A fifth category of musical instruments has been added, known as electronic

musical instruments. Due to new technologies, most acoustic
instruments have their electronic version and they are considered as user-
friendly by musicians and singers.

Examples of electrophones are:

Electronic Tampura Electronic Keyboard

Electronic Talamala

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 CHAPTER 8 CLASSIFICATION OF MUSICAL INSTRUMENTS

ACTIVITY 1
Join the dots and find out which instrument it is. Write your answers
on the space provided.

..................................................

..................................................

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 CHAPTER 8 CLASSIFICATION OF MUSICAL INSTRUMENTS

ACTIVITY 2 - Matching

Match the following instruments to their respective category.

MEMBRANOPHONE

IDIOPHONE

AEROPHONE

CHORDOPHONE

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 CHAPTER 8 CLASSIFICATION OF MUSICAL INSTRUMENTS

Classification of musical instruments

https://www.youtube.com/watch?v=SgV6X3KenGA

Points to remember
• Musical instruments are classified into 4 categories:
- Aerophone (Sushir Vadya)
- Chordophone (Tat Vadya)
- Membranophone (Avanadh Vadya)
- Idiophone (Ghana Vadya).
• Electrophone is the new category added due to technological
progress.

Aerophone, Chordophone, Membranophone, Idiophone,

Electrophone.

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 Chapter 9
Vocal Forms

Learning Objectives:
At the end of this chapter, learners should be able to:
• Elaborate on the following terms:
Sargam geet, Bhajan and patriotic songs.
• Demonstrate appreciation of various forms of singing
• Demonstrate willingness to sing the vocal forms individually and in group.
 CHAPTER 9 VOCAL FORMS

9.0 VOCAL FORMS

In this chapter, you will learn about some vocal forms and their
distinctive characteristics. You will have the opportunity to discover
new and different forms of music compositions.

9.0.1 SARGAM GEET

Sargam geet is a musical composition where musical notes are used.The

sargam syllables or notes are: Sa, Re, Ga, Ma, Pa Dha, and Ni. Sargam
geet has no lyrics.

Example of Sargam Geet:

Sthayi

G P D N S S S N D P M G M R

G M P G M G R S D N S N D P M G
3 X 2 0

Antra

P P D N S S S R G M G R S

G R S N D P M P D N S N D P M G
3 X 2 0

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 CHAPTER 9 VOCAL FORMS

9.0.2 BHAJAN

A bhajan refers to songs with religious themes or spiritual ideas, sung in

praise of God.The lyrics are more important than the tune. Bhajans are
sometimes based on raaga-s.

9.0.3 PATRIOTIC SONG

The theme of a patriotic song revolves around the history, culture, traditions,
and struggles of the people of a particular nation. A patriotic song depicts
the love and respect for the motherland.

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 CHAPTER 9 VOCAL FORMS

Sargam geet
https://www.youtube.com/watch?v=S67tTwLH4tE

Bhajan
https://www.youtube.com/watch?v=-7Rx4AxxcYQ

Patriotic song
https://www.youtube.com/watch?v=yLA2cxq7DV8

Points to remember
• Sargam geet has no lyrics.
• Bhajan is sung in praise of god.
• Patriotic song is sung in praise of the motherland.

Key Words
Patriotic songs, Religious songs

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 CHAPTER 9 VOCAL FORMS

1. Fill in the blanks with the appropriate terms.

( patriotic, lyrics, bhajan)

a) Sargam geet does not use ______________.

b) A ______________ is sung in praise of God.

c) The song “Mauritius hai desh hamara” is an example of a

________ song.
2. Identify the different pictures and write the correct musical form
in the space provided below.

iloadrPa73
p
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b geNumber
 Glossary of termes
AHAT Struck sound

ACHAL Fixed notes

ALANKAAR Musical exercise to train the voice

ANAHAT Unstruck sound

ANTRA The second part of a composition also known as couplet

ANUVADI Supporting note (assonant)

AROHA Ascending order of notes

ASHTAK Scale with eight notes (S R G M P D N S)

AVARTAN One revolution of a tala starting from sam and ending on sam

AVROHA Descending order of notes

BANDISH Musical composition

CHAL Movable notes

DHAIVAT Full name of the note 'Dha'

GANDHAAR Full name of the note 'Ga'

JATI Number of notes used in aroha or avroha

KHALI The unaccented beat of a tala

KOMAL Flat note

LAYA Speed or tempo

MADHYAM Full name of the note 'Ma'

MANDRA SAPTAK Low scale

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MATRA one unit of time, beat

MEEND Unbroken flow of a musical progression, from higher to lower

notes

NAAD Sound

NISHAAD Full name of the note 'Ni'

ODAV Jati of raga using five notes

PAKAD An important musical phrase of a raga

PANCHAM Full name of the note 'Pa'

RAGA Melodic structure of notes

RHYTHM Regularity

RISHABH Full name of the note Re

SADHNA Practice

SAMPOORNA Jati of Raga using all 7 Notes

SAMVADI Second most important note

SANGEET Mixture of singing, dancing and playing of instruments

SAPTAK Scale of seven notes

SARGAM Notes being sung by pronouncing their brief names

SHADAJ Full name of the note 'Sa

SHADAV Jati of Raga using 6 notes

SHRUTI Microtone

SHUDH Natural or basic

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STHAYI The first part of a composition

SWAR Musical note

TALI Emphasised beats of a tala

TAAR SAPTAK High octave

TAAL Cycle of beat

THATA Parental scale under which ragas are classified

THEKA Pure syllable of a tala

TIVRA Sharp

VADI Most important note in a raga

VARJIT Unused or omitted note

VIBHAG Division in a tala

VIKRIT Variant

Foreign note used to enhance beauty of a raga

VIVADI

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ISBN: 978-99903-39-94-9