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GNDU Question Paper-2021
B.A 1
st
Semester
MUSIC (Instrumental)
Time Allowed: Three Hours Max. Marks: 50
Note: Attempt Five questions in all, selecting at least One question from each section. The
Fifth question may be attempted from any section. All questions carry equal marks.
SECTION-A
1. Write down detailed notes on the following technical terms with examples:
(a) Thata
(b) Swar
(c) Saptak
(d) Shruti
2. Describe in detail the historical development of your own instrument.
SECTION-B
3. Explain in detail Raag and its Jaatis.
4. Write down the life sketch and contribution of Ustad Allaudin Khan.
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SECTION-C
5. Write down Ekgun, Dugun and Chaugun Layakaries of Teentaal.
6. Write the description and notation of Drut gat in Raag Kalyan with three toras.
SECTION- D
7. Write down detailed note on the contribution of Guru Nanak Dev Ji towards Indian
Music.
8. Write short notes on the following terms in the context of Gurmat Sangeet:
(a) Rababi
(b) Rahao.
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GNDU Answer Paper-2021
B.A 1
st
Semester
MUSIC (Instrumental)
Time Allowed: Three Hours Max. Marks: 50
Note: Attempt Five questions in all, selecting at least One question from each section. The
Fifth question may be attempted from any section. All questions carry equal marks.
SECTION-A
1. Write down detailed notes on the following technical terms with examples:
(a) Thata
(b) Swar
(c) Saptak
(d) Shruti
Ans: The Musical Journey of Aarav: Discovering the Secrets of Indian Classical Music
Once upon a time in a small town of Rajasthan, there lived a boy named Aarav who was
always fascinated by the soft, soulful tunes of his grandmother’s tanpura. Every evening,
after finishing his school homework, he would sit beside her and listen as she hummed
gentle ragas. One day, he finally asked her, “Dadi, what makes music so magical? How do
you know which note to sing or which sound to play?”
His grandmother smiled and said, “Music is like nature. It has order, emotion, and rules. Let
me tell you a few secrets of Indian classical music. We call these secrets Thata, Swar,
Saptak, and Shruti. Listen carefully, my child.”
And so, Aarav began his first lesson — not from a book, but from the living memory of
tradition.
(a) Thata () – The Family Tree of Ragas
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What is Thata?
Imagine you're arranging your wardrobe. You group your clothes — all whites together, all
blues together, all reds together — not because they’re the same, but because they belong
to a certain family of colors.
In the same way, Thata is a system of classifying ragas (melodic frameworks) in Hindustani
Classical Music. Each Thata is like a musical family, and the ragas within it are its members.
Definition:
A Thata is a group or framework made up of seven notes (Swaras) in a particular sequence.
There are 10 main Thatas in Hindustani music, and each one becomes the base for creating
various ragas.
Example:
One of the most popular Thatas is Bilawal Thata. It uses the natural (Shuddha) notes:
Sa Re Ga Ma Pa Dha Ni Sa.
From Bilawal Thata, ragas like Deshkar, Durga, and Bihag are formed — just like many
cousins coming from one family.
Names of 10 Main Thatas:
1. Bilawal
2. Kafi
3. Khamaj
4. Bhairav
5. Bhairavi
6. Asavari
7. Marwa
8. Poorvi
9. Todi
10. Kalyan
Each of these creates a musical mood and gives birth to multiple ragas.
(b) Swar () – The Soul of Music
What is Swar?
“Dadi,” Aarav asked, “what is this Sa Re Ga Ma you always sing?”
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His grandmother chuckled and said, “Ah, you mean the Swaras. They are the very
heartbeats of music.”
Definition:
A Swar is a musical sound or a note with a fixed pitch that can be sung or played. In Indian
classical music, we use seven basic Swaras, just like the seven colors of a rainbow.
These are:
1. Sa (Shadja)
2. Re (Rishabh)
3. Ga (Gandhar)
4. Ma (Madhyam)
5. Pa (Pancham)
6. Dha (Dhaivat)
7. Ni (Nishad)
These seven Swaras together are also called the Sargam (Sa Re Ga Ma Pa Dha Ni).
Types of Swaras:
1. Shuddha Swar – Pure notes (natural sounds)
2. Komal Swar – Soft/flat notes (Re, Ga, Dha, Ni can be Komal)
3. Tivra Swar – Sharp note (Only Ma can be Tivra)
Example:
If you sing a song like “Sa Re Ga Ma Pa,” you're using Shuddha Swars.
But if a raga uses a soft version of "Ga," it becomes a Komal Ga — it gives a different mood.
Fun Fact:
Out of 7 Swars:
• 5 are movable (Re, Ga, Ma, Dha, Ni)
• 2 are fixed (Sa and Pa) — they never change.
So, Swar is the unit of melody — just like a word in language.
(c) Saptak () – The World of Seven
Aarav now had another doubt. “Dadi, you said there are seven Swaras. But sometimes your
voice goes very high or very low while singing. Why?”
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She replied, “Good observation! That’s because I sing the same Swaras in different Saptaks.”
Definition:
The word Saptak comes from “Sapt” (seven). It means a collection of seven Swaras sung or
played in a particular range of pitch (from low to high).
There are three main Saptaks in music:
1. Mandra Saptak – Lower octave (low pitch)
2. Madhya Saptak – Middle octave (normal pitch)
3. Taar Saptak – Higher octave (high pitch)
Example:
• When a singer sings "Sa Re Ga" in a low voice, it belongs to Mandra Saptak.
• The regular singing voice is Madhya Saptak.
• When the same notes are sung in a high voice, like in a climax of a song, it is Taar
Saptak.
Visual Example (like a staircase):
• Mandra – Ground floor
• Madhya – First floor
• Taar – Second floor
Each floor has the same seven notes but in different heights or pitches.
Why Important?
A singer travels through these Saptaks to bring emotion, power, and variety in music. It's
like exploring different levels of musical energy.
(d) Shruti (
) – The Invisible Thread of Sound
One day, Aarav heard his grandmother tuning the tanpura and asked, “Why do you spend so
much time adjusting the strings?”
She answered, “Because Shruti matters. Even the tiniest difference in sound can change the
feeling of music.”
Definition:
A Shruti is the smallest difference in pitch that a human ear can recognize in music. It is the
microtone — a very fine division of a musical note.
In ancient Indian music, there were said to be 22 Shrutis in an octave (Saptak).
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Think of it like this:
If you take a ruler and mark 22 tiny points between the start and end of a scale, each point
is a Shruti.
Example:
Between Sa and Re, there are 3 Shrutis.
Between Re and Ga, there are 2 Shrutis, and so on.
This means Swaras are made up of Shrutis.
In Modern Times:
Today, we mainly use 12 musical notes (like in Western music), but ancient Indian theory is
much more refined — it recognizes the smallest changes in pitch that give Indian classical
music its depth and emotion.
Why Important?
Shrutis allow a singer to slide smoothly between notes (called meend), add grace (gamak),
and bring soul to the performance.
Conclusion: A Musical Awakening
By the end of the summer, Aarav was no longer just a curious boy — he had become a music
lover, and his ears had become sharp. He could now recognize a Thata, identify different
Swars, understand Saptaks, and even feel the power of Shrutis.
He realized that Indian classical music isn’t just about singing — it’s a science, a language,
and a spiritual journey.
2. Describe in detail the historical development of your own instrument.
Ans: A Journey Through Time with My Instrument – The Harmonium
Imagine standing in a quiet room. You place your fingers on the keys of your harmonium.
You press a key gently… and a soft, melodious sound fills the air, like a whisper from history.
But have you ever thought—how did this beautiful instrument come into existence? Where
did it come from? And how did it reach India, where it became such an important part of
classical, devotional, and even folk music?
Let’s go back in time and uncover the fascinating story of the harmonium, the instrument I
have learned and played with love.
The Harmonium’s Roots in the West – A European Beginning
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The harmonium, as we know it today, was not born in India. In fact, it began its journey in
Europe, particularly in France, in the early 19th century.
In the early 1800s, European musicians and inventors were experimenting with wind
instruments—those that used air to produce sound. One such invention was the reed organ.
This was an instrument that produced sound when air flowed through a vibrating metal
reed. The idea was inspired by ancient Chinese instruments like the Sheng, which also used
reeds.
Then came a French inventor named Alexandre Debain, who in 1842, developed the modern
version of the harmonium. His version had a keyboard and bellows that could be pumped to
push air over the reeds. He gave it the name “harmonium”, combining “harmony” (the
musical combination of tones) and “organ” (referring to the air-pumped mechanism). His
invention was elegant, compact, and easy to play compared to the large and bulky pipe
organs used in churches.
Soon, the harmonium spread across France, Germany, England, and the United States,
where it became popular in homes and small churches because it was portable, didn’t need
electricity, and could easily accompany singing.
The Harmonium Comes to India – A Colonial Journey
But how did this European instrument find its way to India, where it would eventually
become deeply rooted in Indian music?
This happened during the British colonial period. British missionaries, educators, and
musicians brought the harmonium to India in the mid-19th century. They used it mainly for
teaching music in missionary schools and for singing Christian hymns in churches.
At first, Indians saw it as a foreign instrument. But soon, musicians in India began to explore
its versatility and simplicity. Unlike the complex stringed instruments like sitar or sarangi,
the harmonium could be learned easily. It didn’t need tuning before every performance, and
it produced a steady, rich tone that suited Indian musical styles well.
The Indian Transformation – Adapting to New Traditions
Here’s where the real story begins.
The harmonium was adapted, reshaped, and Indianized in many ways to suit the needs of
Indian music. Unlike Western music, which is based on chords and harmony, Indian classical
music is melodic—it focuses on single-note progressions and ragas. So, Indian musicians
started using the harmonium as a solo and accompanying instrument for vocal music and
dance.
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A Short Story from the Gharanas:
There’s a famous story from the early 20th century of a classical vocalist from the Patiala
Gharana, who once struggled to find a sarangi player to accompany him for a concert. Out
of desperation, he asked a harmonium player to join him. The results were magical! The
harmonium, though different from sarangi, gave such a sweet support that audiences
welcomed it with open arms. From then on, many vocalists began using harmoniums in their
performances.
The Rise in Bhakti and Folk Traditions
Beyond classical music, the harmonium found a permanent home in devotional music—
bhajans, kirtans, qawwalis, and sufi songs.
Why?
Because it was portable, easy to use, and loud enough to lead group singing. Imagine a
group of people sitting together in a temple or a gurdwara, singing bhajans or shabads. The
harmonium blends so well with the human voice that it became the perfect companion.
In fact, legendary Sufi singers like Nusrat Fateh Ali Khan and Indian bhajan singers like Anup
Jalota made the harmonium a central part of their music.
Challenges Faced – The Controversies and Criticism
But the harmonium’s journey in India wasn’t always smooth. In fact, it faced criticism from
certain classical purists.
Why?
1. The harmonium plays fixed notes, but Indian classical music often requires
microtones and gamakas (note bends), which the harmonium couldn’t produce.
2. Some believed it was “non-Indian” and didn’t reflect the traditional Indian sound.
In fact, in 1940, All India Radio banned the harmonium for solo performances in classical
broadcasts!
However, the people of India continued to love it. Vocalists refused to give it up, and
gradually, the ban was lifted. Musicians also developed playing techniques that helped
imitate the slides and bends of Indian music to some extent. Over time, the harmonium was
accepted once again, though still debated in some classical circles.
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Design Changes – From Foot-Pumped to Hand-Pumped
Originally, European harmoniums were foot-pumped—you would sit and pump the bellows
with your feet. But in India, musicians often sit on the floor while performing.
So, Indian craftsmen redesigned the harmonium to be hand-pumped, with the bellows at
the back or side. This made it possible to sit cross-legged on the ground and play with ease.
Also, newer versions had:
• Couplers to play multiple octaves together.
• Stops to control air flow and sound quality.
• Folding designs to make the instrument portable.
Famous Harmonium Players and Their Contribution
Over the years, several great musicians have elevated the harmonium to an art form:
• Pandit Tulsidas Borkar – A legendary solo harmonium player who proved that the
instrument could shine on its own.
• Pt. Appa Jalgaonkar – Accompanied many top vocalists and brought technical
mastery to the instrument.
• R. K. Bijapure – Known for his delicate solo performances and contribution to
teaching.
Their efforts helped the harmonium gain respect as a solo instrument and not just an
accompaniment.
Harmonium in Today’s World – A Living Legacy
Today, the harmonium is everywhere—from Indian classrooms to temples, from stage
shows to film music. In fact, many Bollywood composers use harmoniums during their initial
music compositions. It’s still taught as a beginner instrument to understand notes, pitch,
and rhythm.
Moreover, harmonium-making is now a skilled industry in India. Places like Delhi, Kolkata,
and Mumbai have famous harmonium makers who handcraft these instruments for
professionals and students alike.
My Personal Connection
I still remember the first day I touched my harmonium. I didn’t know the keys, the notes, or
how to move my fingers—but I knew it had something magical. Over the years, I’ve played
devotional songs, practiced ragas, and even tried to compose on it. For me, the harmonium
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is not just an instrument—it is a bridge between tradition and creativity, simplicity and
depth.
Conclusion – More Than Just an Instrument
The story of the harmonium is not just about wood, reeds, and keys. It’s a story of travel,
transformation, and acceptance. It started in France, reached India by chance, and stayed
here by choice. It evolved with time, adapted to a new culture, and became a symbol of
both devotion and discipline.
As I play each note on my harmonium, I remember this journey. I feel connected to the
great musicians who came before me, to the traditions of my land, and to the sweet sound
of music that binds us all.
SECTION-B
3. Explain in detail Raag and its Jaatis.
Ans: The Garden of Sound – An Introduction to Raag and Its Jaatis
Imagine you are walking through a beautiful garden just after sunrise. The breeze is soft, the
sky is painted with delicate shades of orange and blue, and a melodious sound comes from
the corner of the garden. You follow the sound and find an old musician playing a sitar. His
eyes are closed, his fingers move with grace, and the tune touches something deep in your
heart.
Curious, you ask him, “What are you playing?”
With a gentle smile, he replies, “This is Raag Bhairav. It’s a morning raag. It wakes up not
just the world, but also the soul.”
And that is your first step into the magical world of Raag — the very heart of Indian classical
music.
What is a Raag?
Let us begin with the most basic and beautiful definition:
Raag (or Raga) is not just a tune; it is a musical personality, a mood, or a feeling expressed
through a particular arrangement of musical notes (swaras).
A raag is a set of rules and patterns for how the seven musical notes (Sa, Re, Ga, Ma, Pa,
Dha, Ni) are used to create a certain rasa (emotion). A raag does not just sound sweet — it
paints a picture, tells a story, or creates an atmosphere.
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In Indian classical music, we do not just sing a song. We express something through a raag —
maybe the beauty of dawn, the peace of night, the sorrow of separation, or the joy of union.
Simple Definition:
Raag = Rules + Notes + Emotion.
• Rules: Guidelines of which notes to use, how to move between them, which notes to
avoid, how to begin and end, and which time of day or season suits the raag.
• Notes: Out of the 7 basic notes (Sa Re Ga Ma Pa Dha Ni), some are chosen, and some
are left out. Some are played flat (komal), and some sharp (teevra).
• Emotion: Each raag creates a mood – happy, sad, devotional, romantic, peaceful, or
powerful.
Story of Raag: The Colors of the Sky
Let’s bring in a story to better understand this.
Long ago, a king had seven daughters, and each was named after a musical note — Sa, Re,
Ga, Ma, Pa, Dha, Ni. They all lived in the sky palace, and each one loved a different time of
the day.
• Sa loved sunrise, peaceful and fresh.
• Re danced in the morning wind.
• Ga sang with birds.
• Ma meditated at noon.
• Pa painted the evening sky.
• Dha told stories under the stars.
• Ni whispered dreams at midnight.
One day, the king told them, “When you sing together in harmony, you create a Raag. But
depending on who sings, who leads, and who remains silent, the song will change its
feeling.”
That’s exactly how raag works. Some notes are used; some are skipped. Some notes become
the stars of the show, while others play a side role.
The Structure of a Raag
To understand a raag more deeply, we need to know its parts:
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1. Aaroh (Ascending order)
The way notes rise upwards — like climbing a staircase.
Example: Sa Re Ga Ma Pa
2. Avroh (Descending order)
The way notes come down — like stepping back down.
Example: Pa Ma Ga Re Sa
3. Vadi (Most important note)
The king of the raag — the most dominant and repeated note.
4. Samvadi (Second important note)
The minister — the second-most powerful note after the Vadi.
5. Pakad (Catchphrase)
A small, unique group of notes that give the raag its identity. It’s like the signature of the
raag.
What are Jaatis of a Raag?
Now, let’s explore what Jaati means.
“Jaati” means classification. In the world of raags, jaati tells us how many notes are used in
the aaroh (ascending) and avroh (descending).
Out of the 7 notes (Sa, Re, Ga, Ma, Pa, Dha, Ni), a raag may use:
• All 7 notes
• Only 6 notes
• Or just 5 notes
Based on this, jaatis are categorized into five types:
1. Sampoorna (7 Notes)
If 7 notes are used in aaroh and/or avroh.
Example: Raag Bhairav uses all 7 notes in both aaroh and avroh.
2. Shadav (6 Notes)
If only 6 notes are used in either aaroh or avroh.
Example: Raag Yaman has 7 in aaroh and 6 in avroh.
3. Audav (5 Notes)
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If only 5 notes are used.
Example: Raag Bhopali uses 5 notes in both directions.
So, combinations can be:
Aaroh
Avroh
Jaati Name
5
5
Audav – Audav
6
6
Shadav – Shadav
7
7
Sampoorna – Sampoorna
5
7
Audav – Sampoorna
6
7
Shadav – Sampoorna
7
5
Sampoorna – Audav
etc.
etc.
and so on...
Thus, Jaati is the identity tag of a Raag based on the number of notes used in aaroh and
avroh.
Why Jaatis are Important?
Jaatis help us:
• Understand the framework of a raag.
• Know how many notes will be used while singing or playing.
• Classify raags easily.
• Set the mood accordingly — a raag with fewer notes may sound more focused and
meditative, while one with 7 may sound rich and complete.
Second Short Story: The Painter and His Palette
A painter once had a huge set of 7 colors. But he never used all the colors at once.
Sometimes, he used just 5 colors to paint a calm river. Sometimes, he used 6 to create a
glowing sunset. On rare occasions, he used all 7 to paint the full rainbow.
He said, “Using fewer colors doesn’t mean less beauty. It just means more focus.”
Raags and their jaatis work exactly like this. Whether it's 5 notes or 7, each raag tells its own
story — not by how many notes it uses, but how it uses them.
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Examples of Raags and Their Jaatis
Raag
Aaroh
Avroh
Jaati
Bhopali
Sa Re Ga Pa Dha Sa
Sa Dha Pa Ga Re Sa
Audav – Audav
Yaman
Ni Re Ga Ma(T) Dha Ni
Sa
Sa Ni Dha Pa Ma(T) Ga Re
Sa
Sampoorna –
Sampoorna
Durga
Sa Re Ma Pa Dha Sa
Sa Dha Pa Ma Re Sa
Audav – Audav
Marwa
Ni Re Ga Ma Dha Ni Sa
Sa Ni Dha Ma Ga Re Sa
Sampoorna –
Sampoorna
Kafi
Sa Re Ga Ma Pa Dha Ni
Sa
Sa Ni Dha Pa Ma Ga Re Sa
Sampoorna –
Sampoorna
Note: Ma(T) means Teevra Ma — a sharp note.
Final Thoughts
• A Raag is a living expression of mood and melody.
• Jaati is the blueprint that tells us how many notes a raag uses.
• Even with just 5 notes, a raag can move the listener to tears or bring peace.
• Learning raags is not about memorizing notes but about understanding emotions and
respecting the rules of sound.
In Summary
Let’s wrap up in one line:
Raag is like a soul dressed in notes, and Jaati is the way we count how many colors are used
to paint that soul.
So next time you hear a soothing sitar or a magical vocal performance in classical music, try
to ask yourself — “What is the emotion here? How many notes do I hear? What could be
the jaati of this raag?”
That curiosity will open the doors to a lifelong friendship with music.
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4. Write down the life sketch and contribution of Ustad Allaudin Khan.
Ans: A Musical Seed in a Remote Village
In a quiet village called Shibpur, located in present-day Bangladesh, a child was born in 1862
who would later become one of the greatest figures in Indian classical music. That child was
Allauddin Khan. No one in the village could have imagined that this little boy—running
barefoot, listening to the natural sounds of birds, river, and wind—would one day influence
the entire world with his music.
Unlike most children of his age, young Allauddin was not interested in games or farming.
What fascinated him most were the musical gatherings in his village and the sound of folk
instruments. Music seemed to live and breathe within him from a very young age.
But his father was a strict man. He wanted his son to become a doctor, not a musician. So,
Allauddin had to run away from home at the tender age of ten, walking all the way to
Calcutta (now Kolkata) in search of music and freedom.
Struggles and Determination in Calcutta
Life in Calcutta was not easy. The young boy had no money, no food, and no family. But
what he did have was an unshakable passion for music. He started by doing small jobs to
survive and began learning different instruments like the sitar, violin, flute, and piano under
different teachers. He even cleaned the homes of musicians just to listen to their practice
sessions.
His early struggle reminds us of a bamboo tree. For the first few years, it doesn’t grow much
above the soil. But underground, it is growing strong roots. And one day, it suddenly shoots
up to great heights. That’s what was happening with Allauddin Khan—he was growing his
roots.
The Turning Point – Meeting Wazir Khan
The most important turning point in Allauddin Khan’s life came when he got the opportunity
to learn from Ustad Wazir Khan, the court musician of Rampur and a master of the Been
(Veena). Wazir Khan belonged to the famous Seni Gharana, a musical family that traced its
roots back to Mian Tansen, the legendary musician of Emperor Akbar’s court.
Allauddin Khan dedicated twelve long years of his life to rigorous training under Wazir Khan.
During these years, he lived a life of discipline, devotion, and humility. He would often sleep
only for a few hours and practice for 16 to 18 hours a day. He learned not only the art of
playing instruments but also the deeper philosophy of music.
He was now no longer just a student—he had become a true sadhak (seeker) of music.
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The Creation of the Maihar Gharana
After completing his training, Allauddin Khan became the court musician of Maihar, a small
princely state in Madhya Pradesh. Here, he not only composed music and performed in the
royal court but also started something revolutionary—he created a new Gharana, which we
now call the Maihar Gharana.
Unlike traditional Gharanas that focused on only one instrument or singing style, Allauddin
Khan’s Maihar Gharana brought together multiple instruments and styles. He trained
students in both instrumental and vocal music, in Hindustani as well as Carnatic traditions.
He believed that music should not have boundaries. His Gharana was a beautiful fusion of
technique, emotion, and spirituality.
It was also during his time in Maihar that he started composing new ragas (melodic
frameworks), modifying instruments to improve their sound, and teaching disciples who
would become legends themselves.
A Guru Like No Other
If you look at the students of Allauddin Khan, you will find names that shaped the very
image of Indian classical music on the global stage:
• Pandit Ravi Shankar (Sitarist)
• Ustad Ali Akbar Khan (Sarod player and Allauddin’s own son)
• Annapurna Devi (Surbahar player and daughter of Allauddin)
• Pandit Nikhil Banerjee (Sitarist)
• Pandit Pannalal Ghosh (Flutist)
These were not just students. They were like flames lit from Allauddin Khan’s own fire. He
trained them with strict discipline, often scolding them like a tough father but loving them
deeply like a true guru. His goal was not to produce performers but musical souls.
There’s a famous story of his strictness. Once, a student of his made a mistake while
practicing a raga. Allauddin Khan became so angry that he threw his own instrument on the
ground. When asked why he was so upset, he said, “Music is divine. If you cannot respect it,
you don’t deserve it.”
This showed how deeply he respected music—not as entertainment, but as worship.
His Innovations and Contributions
Ustad Allauddin Khan was not just a performer and teacher. He was a true reformer and
visionary. Some of his major contributions include:
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1. Founding the Maihar Band: He started a music school for orphaned children in
Maihar and taught them to play Indian and Western instruments. This became the
famous “Maihar Band”, which still performs today.
2. Innovation in Instruments: He made structural improvements to the sarod, sitar,
and tanpura to improve their sound quality. He even created hybrid instruments by
combining features of different instruments.
3. New Ragas: He composed several new ragas that enriched the Hindustani music
system. His deep understanding of both theory and emotion allowed him to create
ragas that touched the soul.
4. Spreading Music Across the Globe: Through his students like Ravi Shankar and Ali
Akbar Khan, Indian classical music reached international stages, from London to New
York. These disciples always credited Allauddin Khan as the real foundation of their
art.
A Legacy That Lives On
In his later years, Ustad Allauddin Khan became a symbol of dedication, simplicity, and
purity in music. He was awarded many honors including:
• Padma Bhushan (1958)
• Padma Vibhushan (1971)
• Sangeet Natak Akademi Award
But to him, no award mattered more than seeing his students carry forward the tradition
with love and respect.
He passed away in 1972 at the age of 110, leaving behind not just music, but a complete
philosophy of life through music.
A Story to Remember
Let’s end with a short story that reflects his deep humility:
Once, a foreign journalist came to interview Ustad Allauddin Khan. He asked, “You are such
a great man. How do you feel about being called the greatest musician of all time?”
Allauddin Khan gently replied, “I am not great. Music is great. I’m just a servant of music.”
These simple words reflected a lifelong truth—that real greatness comes not from pride but
from service, discipline, and devotion.
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Conclusion
Ustad Allauddin Khan’s life was like a beautiful raga—starting slowly, building with emotion,
and finally reaching a climax that left the world in awe. From a poor village boy to the father
of modern Indian instrumental music, his journey is an inspiration to every student, not only
of music but of life.
His story teaches us that even if you are born with nothing, with passion, practice, and
purity, you can leave behind a legacy that echoes through generations.
SECTION-C
5. Write down Ekgun, Dugun and Chaugun Layakaries of Teentaal.
Ans: When Beats Begin to Dance: Understanding Teentaal’s Layakaries Like a Story
Late one evening in Amritsar, a curious boy named Rishabh tiptoed into his grandfather’s
music room. On the wall hung an old tabla, and beside it lay a tanpura softly buzzing. His
grandfather, a wise and playful man, motioned him over. “You want to learn how rhythm
stretches and shrinks, like magic?” he asked with a twinkle in his eye. That night, under the
dim glow of a single bulb, Rishabh was introduced to the mesmerizing world of Layakari in
Teentaal—the rhythmic heartbeat of Hindustani classical music.
Let’s travel through that same journey and unfold the mystery behind Ekgun, Dugun, and
Chaugun Layakari, step by step.
What Is Teentaal?
Before we jump into Layakari, we need to understand the stage on which rhythm performs:
the Taal. And among the many Taals in Hindustani music, Teentaal is the most famous, most
practiced, and most loved.
Basic Structure of Teentaal:
• Total Beats (Matras): 16
• Vibhags (Sections): 4 (Each of 4 beats)
• Theka (Basic rhythm): Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Ta
Dhin Dhin Dha
It’s a symmetrical rhythm cycle, making it ideal for both beginners and maestros.
What Is Layakari?
Layakari refers to the variation in tempo or the rhythmic subdivision within a Taal. Think of
it like a dancer who first moves slowly (Ekgun), then speeds up a bit (Dugun), and finally
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becomes super agile and quick (Chaugun), all while staying in sync with the music. It’s not
random—it’s mathematically precise.
Layakari helps performers show their control over rhythm, their creativity, and their ability
to stretch and compress time without ever missing the beat.
Meet the Three Rhythmic Avatars of Teentaal
Ekgun (Single Speed) – The Original Pulse
Imagine a heartbeat—steady, calming, constant. That’s Ekgun.
• Each syllable (bol) of the Theka is played exactly once per beat.
• The total cycle remains 16 beats with normal spacing.
Example:
Matra
Bol
1
Dha
2
Dhin
3
Dhin
4
Dha
...
...
It’s the default lay, like walking at a regular pace. No rush, no pause—just graceful rhythm.
Story Highlight:
When Rishabh first tried Teentaal in Ekgun, he messed up the first few beats. His
grandfather laughed gently and said, “This rhythm is like walking to the market—don’t
sprint, don’t crawl, just walk.” That advice stuck forever.
Dugun (Double Speed) – Rhythmic Acceleration
Now the beats start dancing!
• In Dugun, each beat contains two bol syllables.
• That means the total number of bol in the cycle doubles from 16 to 32.
• It requires precision and clarity—no stumbling allowed.
Mathematically:
• 1 beat = 2 notes
• 16 beats = 32 notes
Example (simplified format):
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Matra
Bol 1
Bol 2
1
Dha
Dhin
2
Dhin
Dha
...
...
...
Imagine clapping twice within each beat while staying synced with the basic Teentaal
rhythm.
Artistic Beauty:
Even though it’s faster, Dugun doesn’t feel rushed—it feels lively, playful, and captivating.
This is where a tabla player starts showing their skill, playing with clarity at double the
speed.
Chaugun (Quadruple Speed) – The Rhythm Fireworks
Now comes the real thrill—like watching a dancer perform backflips while smiling.
• In Chaugun, each beat includes four bol syllables.
• Total bol count becomes 64 for one cycle of Teentaal.
• Timing must be perfectly accurate, or the performer will lose sync.
Mathematically:
• 1 beat = 4 notes
• 16 beats = 64 notes
Example (high-speed visualization):
Matra
Bol 1
Bol 2
Bol 3
Bol 4
1
Dha
Ti
Na
Kat
2
Dhin
Na
Dhin
Dha
...
...
...
...
...
It feels like racing through the Theka—but always landing perfectly on Sam (the first beat of
the next cycle).
Story Highlight:
At a local mehfil (concert), a young tabla prodigy played Chaugun so precisely that the
audience couldn’t believe he hadn’t skipped a single beat. Rishabh, watching from the back,
whispered to his cousin, “It’s like he’s time-traveling—but always arriving exactly on time.”
Comparison Table of Layakaries in Teentaal
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Layakari
Beats per Cycle
Bol per Beat
Total Bol Count
Tempo Feeling
Ekgun
16
1
16
Steady
Dugun
16
2
32
Lively
Chaugun
16
4
64
Frenzied
Each Layakari is a creative challenge for performers. The composition must match the
structure, land on the Sam, and maintain musicality.
Why Learn Layakari?
Understanding Ekgun, Dugun, and Chaugun is essential for:
• Developing rhythm sense in students and performers
• Improvising creatively during live performances
• Training memory and mathematical precision
• Honoring tradition, while showcasing personal artistry
Layakari isn’t just technique—it’s storytelling through rhythm.
Final Thoughts
Think of Teentaal and its Layakaries as different speeds of life's journey. Sometimes we
move slow, sometimes fast, sometimes we’re sprinting with joy—but the key is to stay in
rhythm, just like in music, just like in life.
So next time Rishabh plays his tabla, he’ll start with Ekgun, slide into Dugun, and maybe—
just maybe—attempt a blazing Chaugun. And through every beat, he’ll hear his
grandfather’s laughter echoing gently in time.
Let me know if you’d like this turned into a practice sheet or audio breakdown. I’d love to
make it more hands-on for your learning .
6. Write the description and notation of Drut gat in Raag Kalyan with three toras.
Ans: A Musical Evening in a Courtyard – Understanding Drut Gat in Raag Kalyan
Long ago in a small village in India, there lived a young boy named Aarav who was deeply
fascinated by the melodies his grandfather played on the sitar every evening. One day, after
dinner, Aarav sat beside his grandfather with a curious expression. “Dadu,” he asked, “You
always talk about Raags and Gats, but what really makes a ‘Drut Gat’ so special?”
His grandfather smiled, gently tuned his sitar, and said, “Let me tell you the story of Raag
Kalyan, and in it, we’ll find your answer.”
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And thus began the musical journey into the world of Drut Gat in Raag Kalyan.
Raag Kalyan – The Raag of Blessings and Serenity
Raag Kalyan, also known as Yaman, is one of the most loved and widely performed evening
raags in Indian classical music. It’s like the setting sun painting the sky in golden hues —
soothing, noble, and deeply spiritual.
Thaat: Kalyan
Vadi (most important note): Ga
Samvadi (second important note): Ni
Time of Performance: Evening (6 PM – 9 PM)
Jaati: Sampoorna – Sampoorna (7 notes in both Aroha and Avaroha)
Aroha (Ascending scale):
• Ni Re Ga Ma(tivra) Dha Ni Sa
Avaroha (Descending scale):
• Sa Ni Dha Pa Ma(tivra) Ga Re Sa
Special Note: The use of Tivra Ma (sharp Ma) gives Raag Kalyan its characteristic brightness
and spiritual glow.
What is a Drut Gat?
Let’s come back to Aarav’s question now.
His grandfather explained, “In Indian classical music, a Gat is a fixed composition set in a
particular taal (rhythmic cycle). The Drut Gat is a fast-tempo composition, usually performed
after a slow composition like Vilambit Gat.”
Think of it this way: If Vilambit Gat is a calm walk through a garden, Drut Gat is like a joyful
dance under the stars. It brings excitement, energy, and showcases the artist’s mastery
through fast melodic patterns, intricate taans, and dynamic toras.
Description of Drut Gat in Raag Kalyan
Structure of Drut Gat
• Taal Used: Typically Teentaal (16 beats: 4 + 4 + 4 + 4)
• Tempo: Fast (Drut)
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• Mood: Joyful, devotional, elegant
• Content:
o The composition (gat): Fixed melody in fast tempo
o Toras: Short melodic patterns to develop the gat
o Taans: Faster improvisations
o Layakari: Rhythmic variations
In the Drut Gat, the artist plays or sings a fixed melody (known as the bandish) in Teentaal,
and then develops it through toras and taans. The performance becomes an artistic dialogue
between the melody and rhythm.
Notation of Drut Gat in Raag Kalyan (in Teentaal)
Let’s now look at a basic Drut Gat bandish in Raag Kalyan, written in Teentaal (16 beats).
We'll break it down into 4 parts of 4 beats each (Vibhags):
Swar Sanchalan (Drut Gat):
• | Dha Ni Re Ga | Ga Re Sa Ni | Re Ga Ma' Dha | Ni Dha Sa Sa |
Sthayi (first part of composition):
• Dha Ni Re Ga Ga Re Sa Ni
• Re Ga Ma' Dha Ni Dha Sa Sa
Antara (second part):
• Sa' Re' Ga' Re' Ni Dha Pa Dha
• Ma' Dha Ni Re' Sa' Sa' Ni Dha
Note:
• 'Ma' = Tivra Ma
• Notes with apostrophes (') are from the upper octave.
• All phrases are played in Teentaal (16 beats): Dha Dhin Dhin Dha | Dha Dhin Dhin
Dha | Dha Tin Tin Ta | Ta Dhin Dhin Dha
3 Toras in Raag Kalyan (Drut Gat)
After the Gat is presented, the performer creatively explores the raga through Toras – short
melodic patterns that highlight both beauty and rhythm.
Let’s create three simple yet artistic toras in Drut Gat style:
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Tora 1: Focus on Graceful Movement
• | Re Ga Ma' Ga Re | Sa Ni Re Ga | Ma' Dha Ni Re' | Sa' Sa' Dha Ni |
Explanation: This tora smoothly glides between lower and upper notes, showcasing Kalyan’s
elegance with Tivra Ma and highlighting its shringar (romantic) and bhakti (devotional)
moods.
Tora 2: Use of Rhythmic Intricacy (Layakari)
• | Ga Re Sa Re Ga | Ma' Ga Re Ga | Dha Ni Re Dha | Sa' Re' Dha Ni |
Explanation: This tora introduces a rhythmic twist. The layakari (playing with rhythm) shows
the performer's skill and makes the audience tap their fingers unconsciously.
Tora 3: Energy and Brilliance
• | Ni Re Ga Ma' Dha | Re Ga Ma' Dha Ni | Dha Ni Sa' Re' | Sa' Re' Ga' Re' |
Explanation: This tora is more energetic and ideal for the climax section. It flows upward and
uses upper-octave notes to build tension and excitement.
A Final Touch of the Story – Aarav’s Realization
After listening to the performance and understanding the notes, Aarav smiled and said, “So
Dadu, Drut Gat is where the real play begins, right?”
His grandfather chuckled, “Exactly! It’s like after carefully painting the outline, the artist
finally splashes vibrant colours with joy and freedom.”
From that day, Aarav didn’t just listen to music — he understood it. He could now feel the
rising Ni Re Ga, the sweet Tivra Ma, and the magic of a well-placed Tora. He wasn’t just a
listener anymore, but a seeker on his own musical journey.
Conclusion – Why Drut Gat in Raag Kalyan Matters
• It showcases mastery of both melody and rhythm.
• It brings the raga to life with speed, energy, and emotion.
• The toras add variety and creativity, making every performance unique.
• It trains the student in precision, creativity, and control.
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SECTION-D
7. Write down detailed note on the contribution of Guru Nanak Dev Ji towards Indian
Music.
Ans: Introduction: Music – The Soul’s Language
Long before radios, concerts, and playlists, music lived in temples, under trees, in royal
courts, and most beautifully—in the hearts of saints. It was not just a form of
entertainment, but a way to connect the soul to the Divine. In this vast and vibrant musical
tradition of India, Guru Nanak Dev Ji—the first Sikh Guru—not only played a significant role
in spiritual awakening, but also reshaped the course of Indian music. His contributions were
like planting a seed that grew into a mighty tree, giving shade and solace to countless
seekers.
Music in Guru Nanak Dev Ji’s Life: A Divine Medium, Not Mere Art
For Guru Nanak Dev Ji, music was not just a hobby or skill. It was a divine tool—a sacred
channel through which spiritual wisdom could flow effortlessly into the hearts of ordinary
people. While many saints preached through long discourses or debates, Guru Nanak Dev Ji
chose to sing his message. Why?
Because music touches what words alone cannot.
When someone sings with love and devotion, even a person who doesn’t understand the
language feels something deep inside. Guru Nanak Dev Ji understood this power. So, instead
of lengthy sermons, he sang his hymns—called shabads—that spoke of one God, love, truth,
compassion, and the futility of rituals.
The Role of Bhai Mardana: A Journey of Strings and Soul
One of the most beautiful musical partnerships in history was that of Guru Nanak Dev Ji and
Bhai Mardana, a Muslim rababi (a player of the rabab, a string instrument). Together, they
went on spiritual journeys across India and beyond—into present-day Pakistan, Afghanistan,
Iraq, and even Tibet. Wherever they went, Guru Nanak would sing, and Bhai Mardana would
play the rabab, giving rhythm and melody to the divine words.
This was not just a musical performance—it was a spiritual symphony. The messages of
oneness of God, equality of all human beings, and rejection of caste and ritualism were sung
aloud for the world to hear.
One Story: The Mosque and the Music
Once, during Guru Nanak Dev Ji’s travels, he visited a mosque. While others were offering
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namaz (Islamic prayer), he sat outside and began singing a shabad. A qazi (priest) became
angry and asked him why he was not joining the prayer.
Guru Nanak Dev Ji replied calmly, “You were not praying with your heart; your mind was in
your shop.” The qazi was shocked. Guru Nanak had seen through him. The qazi’s lips were
reciting verses, but his mind was thinking of worldly things.
Then Guru Nanak sang:
"Manmukh naam na jannani, baaj bajaawe vaaja."
(The self-centered one does not know the Name of God, but merely plays the instrument
without understanding.)
This story shows how true music, for Guru Nanak, was not about sound alone—it had to
come from a pure heart and a focused mind.
Creation of the Gurmat Sangeet Tradition (Sikh Musical Heritage)
Guru Nanak Dev Ji laid the foundation of Gurmat Sangeet, the spiritual music tradition of
Sikhism. Here’s what made it so revolutionary:
1. Raag-Based Composition
Guru Nanak composed his hymns in specific Indian classical raagas. These are melodic
frameworks used in Indian music that create particular moods or emotions. Each raag has a
purpose—some evoke devotion, others peace, some express longing, and so on.
• For example, Raag Asa evokes determination and hope.
• Raag Dhanasari creates a sense of surrender and sweetness.
By carefully choosing the right raag for each hymn, Guru Nanak made sure that the emotion
matched the message. This was a brilliant way to make the teachings more impactful.
His compositions are preserved in the Guru Granth Sahib Ji, the holy scripture of the Sikhs,
where each hymn is arranged according to raags—a rare practice in religious literature.
2. Use of Taal (Rhythm)
Guru Nanak also paid attention to taal, the rhythm cycle of Indian music. Every hymn had a
set rhythm, which made it easier to sing and remember. This helped people not just hear
the message, but feel it through the beat.
Even today, Sikh hymns (shabads) are sung in raag and taal, and this tradition continues
unbroken from the time of Guru Nanak.
3. Spiritual Democratization Through Music
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At that time, music—especially classical music—was mostly limited to the courts of kings
and temples. Common people, especially women and those from lower castes, had little
access to it.
Guru Nanak broke this barrier.
He took music out of palaces and into the streets, from temples to forests, from royal courts
to village ponds. Anyone could listen. Anyone could sing. There was no need to know
Sanskrit or Persian. The language was Punjabi, the tune was simple, and the message was
universal.
Music became a bridge between God and people, not a luxury of the elite.
Instruments and Innovation: The Rabab and More
The main instrument associated with Guru Nanak’s music was the rabab, played by Bhai
Mardana. This instrument became iconic in Sikh music. Over time, other instruments were
added—like the taus, saranda, and dilruba—many developed or promoted by later Sikh
Gurus, but all inspired by the musical legacy of Guru Nanak.
Shabad Kirtan: Music in Sikh Worship
Guru Nanak started the tradition of Shabad Kirtan—singing hymns in a congregation. This
continues to this day in every Gurdwara across the world.
When people gather and sing together, something magical happens. Egos melt, hearts
soften, and a sense of unity arises. This was Guru Nanak’s vision—not just of music, but of
society itself: harmonious, equal, and God-centered.
A Second Story: When a King Listened
There’s another beautiful incident where Guru Nanak Dev Ji visited a king. The king offered
gifts, gold, and fine clothes. But Guru Nanak only smiled and politely declined.
Then, Guru Nanak began to sing a shabad, and Bhai Mardana played the rabab. As the
melody filled the air, the king—who had been so proud of his power—was moved to tears.
He took off his crown and sat on the floor, feeling something he had never felt before:
peace.
Guru Nanak had shown him that music was greater than wealth, more powerful than
authority.
Lasting Legacy
Guru Nanak’s musical legacy didn’t end with him. All the following Sikh Gurus also
composed in raag and enriched this tradition. Eventually, the Guru Granth Sahib Ji—
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compiled by the fifth Guru, Guru Arjan Dev Ji—became not just a scripture, but a musical
masterpiece containing over 60 raags and 31 main musical measures.
Even today, scholars, musicians, and saints marvel at this spiritual and musical wonder.
Conclusion: The Eternal Symphony
Guru Nanak Dev Ji didn’t just teach with words—he sang the truth. His hymns were not just
songs; they were spiritual medicine, offered with compassion and musical beauty. He
redefined the purpose of music—from entertainment to enlightenment, from ego to ego-
loss, from outer show to inner glow.
Through the strings of Bhai Mardana’s rabab and the sweetness of his own voice, Guru
Nanak gave India a new kind of music—a music of liberation, love, and light. His
contribution to Indian music was not just a note in history—it is a melody that still lives,
sings, and heals.
8. Write short notes on the following terms in the context of Gurmat Sangeet:
(a) Rababi
(b) Rahao.
Ans: A Musical Morning at Harmandir Sahib: The Story Begins
Imagine a crisp morning in Amritsar, with the golden rays of the sun gently kissing the
waters of the Sarovar (holy tank) surrounding the Harmandir Sahib (Golden Temple). The air
is filled with peace, and in the middle of this sacred silence, a melodious sound emerges —
not from loudspeakers or instruments of the modern world, but from the deep devotion of
a man singing with a rabab, echoing the divine words of the Guru.
This is not just any music. It is Gurmat Sangeet, the sacred musical tradition of the Sikhs,
through which the teachings of the Gurus are sung, felt, and absorbed deep into the soul. To
understand this tradition more deeply, we must explore two important terms: Rababi and
Rahao.
Let’s break them down in a simple yet engaging manner.
(a) Rababi – The Devotees Who Sang the Guru’s Word
Origin of the Term:
The term Rababi comes from the instrument Rabab, a stringed musical instrument. But a
Rababi is more than just a player of the instrument — he is a dedicated musician who
performs Gurbani Kirtan, especially those who originally accompanied the Sikh Gurus.
The First Rababi – Bhai Mardana Ji:
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To truly understand the meaning of Rababi, we must meet Bhai Mardana Ji, the first Rababi
and a close companion of Guru Nanak Dev Ji, the founder of Sikhism.
Bhai Mardana was born in a Muslim family and played the rabab so beautifully that even
the birds would pause to listen. When Guru Nanak Dev Ji began his travels (called Udasis) to
spread the message of divine truth, love, and equality, he took Bhai Mardana with him.
Wherever the Guru sang his divine verses (Shabads), Mardana Ji would accompany him on
the rabab, creating a heavenly blend of word and melody.
Despite coming from different religious backgrounds, their companionship is a shining
example of spiritual unity and equality. Bhai Mardana Ji was not just a musician — he was a
Sevak (servant) of the Guru's message.
Role of Rababis in Sikh History:
1. Carriers of the Guru’s Bani (Words):
Rababis were responsible for spreading the divine message of the Gurus through
Kirtan (devotional singing).
2. Preservers of Gurmat Sangeet:
The tradition of singing Gurbani in classical ragas (melodies) was preserved and
passed down by these Rababis through generations.
3. Performers in Gurdwaras:
Rababis performed regularly in Sikh shrines before the tradition of Granthi Kirtaniyas
(Kirtan singers from the Sikh community) became more common.
Communal Harmony Through Music:
The Rababi tradition stands as a symbol of religious harmony. Bhai Mardana Ji, being a
Muslim, sang the teachings of a Sikh Guru and was respected and loved by Sikhs. His
descendants, many of whom continued this tradition, sang Gurbani even after the partition
of India in 1947, until many had to migrate to Pakistan.
Today, even though the Rababi tradition has declined due to historical changes, its spiritual
essence still lives on in every Kirtan sung with devotion and purity.
(b) Rahao – The Pause That Speaks
Let us now turn our attention to another important term in the world of Gurmat Sangeet:
Rahao.
What Does “Rahao” Mean?
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The word Rahao (pronounced as Raha-o) in Punjabi means “Pause” or “Stop”. In the context
of Gurbani, especially within the Shabads (hymns), Rahao is a musical and poetic instruction
given by the Guru.
Why is Rahao Important?
When you read or listen to a Shabad from the Guru Granth Sahib Ji, you will notice that in
many places, after a few lines, there is a word written — Rahao. This isn’t just for musical
rhythm. It serves a deep and specific purpose.
Let’s simplify this with a story-like scenario:
A Short Example: The Message in a Song
Imagine a teacher narrating a beautiful poem to her students. In between the poem, she
suddenly pauses and says, "This line — this is the main idea!"
That’s what Rahao does in a Shabad. It says:
"Pause here. Reflect. This is the central message of the hymn."
Spiritual Significance:
In Gurbani, Rahao acts as the essence of the hymn — a summary or key message that the
Sikh is supposed to reflect upon deeply. It tells the listener or reader:
• This is the main point of contemplation.
• This is where your focus should remain.
• Meditate on this line. Let it guide your thoughts and actions.
Rahao in Musical Composition:
Musically, when a Kirtaniya (singer of Kirtan) performs the Shabad, the Rahao line is
repeated multiple times, sometimes as a chorus or as a base line. This gives structure to the
performance and helps the congregation remember the key message.
Final Summary: Two Pillars of Gurmat Sangeet
Let’s now wrap up our explanation with a comparison table to make it even easier to
understand:
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Term
Meaning
Role in Gurmat Sangeet
Example/Significance
Rababi
A devotee-musician,
especially those who
played the rabab and
sang Gurbani
Spread and preserved the
Guru’s teachings through
music
Bhai Mardana Ji was the
first Rababi
Rahao
A pause or reflection
point in a hymn
Highlights the main
message of the Shabad;
helps in spiritual
contemplation
Found in Gurbani, repeated
during Kirtan as the chorus
Why These Terms Still Matter Today
Even today, if you sit in a Gurdwara and listen to a Shabad being sung, you are witnessing
the living spirit of the Rababis and the wisdom of Rahao. These are not just technical terms
— they are spiritual tools that help connect the soul to the Divine.
• Rababis remind us that music is a medium of unity, love, and devotion — beyond all
boundaries.
• Rahao reminds us that even in a world full of noise, we must pause and reflect to
find the true message.
A Thought to End With
When Bhai Mardana played his rabab, he wasn't just playing notes — he was awakening
hearts. And when the Guru wrote Rahao, he wasn't just structuring a poem — he was
showing us the path to inner realization.
In the end, Gurmat Sangeet is not about performance. It is about connection — with the
Guru, with ourselves, and with the Divine.
“This paper has been carefully prepared for educational purposes. If you notice any mistakes or
have suggestions, feel free to share your feedback.”
