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Syllabus for practical Vocal and Theory Exams

Praveshika Poorna Syllabus

Total Points: 125, Minimum needed for passing: 44,
Practical – Oral exam – 20 minutes : 75 points (minimum needed for passing : 26)
Theory – Written exam – 2 hours : 50 points (minimum needed for passing : 18)

Theory:
a. Know definitions of all terms from last year. (Print ‘Syllabus and Theory’ file from Praveshika Pratham web site).
b. Descriptive knowledge of following terms:
1. Two types of classical music in India: North Indian and South Indian
2. Definition of Naad and its three specific parts: Chhota – Badaapan, Oonchaa-Neechapan, Jaati or Gun
3. Gaankriya: names of ‘Varna’ : Sthaai, Aarohee-Avarohee, Sanchaaree
4. Dhvani-Naad-Shruti-Swar: Definitions and relations with each other.
5. Swar (Shuddha, Vikrut), Saptak, Aaroha-Avaroha, Janak – Janya raag and related Grah, Ansh, Nyaas Swar,
Poorvaang-Uttaraang, Poorva-Uttar Raag, Raag (Shuddha, Chhaayaalag, Sankeerna), Vakra Swar, Meend,
Kampan, Sparsha Swar, Gamak, Ghaseet etc.
6. Four parts of a song: Sthaayee, Antaraa, Sanchaaree, Aabhog
7. Types of Songs: Dhrupad, Dhamaar, Khyaal, Bhajan, Lakshangeet, Sargamgeet

c. Learn two Swarlipi (scripts):

Pandit Vishnu Digambar Paluskar lipi and Pandit Vishnu Narayan Bhatkhande lipi to show:
Mandra, Mdhya, Taar swar;
Sam, Kaal, Taali, Vibhaag (Khand or sections),
symbols for half maatraa (beat), quarter beat etc.
Description of Raagas from previous exams (Thaat, Shuddha-Komal-Teevra swar, Varjit swar, time, vaadi, saunvaadi,
aaroha - avaroha, Pakad etc.). Describe similarities and differences in raagaas. Recognize raag from written swar, make up
Alankaars in various raagaas.

d. For all Taals learnt so far, describe Maatraa, Thekaa, Sam, Vibhaag (Khand), Taalee, Khaalee and learn to write taals in
Pandit Paluskar and Pandit Bhatkhande script
Learn to say sounds of Taals in Thaah (single tempo) and Dugun (double tempo) speed while showing by hand.

e. Biography of Pandit Vishnu Digambar Paluskar and Swaamee Haridaas ji’s biography. Information about ‘Akhil Bharatiya
Gandharva Mahavidyalay Mandal’.

f. Students studying vocal music will describe Taanpura.

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b. Knowledge of Raagas:

1. Candidates are expected to know how to sing Raagas from previous exams.
For this exam, also learn to sing Bada Khyaal in Raag Yaman and Bhoopaalee. Expansion is not
expected.

2. Study following Raagas:

1. Alhaiyaa Bilaaval, 2. Brindaavanee Saarang, 3. Bhairav, 4. Bihaag,

1. Kedaar, 6. Tilak Kaamod, 7. Aasaavaree, 8. Bhairavee

3. For all these Ragaas (except Bhairavee), sing Aaroha, Avaroha, Pakad (main part), introductory
aalaap, a bandish in medium tempo and five aalaaps and five taans. Sing each Raag for Ten minutes.

4. Learn to sing five more compositions from ragas above:

One Dhamaar, one Taraanaa, one lakshangeet, one Sargam geet and
one bandish each in Taal Jhaptaal or Taal Roopak.

5. Learn to sing the Mandal Prarthana ‘Jaya Jagadisha Hare’ and one Bhajan or one folk song.

6. Recognize Raag by listening to aalaap.

c. Taal – Laya knowledge:

1. Recognize taal when it is played on Tablaa
2. Show Thaah (single) and double laya (tempo) with hand by saying taal bol (sounds like Dhaa Dhin
Tin etc.) or numbers.
3. Show dugun of Vilambit Ektaal, Choutaal, Dhamaar, Roopak and Teentaal by hand while saying
the ‘bol’ of each taal.

Marksheet: Questions and points for each question in a 20 minute oral exam:
Question Points
Sing vilambit khyaal in Yaman or Bhoopaalee (no expansion) 5
Sing a bandish with aalaap and taan in a raag 8
Sing a bandish in another raag with two aalaap 6
Sing a bandish in a third raag with 5 taans 6
Sing a Dhamaar composition in Thaah and dugun laya 8
Sing a taraanaa or a bandish in a taal other than Teentaal 5
Two Alankaars in shuddha swar and one of them in a Sampoorna raag 6+4
Sing beginning aalaap and bandish for two raagas from previous exam 10
Show a thekaa and dugun for one taal from this year 5
Start a Bandish at a correct place while paying attention to taal 4
Recognize two raagas from last year and two from this year while listening to cluster of notes 8
75
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Alankaar – Palate
Sing the Alankaars in different laya (tempos) and also in raagas with ‘Sampoorna Jaati’ (Kaafee and Bhairav)

Teentaal
| | | | | | |
1 s g r s, r m g r, g p m g, m d p m, p n d p, d s n d, n r s n, s g r s
| | . . .
s d n s, n p d n, d m p d, p g m p, m r g m, g s r g, r n s r, s d n s
|
2 s r s g, r g r m, g m g p, m p m d, p d p n, d n d s
|
s n s d, n d n p, d p d m, p m p g, m g m r, g r g s
Roopak
3 s r g r g s r, r g m g m r g, g m p m p g m, m p d p d m p, p d n d n p d,
| | | | | | |
d n s n s d n, n s r s r n s
| |
s n d n d s n, n d p d p n d, d p m p m d p, p m g m g p m, m g r g r m g,
. .
g r s r s g r, r s n s n r s
Jhaptaal | ||| ||| | |
4 s r g r s, r g m g r, g m p m g, m p d p m, p d n d p, d n s n d, n s r s n, s r g r s
| | . . . .
s n d n s, n d p d n, d p m p d, p m g m p, m g r g m, g r s r g, r s n s r, s n d n s
Ektaal | |
5 s r g r g I, r g m g m I, g m p m p I, m p d p d I, p d n d n I, d n s n s I
|
s n d n d I, n d p d p I, d p m p m I, p m g m g I, m g r g r I, g r s r s i
Teentaal | | | | |
6 s g g r, r m m g, g p p m, m d d p, p n n d, d s s n, n r r s
| . .
s d d n, n p p d, d m m p, p g g m, m r r g, g s s r, r n n s
| | | | |
7 s r s r g r, r g r g m g, g m g m p m, m p m p d p, p d p d n d, d n d n s n, n s n s r s
| | .
s n s n d n, n d n d p d, d p d p m p, p m p m g m, m g m g r g, g r g r s r, r s r s n s
| | | ||| ||||| |
8 s r g m p p m g, r g m p d d p m, g m p d n n d p, m p d n s s n d, p d n s r r s n, d n srggr s
| . . . . . .
s n d p m m p d, n d p m g g m p, d p m g r r g m, p m g r s s r g, m g r s n n s r, g r snddn s
| ||
9 srg m p m g r, r g m p d p m g, g m p d n d p m, m p d n s n d p, p d n s r s n d,
| | | | | | | | | | | |
dns r g r s n, n s r g m g r s
| .
snd p m p d n, n d p m g m p d, d p m g r g m p, p m g r s r g m, m g r s n s r g,
. . . . . . .
g r s n d n s r, r s n d p d n s
|
10 s s r g m g r s, r r g m p m g r, g g m p d p m g, m m p d n d p m, p p d n s n d p,
| | | | | | | | | | | | | | | |
d d n s r s n d, n n s r g r s n, s s r g m g r s
| | | | ||||| |
11 s r s g r s, r g r m g r, g m g p m g, m p m d p m, p d p n d p, d n d s n d, n s n r s n, s r s g r s
| | | . . . .
s n s d n s, n d n p d n, d p d m p d, p m p g m p, m g m r g m, g r g s r g, r s r n s r, s n s d n s
. . . . . . . .
12 s n d n, r s n s, g r s r, m g r g, p m g m, d p m p, n d p d, s n d n, r s n s
||| | | | | | .
s r g r, n s r s, d n s n, p d n d, m p d p, g m p m, r g m g, s r g r, n s r s
. .
13 s r s r n s n d, r g r g s r s r, g m g m r g r g, m p m p g m g m, p d p d m p m p,
| | | | | | | |
d n d n p d p d, n s n s d n d n, s r s r n s n s
| | | | | | | |
s n s n r s r s, n d n d s n s n, d p d p n d n d, p m p m d p d p, m g m g p m p m,
. .
g r g r m g m g, r s r s g r g r, s n s n r s r s
. | |
14 s s n s r r, r r s r g g, g g r g m m, m m g m p p, p p m p d d, d d p d n n, n n d n s s
||| | |
s s r s n n, n n s n d d, d d n d p p, p p d p m m, m m p m g g, g g m g r r, r r g r s s
| | || | | ||||| |
15 s g r g r s, r m g m g r, g p m p m g, m d p d p m, p n d n d p, d s n s n d, n r s r s n, s g r s r s
| | . . . . . .
s d n d n s, n p d p d n, d m p m p d, p g m g m p, m r g r g m, g s r s r g, r n s n s r, s d n d n s
| | | | | | |
16 s r g s, r g m r, g m p g, m p d m, p d n p, d n s d, n s r n, s r g s
| | . . .
s n d s, n d p n, d p m d, p m g p, m g r m, g r s g, r s n r, s n d s
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General Knowledge: Definitions – Synopsis

saMgaIt Sangeet Music: Includes Vocal, Instrumental, Dance art forms
qvanaI Dhvani Sound
naad Naad A sound that can be used in music: Aahat and Anaahat
svar Svara Note or Naad used in music
Combination of notes with following features -
* Notes ( swar) - There must be atleast 5 notes or a maximum of 7 notes (swaras) in a Raag.
* Aaroh & Avaroh - Every Raag must have an :
“Aaroha” - ascending notes & an “Avaroha” - descending movement of notes.
raga Raag * Vaadi & Saunvaadi - Every raag must have “Vaadi” - most prominent & dominating
note and “Saunvaadi” note - note that complements the dominating note.
* Melodious, entertaining - A raag must be pleasant sounding and must be able to
enchant the listener.
* Key Note - The key note can never be missing in a Raag - ie, Sa or “Shadaj”
Basic Notes
Sauqd svar Shuddha Svara Sa, Re, Ga, Ma, Pa, Dha, Ni
Altered notes
ivakRt svar (kaomala, Vikruta Svara When Re, Ga, Dha, Ni climb half a note below their place, they are called
tIv`a) (Komal, Teevra) ‘Komal’ or soft. Madhyam climbs half a note above its usual place, it is called
‘Teevra’ or sharp.
vaija-t svar Varjit or varjya svara Excluded note
maola, qaaT Mel, Thaat Group of seven notes in straight order which can create a raaga.
jaait (AaoDva YaaDva Jaati (Odav, Shadav, Type of a raag based on the number of notes used in tha raaga:
saMpUNa-) Sampurna) Odav: Five notes, Shadav: Six notes, Sampurna: Seven notes
vaadI Vaadi Main or dominent note
saMvaadI Saunvaadi Second most important note in a raga. Note that has a dialogue with Vaadi
AnauvaadI Anuvaadi Notes other than Vaadi and Saunvaadi that are used in a raaga.
A note that is excluded in a raaga, however if it is used skillfully on rare
ivavaadI Vivaadi occasions, the beauty of the raaga is enhanced.
Octave: 1. Mandra Saptak: Lower than middle octave,
saPtk Saptak 2. Madhya Saptak: Middle Octave. Most often we sing in this octave,
[Link] Saptak: Higher than middle octave
AlaMkar (plaTa) Alankaar (Palataa) Arrangement of notes in a sequential pattern
pkD Pakad Catch phrase that shows character of a raaga
Aalaap Aalaap Slow improvisations using the rules of a raga with only notes, no lyrics
tana Taan Faster improvisations using rules of a raga, with only notes, no lyrics
svarmaailaka (sargama gaIt) Svarmaalika Composition with only notes, no lyrics
laxaNa gaIt Lakshangeet A song containing all characteristics of a raag
Sthaayee and The songs sung for various raagas are called bandishes. Usually a bandish has
sqaayaI AaOr AMtra two parts—the first is called sthaayi and the second is called antara.
Antaraa
Laya (Vilambit, Same speed of time or equal interval between two maatraas or beat is called
laya (ivalaMibat maQya d`ut) Tempo (Slow, Medium, Fast)
Madhya, Drut)
maat`a Maatraa Beat: Measurement unit for taal
Measurement of music: Various beat Sequences that include maatraa, khanda
tala Taal (vibhaag), Sam, Taali
ivaBaaga Vibhaag, Khanda Section
sama Sam First beat of any Taal
KalaI , kala Khaali, Kaal First beat after half cycle of Taal
dugauna itgauna caaOgauna Dugun, Tigun, Chougun Double, triple and quadruple tempo
Thekaa is a composition constructed for a taal while maintaining vibhaag, taali,
zoka Thekaa khaalee of a taal and weight for letters of taal. (‘Bol’s or compositions for a Tabla. Taal is
an abstract form of Theka. Taal does not change but a taal can have more than one Theka.)
Aavat-na Aavartan Cyclic speed of taal. Saying or playing taal’s composition from Sam to Sam.
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Introduction to ‘Swarlipi’ (musical script, Music notation or musical score). (Maatraa = Beat)

Pandit Paluskar Pandit Bhatkhande

Two q No Symbol s s
maatraas s
q

One maatraa z s r No Symbol s r

z z

x
Two swar in one sr
½ maatraa
s r maatraa
x x

c s r g m
Four swar in one srgm
¼ maatraa
maatraa
c c c c

1/8th v s r g m p m g r srgmpmgr
maatraa
v v v
Total number of swar
v v v v v
in one maatraa are
1/16th y sr gm pm gr gm pd nn dp indicated by srgmpmgrgmpdnndp
symbol
maatraa
yy yy yy yy yy yy yy yy
under all swar together
1/3rd maatraa h s r g srg
h h h

1/6th maatraa j s r g r g m srgrgm

j j j j j j

1/12th l srgrgmgmpmpd
maatraa sr gr gm gm pm pd
ll ll ll ll ll ll

Shuddha No symbol No symbol

swar
Komal swar e f a b r g d n

Teevra swar k Maa k

Swar in Madhya saptak No Symbol No symbol

. . .
Swar in Mandra saptak n d p bfu
| | |

Swar in Taar saptak s r g aeh

Prolong swar si ii s---
Prolong a letter in lyrics Raa . . ma Raa iima
Vertical line in a composition after one ‘aavartan’ of a taal is finished Vertical line in a composition after each Khanda (section) is finished.
Sam A number 1 is written to indicate first maatraa Symbol X is placed at position of ‘Sam’ (1st maatraa)
Khaalee (Kaal) A symbol + is used to show khaalee A symbol O is used to show khaalee
The maatraa where taalee occurs, the
Taalee The number of a taalee is written sequentially : 2, 3, 4
number of that maatraa is written: 1, 5, 13
Khanda are not shown, but a vertical line is Khanda are shown by drawing a vertical line after each
Khanda
drawn after aavartan is finished. khanda is finished.
Tentaal and Ektaal are considered to have 8 and 6 maatraa each in Teentaal and Ektaal always have 16 and 12 maatraa.
madhyalay.
Example: Teentaal: Example: Teentaal:
Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa
x x x x x x x x x x x x x x x x X 2 O 3
1 3 + 7
Taal Ektaal (Drut):
Dhin Dhin Dhaa Trak Too Naa Kat Taa Dhaa Trak Dhee Naa

x x x cc x x x x x cc x x

1 + 3 + 5 6
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South Indian Classical Music

1 North Indian Classical Music
(Karnaatak Music)

Practiced in Southern part of India:

Practiced in northern part of India:
States of Tamilnaadu, Karnaatak, Aandhra Pradesh,
States of Bangaal, Aasaam, Uttar Pradesh, Panjab,
1 Maharashtra, Gujaraat, Madhyapradesh,
Kerala etc.
Rajasthaan etc.

Similarities

2 Ancient reference books are same.

3 Both styles use twelve notes, twenty two ‘shruti’.

4 Aalaap style of singing is accepted.

5 Compositions are performed with aalaap and taan

Differences

6 12 notes have different names and frequencies 12 notes have different names and frequencies

7 10 ‘Thaat’ or ‘Mel’ 72 ‘Thaat’ or ‘Mel’

Compositions use following languages: Compositions use following languages:

8 Braj, Bhojpuri, Farsi, Panjabi, Rajasthani Kannada, Telugu, Tamil, etc.

9 Different taals are used Different taals are used

10 Enunciation of notes and style of singing is different Enunciation of notes and style of singing is different

Names of Raagas may be same but their characters Names of Raagas may be same but their characters
11 are different are different

Basic notes octave is considered as belonging to An octave with basic notes is called as ‘Kanakaangi’
12 ‘Bilaaval Thaat’ or ‘Mukhaaree’ ‘Mel’.

Composition types:
Composition types:
13 Sargam, Lakshangeet, Khyaal, Dhrupad, Dhamaar,
Pallavee, Varnam, Keertanam, Padam, Jaavlee etc.
Tappa, Taraanaa, Thumree, Horee Etc.

Generally speaking, two versions of same notes are Two versions of same notes are often used in
14 not used in succession. Example: succession. Example:
rr, gg, dd rr, gg, dd
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2. Naad A pleasant, steady sound with fixed frequency, which is useful in creating music is called ‘Naad’.

Naad’s three properties:

1. Uncha neechapan (High and Low Naad)
1. High and Low: Depends on frequency: count per second. Higher frequency indicates higher Swar or Note
Example: In a given octave, Madhyam swar is lower than Dhaivat swar since Madhyam’s frequency is lower than
Dhaivat’s frequency.
2. Cchota badaapan (Small and Big Naad)
Small and big: For a given Swar or note, even though frequency is same, amplitude (volume) may change and Naad will
be big or small accordingly Example: Singing same swar loudly (big naad) or softly (small naad)
3. Jaati and Gun (Type and Character of Naad)
Scientists think each Naad generates secondary Naads with it. They are called ‘Supporting Naads’. You cannot hear
them distinctly. The number of supporting naads is different for each instrument or singer. That is why each instrument or
singer ‘sounds’ different. You can recognize each instrument or singer by ear, with your eyes closed. This is possible
because each Naad has its own ‘Jaati or Gun’.
3. Gaan kriya or varna (Sthayee, Aarohi, Avarohi, Sancharee)
Varna is a Procedure of Singing.
An artist uses the notes in four different ways while performing. Four basic ways (Varna) of presenting notes are:
Sthayee, Aarohi, Avarohi, Sanchaaree

Sthayee Varna refers to halting at a single note:

Example: ssss, gggg, pp etc.

Aarohi Varna is an ascending arrangement of notes.

Example: srgm, rgmp, sr, rg etc.

Avarohi Varna is a descending arrangement of notes

Example: andp,ndpm,np,mr etc.

Sanchaari Varna is a mixed (ascending and descending) arrangement of notes

Example: sgrpmdp,nda,apdmg etc.
4. Janya and Janak Raag (Child and parent raag )
The one that produces is called ‘Janak’. Thaat is a ‘Janak’ (or a parent). Thaat is a combination of swaras from where
raagas can originate. Hence a swar combination that gives birth to a raag is called ‘Janak’ ‘Mel’ or ‘Thaat’. Hence every
thaat is a ‘Janak’ thaat. Every composition of swar that originates in a thaat is called ‘Janya raag’. Hence every thaat is
a ;Janak’ and every raag is ‘Janya’. This system is called ‘Janya-Janak’ system.
5. Grah, Ansha, Nyaas, Swar
Ancient ‘Jaati Gaayan’ had ten features:
Grah, Ansh, Nyaas, Apanyaas, Alpatva, Bahutva, Shaadavatva, Odavatva, Mandra and Taar
(Jaati gaayan was 18 tunes sung with musical rhythm. It included parent tonal frameworks (grama), the 22 micro-tonal
intervals (shrutis) placed in one octave-space, the process of sequential re-arrangement of notes (murchana), and the
permutations and combinations of note-sequences (tanas). Jati-gayan was entirely pre-composed. However, Hindustani
music stressed improvisation which completely changed its nature.)
Graha swar: The swar where the ‘jaati gaayan’ (vocal music) started was called ‘Graha swar’. If in some jaati vocal or
instrumental performance started with ‘Ansha swar’, then Ansha swar was also called ‘Graha swar’.
Ansha swar: Main swar of a ‘jaati’ is called ‘Ansha Swar’.These days main swar of any raag is called ‘Vaadi’. Each raag
has one vaadi. In jaati gaayan, main swar in a murchhanaa was called ansha swar. It was also called ‘praanaswar’ or
‘jeevaswar’. (Life note). The swar that starts the murchhana is called ansh aswar of that murchhana. However, jaai has
more than one ansha swar. In instrumental performance, it is called ‘sthaayee’ (stable) swar.
Nyaas: In jaati gaayan, the swar where the song or paragraph ended was called nyaas. One jaati could have several
nyaas swar. One swar can be nyaas swar for many jaatis. Example: Consider a compositin with eight lines. Four lines
from shthaayee and four from antaraa. Swar that starts the composition is called ‘Grh swar’ and the last swar at the end
of composition is called ‘Nyaas swat’. Last line of shtaayee ends on a swar that will be called ‘Apanyaas’ and second line
of composition ends on a swar that will be called ‘Sanyaas’.
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6. Poorvaang- Uttraanga
Saaptak has seven swar. When you add Sa from taar saptak (whose frequency is double that of Sa from Madhya
saptak), there are eight swar- [Link] first half of saptak has four swar: srgm and second half has
four swar: pdna. The first half of saptak is called Poorvaanga and second half is called ‘Uttaranga’. However, Ma
and Pa are included in both poorvaanga and uttaraanga. Hence poorvvanga has srgmp and uttaraanga has
mpdna swar. Twentyfour hours in a day are also divided in two halves like saptak. First half contains twelve hours
from 12 o’clock noon to 12 o’clock midnight and second half contains twelve hours from midnight to noon.
7. Poorvaraag, Uttar-raag
If a vaadi of a raag is in poorvaanga, saunvaadi of that raag will be in uttaraanga. Raagas Bheempalaasi, Malkauns and
Baageshree have vaadi m and saunvaadi s. So it looks like both vaadi and saunvaadi are in poorvaanga which is against
rules. For this reason, poorvaanga range is increased to Pancham and uttaraanga range includes Madhyam. Hence if a
raag had vaadi Ma and saunvaadi Sa, vaadi Ma will be from uttaranga and saunvaadi Sa from poorvaanga. The raag that
has vaadi in poorvaanga, will be called ‘Poorvaanga vaadi’ or ‘Poorva raag’. Poorva raag is primarily developed in
mandra or Madhya saptak. Poorvaraag or poorvaanga vaadi raag is performed from 12 noon to 12 midnight.
The raag with vaadi in uttaraanga is called ‘Uttaraangavaadi’ or ‘Uttarraag’. Uttrar raag is primarily developed in madhya
and taar saptak. Time for singing uttar raag is between 12 midnight to 12 noon. In general, from vaadi swar of a raag, you
can tell the appropriate time for singing that raag.
8. Shuddha, Chhaayaalag, Sankeerna
From ancient tme, there have been several efforts to organize raagas.
One of those methods is : Shuddha, Chhaayaalag, Sankeerna
1. Shuddha raag: This raag has no influence from any other raag and it has otw own independent pure character.
Example: Yaman, Bhairav, Malkauns, Baageshree, Khamaaj, Kaafee etc.
2. Chhaayaalag Raag: These raagas have a visible shadow of some other raag. Example: Jaijaivanti
3. Sankeerna raag: This raag is a mixture of two raagas. Example: Pilu
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9. ‘Paaribhaashik Shabda’ Definitions of words
1. Shruti: When you can clearly hear the difference between two naads, those naad are called shruti. In one place,
there can be infinite number of shruti, however, only 22 shruti are useful for music. The distance between the
frequencies of these shrutis has been determined scientifically. These musically useful shruti are used in singing
and instrumental performances. Every shruti is a naad, but every naad may not be a shruti. Hence in music,
shruti are used but not naad. 23rd shruti’s frequency is exactly double that of the first.
2. Vakraswar: When a swar is played or sung out of sequence, is it called ‘Vakraswar’. In straight aaroha avaroha,
when there is a zigzag pattern because of one swar, that swar is called vakraswar. Example: In raag
Baageshree, avaroha goes like this: andm p dmg. Sequentially is should be and p, but you

have andm pd mg. Hence, Pa is a vakraswar in Raag Baageshree.

3. Meend: In vocal or instrumental (string instruments like Sitaar, Violin or Dilruba) performance, when artist goes
from one swar to another by pulling or dragging the voice or string while keeping full consistency between the two
swaras, it is called ‘Meend’. Example: a - p. Meend is performed I two formats:

Aarohee: pn – a, Avarohee: n – p
4. Kampan: Sound is generated by vibration. When you play any instrument, there is vibration and sound is
created. Example: Sitaar’s strings vibrate; dholak, Tablaa or Pakhaavaj has stretched leather which vibrates and
in Baansuri (flute) and Shahanaai, there are metal reeds that move and vibrate.
5. Sparshaswar: When you sing one swar, if you slightly touch another swar that is above or below your intended
swar, it is called singing or playing ‘Kanaswar or Sparshaswar’. Example: In raag Hameer, in following aalaap,
gm d dkp , swar Dha has used a kana swar Ni.
n n

6. Gamak: Pronounciation of a swar with vibration is called ‘Gamak’. Singing Gamak Swar puts pressure on the
heart. Pandit Sharngadev wrote a treatise ‘Sangeet Ratnaakar’. He defined Gamak as :
स्वरस्य कंपो गमकः श्रोतचृ ित्तस्सख
ु ावहः (Swarasya gamakah shrotruchittassukhaavahah)
That is: Gamak are vibrating swar that make the listeners very happy. In ancient times, there were fifteen types of
Gamak – Kampit, Aandolit, Sphurit etc. In modern times, these ancient names of types of gamak are not in use
and the meaning of gamak has also changed. In modern times, gamak is known by phrases like ‘Khatkaa’,
‘Murkee’, ‘Jamjamaa’ etc.

(Numbers 7,8,9,10 below are for instrumentalists)

7. Ghaseet: While playing string instruments, the procedure of going from one swar to another slightly distant swar
by pressing and ‘dragging’.
8. Jhaalaa: In Sitaar, by striking on ‘Chikaaree’ and ‘Baaj’ strings with ‘Mijraab’ and play in drut laya (fast tempo)
sounding like ‘Daaraaraaraa, daaraaraaraa’. In Jhaalaa, several types of laya can be demonstrated very nicely.
9. Jamjamaa: Playing two swar quickly by striking with ‘Mijraab’.
10. Kruntan: In Sitaar playing, a procedure of going from high swar to low note, while jolting the string with left hand
fingers by pressing and suddenly releasing the string quickly plays two or more swar at once. Kruntan keeps a
consistent relation between two swar.

10. Four ‘Avayav’ (Limbs) of a Geet: Sthaayee, Antaraa, Sanchaaree, Aabhog

Four elements of a geet or composition:
Four parts exist mostly in Dhrupad. Khyaals mostly use only two parts (Sthaayee and Antaraa)

Sthaayee: First section of the composition. It is performed in lower or middle octave.

Antaraa: Second section (stanza) of a composition. Performed in middle and higher octave.
(Some people consider Sthayee as a question and Antaraa as an answer.)

Sanchaaree: Third section (stanza) of a composition.

Starts in middle octave and expands in lower and middle octave. Uses ‘Gamak’ (vibrating notes).

Aabhog: Fourth section (stanza) of a composition.

Uses characteristics of first three sections. Expands in middle and high octaves.
 10
© Anjali Nandedkar, [Link]

11. Geet Prakaar (Types of Compositions)

Dhrupad, Dhamaar, Khyaal (Badaa Khyaal, Chhotaa Khyaal), Bhajan, Lakshangeet, Sargamgeet
Types of Compositions
Dhrupad: Existed primarily before Khyaal became popular. The lyrics usually include God’s praise and some times
season’s description. Singing is more forceful and hence Pakhaavaj players use Taals like Chautaal, Sooltaal, Teevraa
etc. Dhrupad has four ‘Baani’s. Govarhaar, Daagur, Nohaar, Khandahaar Baani.

Dhamaar: Holi compositions composed in Taal Dhamaar are called ‘Dhamaar’. Dhamaar has fourteen beats. Since lyrics
are mostly related to ‘Holi’ festival, it consists of ‘Raadhaa- Krishna’ and ‘Krishna – Gopi’ ‘Raas leelaa’ descriptions.
Dhrupad and Dhamaar have similar singing styles and use ‘Braj’ language. Like Dhrupad, Dhamaar also uses single,
double, triple, quadruple and odd tempos (Layakaaree). Sometimes ‘Boltaan’ is also used in ‘Layakaaree’.

Khyaal: This is a word from ‘Farsi’ language. It means a thought or an idea. Khyaal is used to perform a raag in a full
form.

Badaa Khyaal: Khyaal singing started around 15th century in Mugal king Muhammadshah Rangeele’s court. Two
courtiers brothers Sadaarang and Adaarang composed many Khyaals although they were mostly Dhrupad singers.
Gwalior gharaanaa singers Haddoo Kahn and Hassoo Khaan made Khyaal singing popular. Khyaal uses ‘Vilambit’ or
slow tempo. Composition consists of Sthayee and Antaraa. Slow tempo is suitable for serious, sombre, profound
raagaas. Artists use Aalaap, Taan, Boltaan, Khatkaa, Murkee, Alankaar, Kanaswar, Meend to sing a Khyaal and hence it
sounds beautiful.

Chhotaa Khyaal (Drut Khyaal or Fast Tempo Khyaal): It is considered that Ameer Khusro started singing Chhotaa
Khyaal, based on Kavvaalee in 14th century. It has Sthaayee and Antaraa. Just as Badaa Khyaal, Chhotaa Khyaal also
has descriptions of Krishnaleelaa,

Taraanaa: In this composition words such as ‘tana, tadaare, yalalee, yalaleem, deem, tadaanee’ as well as ‘odaani,
odatana’ are used. This is a meaningless composition and is performed in almost all taal like Jhaptaal, Ektaal, Tritaal.
Taraanaa is sung in drut or ati drut laya (fast or ultra fast tempo). Taraanaa singing focuses on word enunciation,
preparation or riyaaz, layakaaree or tempo improvisation. Usually singer sings taraanaa after singing badaa and chhotaa
khyaal. The words in taraanaa are used for progression or edge. Some singers also sing taan in taraanaa.

Lokageet: Lokageet or folk songs based on every day lives of people and they reflect ordinary everyday incidents of
people’s lives. Lokageet are part of loka sangeet (folk music). Lokageet include lullaby, farm life, parting or separation
songs, various festival songs, marriage songs, season descriptions like rain, grinding mill or flour mill songs, celebratory
songs etc. Lokageet are simple, straight forward soulful or emotive. Country folks in rural areas can sing them with ease
in a group. In general all people start to keep beat when they listen to lokageet. Loka geet use simple taal with few
maatraa, such as Keharvaa, Khemtaa, Dhumaalee, Daadraa etc. Lokageet do not need specific instruments.

Lokadhun: (Folktune): Folktune’s swar are simple, easy and harmonius. Many raagas are hidden in lokadhun, such as:
Maand, Pilu, Khamaaj, Malhaar, Saarang, Des, Pahaadee etc. Many lokadhun are accepted and practiced by classical
musicians. Lokadhun have their foundation in lokageet.
 11
© Anjali Nandedkar, [Link]
अलंकार (पलटे )
इन अलंकारों का ववभिन्न लयों में तथा पाठ्यक्रम के संपर्
ू ण जाती के रागों (वपछ्ला काफी, इस वर्ण का िैरव) में प्रयोग करने की क्षमता.
तीनताल
| | | | | | |
1 S G R S, R M G R, G P M G, M D P M, P N D P, D S N D, N R S N, S G R S
| | . . .
S D N S, N P D N, D M P D, P G M P, M R G M, G S R G, R N S R, S D N S
|
2 S R S G, R G R M, G M G P, M P M D, P D P N, D N D S
|
S N S D, N D N P, D P D M, P M P G, M G M R, G R G S

रूपक
3 S R G R G S R, R G M G M R G, G M P M P G M, M P D P D M P, P D N D N P D,
| | | | | | |
D N S N S D N, N S R S R N S
| |
S N D N D S N, N D P D P N D, D P M P M D P, P M G M G P M, M G R G R M G,
. .
G R S R S G R, R S N S N R S

झपताल | ||| ||| | |

4 S R G R S, R G M G R, G M P M G, M P D P M, P D N D P, D N S N D, N S R S N, S R G R S
| | . . . .
S N D N S, N D P D N, D P M P D, P M G M P, M G R G M, G R S R G, R S N S R, S N D N S

एकताल | |
5 S R G R G I, R G M G M I, G M P M P I, M P D P D I, P D N D N I, D N S N S I
|
S N D N D I, N D P D P I, D P M P M I, P M G M G I, M G R G R I, G R S R S I

तीनताल | | | | |
6 S G G R, R M M G, G P P M, M D D P, P N N D, D S S N, N R R S
| . .
S D D N, N P P D, D M M P, P G G M, M R R G, G S S R, R N N S
| | | | |
7 S R S R G R, R G R G M G, G M G M P M, M P M P D P, P D P D N D, D N D N S N, N S N S R S
| | .
S N S N D N, N D N D P D, D P D P M P, P M P M G M, M G M G R G, G R G R S R, R S R S N S
| | | ||| ||||| |
8 S R G M P P M G, R G M P D D P M, G M P D N N D P, M P D N S S N D, P D N S R R S N, D N SRGGR S
| . . . . . .
S N D P M M P D, N D P M G G M P, D P M G R R G M, P M G R S S R G, M G R S N N S R, G R SNDDN S
| ||
9 SRG M P M G R, R G M P D P M G, G M P D N D P M, M P D N S N D P, P D N S R S N D,
| | | | | | | | | | | |
DNS R G R S N, N S R G M G R S
| .
SND P M P D N, N D P M G M P D, D P M G R G M P, P M G R S R G M, M G R S N S R G,
. . . . . . .
G R S N D N S R, R S N D P D N S
|
10 S S R G M G R S, R R G M P M G R, G G M P D P M G, M M P D N D P M, P P D N S N D P,
| | | | | | | | | | | | | | | |
D D N S R S N D, N N S R G R S N, S S R G M G R S
| | | | ||||| |
11 S R S G R S, R G R M G R, G M G P M G, M P M D P M, P D P N D P, D N D S N D, N S N R S N, S R S G R S
| | | . . . .
S N S D N S, N D N P D N, D P D M P D, P M P G M P, M G M R G M, G R G S R G, R S R N S R, S N S D N S
. . . . . . . .
12 S N D N, R S N S, G R S R, M G R G, P M G M, D P M P, N D P D, S N D N, R S N S
||| | | | | | .
S R G R, N S R S, D N S N, P D N D, M P D P, G M P M, R G M G, S R G R, N S R S
. .
13 S R S R N S N D, R G R G S R S R, G M G M R G R G, M P M P G M G M, P D P D M P M P,
| | | | | | | |
D N D N P D P D, N S N S D N D N, S R S R N S N S
| | | | | | | |
S N S N R S R S, N D N D S N S N, D P D P N D N D, P M P M D P D P, M G M G P M P M,
. .
G R G R M G M G, R S R S G R G R, S N S N R S R S
. | |
14 S S N S R R, R R S R G G, G G R G M M, M M G M P P, P P M P D D, D D P D N N, N N D N S S
||| | |
S S R S N N, N N S N D D, D D N D P P, P P D P M M, M M P M G G, G G M G R R, R R G R S S
| | || | | ||||| |
15 S G R G R S, R M G M G R, G P M P M G, M D P D P M, P N D N D P, D S N S N D, N R S R S N, S G R S R S
| | . . . . . .
S D N D N S, N P D P D N, D M P M P D, P G M G M P, M R G R G M, G S R S R G, R N S N S R, S D N D N S
| | | | | | |
16 S R G S, R G M R, G M P G, M P D M, P D N P, D N S D, N S R N, S R G S
| | . . .
S N D S, N D P N, D P M D, P M G P, M G R M, G R S G, R S N R, S N D S
 12
© Anjali Nandedkar, [Link]
Chapter 2: Information of raag
Praveshikaa Poorna Exam
Raag : Alhaiya Bilaaval Raag : Vrundaavanee Saarang
Thaat : Bilaaval Thaat: Kaafee
Vaadi: Dhaivat (d) Saunvaadi: Gandhar (g) Vaadi: Re Saunvaadi: Pa, Ga, Dha are omitted
Both Nishads are used. All other notes are pure This raag uses both Nishads
Madhyam is omitted in Aaroha. (Shuddha Nishad is used in aaroha and komal nishad in Avaroha),
Type: Shadav Sampurna, Time: First prahar of morning Type: Odav Odav, Time : Afternoon

Aaroha sgrgpndn` Aaroha 8srmpn`

Avaroha `ndp,dbdpmgmr,gpmgrs Avaroha `bp,mr,s

Main part mgmr,gpmgrs Main part rmpr, mr8s

(Pakad) (Pakad)

Raag: Bhairav Raag : Bihaag

Thaat: Bhairav Thaat: Bilaaval,
Vaadi: Dhaivat, Saunvaadi: Rishabh Vaadi: Gandhaar Saunvaadi: Nishaad
Re and Dha are soft (Komal), All other notes are pure Uses two Madhyams, Re Dha ommitted in Aaroha,
Type: Sampurna , Time: First prahar of day Other notes are pure,
Type: Odav Sampoorna, Time : Second prahar of night
Aaroha segmpnanan`
c Aaroha 8sgmpn`
Avaroha `nnanap,pgmgeges
Avaroha `ndpkgmg,r8s
Main part gm a ap, gm e es
p n n p g g
cc
Main part 8sgmp, gmg,r8s
k
(Pakad)
(Pakad) cc
Raag : Tilak kaamod
Raag : Kedaar Thaat : Khamaaj
Thaat: Kalyaan, Vaadi: Shadja (s) Saunvaadi: Pancham (p)
Vaadi: Ma Samvaadi: Sa, This raag uses two Nishads, g and d are omitted in Aaroha
This raag uses two Nishads and two Madhyams, Type: Odav Sampurna, Nyaas: g,n
Gandhaar is omitted. Rishabh omitted in Aaroha,
Time: Second prahar of day
Type: Odav Sampurna, Time : First Prahar of the night
Aaroha srmp`
Aaroha smgpdn`

`p,dmg,srgs
Avaroha `ndpkpdbdp,kpdpm,mrs Avaroha
`p,dmg,srgs8,=8srgs

Main part sm,m p,dkpm, rs

g m

(Pakad) cc
Main part srp,mg,srgs
(Pakad)
Raag : Aasaavaree Raag : Bhairavee
Thaat : Aasaavaree Thaat : Bhairavee
Vaadi: Dhaivat (a) Saunvaadi: Gandhar (f) Vaadi: Pancham (p) Saunvaadi: Shadja (s)
f,a and b are Komal, All other notes are shuddha e,f,a and b are soft All other notes are pure
f and b are omitted in Aaroha. Type: Sampurna, Nyaas: f,a Time: Early morning
Type: Odav Sampurna, Time: Second prahar of day
Aaroha sefmpab`
Aaroha srmpbaba`
Avaroha `bapmfes
Avaroha `bapmpampmfmf,rs
ccccc Main part 9sfmpapmf,ses
Main part mpamp f f,rs
m m
(Pakad) ccccc c
(Pakad)
 13
© Anjali Nandedkar, [Link]
1. Raag Alhaiyaa Bilaaval

Swar Two Nishaad Varjya swar Madhyam in aaroha

Thaat Bilaaval Jaati Shaadav Sampoorna
Vaadi Dhaivat Samay First prahar of morning
Saunvaadi Gandhar Nyaas Pancham (aaroha – avaroha), Rishabh (in avaroha)
Pakad mgmr,gpmgrs

Aaroha sgrgpndn` Avaroha `ndp,dbdpmgmr,gpmgrs

Characteristics of Raag:
1. This is the most popular janya raag from Thaat Bilaaval. (Originates from thaat Bilaaval)
2. It is from Bilaaval thaat and also has characteristics like Raag Bilaaval.
3. Komal Nishaad only appears in avaroha between two shuddha Dhaivat like this: “ dbdp “
4. Since it is a morning raag, it is uttaraanga pradhaan raag.
5. There is nyaas on Pancham in aaroha and avaroha. Examples: gr gp, gpdb dp, sdbdp
d m m
6. Nyaas on Rishabh is done only in avaroha: g r, dbdpmgr, rgpmg r
7. Even though Dhaivat is a vaadi, nyaas is not performed on Dhaivat.
8. Pancham is a main and powerful nyaas swar
People sing many types or variations of Bilaaval. Examples: Devgiri Bilaaval, Yamni Bilaaval, Shukla Bilaaval. Alhaiyaa Bilaaval is the most
9. popular form of Bilaaval. Hence many people consider this to be thaat Bilaaval’s janak raag.
(Janak raag = Main or ashray or shelter raag)
10. dg combination specifies raag Alhaiyaa Bilaaval.
11. Even though Raag Bilaaval, with all shuddha swar, is thaat Bilaaval’s shelter raag (Aashray raag), it is not widely practiced.

Swar vistaar (Swar Expansion)

. . . . . . . . . . . .
1. s n n s, d b d p, p d n ns, s r g r s
d d m

2. s r g, g r g p, g p g r, g p m g r s
d m m

| |

3. s r g p, g p d b d p, g p d n s, d n s, d b d p, d g mr s
c c c c c c
| | | | | |

4. s r g p dg mr g p, g p d n dns, d n s r g r s d b d p m g, r g p m g mr s
c c c c
| | | | | | | | | |

5. s r g p d n dns, s r g m r s, s r s n d p, g p dgmr s
c
 14
© Anjali Nandedkar, [Link]
2. Raag Bhairav

Swar e,a komal Varjya swar None

Thaat Bhairav Jaati Sampoorna
Vaadi Dhaivat Samay Early morning
Saunvaadi Rishabh Nyaas Shadja, Pancham
Pakad gmnanap,pgmgeges
p

Aaroha segmpnanan` Avaroha `nnanap,pgmgeges

c

Characteristics of Raag:
1. This is thaat Bhairav’s janak or aashray (shelter or main) raag.
2. It has ‘Bhairav’ like characteristics. (Bhairav anga)
This raag’s jaati is sampoorna. However, while singing this raag, some rules are followed. Example: While going from s to
p, Rishabh is omitted and swar cluster ‘ sgmp ‘ is used. You can approach p by several different ways, such as:
3.
‘ sgmp, gme, egmp ‘. Nishaad is used very little in uttaraanga. It is mostly used as a kanaswar to Dhaivat like
this: ‘ gm a as ‘. Also in avaroha, instead of mges, gmes is used more often.
n n

4. Since vaadi is Dhaivat and it is a morning raag, it is uttaraanga pradhaan raag.

5. It is necessary to oscillate (aandolan) on swar Rishabh and Dhaivat to clearly show the character of raag Bhairav.
6. Raag Bhairav is called an early morning ‘sandhiprakaash’ raag (or twilight raag).
7. Bhairav is mostly used to create devotional compositions.
8. Some compositions also have praises of the lord or descriptions of morning time.
9. One should not linger on Madhyam in this raag, as that will make it sound like raag Jogiyaa.
10. Raag Kaalingadaa is close to raag Bhairav’s.
11. There are many forms of Bhairav in practice. Examples: Prabhaat Bhairav, Bairaagee Bhairav, Mangal Bhairav etc.

Swar vistaar (Swar Expansion)

. .. . . . . . .
s a as, n s n s n s e s a a s, e g i e s
n n m

1. c c c cc
s e g i g m e e, e g m p, g m e s
g g g

2.
3. g
g m p, g m a a p, a i a p m p g m e, e g m p, g m e e s
c c c c
g g

| | | | | | | | |
g m nana p, g m nana s ns, e e s n s n s e s nana p a a p m p g m gege s
4. c c c c

| | | | | | | | | | | |
| | | |
g m nana s, a n s e e s, s r g, g m ge s n s e s a p m p i g m gege s
5. c c c c
 15
© Anjali Nandedkar, [Link]
3. Raag Kedaar

Swar Two Madhyam, Two Nishaad Varjya swar Rishabh and Gandhaar in aaroha, Gandhaar in avaroha
Thaat Kalyaan Jaati Odav – Shaadav
Vaadi Shuddha Madhyam Samay First Prahar of night
Saunvaadi Shadja Nyaas Pancham

Pakad sm,mgp,dkpm,mrs
cc
Aaroha smgpdn` Avaroha `ndpkpdbdp,kpdpm,mrs

Characteristics of Raag:
1. Even though this raag has two Nishaads and two Madhyams, it is considered to belong to thaat Kalyaan.
2. Shuddha Madhyam is strong in this raag and ‘Anshik nyaas’ is peformed on shuddha Madhyam. (Ansh = main swar)
pdkp, dkp, kpdbdp, kpdbs are the swar clusters that use teevra Madhyam. Nyaas is not done
3.
on teevra Madhyam and it is used only in Aaroha.
4. Komal Nishaad is used only in avaroha and it enhances the beauty of raag.
5. Shuddha Nishaad and teevra Madhyam combination also adds to the melodiousness of this raag: such as: nkp
Gandhaar is varjya (varjit) or omitted in this raag. However, when going from Ma to Pa, Ga is used as a kana swar (grace
6.
note). It is not used in a bold manner. A touch of Gandhaar is considered necessary.
7. In aaroha, sm combination is used. Sometimes, srsm is also used.
8. A swar cluster pdkps is often used in this raag which specifes raag Kalyaan.
9. Kaamod, Hameer, Cchaayaanat are the raagas that are close to Kedaar.
Swar vistaar (Swar Expansion)
. . . . . .
s, s m r s s r s d p p d k p s s r s
m k

1. c c cc
s r s s m m p k p k p, k p d p m r s
g m

2.
3. s m p, k p d p m, k p d b d p m, p d k p r s
g m

|
4. s r s m, m p, k p d p m, k p d n s n d p, k p d p m, s r i s
g

| | | | | | |

5. s m p d p s, s r s d p, p d k p, n s r s, d p, k d p m mr s
C c
| | | | | | | | || | | | | | .

6. p d k p s d p k p s, s r s, s s m mr s s r s s d p k p d b d p, k p d p m r s n s r s
c c c c c c c c c c c c

------------------------------------------------------------------------------------------------------------------------------------------------------
4. Raag Aasaavaree

Swar Gandhaar, Dhaivat, Nishaad komal Varjya swar Gandhaar and Nishaad in aaroha
Thaat Aasaavaree Jaati Odav – Sampoorna
Vaadi Dhaivat Samay Second prahar of day
Saunvaadi Gandhaar Nyaas Pancham, Gandhaar
Pakad mpampmfmf,rs

Aaroha srmpbaba` Avaroha `bapmpampmfmf,rs

ccccc

Characteristics of Raag:
1. This is a ‘janak’ or ‘aashray’ raag of thaat Aasaavaree.
2. Oscillations are done on Gandhaar and Dhaivat in this raag.
3. Nyaas is performed on vaadi, saunvaadi as well as Pancham. Example: srmp, mpamp, mpsap etc.
4. Nishaad in weak in this raag, and it is varjya in aaroha. Sometimes Nishaad is used in aaroha this way: mpbsr
5. pg combination is used often in Aasaavaree.
6. Raag Jaunpuri is closest to Aasaavaree.
Swar vistaar (Swar Expansion)
. . . . . . . . .
1. s a a s, s b a p m p a a s, s r f r s m

s r m p, m p a m p f f, s r p f, r s m m

2. c c c c c
|
3. s r m p r m p ap, m p s a a p, m p a m p, f r s
b

| | | |
4. s r m p a a p s b s, b s r b a p, m p a m p f r s
| | | | | | | | | | | | | | | |

5. m p a a s b s, m p b s r mf r s, s r p f r s, r b s a p, a m p f r s
c c c c c c c c
 16
© Anjali Nandedkar, [Link]

5. Raag Vrundaavanee Saarang

Swar Two Nishaad Varjya swar Gandhaar and Dhaivat

Thaat Kaafee Jaati Odav
Vaadi Rishabh Samay Mid day
Saunvaadi Pancham
Pakad rmpr, mr8s

Aaroha 8srmpn` Avaroha `bp,mr,s

Characteristics of Raag:
1. Saarang ‘anga’ (body or structure) is strong in this raag.
2. Shuddha nishaad shines in raag Saarang.
3. Shuddha Nishaad is used in aaroha and komal Nishaad is used in avaroha.
4. Raag ususally begins with Nishaad.
5. Nyaas is done only on vaadi, saunvaadi and Shadja.
6. Saarang has many forms. Vrundaavanee Saarang is very popular.
7. Saarang is considered a ‘raagaanga’ of thaat Kaafee.
Swar vistaar (Swar Expansion)
. . . . . . .
s r n s, s b p, m p n sn s
1.
. . . . .
2. p n s r n s r r r mn n s

. .
3. n s r m r, r m p, m p m p b p m r, r n s
. | | |
4. n s r m p, r m p n sn s s b p m p b p m r s
| | | | | | | | | | .

5. m m r s n s r m p n, p n n s, p n s r n s r, r m r n s, s b p, m p b p m r n s
c c c c c c c c
r

------------------------------------------------------------------------------------------------------------------------------------------------------
6. Raag Bihaag

Swar Two Madhyam Varjya swar Rishabh and Dhaivat in aaroha

Thaat Bilaaval Jaati Odav – Sampoorna
Vaadi Gandhaar Samay Second prahar of night
Saunvaadi Nishaad Nyaas Pancham

Pakad 8sgmp,kgmg,r8s
cc

Aaroha 8sgmpn` Avaroha `ndpkgmg,r8s

cc

Characteristics of Raag:
1. Even though Bihaag has two Madhyam, it is included in Bilaaval thaat.
Older singers did not use teevra madhyam in a clear or pronounced manner. Instead they used it as a kana swar or grace
2.
note. Example: pi gmg k

Rishabh, Dhaivat are varjya in aaroha, and even in avaroha, nyaas is not done on these notes. They are used in this manner:
3. n i d p, g i r s
c c

4. This raag starts with Mandra Nishaad.

5. Bihaag is said to be a raag with many ‘meend’.
6. Dhrupad singers do not use teevra Madhyam in Bihaag, khyaal singers on the other other hand, use both Madhyam.
7. Raag Bihaagdaa is the closest raag to raag Bihaag.
Swar vistaar (Swar Expansion)
. . . . . . . .

1. s n p n n s, p n s r r s n n s g i r s
c c c c c c
. .
2. n s g, g m g p k g m g, r n s

3. n s g m i g p, g m p n n d p, k g m g i rs
. | | |

4. n s g m, g m p n sn n s, s n i d pk g m g, r s
c
. | | | | | | | | | | |

5. n s g m p k g m p n, n s, p n s g, s g m g i r s r n s n i d p, d k p k g m g i r s
c c c c c c c c c c
 17
© Anjali Nandedkar, [Link]

7. Raag Tilak kaamod

Swar Two Nishaad Varjya swar Gandhaar and Dhaivat in aaroha
Thaat Khamaaj Jaati Odav Sampoorna
Vaadi Shadja Samay Second prahar of night
Saunvaadi Pancham Nyaas Gandhaar, Nishaad
Pakad srp,mg,srgs

Aaroha srmp` Avaroha `p,dmg,srgs OR

`p,dmg,srgs8,=8srgs

Characteristics of Raag:
1. There is another form of this raag with all shuddha swar, which is also practiced.
2. Gandhaar – Mandra Nishaad, ‘sp’ and ‘ps’ combinations specify raag Tilak kaamod.
3. Sometimes in aaroha shuddha Nishaad is used like this: mpnns
4. In this raag sometimes rpcombination (sangati) is used this way: srp mg
5. Raag Des is close to Tilak kaamod, however, Des is more playful than Tilak kaamod.
The movement or chalan (expansion or improvisation) of this raag is ‘Vakra’ or twisted or topsy turvy. Some scholars
6.
consider this to be a sampoorna raag in twisted form.
7. Aaroha has four swar: srmp. The jaati is still considered to be Odav – Sampoorna.
Swar vistaar (Swar Expansion)
. . . . .
1. s n n s, p n s r g i n, s r m g s
s

. . .
2. s r g, s r m g s n, p n s r m g, s r p mgis
. . .

3. s r m p, r m p d m g, s r m p d m p d m g, s r m g s n, p n s r g i s
c c c c c c c c c c c
| . . .

4. s r m p, r m p d m p s p, p b d m g, s r p m g,sn, p n s r g i s r g s
c c
| | | | | | | | | . .

5. s r m p, m p s p, m p n n s, p n s r g i s s p, p d m p n s p b d m g, p s p d m g, s r g i snns
 18
© Anjali Nandedkar, [Link]

8. Raag Bhairavee
Swar Rishabh, Gandhaar, Dhaivat, Nishaad komal Varjya swar None
Thaat Bhairavee Jaati Sampoorna
Vaadi Pancham Samay Early morning
Saunvaadi Shadja Nyaas Gandhaar, Dhaivat

Pakad 9sfmpapmf,ses
ccccc c
Aaroha sefmpab` Avaroha `bapmfes

Characteristics of Raag:
1. This a ‘janak’ or parent or ‘aashray’ (shelter) raag of Bhairavee thaat.
According to the theory or rules of raag, Bhairavee has efab komal. Shoddha Rishabh and teevra Madhyam are
2.
sometimes used and sound very pleasant in this raag.
Even though this is a samporrna raag, in poorvaanga, bsfmp and fmes combinations are used.
3.
In uttraanga, fmabs swar cluster or combination is used.
4. Some scholars believe the vaadi-saunvaadi for Bhairavee is Madhyam - Shadja.
Music theory says the time for singing this raag is early morning (praataahkaal), however, in practice, this is considered to
5.
be an all time raag. These days, a standard custom has developed - to end each concert with a Bhairavee.
6. This raag has playful nature.
7. Vialmbit or slow khyaal do not suit this raag.
8. Usually, semiclassical compositions like Thumree, Daadraa, Tapaa, Horee are performed in Bhairavee.
9. This raag is considered to be suitable mainly for devotional compositions.
10. This raag is very popular in light music and film music fields.
Swar vistaar (Swar Expansion)
. . . .
1. s a a s, a b s e es, s e f m f e, f e s
f

.
2. b s f m p, f m f p, f m p a, p a b a p, a p f m e s
. | | | | |
3. b s f m p, f m p a a p, p a b s b s e s b s a p,f p m a p b a
b
pf m e s
. | | | | | | | | | | | | |

4. b s f m p, f m a b s, p a b s e f m e s b s b s b s e s, b s b a p, f m p a b a p, f m e s
c c c c
. | | | | | | | | | |
5. b s f m, s f m p, f m p a b a b s, s f, e f s e s, b s b a p, p s b a p, f p m f r s
 19
© Anjali Nandedkar, [Link]
Raaga Bhoopaalee
Introduction:
Swaras: All swar are shuddha (pure or basic) Thaat: Kalyaan
Vaadi: Gandhaar Saunvaadi: Dhaivat
Varjya swaras: Madhyam and Nishaad Jaati: Odav - Odav
Time: First prahar of night

grgp,grs0s
Pakad

Aaroha sgrgp`d`

Avaroha ``dppgr,s0s0s

Characteristics of the raaga:

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

Raaga elaboration and expansion (Vistaar):

. . . . .
1 s sdsd s, d s r, s r s s s
d sd s
c c c c
. . .
2 d s grgr g, g r p g, g p d p g r, d,d, s
c c c c
. | | | | | |

3 d s r g, s r g I, g p s
d sd, p g r, g p sdsd s, sd d, p gr,
| . .
gp d s d p g r, g r, p g, d p g r, d d s
c c c
| | | | | | | | | | | . .
4 sr g r g p g p d s
d s, d s r, s r g r, d sds,s d p g r, d ds

| | | | | | | | | | | | . .
5 s s d p g r, g p sdsd s, d s r g r, g r d s, s d p gr,g r p g,dpgr,dds
c c c c c c
 20
© Anjali Nandedkar, [Link]
Raaga Yaman (Kalyaan)
Introduction:
Swara: Madhyam is Teevra, All other swar are shuddha Thaat: Kalyaan
Vaadi: Gandhaar Saunvaadi: Nishaad
Varjya swaras: Pancham in aaroha Jaati: Sampoorna
Time: First prahar of night

8r8g,r,pkg,prgr,8rs
Pakad
8rgkdn`
Aaroha

Avaroha `ndpkgprs

Characteristics of the raaga:

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

Raaga elaboration and expansion (Vistaar):

. . . . . . . .
1 s n r s, s n d p, k, d n i d s

.
2 n r g, g r k g, r g k p r s
c c c
. .
3 n r g, r g k, r g, g g p, p k g r, n r s
. . . .
4 n r g k, d i p, g k, d n n d p, p k g, g r, k g, p r,n d n r s
d

. | |

5 n r g k, d n, k d k, n d p, g k d n i d s, s n d n dp,p k g k, r g,r g kprs

c c c c
| | | | | | | .
6 n r g r g k, g k d n s
n s, d n r g r s, s n d p, k d n d p k, g pr n r s
c c c c c c c
 21
© Anjali Nandedkar, [Link]

Taal : Information, Thekaa, Dugun, Tigun, Chougun:

Pnadit Bhatkhande and Pandit Paluskar Lipi

Praveshikaa Pratham Exam (Information and Thekaa only – Oral exam)

Daadraa, Keharvaa, Teentaal, Ektaal, Jhaptaal, Choutaal (Chaartaal)

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

Madhyamaa Pratham Exam:

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

Madhyamaa Poorna Exam:

1. Say and show Dugun of Roopak, Deepchandi, Choutaal
2. Ability to say 2 into 3 OR 3 into 2 with help of numbers, or, convert any one taal into other taal.
Information, and identify when a taal is playing on Tablaa.
Learn to say and show Dugun, Tigun, Chougun for all Taal from previous years.
 22
© Anjali Nandedkar, [Link]
Praveshikaa Pratham
Taal Daadraa: Dhaa Dhee Naa Dhaa Tee Naa Taal Kervaa: Dhaa Ge Naa Tee Na Ka Dhi Na
Maatraa (Beats): 6, Vibhaag or Khanda (sections) : 2 (3,3) Maatraa (Beats): 8, Khanda (sections) : 2 (4, 4)
Taalee: 1 (on 1st beat or Maatraa) Taalee: 1 (on 1st beat or Maatraa)
Khaalee or Kaal: 1 (on 4th Beat or Maatraa) Khaalee or Kaal: 1 (on 5th Beat or Maatraa)
Taal Teentaal Taal Ektaal
Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa
Maatraa (Beats): 16, Vibhaag or Khanda (sections) : 4 (4, 4, 4, 4) Maatraa (Beats): 12
Taalee: 3 (on 1, 5, 13 beat or Maatraa) Vibhaag or Khanda (sections) : 6 (2, 2, 2, 2, 2, 2)
Khaalee or Kaal: 1 (on 9th Beat or Maatraa) Taalee: 4 (on 1, 5, 9, 11th beat or Maatraa)
Khaalee or Kaal: 2 (on 3rd and 7th Beat or Maatraa)
Taal Jhaptaal: Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Taal Choutaal – Chaartaal
Maatraa (Beats): 10, Vibhaag or Khanda (sections) : 4 (2, 3, 2, 3) Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana

Taalee: 3 (on 1, 3, 8 beat or Maatraa) Maatraa (Beats): 12

Vibhaag or Khanda (sections) : 6 (2, 2, 2, 2, 2, 2)
Khaalee or Kaal: 1 (on 6th Beat or Maatraa)
Taalee: 4 (on 1, 5, 9, 11th beat or Maatraa)
Khaalee or Kaal: 2 (on 3rd and 7th Beat or Maatraa)

Praveshikaa Poorna

Taal Dhamaar Taal Roopak

Kat Dhi Ta Dhi Ta Dha I Ga Ti Ta Ti Ta Taa I Tee Tee Naa Dhi Naa Dhi Naa Tee

Maatraa (Beats): 14, Vibhaag or Khanda (sections) : 4 (5, 2, 3, 4) Maatraa (Beats): 7, Vibhaag or Khanda (sections) : 3 (3, 2, 2)
Taalee: 3 (on 1, 6, 11 beat or Maatraa) Taalee: 2 (on 4th and 6th beat or Maatraa)
Khaalee or Kaal: 1 (on 8th Beat or Maatraa) Khaalee or Kaal: 1 (on 1st Beat or Maatraa)

Madhyamaa Pratham

Taal Jhoomraa Taal Tilvaadaa

Dhin I Dhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin I Taa Tirakita Dhin Dhin DhaaGe Tirakita Dhaa Tirakita Dhin Dhin Dhaa Dhaa Tin Tin Taa Tirakita Dhin Dhin Dhaa Dhaa Dhin Dhin

Maatraa (Beats): 14, Vibhaag or Khanda (sections) : 4 (3, 4, 3, 4) Maatraa (Beats): 16, Vibhaag or Khanda (sections) : 4 (4, 4, 4, 4)
Taalee: 3 (on 1, 4, 11 beat or Maatraa) Taalee: 3 (on 1, 5, 13 beat or Maatraa)
Khaalee or Kaal: 1 (on 8th Beat or Maatraa) Khaalee or Kaal: 1 (on 9th Beat or Maatraa)
Taal Sooltaal
Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee
Maatraa (Beats): 10, Vibhaag or Khanda (sections) : 5 (2, 2, 2, 2,
2)
Taalee: 3 (on 1, 5, 7th beat or Maatraa)
Khaalee or Kaal: 2 (on 3rd and 9th Beat or Maatraa)

Madhyamaa Poorna

Taal Deepchandi Taal Aadaa Choutaal Maatraa (Beats): 14,

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

Maatraa (Beats): 7, Vibhaag or Khanda (sections) : 3 (3, 2, 2)

Taalee: 3 (on 1st, 4th and 6th beat or Maatraa)
 23
© Anjali Nandedkar, [Link]
Khaalee or Kaal: There is no khaalee

ताल दादरा Taal Daadraa

मात्रा : 6, वविाग (खंड) – 2 (3, 3), Maatraa (Beats): 6, Vibhaag or Khanda (sections) : 2 (3,3)
ताली : 1 (पहली मात्रापर), Taalee: 1 (on 1st beat or Maatraa)
खाली : 1 (िौथी मात्रापर) Khaalee or Kaal: 1 (on 4th Beat or Maatraa)

भातखंडे ताल – ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का धा चध ना धा ती ना धा

Thekaa Dhaa Dhee Naa Dhaa Tee Naa Dhaa

X O X

दग
ु ुन धा चध ना धा ती ना धा चध ना धा ती ना धा
DhaaDhi NaaDhaa TeeNaa DhaaDhi NaaDhaa TeeNaa Dhaa
Dugun
(Double X O X
speed)

Dugun – Single cycle

दग
ु ुन धा चध ना धा चध ना धा ती ना धा

Dugun Dhaa Dhee Naa DhaaDhi NaaDhaa TeeNaa Dhaa

(Double X O X
speed)

ततगन
ु धा चध ना धा ती ना धा चध ना धा ती ना धा चध ना धा ती ना धा
DhaaDhiNaa DhaaTeeNaa DhaaDhiNaa DhaaTeeNaa DhaaDhiNaa DhaaTeeNaa Dhaa
Tigun
(Triple X O X
speed)

Tigun – Single Cycle

ततगुन धा चध ना धा धा चध ना धा ती ना धा

Tigun Dhaa Dhee Naa Dhaa DhaaDhiNaa DhaaTeeNaa Dhaa

(Triple X O X
speed)

चौगुन धा चध ना धा ती ना धा चध ना धा ती ना धा चध ना धा ती ना धा चध ना धा ती ना धा
DhaaDhiNaaDhaa TeeNaaDhaaDhi NaaDhaaTeeNaa DhaaDhiNaaDhaa TeeNaaDhaaDhi NaaDhaaTeeNaa Dhaa
Chougun
(Quadruple X O X
speed)

Chougun – Single Cycle

चौगुन धा चध ना धा - - धा चध ना धा ती ना धा
Dhaa Dhee Naa Dhaa - - Dhaa Dhi NaaDhaaTeeNaa Dhaa
Chougun
(Quadruple X O X
speed)
 24
© Anjali Nandedkar, [Link]
पलुस्कर ताल – ललपी Pandit Paluskar Taal – Lipi (Taal script)

ठे का धा चध ना धा ती ना धा
Dhaa Dhi Naa Dhaa Tee Naa Dhaa
Thekaa z z z z z z Z
1 + 1

दग
ु ुन धा चध ना धा ती ना धा चध ना धा ती ना धा
DhaaDhi NaaDhaa TeeNaa DhaaDhi NaaDhaa TeeNaa Dhaa
Dugun Xx Xx Xx Xx Xx Xx z
1 + 1

Dugun – Single cycle

दग
ु न
ु धा चध ना धा चध ना धा ती ना धा
Dhaa Dhi Naa DhaaDhi NaaDhaa TeeNaa Dhaa
Dugun z z z Xx Xx Xx z
1 + 1

ततगुन धा चध ना धा ती ना धा चध ना धा ती ना धा चध ना धा ती ना धा
DhaaDhiNaa DhaaTeeNaa DhaaDhiNaa DhaaTeeNaa DhaaDhiNaa DhaaTeeNaa Dhaa
Tigun H h h H h h H h h H h h H h h H h h z
1 + 1

Tigun – Single cycle

ततगुन धा चध ना धा धा चध ना धा ती ना धा
Dhaa Dhi Naa Dhaa DhaaDhiNaa DhaaTeeNaa Dhaa
Tigun z z z z H h h H h h z
1 + 1

चौगन
ु धा चध ना धा ती ना धा चध ना धा ती ना धा चध ना धा ती ना धा चध ना धा ती ना धा
DhaaDhiNaaDhaa TeeNaaDhaaDhi NaaDhaaTeeNaa DhaaDhiNaaDhaa TeeNaaDhaaDhi NaaDhaaTeeNaa Dhaa
Chougun C c c c C c c c C c c c C c c c C c c c C c c c
1 + 1

Chougun – Single cycle

चौगुन धा चध ना धा - - धा चध ना धा ती ना धा
Dhaa Dhi Naa Dhaa - - Dhaa Dhi NaaDhaaTeeNaa Dhaa
Chougun
z z z z C c c c C c c c

1 + 1
 25
© Anjali Nandedkar, [Link]
Praveshikaa Pratham Exam

ताल केरवा Taal Kervaa

मात्रा : 8, वविाग (खंड) – 2 (4, 4), Maatraa (Beats): 8, Khanda (sections) : 2 (4, 4)
ताली : 1 (पहली मात्रापर), Taalee: 1 (on 1st beat or Maatraa)
खाली : 1 (पााँिवी मात्रापर) Khaalee or Kaal: 1 (on 5th Beat or Maatraa)

भातखंडे ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का धा गे ना ती न क चध न धा
Dhaa Ge Naa Tee Na Ka Dhi Na Dhaa
Thekaa X O X

दग
ु न
ु धागे नाती नक चधन धागे नाती नक चधन धा
Dugun Dhaa Ge Naa Tee Na Ka Dhi Na DhaaGe NaaTee NaKa DhiNa Dhaa
(Double X
Speed) X O

Dugun – Single cycle

दग
ु न
ु धा गे ना ती धागे नाती नक चधन धा
Dugun Dhaa Ge Naa Tee DhaaGe NaaTee NaKa DhiNa Dhaa
(Double X
Speed) X O

ततगुन धागेना तीनक चधनधा गेनाती नकचध नधागे नातीन कचधन धा

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

Tigun – Single cycle

ततगुन धा गे ना ती न - धा गे नातीन कचधन धा
Tigun Dhaa Ge Naa Tee Na - DhaaGe NaaTeeNa KaDhiNa Dhaa
(Triple
speed) X O X

चौगन
ु धागेनाती नकचधन धागेनाती नकचधन धागेनाती नकचधन धागेनाती नकचधन धा
Chougun DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa Dhaa
(Quadruple
speed) X O X

Chougun – Single cycle

चौगन
ु धा गे ना ती न क धागेनाती नकचधन धा
Chougun Dhaa Ge Naa Tee Na Ka DhaaGeNaaTee NaKaDhiNa Dhaa
(Quadruple
speed) X O X
 26
© Anjali Nandedkar, [Link]
पलस्
ु कर ललपी Pandit Paluskar Taal – Lipi (Taal script)

ठे का धा गे ना ती न क चध न धा
Dhaa Ge Naa Tee Na Ka Dhi Na Dhaa
Thekaa z z z z z z z z Z
1 + 1

दग
ु न
ु धागे नाती नक चधन धागे नाती नक चधन धा
DhaaGe NaaTee NaKa DhiNa DhaaGe NaaTee NaKa DhiNa Dhaa
Dugun Xx Xx xx Xx Xx Xx xx Xx z
(Double
speed) 1 + 1

Dugun – Single cycle

दग
ु ुन धा गे ना ती धागे नाती नक चधन धा
Dhaa Ge Naa Tee DhaaGe NaaTee NaKa DhiNa Dhaa
Dugun z z z z xx
Xx Xx Xx z
(Double
speed) 1 + 1

ततगन
ु धागेना तीनक चधनधा गेनाती नकचध नधागे नातीन कचधन धा
DhaaGeNaa TeeNaKa DhinNaDhaa GeNaaTee NaKaDhi NaDhaaGe NaaTeeNa KaDhiNa Dhaa
Tigun H h h H h h H h h H h h H h h H h h H h h H h h z

(Triple
1 + 1
speed)

Tigun – Single cycle

ततगुन धा गे ना ती न - धागे नातीन कचधन धा

Dhaa Ge Naa Tee Na - DhaaGe NaaTeeNa KaDhiNa Dhaa
Tigun z z z z z H h h H h h H h h z
(Triple
speed) 1 + 1

चौगुन धागेनाती नकचधन धागेनाती नकचधन धागेनाती नकचधन धागेनाती नकचधन धा

DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa Dhaa
Chougun C c c c C c cc C c c c C c c c C c c c C c c c C c c c C c c c z

(Quadruple
1 + 1
Speed)

Chougun – Single cycle

चौगुन धा गे ना ती न क धागेनाती नकचधन धा

Dhaa Ge Naa Tee Na Ka DhaaGeNaaTee NaKaDhiNa Dhaa
Chougun z z z z z z C c c c C c c c z
(Quadruple
Speed) 1 + 1
 27
© Anjali Nandedkar, [Link]
Praveshikaa Pratham Exam

ताल तीनताल Taal Teentaal

मात्रा : 16, वविाग (खंड) – 4 (4, 4, 4, 4), Maatraa (Beats): 16, Vibhaag or Khanda (sections) : 4 (4, 4, 4, 4)
ताली : 3 (1, 5, 13 मात्रा पर), Taalee: 3 (on 1, 5, 13 beat or Maatraa)
खाली : 1 (9 वी मात्रा पर) Khaalee or Kaal: 1 (on 9th Beat or Maatraa)

भातखंडे ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का धा चधं चधं धा धा चधं चधं धा

Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa
Thekaa X 2

धा ततं ततं ता ता चधं चधं धा धा

Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa Dhaa
O 3 X

दग
ु ुन धाचधं चधंधा धाचधं चधंधा धाततं ततंता ताचधं चधंधा
DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa
Dugun
(Double X 2
speed)
धाचधं चधंधा धाचधं चधंधा धाततं ततंता ताचधं चधंधा धा
DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa Dhaa

O 3 X

Dugun – Single cycle

दग
ु ुन धा चधं चधं धा धा चधं चधं धा
Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa
Dugun
(Double X 2
speed)
धाचधं चधंधा धाचधं चधंधा धाततं ततंता ताचधं चधंधा धा
DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa Dhaa

O 3 X

ततगन
ु धाचधंचधं धाधाचधं चधंधाधा ततंततंता ताचधंचधं धाधाचधं चधंधाधा चधंचधंधा
DhaaDhinDhin DhaaDhaaDhin DhinDhaaDhaa TinTinTaa TaaDhinDhin DhaaDhaaDhin DhinDhaaDhaa DhinDhinDhaa
Tigun 2
X

धाततंततं ताताचधं चधंधाधा चधंचधंधा धाचधंचधं धाधाततं ततंताता चधंचधंधा धा

DhaaTinTin TaaTaaDhin DhinDhaaDhaa DhinDhinDhaa DhaaDhinDhin DhaaDhaaTin TinTaaTaa DhinDhinDhaa Dhaa
O 3 X

Tigun – Single cycle

ततगुन धा चधं चधं धा धा चधं चधं धा

Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa
Tigun
X 2

धा ततं - - धा चधंचधंधा धाचधंचधं धाधाततं ततंताता चधंचधंधा धा

Dhaa Tin - - Dhaa DhinDhinDhaa DhaaDhinDhin DhaaDhaaTin TinTaaTaa DhinDhinDhaa Dhaa
O 3 X
 28
© Anjali Nandedkar, [Link]

चौगन
ु धाचधंचधंधा धाचधंचधंधा धाततंततंता ताचधंचधंधा धाचधंचधंधा धाचधंचधंधा धाततंततंता ताचधंचधंधा
DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa
Chougun
X 2

धाचधंचधंधा धाचधंचधंधा धाततंततंता ताचधंचधंधा धाचधंचधंधा धाचधंचधंधा धाततंततंता ताचधंचधंधा धा

DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa Dhaa
O 3
Chougun – Single cycle
चौगुन धा चधं चधं धा धा चधं चधं धा
Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa
Chougun
X 2

धा ततं ततं ता धाचधंचधंधा धाचधंचधंधा धाततंततंता ताचधंचधंधा धा

Dhaa Tin Tin Taa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa Dhaa
O 3

Praveshikaa Pratham Exam

ताल तीनताल : पलस्

ु कर ललपी Taal Teentaal : Pandit Paluskar Taal – Lipi (Taal script)
ठे का धा चधं चधं धा धा चधं चधं धा
Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa
Thekaa z z
z z z z z z
1 5

धा ततं ततं ता ता चधं चधं धा धा

Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa Dhaa
z z z z z z z z Z
+ 13 1

दग
ु ुन धाचधं चधंधा धाचधं चधंधा धाततं ततंता ताचधं चधंधा
DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa
Dugun Xx Xx xx Xx Xx Xx xx Xx
(Double 1 5
speed)
धाचधं चधंधा धाचधं चधंधा धाततं ततंता ताचधं चधंधा धा
DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa Dhaa
Xx Xx xx Xx Xx Xx xx Xx z
+ 13 1

Dugun – Single cycle

दग
ु ुन धा चधं चधं धा धा चधं चधं धा
Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa
Dugun z z z z z z z z
(Double 1 5
speed)
धाचधं चधंधा धाचधं चधंधा धाततं ततंता ताचधं चधंधा धा
DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa Dhaa
Xx Xx xx Xx Xx Xx xx Xx z
+ 13 1
 29
© Anjali Nandedkar, [Link]

ततगुन धाचधंचधं धाधाचधं चधंधाधा ततंततंता ताचधंचधं धाधाचधं चधंधाधा चधंचधंधा

DhaaDhinDhin DhaaDhaaDhin DhinDhaaDhaa TinTinTaa TaaDhinDhin DhaaDhaaDhin DhinDhaaDhaa DhinDhinDhaa
Tigun H h h H h h H h h H h h H h h H h h H h h H h h
(Triple 1 5
speed)
धाततंततं ताताचधं चधंधाधा चधंचधंधा धाचधंचधं धाधाततं ततंताता चधंचधंधा धा
DhaaTinTin TaaTaaDhin DhinDhaaDhaa DhinDhinDhaa DhaaDhinDhin DhaaDhaaTin TinTaaTaa DhinDhinDhaa Dhaa
H h h H h h H h h H h h H h h H h h H h h H h h z
+ 13 1

Tigun – Single cycle

ततगुन धा चधं चधं धा धा चधं चधं धा

Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa
Tigun z z z z z z z z
(Triple
speed) 1 5

धा ततं- - - धा चधंचधंधा धाचधंचधं धाधाततं ततंताता चधंचधंधा धा

Dhaa Tin - - Dhaa DhinDhinDhaa DhaaDhinDhin DhaaDhaaTin TinTaaTaa DhinDhinDhaa Dhaa
z z H h h H h h H h h H h h H h h H h h z

+ 13 1

चौगुन धा चधं चधं धा धा चधं चधं धा धा ततं ततं ता ता चधं चधं धा धा चधं चधं धा धा चधं चधं धा धा ततं ततं ता ता चधं चधं धा
DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa
Chougun C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c

(Quadruple 1 5
speed)
धा चधं चधं धा धा चधं चधं धा धा ततं ततं ता ता चधं चधं धा धा चधं चधं धा धा चधं चधं धा धा ततं ततं ता ता चधं चधं धा धा
DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa Dhaa
C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c z
+ 13 1

Chougun – Single cycle

चौगन
ु धा चधं चधं धा धा चधं चधं धा
Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa
Chougun z z z z z z z z
(Quadruple 1 5
speed)
धा ततं ततं ता धा चधं चधं धा धा चधं चधं धा धा ततं ततं ता ता चधं चधं धा धा
Dhaa Tin Tin Taa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa Dhaa
z z z z C c c c C c c c C c c c C c c c z

+ 13 1
 30
© Anjali Nandedkar, [Link]

Praveshikaa Pratham Exam

ताल एकताल Taal Ektaal
मात्रा : 12, Maatraa (Beats): 12
वविाग (खंड) – 6 (2, 2, 2, 2, 2, 2), Vibhaag or Khanda (sections) : 6 (2, 2, 2, 2, 2, 2)
ताली : 4 (1, 5, 9, 11 वी मात्रा पर), Taalee: 4 (on 1, 5, 9, 11th beat or Maatraa)
खाली : 2 (3 तथा 7 वी मात्रा पर) Khaalee or Kaal: 2 (on 3rd and 7th Beat or Maatraa)

भातखंडे ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का चधं चधं धागे ततरककट तू ना

Dhin Dhin DhaaGe Tirakita Too Naa
Thekaa X O 2

कत ् ता धागे ततरककट धी ना चधं

Kat Taa DhaaGe Tirakita Dhee Naa Dhin
O 3 4 X

दग
ु ुन चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa
Dugun
(Double X O 2
speed)
चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना चधं
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin

O 3 4 X
Dugun – Single cycle

दग
ु ुन चधं चधं धागे ततरककट तू ना
Dhin Dhin DhaaGe Tirakita Too Naa
Dugun
(Double X O 2
speed)
चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना चधं
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin

O 3 4 X

ततगन
ु चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना चधं चधं धागे ततरककट तू ना
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa
Tigun
X O 2

कत ् ता धागे ततरककट धी ना चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना चधं

Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin

O 3 4 X

Tigun – Single cycle

ततगन
ु चधं चधं धागे ततरककट तू ना
Dhin Dhin DhaaGe Tirakita Too Naa
Tigun
X O 2

कत ् ता चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना चधं

Kat Taa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin

O 3 4 X
 31
© Anjali Nandedkar, [Link]

चौगुन चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa
Chougun
X O 2

चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना चधं
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa

O 3 4 X

Chougun – Single cycle

चौगन
ु चधं चधं धागे ततरककट तू ना
Dhin Dhin DhaaGe Tirakita Too Naa
Chougun
X O 2

कत ् ता धागे चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना चधं

Kat Taa DhaaGe Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa

O 3 4 X

Praveshikaa Pratham Exam

ताल एकताल : पलस्

ु कर ललपी Taal Ektaal : Pandit Paluskar Taal – Lipi (Taal script)
ठे का चधं चधं धागे ततरककट तू ना
Dhin Dhin DhaaGe Tirakita Too Naa
Thekaa z z X x cccc z z
1 + 5

कत ् ता धागे ततरककट धी ना चधं

Kat Taa DhaaGe Tirakita Dhee Naa Dhin
z z X x cccc z z Z
+ 9 11 1

दग
ु ुन चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa
Dugun X x C c vvvv X x Xx C c vvvv Xx
(Double 1 + 5
speed)
चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना चधं
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
X x C c vvvv X x Xx C c vvvv Xx z
+ 9 11 1

Dugun – Single cycle

दग
ु ुन चधं चधं धागे ततरककट तू ना
Dhin Dhin DhaaGe Tirakita Too Naa
Dugun z z X x cccc z z
(Double 1 + 5
speed)
चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना चधं
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
X x C c vvvv X x Xx C c vvvv Xx z
+ 9 11 1
 32
© Anjali Nandedkar, [Link]

ततगुन चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना चधं चधं धागे ततरककट तू ना
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa
Tigun H h j j llll h h H h j j llll h h H h j j llll h h
(Triple 1 + 5
speed)
कत ् ता धागे ततरककट धी ना चधं चधं धा गे ततरककट तू ना कत ् ता धागे ततरककट धी ना चधं
Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
H h j j llll h h H h j j llll h h H h j j llll h h z
+ 9 11 1

Tigun – Single cycle

ततगुन चधं चधं धागे ततरककट तू ना

Dhin Dhin DhaaGe Tirakita Too Naa
Tigun z z X x cccc z z
(Triple
speed) 1 + 5

कत ् ता चधं चधं धा गे ततरककट तू ना कत ् ता धागे ततरककट धी ना चधं

Kat Taa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
z z H h j j llll h h H h j j llll h h
z
+ 9 11 1

चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना
चौगन
ु
Dhin Dhin DhaaGe Tirakita
C c v v yyyy
Too Naa Kat Taa
C c c c
DhaaGe Tirakita Dhee Naa
v v yyyy c c
Dhin Dhin DhaaGe Tirakita
C c v v yyyy
Too Naa Kat Taa
C c c c
DhaaGe Tirakita Dhee Naa
v v yyyy c c

Chougun 1 + 5
(Quadruple
speed) चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना चधं
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
C c v v yyyy C c c c v v yyyy c c C c v v yyyy C c c c v v yyyy c c z
+ 9 11 1

Chougun – Single cycle

चधं चधं धागे ततरककट तू ना

चौगुन Dhin Dhin DhaaGe Tirakita Too Naa
z z X x cccc z z
Chougun 1 + 5
(Quadruple
speed) कत ् ता धागे चधं चधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना चधं
Kat Taa DhaaGe Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
z z X x C c v v yyyy C c c c v v yyyy c c z
+ 9 11 1
 33
© Anjali Nandedkar, [Link]

Praveshikaa Pratham Exam

ताल झपताल Taal Jhaptaal
मात्रा : 10, वविाग (खंड) – 4 (2, 3, 2, 3), Maatraa (Beats): 10, Vibhaag or Khanda (sections) : 4 (2, 3, 2, 3)
ताली : 3 (1, 3, 8 वी मात्रा पर), Taalee: 3 (on 1, 3, 8 beat or Maatraa)
खाली : 1 (6 वी मात्रा पर) Khaalee or Kaal: 1 (on 6th Beat or Maatraa)

भातखंडे ताल – ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का चध ना चध चध ना तत ना चध चध ना चध
Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Thekaa X 2 O 3 X

दग
ु ुन चध ना चध चध ना तत ना चध चध ना चध ना चध चध ना तत ना चध चध ना चध
Dugun Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
(Double
speed) X 2 O 3 X

Dugun – Single cycle

दग
ु ुन चध ना चध चध ना चध ना चध चध ना तत ना चध चध ना चध
Dugun Dhi Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
(Double
speed) X 2 O 3 X

ततगन
ु चध ना चध चध ना तत ना चध चध ना चध ना चध चध ना तत ना चध चध ना चध ना चध चध ना तत ना चध चध ना चध
Tigun Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
(Triple
speed)
X 2 O 3 X

Tigun – Single cycle

ततगुन चध ना चध चध ना तत - - चध ना चध चध ना तत ना चध चध ना चध
Tigun Dhi Naa Dhi Dhi Naa Ti - - Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
(Triple
speed)
X 2 O 3 X

चौगुन चध ना चध चध ना तत ना चध चध ना चध ना चध चध ना तत ना चध चध ना चध ना चध चध ना तत ना चध चध ना चध ना चध चध ना तत ना चध चध ना चध
Chougun Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
(Quadruple
speed) X 2 O 3 X

Chougun – Single cycle

चौगन
ु चध ना चध चध ना तत ना - - चध ना चध चध ना तत ना चध चध ना चध
Chougun Dhi Naa Dhi Dhi Naa Ti Naa - - Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
(Quadruple
speed) X 2 O 3 X
 34
© Anjali Nandedkar, [Link]
ताल झपताल : पलुस्कर ताल – ललपी Taal: Jhaptaal : Pandit Paluskar Taal – Lipi (Taal script)

ठे का चध ना चध चध ना तत ना चध चध ना चध
Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Thekaa z z z z z z z z z z Z
1 3 + 8 1

दग
ु ुन चध ना चध चध ना तत ना चध चध ना चध ना चध चध ना तत ना चध चध ना चध
Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Dugun Xx Xx Xx Xx Xx Xx Xx Xx Xx Xx z
1 3 + 8 1

Dugun – Single cycle

दग
ु ुन चध ना चध चध ना चध ना चध चध ना तत ना चध चध ना चध
Dhi Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Dugun z z z z z Xx Xx Xx Xx Xx z
1 3 + 8 1

ततगुन चध ना चध चध ना तत ना चध चध ना चध ना चध चध ना तत ना चध चध ना चध ना चध चध ना तत ना चध चध ना चध
Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Tigun H h h H h h H h h H h h H h h H h h H h h H h h H h h H h h z
1 3 + 8 1

Tigun – Single cycle

ततगुन चध ना चध चध ना तत - - चध ना चध चध ना तत ना चध चध ना चध
Dhi Naa Dhi Dhi Naa Ti - - Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Tigun z z z z z z H h h H h h H h h H h h z
1 3 + 8 1

चौगुन चध ना चध चध ना तत ना चध चध ना चध ना चध चध ना तत ना चध चध ना चध ना चध चध ना तत ना चध चध ना चध ना चध चध ना तत ना चध चध ना चध
Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa DhiNaa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Chougun C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c
1 3 + 8 1

Chougun – Single cycle

चौगन
ु चध ना चध चध ना तत ना - - चध ना चध चध ना तत ना चध चध ना चध
Dhi Naa Dhi Dhi Naa Ti Naa - - DhiNaa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Chougun z z z z z z z C c c c C c c c C c c c

1 3 + 8 1
 35
© Anjali Nandedkar, [Link]
Praveshikaa Pratham Exam
ताल चौताल चारताल Taal Choutaal – Chaartaal
मात्रा : 12, Maatraa (Beats): 12
वविाग (खंड) – 6 (2, 2, 2, 2, 2, 2), Vibhaag or Khanda (sections) : 6 (2, 2, 2, 2, 2, 2)
ताली : 4 (1, 5, 9, 11 वी मात्रा पर), Taalee: 4 (on 1, 5, 9, 11th beat or Maatraa)
खाली : 2 (3 तथा 7 वी मात्रा पर) Khaalee or Kaal: 2 (on 3rd and 7th Beat or Maatraa)

भातखंडे ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का धा धा द ं ता ककट धा
Dhaa Dhaa Din Taa Kita Dhaa
Thekaa
X O 2

द ं ता ककट तक गद गन धा
Din Taa Kita Tak Gadi Gana Dhaa

O 3 4 X

दग
ु ुन धा धा द ं ता ककट धा द ं ता ककट तक गद गन
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Tak Gadi Gana
Dugun
(Double X O 2
speed)
धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Tak Gadi Gana Dhaa

O 3 4 X
Dugun – Single cycle

दग
ु न
ु धा धा द ं ता ककट धा
Dhaa Dhaa Din Taa Kita Dhaa
Dugun
(Double X O 2
speed)
धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Tak Gadi Gana Dhaa

O 3 4 X

ततगुन धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा धा द ं ता ककट धा

Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa
Tigun
X O 2

द ं ता ककट तक गद गन धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा

Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa

O 3 4 X

Tigun – Single cycle

ततगुन धा धा द ं ता ककट धा
Dhaa Dhaa Din Taa Kita Dhaa
Tigun

द ं ता धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा
Din Taa Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa

O 3 4 X
 36
© Anjali Nandedkar, [Link]

चौगुन धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा धा द ं ता ककट धा द ं ता ककट तक गद गन

Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana
Chougun
X O 2

धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा

Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa

O 3 4 X

Chougun – Single cycle

चौगुन धा धा द ं ता ककट धा
Dhaa Dhaa Din Taa Kita Dhaa
Chougun
X O 2

द ं ता ककट धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा

Din Taa Kita Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa

O 3 4 X

Praveshikaa Pratham Exam

ताल चौताल : पलस्
ु कर ललपी Taal: Choutaal : Pandit Paluskar Taal – Lipi (Taal script)
ठे का धा धा द ं ता ककट धा
Dhaa Dhaa Din Taa Ki ta Dhaa
Thekaa z z z z xx z
1 + 5

द ं ता ककट तक गद गन धा
Din Taa Kita Taka Gadi Gana Dhaa
z z Xx xx Xx xx Z
+ 9 11 1

दग
ु ुन धा धा द ं ता ककट धा द ं ता ककट तक गद गन
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana
Dugun X x X x cc x X x Cc cc cc cc
(Double 1 + 5
speed)
1 धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
X x X x cc x X x Cc cc cc cc z
+ 9 11 1

Dugun – Single cycle

दग
ु ुन धा धा द ं ता ककट धा
Dhaa Dhaa Din Taa Ki ta Dhaa
Dugun z z z z xx z
(Double 1 + 5
speed)
2 धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
X x X x cc x X x Cc cc cc cc z
+ 9 11 1
 37
© Anjali Nandedkar, [Link]

ततगुन धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा धा द ं ता ककट धा

Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Tak Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa
Tigun H h h H jj h H h jj Jj jj jj H h h H jj h
(Triple 1 + 5
speed)
द ं ता ककट तक गद गन धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा
Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
H h jj Jj jj jj H h h H jj h H h jj Jj jj jj z
+ 9 11 1

Tigun – Single cycle

ततगुन धा धा द ं ता ककट धा
Dhaa Dhaa Din Taa Ki ta Dhaa
Tigun z z z z xx z
(Triple 1 + 5
speed)
द ं ता धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा
Din Taa Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
z z H h h H jj h H h jj Jj jj jj z
+ 9 11 1

धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा धा द ं ता ककट धा द ं ता ककट तक गद गन

चौगुन Dhaa Dhaa Din Taa
C c c c
Kita Dhaa Din Taa
Vv c c c
Kita
vv
Taka
vv
Gadi
vv
Gana
vv
Dhaa Dhaa Din Taa
C c c c
Kita Dhaa Din Taa
Vv c c c
Kita
vv
Taka Gadi
vv vv
Gana
vv

Chougun 1 + 5
(Quadruple
speed) धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
C c c c Vv c c c vv vv vv vv C c c c Vv c c c vv vv vv vv z
+ 9 11 1

Chougun – Single cycle

धा धा द ं ता ककट धा
चौगुन Dhaa
z
Dhaa
z
Din
z
Taa
z
Ki ta
xx
Dhaa
z
Chougun 1 + 5
(Quadruple
speed) द ं ता ककट धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा
Din Taa Kita Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
z z Xx C c c c Vv c c c vv vv vv vv z
+ 9 11 1
 38
© Anjali Nandedkar, [Link]

Praveshikaa Poorna Exam

ताल धमार Taal Dhamaar
मात्रा : 14, वविाग (खंड) – 4 (5, 2, 3, 4), Maatraa (Beats): 14, Vibhaag or Khanda (sections) : 4 (5, 2, 3, 4)
ताली : 3 (1, 6, 11 मात्रा पर), Taalee: 3 (on 1, 6, 11 beat or Maatraa)
खाली : 1 (8 वी मात्रा पर) Khaalee or Kaal: 1 (on 8th Beat or Maatraa)

भातखंडे ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का कत ् चध ट चध ट धा i
Kat Dhi Ta Dhi Ta Dhaa i
Thekaa
X 2

ग तत ट तत ट ता i कत ्
Ga Ti Ta Ti Ta Taa i Kat

O 3 X

दग
ु ुन कत ् चध ट चध ट धा Iग तत ट तत ट ता i
Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa i
Dugun
(Double X 2
speed)
1 कत ् चध ट चध ट धा Iग तत ट तत ट ता i कत ्
Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa i Kat

O 3 X

Dugun – Single cycle

दग
ु ुन कत ् चध ट चध ट धा i
Kat Dhi Ta Dhi Ta Dhaa i
Dugun
(Double X 2
speed)
कत ् चध ट चध ट धा Iग तत ट तत ट ता i कत ्
2
Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa i Kat

O 3 X

ततगुन कत ् चध ट चध ट धा I ग तत ट तत ट ता I कत ् चध ट चध ट धा I
Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I kat Dhi Ta Dhi Ta Dha I
Tigun
X 2
1
ग तत ट तत ट ता I कत ् चध ट चध ट धा I ग तत ट तत ट ता i कत ्
Ga Ti Ta Ti Ta Taa I Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa I Kat

O 3 X

Tigun – Single cycle

ततगन
ु कत ् चध ट चध ट धा i
Kat Dhi Ta Dhi Ta Dhaa i
Tigun
X 2
2
ग तत - कत ् चध ट चध ट धा I ग तत ट तत ट ता i कत ्
Ga Ti
- Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa I Kat

O 3 X
 39
© Anjali Nandedkar, [Link]

चौगुन कत ् चध ट चध ट धा I ग तत ट तत ट ता I कत ् चध ट चध ट धा I ग तत ट तत ट ता I
Kat Dhi Ta Dhi Ta Dha I Ga Ti Ta Ti Ta Taa I Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I
Chougun
X 2
1
कत ् चध ट चध ट धा I ग तत ट तत ट ता I कत ् चध ट चध ट धा I ग तत ट तत ट ता I कत ्
Kat Dhi Ta Dhi Ta Dha I Ga Ti Ta Ti Ta Taa I Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I

O 3 X

Chougun – Single cycle

चौगुन कत ् चध ट चध ट धा i
Kat Dhi Ta Dhi Ta Dhaa i
Chougun
X 2
2
ग तत ट - - कत ् चध ट चध ट धा I ग तत ट तत ट ता I कत ्
Ga Ti Ta
- - Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I

O 3 X

Praveshikaa Poorna Exam

ताल धमार : पलस्

ु कर ललपी Taal : Dhamaar: Pandit Paluskar Taal – Lipi (Taal script)
ठे का कत ् चध ट चध ट धा i
Kat Dhi Ta Dhi Ta Dhaa i
Thekaa z z
z z z z z
1 6

ग तत ट तत ट ता i कत ्
Ga Ti Ta Ti Ta Taa i Kat
z z z z z z z Z
+ 11 1

दग
ु न
ु कत ् चध ट चध ट धा i
Kat Dhi Ta Dhi Ta Dhaa i
Dugun z z z z z z z
(Double
speed) 1 6

1 कत ् चध ट चध ट धा Iग तत ट तत ट ता i कत ्
Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa i Kat
Xx Xx xx Xx Xx xx Xx z
+ 11 1
Dugun – Single cycle

दग
ु न
ु कत ् चध ट चध ट धा Iग तत ट तत ट ता i
Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa i
Dugun
Xx Xx xx Xx Xx xx Xx
(Double
speed) 1 6
2 कत ् चध ट चध ट धा Iग तत ट तत ट ता i कत ्
Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa i Kat
Xx Xx xx Xx Xx xx Xx z
+ 11 1
 40
© Anjali Nandedkar, [Link]
ततगुन कत ् चध ट चध ट धा I ग तत ट तत ट ता I कत ् चध ट चध ट धा I
Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I kat Dhi Ta Dhi Ta Dha I
Tigun H h h H h h H h h H h h H h h H h h H h h
(Triple 1 6
speed)
1 ग तत ट तत ट ता I कत ् चध ट चध ट धा I ग तत ट तत ट ता i कत ्
Ga Ti Ta Ti Ta Taa I Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa I Kat
H h h H h h H h h H h h H h h H h h H h h z
+ 11 1

Tigun – Single cycle

ततगुन कत ् चध ट चध ट धा i
Kat Dhi Ta Dhi Ta Dhaa i
Tigun z z z z z z z
(Triple
speed) 1 6

2 ग तत I कत ् चध ट चध ट धा I ग तत ट तत ट ता i कत ्
Ga Ti I Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa I Kat
z z H h h H h h H h h H h h H h h z

+ 11 1

कत ् चध ट चध ट धा I ग तत ट तत ट ता I कत ् चध ट चध ट धा I ग तत ट तत ट ता I
चौगुन Kat Dhi Ta Dhi Ta Dha I Ga Ti Ta Ti Ta Taa I Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I
C c c c C c c c C c c c C c c c C c c c C c c c C c c c

Chougun 1 6
(Quadruple
speed) कत ् चध ट चध ट धा I ग तत ट तत ट ता I कत ् चध ट चध ट धा I ग तत ट तत ट ता I कत ्
Ta Dha I Ga Taa I Kat Dhi I Ga Ti Ta Ti Ta Taa I
1 Kat Dhi Ta Dhi
C c c c C c c c
Ti Ta Ti Ta
C c c c C c c c
Ta Dhi Ta Dhaa
C c c c C c c c C c c c
Kat
z
+ 11 1

Chougun – Single cycle

कत ् चध ट चध ट धा i
Kat Dhi Ta Dhi Ta Dhaa i

चौगुन z z z z z z z
1 6
Chougun
(Quadruple
speed) ग तत ट - - कत ् चध ट चध ट धा I ग तत ट तत ट ता I कत ्
Ga Ti Ta
2 - - Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I Kat

z z z C c c c C c c c C c c c C c c c z

+ 11 1
 41
© Anjali Nandedkar, [Link]

Praveshikaa Poorna Exam

ताल रूपक Taal Roopak

मात्रा : 7, वविाग (खंड) – 3 (3, 2, 2), Maatraa (Beats): 7, Vibhaag or Khanda (sections) : 3 (3, 2, 2)
ताली : 2 (4, 6 वी मात्रा पर), Taalee: 2 (on 4th and 6th beat or Maatraa)
खाली : 1 (1 ली मात्रा पर) Khaalee or Kaal: 1 (on 1st Beat or Maatraa)

भातखंडे ताल – ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का ती ती ना चध ना चध ना ती
Tee Tee Naa Dhi Naa Dhi Naa Tee
Thekaa
1 2

दग
ु ुन ती ती ना चध ना चध ना ती ती ना चध ना चध ना ती
Dugun Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee
(Double
speed) 1 2

Dugun – Single cycle

दग
ु ुन ती ती ना - ती ती ना चध ना चध ना ती
Dugun Dhi Naa
Tee Tee Naa - Tee Tee Naa Dhi Naa Tee
(Double
speed) 1 2

ततगुन ती ती ना चध ना चध ना ती ती ना चध ना चध ना ती ती ना चध ना चध ना ती
Tigun Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee
(Triple speed) 1 2

Tigun – Single cycle

ततगन
ु ती ती ना चध - - ती ती ना चध ना चध ना ती
Tigun
(Triple speed)
Tee Tee Naa Dhi - - Tee Tee Naa Dhi Naa Dhi Naa Tee

1 2

चौगुन ती ती ना चध ना चध ना ती ती ना चध ना चध ना ती ती ना चध ना चध ना ती ती ना चध ना चध ना ती
Chougun Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee
(Quadruple
speed) 1 2

Chougun – Single cycle

चौगन
ु ती ती ना चध ना - ती ती ना चध ना चध ना ती
Chougun
(Quadruple
Tee Tee Naa Dhi Naa - Tee Tee Naa Dhi Naa Dhi Naa Tee
speed)
1 2
 42
© Anjali Nandedkar, [Link]
ताल रूपक : पलुस्कर ताल – ललपी Taal Roopak : Pandit Paluskar Taal – Lipi (Taal script)

ठे का ती ती ना चध ना चध ना ती
Tee Tee Naa Dhi Naa Dhi Naa Tee
Thekaa z z z z z z z Z
+ 4 6 +

दग
ु ुन ती ती ना चध ना चध ना ती ती ना चध ना चध ना ती
Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee
Dugun Xx Xx Xx Xx Xx Xx Xx Z
+ 4 6 +

Dugun – Single cycle

दग
ु ुन ती ती ना - ती ती ना चध ना चध ना ती
Dugun Tee Tee Naa - Tee Tee Naa Dhi Naa Dhi Naa Tee

z z z Xx Xx Xx Xx Z
+ 4 6 +

ततगन
ु ती ती ना चध ना चध ना ती ती ना चध ना चध ना ती ती ना चध ना चध ना ती
Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Dhi Tee Naa Dhi Naa Dhi Naa Tee
Tigun H h h H h h H h h H h h H h h H h h H h h z
+ 4 6 +

Tigun – Single cycle

ततगुन ती ती ना चध - - ती ती ना चध ना चध ना ती
Tigun Tee Tee Naa Dhi - - Tee Tee Naa Dhi Naa Dhi Naa Tee

z z z z H h h H h h H h h z
+ 4 6 +

चौगुन ती ती ना चध ना चध ना ती ती ना चध ना चध ना ती ती ना चध ना चध ना ती ती ना चध ना चध ना ती
Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee
Chougun C c c c C c c c C c c c C c c c C c c c C c c c C c c c
+ 4 6 +

Chougun – Single cycle

चौगन
ु ती ती ना चध ना - ती ती ना चध ना चध ना ती
Tee Tee Naa Dhi Naa - Tee Tee Naa Dhi Naa Dhi Naa Tee
Chougun z z z z z C c c c C c c c

+ 4 6 +
 43
© Anjali Nandedkar, [Link]

Biographies

1. Biography of Gaayanaacharya Pandit Vishnu Digambar Paluskar ji

Pandit Vishnu Digambar ji was born on 18th August, 1872 in a town called Kurundwad in a state of Maharashtra in
India. Kurundwad was a small kingdom and Shreemant Daajeesaahab Patwardhan was its king. Pandit Vishnu Digambar ji’s
father Shree Digambar Paluskar was a favorite Keertan kaar (skilled story teller, lecturer and entertainer who performs using
wit, music and instruments) in Shreemant (this was the title of kings in Maharashtra) Daajeesaahab’s court. Hence Paluskar
family was sheltered and supported by the king. Young Vishnu was growing up along with Daajeesaahab’s son, prince
Naanaasaahab. Young Vishnu was known to be a brilliant student in his school. But, in the year 1887, at the celebration of
birth day of Lord Datta, poisonous gas from the fireworks damaged young Vishnu’s eyes and left him almost blind.
It is a quirk of destiny that this mishap was a great blessing to the music world. Young Vishnu was brought to town of
Miraj for treatment but the doctors advised that regular schooling was now not feasible for him. In Miraj kingdom, Gwalior
gharana style expert, Maharshi (great sage) Pandit (expert, scholar) Balkrishnabua Ichalkaranjikar was the court musician /
vocalist. The keertankaar father left his son with Pandit Balkrishnabua Ichalkaranjikar to learn music. According to the
instruction of king of Miraj kingdom, Sir Gangaadharrao or Baalaasaaheb Mirajkar, Pandit Balkrishnabua Ichalkaranjikar
started teaching music to young Vishnu. For nine years there was regimented study. Vishnu Digambar ji worked very hard to
transform his strong voice into musicianship worthy of Baalkrishnabua and learnt his taan pradhaan ‘gaayakee’ (singing style
full of powerful taans).
In those days, musicians were not respected in society. There were several reasons for it. The music was usually
performed and practiced in kings’ courts or in houses of ill repute (dance halls, homes of ladies of night etc.). Kings and
emperors used to organize music concerts for vocalists and instrumentalists, but everything depended on vims of kings and
his minions. Hence the music world was in a bit of chaos. Artists were kind of detached from general society and did not pay
much attention to their duty towards society. Accomplished artists were reluctant to teach new students. They were also
frequently forming bad habits like addictions to alcohol etc. Pandit Vishnu Digambar ji decided to salvage classical music
from such terrible conditions.
In 1896 he accepted this challenge and set off from Miraj. Bringing divine music to ordinary people in society became
his biggest contribution to field of music.
He was a highly confident person and became a very successful vocalist. He performed in Baroda. The queen
Jamanaabai of Baroda wrote and gave him several recommendation letters to give to kings in Gujaraat, Kaathiyaavaad and
Rajasthaan. Hence he also performed in several other places. Some kings asked him to become a court appointed musician
/ vocalist in their kingdoms. However, Pandit ji was very focused on his quest. He declined these positions. His main
ambition was always to create conditions where ordinary people in society can easily learn classical music. For this, he
needed to settle down in one town. The destiny was such that favorable incidents took place. Near a town of Junaaghadh on
Girinaar parvat (mountain), there is a temple of lord ‘Dattatray’. Near Pandit Vishnu Digambar ji’s home town there is a place
called Narsobaavaadi which is Lord Dattatray’s temple domain and in his family Lord Dattatray was reverently worshipped.
Hence he went to Girinaar mountain to visit the Lord Datta temple. There he met a monk and the monk suddenly said to
Pandit Vishnu Digambar ji – “Go and live in the state of Panjaab. Start your work there. You will be successful in your quest
of music propagation. You have my blessings.”
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© Anjali Nandedkar, [Link]

In this way, Pandit ji went to Laahour and he established a Gandharva Mahaavidyaalaya (Gandharva school) there on 5 th
May, 1901. (Laahour is now in Paakistaan. Paakistaan was formed in 1947 on India’s independence day, August 15. Until
then it was in India.). He collected funds from his own performances and provided for tuition fees and living expenses for
music students in his school. This way there was substantial prevalence of music in Panjaab. After this, a branch of
Gandharva Mahavidyaalaya was established in Mumbai in 1908. More schools were also started in cities of Naagpur and
Pune. In Mumbai, students were learning vocal and instrumental in about 20 divisions. Some 150 ladies were also coming to
school to learn music. As the number of students increased, there was a need to open one more school in Mumbai. One new
place was acquired and a big building was created for the Gandharva Mahaavidyaalaya. It was the talk of town. This building
with four stories was used for many activities like teaching classes, housing principal’s office, hold student concerts etc.
But destiny had something else in mind. Number of students had increased, but the income from Pandit ji’s
performances was insufficient for their expenses. As the loans for the building could not be repaid on time, the building was
auctioned off. It was a big shock for Pandit ji. Also in his private life he had already lost many children in infancy and was left
with only one living son, whose name was Dattatray Paluskar. Slowly he became a recluse. He started living in the town of
Naasik at ‘Raamnaam Aadhaar Aashram’ (a monastery). He started reading ‘Tulasi Raamaayan’. He passed away on August
21, 1931.
In his short life of 59 years, Pandit Vishnu Digambar ji successfully brought dignity to music profession and
musicians. He not only taught music (vocal, instrumental and dance) to his students, but he also taught them to live
disciplined, clean life free of evil habits and become decent mannerly citizens. He created ‘Swaralipi’ (script of writing music),
opened a printing press for publishing books for music and established a factory for manufacturing musical instruments. His
taught his students to repair and maintain instruments. He worked hard at becoming a good orator and made sure his
students were good artists as well as good orators. He awakened patriotic feelings in children. Increased affinity for music in
ordinary citizens. The art of classical music that was confined to courts of kings, was made popular in society at large through
public concerts, conferences, ceremonies. Information about western music was made available to music lovers.
Instrumental and dance lessons were included in the music instruction. While bringing honor to music and musicians he also
worked in many other related fields.
He published over 60 high level books in the field music. He organized music conferences. In these conferences,
famous musicians discussed music theory during the day and performed live music at night. Along with a magazine called
‘Sangeetaamrut Pravaah’ (Flow of music nectar) he edited and published over sixty books like ‘Sangeet Baal Prakaash’
(Children’s music beacon’), ‘Baalbodh’ – (Children’s knowledge) 5 volumes, Raag Pravesh (Entry into Raagaas) – 19
volumes, ‘Mahilaa Sangeet’ (Ladies’ music). He created enterprises like ‘Tablaa Tarang’ (Tablaa Vibrations), ‘Kaashtha
Tarang’ (Wood Vibrations) in concerts like musical instrument ensemble. He wrote special books like ‘Exercise with Music’.
Names of his prominent students are: Pandit Vinaayakraao Patwardhan, Pandit Omkaarnaath Thaakur, Pandit
Naaraayanraao Vyaas, Pandit Shankarraao Vyaas, Pandit Vaamanraao Paadhye, Pandit Vishnudaas Shiraalee.
To make women and children comfortable while performing classical music, he replaced and established traditional erotic
lyrics by compositions from poets and saints like Soordaas, Kabeerdaas, Tulsidaas etc. He loved his country and performed
patriotic songs with his students during national gatherings of Congress party.
 45
© Anjali Nandedkar, [Link]

2. Biography of Swaamee Haridaas

Swaamee Haridaas is revered in the field of music as a scholar and in a spiritual world as a saint.
He considered music to be a form of worship to the god. For this reason his compositions were
devotional in nature. Even today when people sing devotional compositions in northern part of India,
Swaamee Haridaas’s compositions make an important contribution.
He was born in the fifteenth century (in the year 1481) in a Brahmin family from a town called
Raajpur near Vrundaavan. Ashudhar swaamee was his father and teacher. He was very intelligent since
childhood. As time went, he also got married. But he was always engrossed in singing Lord Krishna’s
prayers. At the age of 25 he relinquished his married life and started living in Vrundaavan. He was a
devotee of Lord Krishna and his adored god’s name was ‘Baanke Bihaaree’.
Ancient music in India used Sanskrit language. In swaamee Haridaas’s time the colloquial
language favored by people was ‘Braj bolee’. Swaamee Haridaas created many compositions like
Dhrupad, Dhamaar, Chatarang, Bhajan etc in ‘Braj’ language. Muslim influence was getting strong in
India at that time. Swaamee Haridaas revived the Indian music system with his compositions in Braj
language. He established his devotional music on a stage of veneration (worship). People noticed his
profound knowledge of all branches of music – vocal, instrumental and dance – in his devotional
compositions and started regarding him as a music scholar.
Swaamee Haridaas created many musical pieces describing his feelings for the God composed
in various raag - raaginees. Raagaas suitable for timings and compositions with notes appropriate for
the lyrics made his creations musically powerful, soulful and emotive. His compositions from ‘Athaaraha
Siddhanta ke pada’ (18 verses of Dogma or eighteen verses on the core wisdom of all philosophies) and
‘Kelimaal’ (Kelimaal's 108 stanzas) demonstrate his creative genius. Besides these, hundreds of other
compositions of his on ‘Krishnaleelaa’ (Lord Krishna’s playful activities and deeds to help mankind) are
very famous. He describes raagaas such as Kedaar, Basant, Malhaar, Kalyaan, Bilaaval, Saarang,
Kaanadaa in these pieces. Many of his compositions are useful for singing classical dhrupads. He also
used musical terminology in his lyrics. His use of following terms indicates his knowledge about music
theory: ‘Shruti’ (Sound, musical microtone, pitch, intonation, sound interval between recognized notes
or swaras), ‘Aalaap’ (the free flow of the Raga, in which there are no words and no fixed rhythm. It is the
purest form of melody), ‘Sur or Swara’ (musical note), ‘Dhrupad’ (the oldest surviving vocal genre in
Hindustani music and a type of composition which usually has four parts corresponding to four musical
sections), ‘Raag’ (Raag is the basic organization of the twelve musical notes in a composition, as per
specific rules. It is a tonal framework for composition and improvisation, melodic type). Names of variety
of instruments from Indian classical music are also present in his ‘Kelimaal’ collections of verses.
 46
© Anjali Nandedkar, [Link]

While narrating Raasaleelaa by Raadhaa-Krishna (a joyful dance between Krishna, Raadhaa and other
Gopis), he mentions Muralee (flute), Been (The Pungi, also called the been or bin, is a wind instrument
played by snake charmers in India and Pakistan. The instrument consists of a mouth-blown air reservoir
made from a gourd, which channels air into two reed pipes. These are known as the jivala. One of the
pipes has seven holes and plays the melody; the other pipe is for drone.), Rabaab (Arab fiddle, the
earliest known bowed instrument and the parent of the medieval European rebec. In Central Asia it is
plucked and is different in construction), Mrudung (a drum with a hollow earthen body, with drumheads
at both ends, one far smaller than the other), Dundubhee (percussion instrument).
Swaamee Haridaas’s knowledge about the third facet of music, dance, is also visible. He
characterized several ancient dances like Gujari dance, Taalak raas dance, lakuta raas dance in his
lyrics and helped revive these dance forms. Many of his compositions about ‘Raas dance’ are still
available. They show his command and knowledge about art of dance.
Natural, unassuming, beautiful language, use of suitable raagaas for song lyrics, impassioned
creating style is very entertaining and enjoyable for everyone. Swaamee ji himself played the Veenaa.
He had eight main students: Baiju Baawraa, Gopaalalaal, Madan Raay, Raam daas, Somnaath,
Divaakar Pandit, Raajaa Soursen and Taansen. Even today many artists proudly consider themselves to
be from his clan.
With his incredible talent for writing poetry and composing music, Swaamee Haridaas preserved
and upgraded Indian music and gave it a new life. That is why he is called a musical seer or genius.
Many people call him ‘Naada Brahma Yogi’. In his memory, every year on Bhadrapad Shukla Ashtami,
‘Haridaas Jayanti Festival’ (birthday) is celebrated in Vrundaavan.
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© Anjali Nandedkar, [Link]
Akhil Bharatiya Gandharva Mahavidyalay Mandal (ABGMVM)
This institute was founded by students of Pandit Vishnu Digambar Paluskar. It provides instruction in Hindustani
classical music in India. Pandit Vishnu Digambar Paluskar passed away in 1931 and to continue his work, his students
gathered in a city of Ahamadabad in 1931 and established ABGMVM.
Today, ABGMVM (or Mandal as they call it), has two buildings. In Vaashi (new Mumbai) there is a large three story
building. Along with music classes, several other projects are also carried out in this building:
1. Vocal, Instrumental, dance workshops,
2. Conferences for the Mandal’s functions,
3. Concerts to remember big music scholars on their birthdays or death anniversary,
4. Presentations on Gurupournimaa and establishment day of Mandal,
5. Music festivals etc.
In Miraj (Maharashtra), there is also a building where mostly examination related work is done. Every year, in two semesters,
over 150,000 students appear for exams. Exams from Prarambhik to Sangeetaachaarya (equivalent to Ph.D.), are organized
here. Mandal organizes a graduation ceremony, where well known dignitaries present certificates to students. Mandal
organizes workshops in several cities in India for promoting better standards in music studies. Expert vocalists,
instrumentalists and dancers are invited to these workshops for lecture – demonstrations.
The Mandal has about 1000 examinations centers in India and abroad and exams are carried out according to the
syllabus designed by the Mandal. Mandal’s office bearers include the president, vice president, secretary, treasurer and
executive members. A committee with enhanced capacity is also arranged for further council which includes elected officials
as well as patron members (guardians). In order to properly format activities of the Mandal, after every election, several sub-
committees are formed with fresh perspective: Examinations, Kalaavihaar (Mandal’s monthly magazine), recordings,
teachers’ conferences etc. According to modified constitution, two trustees are also provided.
Vashi’s Gandhrava Niketan includes Aachaarya (teacher), administrator, librarian, and office workers. In an office in
Miraj, a registrar, two assistant registrars and other workers are employed.
Other activities:
1. Mandal has its own mouthpiece: a monthly magazine ‘ Sangeet Kalaavihaar’ is published in Marathi, Hindi and Gujarati
languages since 1947.
2. Mandal’s audio recording project is very significant and has over 3000 hours of audio recordings from excellent artists in its
collection. Music lovers can listen to these in Mandal’s Vashi and Miraj buildings.
Mandal has its own ‘Swarlipi’ (notation system). It is called Pandit Paluskar swarlipi. The Mandal’s certified books use
this swarlipi. Mandal has its own publications which are available in offices in Vashi and Miraj. Since 1931, Mandal’s work is
aimed towards promotion and propagation of music and creating artists with a certain goal and work ethic. The year 2006
was celebrated as 75th anniversary year (Amrut Mahotsav). Grand music ceremonies were organized in cities like Mumbai,
Ahamadabad, Katak, Udipi and Haydarabad. Along with vocal-instrumental-dance concerts from famous artists, lecture
demonstrations were also organized in these ceremonies, which were presented by Mandal’s senior members.
Taking into account the changing times and new dimensions of existing knowledge, Mandal recently set a revised
syllabus. In this manner, after Pandit Vishnu Digambar Paluskar’s passing, Mandal has smoothly carried on with his music
campaign. After more than 76 years the Mandal is flourishing every day.
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Biography of Pandit Vishnu Narayan Bhatkhande
Pandit Vishnu Naaraayan Bhaatkhande has a very important place in the history of Hindustani classical music. There
was a time when darkness reined in the classical music field due to ignorance, characters or patterns of raagas were unclear.
During this time, Pandit Bhaatkhande tirelessly travelled, studied ancient books, consulted senior musicians and tenaciously
established clear understanding of practical and theoretical aspects of Hindustani classical music.
He was born in a respected Brahmin family in a district of Mumbai, in a town called Waalkeshwar, on 10 th August,
1860. He received a legacy of love of music from his parents. As a child, when he heard his mother singing a song, he would
immediately imitate it. Along with his excellent education in schools and colleges, he continued his quest to study classical
music. He played Sitaar very well and also learnt vocal music. He started practicing law after finishing his B.A L.L.B studies.
He used to frequent music concerts and carefully listened to many vocalists and instrumentalists. That is when he realized
that many accomplished artists are not familiar with rules of raagas and moreover, they are not even interested in music
theory.
After observing this state of music field, he decided to improve the situation in both practical and theory of classical
music. First he travelled in southern part of India in 1904. He extensively researched ancient books, carefully studied
Vyankatmakhee’s theory of seventy two thaat (or mel). He had discussions with many well-known musicians. Similarly, he
travelled northern part of India and learnt about North Indian classical or Hindustani classical music. When some musicians
refused to teach him anything unless he made a commitment by a formal ceremony of ‘Gandaa-Bandhan’ , Pandit
Bhaatkhande did not hesitate and went through with the ceremony. ( ‘Gandaa-Bandhan’ or ‘Amulet Bond’ is ‘tying a musical
knot’: in older days, a student and teacher would formally commit to study music in a ceremony where a teacher would tie a
gandaa or an amulet on student’s wrist. This was a serious mutual commitment and promise from both student and teacher.)
He wanted to acquire knowledge in the field of music by any means necessary and he did not have any ego or false pride.
He observed that in north India, there is a Raag – Raagini’ system that has some faults and shortcomings. Pandit
Bhaatkhande published six consecutive books where he consolidated Khyaal, Dhrupad, Dhamaar etc. and that opened a
treasure trove of music knowledge to all musicians. He organized music conferences in many cities across India. In these
conferences, many music scholars exchanged ideas and presented their theories. First conference was in Barodaa in 1916,
and a proposal was brought forward to establish ‘All India Music Academy’. These conferences helped spreading music. He
established music colleges at many places and started organized or institutionalized programs for studying music. In
Lakhnow, he established ‘Mairis Music College’, which is now called ‘Bhaatkhande University of Music’. ‘Madhav Sangeet
Vidyaalay’ in Gwalior and Music College in Baroda are noteworthy. Bhaatkhande ji published four books called ‘Bharatiya
Sangeet Paddhati’ in Marathi language. These books contain valuable collection of well researched complicated topics in
music. He also wrote an amazing Sanskrit book called ‘Lakshya Sangeetam’. From books like “Short Historical Survey”, “A
Comparative Study”; it is obvious that for enhancement of art of music, Bhatkhande ji worked very hard. In many world class
universities, his ‘Kramik Pustak Maalikaa’ (Successive book series) is adopted as a standard text book. With “ Vishnu
Sharmaa ” as a pen name, he wrote “Shreemallakshya Sangeetam” and “Abhinav Geet Manjaree”. With a nick name
“Chatur”, he wrote several compositions, hence he is also known as “Chatur Pandit Bhaatkhande”.
With Pandit Bhaatkhande’s efforts, Indian classical music (both theory and practical) became well organized. Instead
of raag - raagini system, ten thaat were established. Ancient music practice and theory was changed during muslim period.
Pandit Bhaatkhande supported it with new theories and made it stable. He created a written script for writing music. He
obtained ancient hereditary Hindi compositions from families of musicians (khandani or gharaanaa) and consulted Hindi
linguists and scholars to give the them a wholesome, refined form. He published these compositions in six volumes of
‘Kramik Pustam Maalikaa’. With his Sanskrut book “Lakshya Sangeetam”, he constructed a strong scientific support for
modern music. He did not feel insulted when he had to commit to a “Gandaa Bandhan” ceremony to obtain know how from
other artists. He travelled tirelessly to hunt for ancient books. In music conferences, he collected artists from various
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traditions and gharaanaas on same pulpit or stage. He organized panels for interactions of thoughts and opinions,
determined verified forms of raagaas, discussed theories, formed solid connection between music theory and practice.
He was very disciplined during his journeys, and did not waste time in sightseeing historic or tourist places. He did
not like to waste time in attending or hosting parties. If someone gave him an address of a musician or music scholar, he
would make the journey no matter how far. While studying books, if some topics were difficult to understand, he would
discuss them with scholars to make it simple.
He was a selfless person. He did not desire money. He shied away from fame. He learnt Urdu and Farsi language
from ‘Munshi’, so he could understand books written in Urdu and Farsi. When he found a rare composition, he would show it
to his friend Mr. Girishrao Karnaad and ask for his opinion. He used to make three copies of rare bandishes or compositions.
One for himself, one for his good student Shreekrushna Naaraayan Raatanjankar and one for Girishrao Karnaad ji. His
watchfulness about studies is evident in many ways.
He had great faith. Every morning after a bath and sandhyaa (prayer), he used read Rudra. He fell ill in 1935. Until
then in his first 75 years of life, he was fairly healthy. He was uneasy for the last year of his life and this master mind of music
passed away on 19th September 1936.