Easy2Siksha

GNDU Question Paper-2022

B.A 1

Semester

MUSIC (Vocal)

Time Allowed: Three Hours Maximum Marks: 50

Note: Attempt any Five questions. Select at least One question from each Section. Fifth

question may be attempted from any Section. Each question carries 10 marks.

SECTION-A

I. Define the string instrument Tanpura and a brief knowledge about its various parts.

II. What is the definition for Saptak? Write about the types of Saptak.

SECTION-B

III. Write a short note on the contribution of Tansen.

IV . What do you know about the wedding songs of Punjabi culture? Name any four

popular songs.

SECTION-C

V. Write the detail description of Raag Bhupali

VI. Write the notation of Teentaal with Dugun.

Easy2Siksha

SECTION-D

VII. Explain the term Mohalla is Gurmat Sangeet.

VIII. What are the significant contributions made by Shri Guru Nanak Dev Ji in

the field of music.

GNDU Answer Paper-2022

B.A 1

Semester

MUSIC (Vocal)

Time Allowed: Three Hours Maximum Marks: 50

Note: Attempt any Five questions. Select at least One question from each Section. Fifth

question may be attempted from any Section. Each question carries 10 marks.

SECTION-A

I. Define the string instrument Tanpura and a brief knowledge about its various parts.

Ans: What is Tanpura?

The Tanpura, also spelled Tambura, is a long-necked plucked string instrument that is

essential in both Hindustani (North Indian) and Carnatic (South Indian) classical music

traditions. It is a drone instrument, meaning it provides a continuous harmonic tone (known

as shruti) to maintain the pitch and tonal structure during a performance.

It is not a melodic instrument like the sitar or violin. Instead, it creates a rich, vibrating drone

consisting of the tonic (Sa), the fifth (Pa), and sometimes other intervals depending on the

raga being performed.

Easy2Siksha

A Journey Through the History of Tanpura

The origins of Tanpura go back centuries. It is believed to have evolved from the ancient

Ektara (a single-stringed instrument). Its name likely derives from the Persian word

“tambur”, which itself evolved into various string instruments across Central and South Asia.

Over time, Indian musicians modified its design to suit the needs of classical music.

Historically, every vocal and instrumental performance in classical Indian tradition included

a tanpura. Even legendary maestros like Tansen from Akbar’s court or Tyagaraja in South

India would rely on the tanpura to keep their shruti pure and stable.

Types of Tanpura

There are mainly three types of Tanpura:

Male Tanpura:

• Bigger in size (approx. 4 to 5 feet)

• Produces a deep, resonant sound

• Used mainly by male vocalists due to its lower pitch

Female Tanpura:

• Slightly smaller than male tanpura

• Has a higher pitch range

• Commonly used by female vocalists

Instrumental Tanpura:

• Shorter in length

• Designed to accompany instruments like sitar, flute, or violin

• Focused on resonance and tuning suited for instrumental scales

In modern times, electronic tanpuras are also used, especially in classrooms or rehearsals.

However, nothing truly replaces the soulful resonance of a real, hand-crafted tanpura.

Parts of a Tanpura: The Anatomy of a Soulful Instrument

Now let’s explore the different parts of the Tanpura, just like understanding the organs of a

living being.

1. Tumba (Resonator or Gourd)

This is the main body of the tanpura and is usually made from a dried pumpkin (gourd) or

wood like tun or teak. The gourd is hollowed out and polished from inside to amplify the

sound.

Easy2Siksha

• Function: Acts as the resonator

• Location: At the bottom, forms the base

• Impact: Larger tumba means deeper resonance

2. Tabli (Soundboard)

• The flat wooden face on top of the gourd is called the tabli. This is where the bridge

sits, and over which the strings stretch.

• Made from seasoned tun or teak wood

• Smooth and finely crafted for maximum sound reflection

3. Dand (Neck)

The long wooden shaft that extends from the gourd is called the dand or neck. This is where

the strings run, and the tuning pegs are fixed.

• Usually crafted from seasoned wood

• Holds frets in some versions (although most tanpuras are fretless)

4. Pegs (Tuning Keys)

Located at the top of the dand, these are called kunti in Hindi. There are usually four (or

sometimes five) pegs, one for each string.

• Made of wood, manually turned to adjust the string tension

• Help in fine-tuning the pitch of each string

5. Strings

Tanpura typically has four strings, although some variations have five. The strings are of

different thickness and are made of steel and brass.

• First string (usually steel) tuned to Pa or Ma

• Second and third strings (steel) tuned to Sa (tonic)

• Fourth string (thick brass) tuned to Sa (lower octave)

• Each string plays a unique role in creating the harmonic drone.

6. Bridge (Jawari)

This is the flat piece of bone, ivory (in old times), or synthetic material, located on the tabli.

The strings rest on this bridge.

• Creates the unique buzzing sound or resonance

• Must be finely adjusted to achieve the jawari or sweet sound

• This buzzing effect is not noise but a calculated vibration, essential for the rich drone

7. Beads (Meru)

Small threaded beads are tied below each string near the bridge. They help fine-tune the

length and tension of the strings, affecting the tone and sustain.

Easy2Siksha

• Used to adjust micro-pitch

• Help balance the strings over the bridge

8. Decoration and Finish

Traditional tanpuras are often adorned with inlay work, carvings, and varnish to enhance

their appearance. These elements are aesthetic but reflect the devotional spirit of Indian

classical musicians toward their instruments.

II. What is the definition for Saptak? Write about the types of Saptak.

Ans: 󷉸󷉹󷉺 Definition of Saptak:

The word "Saptak" comes from the Sanskrit word "Sapta" meaning seven. So, Saptak refers

to a group or collection of seven basic musical notes (swaras) in Indian classical music. These

seven swaras form the foundation of all ragas, melodies, and compositions.

The seven notes or Swaras are:

• Sa (Shadja)

• Re (Rishabh)

• Ga (Gandhar)

• Ma (Madhyam)

• Pa (Pancham)

• Dha (Dhaivat)

• Ni (Nishad)

These swaras are arranged in a fixed ascending and descending order to form the Saptak.

In simple words, Saptak is the set of seven musical notes placed in a specific order of pitch,

starting from the lowest to the highest. This order is essential to build melodies and

understand the structure of ragas.

󷘗󷘘󷘙 Saptak and Its Importance:

To understand Indian music, understanding Saptak is like learning the alphabet before

reading or writing. Just like a writer cannot write without knowing letters, a musician cannot

sing or play music without knowing the Saptak. Each note has a specific frequency and

emotional quality, and the way these notes are used defines the mood and feel of a

composition.

For example:

• Sa gives a sense of stability.

• Re and Ga bring emotion.

Easy2Siksha

• Ma adds depth.

• Pa is steady and strong.

• Dha and Ni often express intensity or longing.

• So the Saptak is not just a scale, but a living set of emotional expressions.

󷆊󷆋󷆌󷆍󷆎󷆏 Types of Saptak:

There are three main types of Saptak based on the pitch or frequency range in which the

notes are sung or played:

1. Mandra Saptak ( ) – The Lower Octave:

Definition:

Mandra Saptak refers to the lower octave, where the swaras are sung or played in a low

pitch. These notes have a deep, heavy, and mellow quality.

Characteristics:

• Notes are produced with a deeper voice or tone.

• Used in the early part of a performance or in slow alaaps.

• Often used in meditative ragas or to express gravity and depth.

• Generally used more in instrumental music and Dhrupad style singing.

Notation:

To denote Mandra Saptak, a dot (.) is placed below the note. For example:

.Sa .Re .Ga .Ma .Pa .Dha .Ni

Example Usage:

Imagine the calm before sunrise. The environment is still, and a tanpura is playing a low,

resonant Sa. That deep hum comes from the Mandra Saptak.

2. Madhya Saptak ( ) – The Middle Octave:

Definition:

Madhya Saptak is the middle octave, which is the most commonly used range of notes in

singing and playing.

Characteristics:

• Most vocal and instrumental music is performed in this range.

• It is the natural tone or pitch range of the human voice.

• Balances both emotion and clarity.

• Used in all kinds of compositions—from classical to light music.

Easy2Siksha

Notation:

No dots are used for Madhya Saptak notes. They are written as:

Sa Re Ga Ma Pa Dha Ni

Example Usage:

This Saptak is like the daytime of music — bright, clear, and active. Most Bollywood songs

and classical compositions are primarily performed in this octave.

3. Taar Saptak ( ) – The Higher Octave:

Definition:

Taar Saptak is the higher octave, where the swaras are sung or played in a high pitch. These

notes are sharp, bright, and have a soaring quality.

Characteristics:

• Notes require greater control and vocal/instrumental power.

• Used to show emotional climax, excitement, or intensity.

• Appears in fast-paced parts of the performance like taans, sargams, or high-pitched

alaaps.

Notation:

To denote Taar Saptak, a dot (.) is placed above the note. For example:

Sa. Re. Ga. Ma. Pa. Dha. Ni.

Example Usage:

Think of the final moments of a concert, where the vocalist reaches a peak note with great

energy and grace — that's the Taar Saptak in action.

󼮈󼮉󼮊󼮋󼮌󼮏󼮍󼮎󼮐 Saptak as a Musical Journey:

Imagine the Saptak as a staircase with seven steps:

• The first step (Sa) is the beginning — calm and stable.

• As you go up, you meet different emotions — love, longing, devotion, strength.

• Finally, at the top (Ni in Taar Saptak), you reach musical liberation or climax.

• Then the journey reverses as you come down the staircase — bringing the music

back to peace.

Each raga in Indian classical music selects specific notes from the Saptak and uses them

creatively to form its unique identity.

󷊄󷊅󷊆󷊇󷊈󷊉 The Fixed and Movable Swaras:

Easy2Siksha

Among the seven swaras:

• Sa and Pa are Achal Swaras (fixed) — they never change their position or form.

• The other five (Re, Ga, Ma, Dha, Ni) are Chal Swaras (movable) — they can be:

• Komal (flat) – Re, Ga, Dha, Ni

• Teevra (sharp) – Ma

This gives us 12 swaras in total (7 natural + 5 altered), but they still fall under one of the

three Saptaks.

󹴮󹴯󹴰󹴱󹴲󹴳 Historical and Scientific Relevance:

• Historically, the Saptak was mentioned in Natya Shastra by Bharata Muni. Musicians

and theorists over centuries refined its structure. Scientifically, each note

corresponds to a specific frequency. For example:

• Sa (in Madhya Saptak) is usually tuned at 240 Hz

The same Sa in Mandra might be 120 Hz, and in Taar could be 480 Hz

This division into three Saptaks allows a complete musical expression across various moods

and human vocal ranges.

󼖻󼖼󼖽󼖾󼖿󼗀󼗁󼗍󼗎󼗂󼗃󼗄󼗅󼗆󼗇󼗈󼗉󼗊󼗋󼗌 Spiritual Aspect of Saptak:

In Indian tradition, music is not just entertainment but a path to spiritual elevation. The

Saptak symbolizes the journey of the soul:

• From the physical (Mandra)

• Through the emotional and intellectual (Madhya)

• To the divine or spiritual (Taar)

Many saints, like Tansen, Meera, and Kabir, used this structure to sing devotional songs and

connect with the divine.

󹲹󹲺󹲻󹲼󹵉󹵊󹵋󹵌󹵍 Conclusion:

The Saptak is not merely a set of seven musical notes. It is a map of sound, a canvas of

emotion, and a ladder to spiritual bliss. Through the three Saptaks — Mandra, Madhya, and

Taar — musicians express every shade of human experience. For university students,

understanding Saptak is like unlocking the very door to the heart of Indian classical music.

Whether you are a singer, instrumentalist, or music lover — knowing the types of Saptak

gives you the ability to listen, appreciate, and perform music with greater depth and joy.

Easy2Siksha

SECTION-B

III. Write a short note on the contribution of Tansen.

Ans: Tansen in Akbar’s Court: The Jewel of Navaratnas

Tansen’s fame reached the court of Mughal Emperor Akbar, one of the most culturally rich

and tolerant emperors in Indian history. Akbar was deeply fond of music and was always in

search of extraordinary talent. When he heard about Tansen’s genius, he invited him to his

court. Tansen accepted the invitation and became one of the “Navaratnas” or Nine Gems in

Akbar’s royal court.

In Akbar’s court, Tansen's creativity found a perfect environment to grow. Akbar not only

admired him as a court musician but treated him like a close friend. Tansen composed many

new ragas (melodic frameworks in Indian classical music) and brought a new energy to

Hindustani music. His performances were often considered magical and spiritual

experiences.

Musical Contributions: More Than Just Melodies

Tansen’s contributions to Indian music are vast and deep. They can be categorized under

various aspects:

1. Development of Hindustani Classical Music

Tansen played a crucial role in shaping the structure of Hindustani classical music. Before

him, music was mainly devotional and sung in temples. He brought music to royal courts

and gave it a new identity as both an art form and a medium of expression.

He blended the spiritual Dhrupad style with the ornamental Khayal style (which became

more popular in later periods), setting the foundation for a richer musical tradition.

2. Composition of New Ragas

Tansen is credited with creating several new ragas—unique melodic structures that became

essential parts of Indian music. Some of the ragas believed to be created by him include:

• Miyan ki Todi

• Miyan ki Malhar

• Miyan ki Sarang

• Darbari Kanada

These ragas are still performed today and are considered masterpieces. Each raga created

by Tansen had a distinct emotional quality and could be sung at specific times of the day or

in particular moods, thus enriching the raga system.

Easy2Siksha

3. Miracle of Music – The Legends

There are many legends associated with Tansen's extraordinary command over music:

• It is said that when he sang Raga Deepak, the lamps in the room would light up on

their own.

• When he performed Megh Malhar, it would start raining, cooling down the fire

created by Raga Deepak.

• Wild animals would calm down and gather peacefully around when he sang certain

ragas.

Though these stories might be exaggerated, they highlight the immense respect and near-

divine aura Tansen held in the eyes of people.

4. Fusion of Spiritual and Secular Music

Tansen’s training under both Hindu and Sufi traditions allowed him to blend spiritualism

with classical rigor. His music often reflected devotion, whether to Lord Krishna or to the

idea of universal love. This duality helped unite people across religions and regions through

the universal language of music.

5. Influence on Gharanas

Tansen is considered the founder of the Gwalior Gharana, one of the oldest and most

prestigious schools of Hindustani music. His disciples continued his tradition and spread it

across India. His lineage of musical thought contributed to the growth of many gharanas

such as Delhi, Agra, and Jaipur.

Tansen's Legacy: A Timeless Inspiration

Tansen passed away around 1586 A.D. and was buried in Gwalior. His tomb, which lies near

the shrine of his spiritual master Muhammad Ghaus, has become a place of musical

pilgrimage. Every year, the Tansen Sangeet Samaroh (Tansen Music Festival) is organized at

his tomb to honor his memory, drawing musicians and music lovers from all over India.

His legacy continues to inspire:

• Music students learn Tansen’s ragas as part of their core training.

• His compositions are still sung in concerts with deep respect.

• He symbolizes the golden era of music where talent, devotion, and innovation

flourished together.

Conclusion: Tansen—A Bridge Between Earth and the Divine

Tansen was not just a musician; he was a musical sage, someone who believed that music

could heal, inspire, and connect souls. His journey from the forests of Gwalior to the royal

Easy2Siksha

court of Akbar, his training under Swami Haridas and his spiritual growth under Sufi saints,

all contributed to making him the legend that he is today.

For students and music lovers alike, the story of Tansen is a reminder that music is more

than entertainment—it is a language of the soul, and when practiced with dedication, it

becomes eternal. Tansen’s life teaches us that genius, when combined with humility and

devotion, becomes timeless.

Through his innovations, compositions, and deep spiritual connection with music, Mian

Tansen became the heartbeat of Hindustani classical music, a name that still resonates with

melody, history, and reverence.

IV . What do you know about the wedding songs of Punjabi culture? Name any four

popular songs.

Ans: Cultural Significance of Punjabi Wedding Songs

1. Emotional Expression

Wedding songs offer a beautiful outlet for emotional expression. There are songs for every

phase—celebrating engagements, preparing the bridal trousseau, teasing relatives, the

actual wedding, and even the vidaai (bride’s departure).

For example:

• A mother may sing a song expressing her happiness but also her pain at the daughter

leaving.

• Friends may sing playful songs to tease the groom during the mehndi or sangeet

function.

2. Community Bonding

These songs are usually sung in groups. Whether it's the maternal aunt (massi), paternal

aunt (bua), neighbors, or cousins, everyone comes together. This promotes communal

harmony, emotional bonding, and creates memorable moments.

3. Preserving Oral Tradition

Many Punjabi wedding songs are not written down but remembered and sung from

memory. They serve as living folklore, preserving centuries-old traditions, social values, and

linguistic beauty.

4. Social Commentary

Some songs reflect the changing roles of women, the aspirations of daughters, or comment

on the expectations from marriage. They can be humorous, sarcastic, wise, or emotional—

thus also acting as social commentary in lyrical form.

Easy2Siksha

Types of Punjabi Wedding Songs

Punjabi wedding songs can be classified into several categories depending on the occasion

and theme:

1. Pre-wedding Songs

• These are sung during the initial rituals like Roka, Chunni, Shagun, etc.

Examples: Songs about preparing for the wedding, bringing gifts, or dressing the bride.

2. Sangeet Songs

• These are the most popular and energetic songs, sung at Ladies Sangeet.

• Often full of teasing, dance, and humor, these songs are mostly sung by female

relatives.

The mood is light and filled with joy.

3. Mehndi and Haldi Songs

• These are sung during the application of mehndi (henna) and haldi (turmeric). They

are more ritualistic and intimate.

Often talk about the beauty of the bride or blessings for her future.

4. Sehra and Ghodi Songs

These are for the groom’s side. Sehra is a song sung to praise the groom as he gets ready to

mount the horse (ghodi). These songs can be playful and praising at the same time.

5. Vidaai Songs

• Perhaps the most emotional part, vidaai songs are sung when the bride is leaving her

parental home.

• These are sad, emotional, and often bring tears to everyone's eyes.

• They capture the pain of parting and the hope for a happy life ahead.

Four Popular Punjabi Wedding Songs

"Kala Doria"

• This is one of the most loved sangeet songs.

• It is often sung by groups of women and includes a lot of teasing and playful verses.

• Each verse ends with the catchy chorus “Kala Doria kundiyan muchhan wala.”

• The song can be customized for the groom’s name and family members.

"Mehndi Ni Mehndi"

• A traditional mehndi song sung during the bride’s henna ceremony.

Easy2Siksha

• It talks about the beauty of mehndi, how it will adorn the bride’s hands, and the joy

of her upcoming marriage.

• Soft and melodious, this song often brings a sentimental touch.

"Sohniya Veer Di Vadhaai"

• A song sung for the bride’s brother (veer), blessing him for arranging a beautiful

wedding.

• It’s both thankful and praising in tone, reflecting the emotional bond between the

siblings.

"Sada Chirhiyan Da Chamba Ve"

• A vidaai song that is extremely emotional and touching.

• The lyrics compare the bride to a bird (chambha), who has now flown to a new nest.

• It is known to bring tears even to the strongest hearts.

Evolution of Punjabi Wedding Songs in Modern Times

With the influence of Bollywood and pop culture, traditional Punjabi wedding songs have

undergone some changes:

• Fusion with Modern Music: Many wedding events now feature DJ nights with

remixed versions of traditional songs.

• Commercial Albums: Artists like Gurdas Maan, Harbhajan Mann, and even

mainstream Bollywood singers have created wedding-themed songs.

• Social Media Influence: Instagram reels and YouTube playlists have led to curated

wedding song lists, blending old and new melodies.

However, even with modernization, the soul of traditional geet has not disappeared. In fact,

many families still ensure that at least one Ladies Sangeet event includes purely traditional

songs sung by older women.

Conclusion: A Musical Celebration of Love and Legacy

Punjabi wedding songs are more than music—they are cultural treasures. They keep alive

the oral traditions, reflect emotional depth, and strengthen social ties. Each song is like a

story—telling tales of love, family, laughter, parting, and hope.

For university students studying culture, anthropology, or performing arts, Punjabi wedding

songs provide rich material for research into oral history, gender roles, folklore, and

community life.

In a world rapidly moving towards technology and automation, these songs are a reminder

of human warmth, shared laughter, heartfelt tears, and the simple joy of singing together.

Easy2Siksha

As long as Punjabi weddings exist, these songs will continue to echo through villages, towns,

and cities—binding generations with the sweet thread of tradition.

SECTION-C

IV. Write the detail description of Raag Bhupali

Ans: Arohana and Avarohana (Ascent and Descent)

To understand a raga deeply, it is important to look at its structure, which is defined by two

patterns:

• Arohana (Ascending scale):

Sa Re Ga Pa Dha Sa

• Avarohana (Descending scale):

Sa Dha Pa Ga Re Sa

These patterns are built using five notes (swaras), which makes Raag Bhupali a pentatonic

raga. In Indian classical music, such a raga is known as an Audav-Audav raga (Audav means

five-note scale).

The five swaras used are:

• Sa (Shadja) – the base note

• Re (Rishabh) – natural

• Ga (Gandhar) – natural

• Pa (Pancham) – natural

• Dha (Dhaivat) – natural

Raag Bhupali omits Ma (Madhyam) and Ni (Nishad) completely. This absence gives it a

unique and airy feel.

Thaat (Parent Scale)

Raag Bhupali belongs to the Kalyan Thaat, although some scholars also relate it to Bilawal

Thaat due to the use of all shuddha swaras. However, since there is no Ma (which is teevra

in Kalyan Thaat), it does not express the complete mood of Kalyan. But traditionally, it is still

grouped under Kalyan Thaat because of its spiritual tone and emotional mood.

Jati (Classification by Number of Notes)

As already noted, Raag Bhupali is:

Easy2Siksha

• Arohana: 5 notes

• Avarohana: 5 notes

So it is classified as Audav–Audav Jati.

Vadi and Samvadi (Important Notes)

In every raga, there are certain swaras that are more prominent, just like certain characters

in a story are more important.

• Vadi (Most important note): Ga (Gandhar)

• Samvadi (Second most important note): Dha (Dhaivat)

These notes are highlighted more in compositions and improvisations, and they help bring

out the raga’s full flavor and emotional essence.

Time of Performance (Samay)

Indian classical music gives special importance to the time of the day when a raga should be

performed.

• Raag Bhupali is best sung or played in the early night, between 7 PM and 9 PM.

At this time, when the world slows down and peace takes over, Bhupali’s calm and uplifting

notes sound even more magical.

Mood and Emotion (Rasa)

Raag Bhupali is closely connected with the Bhakti Rasa – the emotion of devotion. It evokes

a feeling of peace, purity, and introspection. Its simple yet profound melodic structure

makes the listener feel as if they are on a spiritual journey.

In temples, Bhupali is often used in bhajans, aartis, and other devotional songs. Many film

songs and patriotic songs also use this raga to express purity, love for the country, or

prayerful moods.

Pakad (Signature Phrase)

Every raga has a characteristic phrase that defines it—this is known as Pakad.

For Raag Bhupali, a commonly used Pakad is:

Sa Re Ga, Pa Dha Pa, Ga Re Sa

This helps in identifying the raga while listening or performing. This phrase is often used

while practicing or composing music based on Bhupali.

Easy2Siksha

Typical Compositions and Practice

Raag Bhupali is a beginner-friendly raga, but it can also be performed with immense depth

and beauty by advanced musicians.

Typical types of compositions in Raag Bhupali include:

• Bandish (fixed melodic compositions)

• Chhota Khayal (shorter vocal pieces)

• Alap (slow, unmetered melodic exploration)

• Taan (fast melodic runs)

• Tarana (rhythmic compositions using syllables like “na, ta, dere, tana”)

Raag Bhupali in Other Music Traditions

Raag Bhupali also has an equivalent in Carnatic music, the South Indian classical system.

There it is known as Raag Mohanam. It uses the same five notes and creates a similar

spiritual and joyous mood.

Raag Bhupali in Popular and Devotional Music

Because of its sweet and soothing sound, Raag Bhupali has been widely used in:

• Film songs – Many old Hindi songs are based on Bhupali.

Example: Jyoti Kalash Chhalke by Lata Mangeshkar.

• Patriotic songs – It gives a sense of pride and purity.

• Bhajans – Especially in prayers to Lord Rama, Krishna, or Guru Nanak.

• Instrumental music – Sitar, flute, and violin artists often begin concerts with Bhupali.

Famous Artists Who Excelled in Bhupali

Great classical vocalists and instrumentalists have performed beautiful renditions of

Bhupali:

• Pandit Bhimsen Joshi

• Ustad Amir Khan

• Pandit Hariprasad Chaurasia (Flute)

• Ustad Vilayat Khan (Sitar)

Their interpretations have added new dimensions to the raga.

Easy2Siksha

Conclusion – Why Raag Bhupali Matters

Raag Bhupali is much more than a musical scale. It is a gateway into the world of Indian

classical music. Its simple structure makes it ideal for beginners, but its emotional depth

offers endless possibilities for professionals.

It teaches us that beauty can lie in simplicity. In a world full of chaos, Bhupali reminds us to

pause, reflect, and reconnect with our inner self. Whether you are a student, a performer,

or just a listener, Raag Bhupali can give you peace, spiritual joy, and a love for classical

music.

V. Write the notation of Teentaal with Dugun.

Ans: What is Teentaal?

Among the many taals in Indian classical music, Teentaal is one of the most widely used and

fundamental talas. It is so important that many students begin their journey of rhythm with

Teentaal. The word “Teen” means three, and “Taal” means clap or rhythm. Although it’s

called Teentaal, it actually contains 16 matras divided into 4 equal parts of 4 matras each

(i.e., 4+4+4+4 = 16).

Structure of Teentaal

• Vibhag

• Matras

• Clap/Wave

• 1st Vibhag

• 1 to 4

• Tali (Clap) – Sam

• 2nd Vibhag

• 5 to 8

• Tali (Clap)

• 3rd Vibhag

• 9 to 12

• Khali (Wave)

• 4th Vibhag

• 13 to 16

• Tali (Clap)

Sam (1st Matra): The most important beat where the cycle begins and often compositions

resolve.

• Tali (Clap): Represents stress or emphasis on the beat.

• Khali (Wave): Represents a lighter, open beat with no stress; adds contrast.

Basic Theka (Pattern) of Teentaal

Here is the most common Theka (basic pattern) of Teentaal played on Tabla:

Easy2Siksha

Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Ta Dhin Dhin Dha

Each stroke corresponds to a specific tabla sound:

• Dha: A combination of “Na” (dayan) and “Ge” (bayan).

• Dhin: A combination with more resonance, generally heavier than "Dha".

• Tin: A lighter sound, usually from the right hand (dayan).

• Ta: A crisp sound from the right hand.

What is Dugun?

Now let’s come to the concept of Dugun.

“Dugun” literally means double. It is a type of laykari (variation in tempo) where for every

beat of the taal, we play two strokes instead of one. So, if there are 16 beats in Teentaal, in

Dugun we perform 32 strokes (2 strokes per beat).

It is like if you are walking at a normal pace (Theka), and then you start jogging (Dugun) –

faster but still in rhythm and structured.

Why is Dugun Important?

• It helps in improving a student’s control over speed.

• It teaches how to maintain rhythm while doubling the tempo.

• It is used in tabla solos, instrumental performances, and even in Kathak dance to

show virtuosity.

Notation of Teentaal with Dugun

Below is the notation of Teentaal in Dugun:

We write two bols (syllables) for each beat. Since Teentaal has 16 beats, Dugun will have 32

syllables (16 x 2 = 32).

Let’s break this down Vibhag by Vibhag:

1st Vibhag (1 to 4):

Dha Dha Dhin Dhin Dhin Dhin Dha Dha

2nd Vibhag (5 to 8):

Dha Dha Dhin Dhin Dhin Dhin Dha Dha

3rd Vibhag (9 to 12):

Easy2Siksha

Dha Dha Tin Tin Tin Tin Ta Ta

4th Vibhag (13 to 16):

Ta Ta Dhin Dhin Dhin Dhin Dha Dha

Teentaal Dugun Full Notation Table

Beat

Dugun Bols (2 per beat)

Dha Dha

Dhin Dhin

Dha Dha

Dhin Dhin

Dha Dha

Tin Tin

Ta Ta

Dhin Dhin

Dha Dha

Claps and Waves in Dugun

Even though the tempo is faster in Dugun, the structure of Tali and Khali remains the same:

• 1st Beat (Sam): Clap

• 5th Beat: Clap

• 9th Beat: Wave (Khali)

Easy2Siksha

• 13th Beat: Clap

This structure helps maintain the taal even when speed increases. Dugun is not just about

speed—it’s about discipline within speed.

How to Practice Teentaal with Dugun

Clap and Count:

Start by clapping on the Tali beats and waving on Khali. Count 1 to 16.

Speak the Dugun Bols:

While keeping the taal with your hands, recite the Dugun pattern:

“Dha Dha Dhin Dhin, Dhin Dhin Dha Dha...” and so on.

Play on Tabla:

Practice slowly on Tabla. Use a metronome or Lehra (melody loop) app for consistency.

Observe the Sam:

Always land on Sam perfectly. It is the anchor point of every cycle.

Applications in Performance

• Tabla Solo: Dugun is often used to show skill in a Tabla solo performance. It is also

followed by Chaugun (4 times) and Anaghat (off-beat) layakari.

• Kathak Dance: Dancers also use Dugun to show footwork in rhythm with the tabla

player.

• Accompaniment: When accompanying a vocalist or instrumentalist, knowing when

and how to apply Dugun is vital.

Interesting Fact

Even though Dugun doubles the number of syllables, it never disturbs the structure of the

taal. That’s the beauty of Indian rhythm—it stretches and shrinks like rubber but retains its

shape and core structure.

Conclusion

Understanding and performing Teentaal with Dugun is not just an academic exercise—it’s a

real, live, and breathing experience of rhythm. It teaches discipline, creativity, and timing.

Students of Tabla and Indian classical music must not only memorize it but feel it in their

hands and hearts.

Easy2Siksha

By regularly practicing Teentaal in its basic form and with Dugun, a student prepares for

more complex layakaris and becomes more confident in both solo and accompaniment

roles. It is like laying a strong foundation before building a magnificent structure.

So, the next time you hear a Tabla performance, try to spot when the artist shifts into

Dugun. You’ll start to appreciate the technical beauty and artistry that goes behind every

composition and improvisation.

SECTION-D

VI. Explain the term Mohalla is Gurmat Sangeet.

Ans: How is Mohalla Written?

You might have noticed in many shabads in Guru Granth Sahib, the line before the hymn

begins says something like:

• Raag Asa, Mohalla Pehla

• Raag Sorath, Mohalla Panjvan

Let’s decode this:

• Raag Asa is the melodic framework used.

• Mohalla Pehla means the hymn was composed by the First Guru, i.e., Guru Nanak

Dev Ji.

• Similarly, Mohalla Panjvan refers to Guru Arjan Dev Ji, the fifth Guru.

So, when we say Mohalla, we’re talking about which Guru composed the hymn in that

musical setting.

Why Is It Important in Gurmat Sangeet?

You might wonder — why is this classification necessary in Gurmat Sangeet? Why not just

sing the shabad without focusing on the Guru who wrote it?

Here’s where the spiritual depth of Gurmat Sangeet becomes clear.

Divine Identity of the Composer:

Every Guru had a distinct spiritual experience, tone, and style. When a shabad is attributed

to a particular Guru through “Mohalla,” it helps the raagi (singer) and the sangat

(congregation) to align themselves with the spiritual message of that Guru.

Musical Nuance:

Some Gurus preferred specific raagas or taals or had particular styles of expression — such

as calm, meditative, instructional, or emotional. Knowing the “Mohalla” helps the musician

deliver the shabad with the right bhavna (emotion or devotion).

Easy2Siksha

Spiritual Progression:

The Gurus did not contradict each other. Instead, they built upon one another’s teachings.

“Mohalla” shows this divine succession and consistency of message — a spiritual lineage

from Guru Nanak Dev Ji to Guru Arjan Dev Ji and Guru Gobind Singh Ji (whose Bani is in

Dasam Granth).

The Ten Gurus and Their Mohallas

Let’s now look at how each Guru is represented in terms of Mohalla in the Guru Granth

Sahib Ji:

Mohalla Number

Guru’s Name

Mohalla Pehla

Guru Nanak Dev Ji

Mohalla Dooja

Guru Angad Dev Ji

Mohalla Teeja

Guru Amar Das Ji

Mohalla Chautha

Guru Ram Das Ji

Mohalla Panjvan

Guru Arjan Dev Ji

Mohalla Shatvan

Guru Har Gobind Ji (Very few shabads; mainly historical)

Mohalla Satvan

Guru Har Rai Ji (No bani)

Mohalla Aathvan

Guru Har Krishan Ji (No bani)

Mohalla Nauvan

Guru Tegh Bahadur Ji

Mohalla Dasvan

Guru Gobind Singh Ji (in Dasam Granth, not Guru Granth Sahib)

Among these, Guru Nanak to Guru Arjan Dev Ji and Guru Tegh Bahadur Ji have their bani

included in Sri Guru Granth Sahib Ji. So, in practical usage, the Mohalla numbers from Pehla

to Nauvan (1st to 9th) are what you will typically encounter.

Real-life Analogy: Imagine a Music Album

Let’s understand this with a real-world analogy:

Think of Sri Guru Granth Sahib Ji as a spiritual music album. The raag is the musical track

title, the Mohalla is the artist name, and the shabad is the song lyrics.

When you open a track, it might say:

Easy2Siksha

• “Raag Gujri, Mohalla Pehla, Ik Onkar…”

This tells you:

• The musical mood: Raag Gujri (which might feel deep and contemplative).

• The spiritual artist: Guru Nanak Dev Ji.

• The message: About oneness of the Divine.

Significance in Raagis’ Performances

For a trained raagi, identifying the Mohalla before starting the performance is extremely

important.

• It sets the tone for how to sing — slow or fast, joyful or meditative.

• It also dictates which shabad to sing in which raag, based on how the Guru wanted

that message to be received.

For example, a shabad by Guru Arjan Dev Ji in Raag Bhairav will sound different from a

shabad by Guru Nanak Dev Ji in the same raag. The spiritual tone, language, and mood may

vary, and this has to be respected while performing.

Common Misunderstandings About Mohalla

Some people mistakenly think that “Mohalla” refers to a physical neighborhood (mohalla in

Hindi/Punjabi), but that’s not the case here.

In Gurmat Sangeet and Guru Granth Sahib Ji, Mohalla is always about the Guru number, not

a geographical place.

VIII. What are the significant contributions made by Shri Guru Nanak Dev Ji in

the field of music.

Ans: Music as a Spiritual Vehicle

Guru Nanak Dev Ji saw music not just as an art form but as a spiritual language—a direct

connection between the soul and the Divine. According to him, singing the glory of God with

love and devotion was one of the purest forms of worship. He believed that when one sings

in the remembrance of God, the soul reaches a state of bliss.

Thus, from the very beginning of his mission, music became the medium through which

Guru Nanak spread his message.

Easy2Siksha

Mardana: The Musical Companion

In every story of Guru Nanak Dev Ji, you will always find the name of Bhai Mardana, his

closest companion and musical partner. Bhai Mardana was a Muslim rebab player, and

together, they formed a divine duo. Wherever they went—be it temples, mosques, villages,

or forests—Guru Nanak would sing his hymns, and Bhai Mardana would accompany him on

the Rebab (a stringed instrument similar to a lute).

This partnership was powerful—not just because of the musical harmony but because it

symbolized religious unity. A Hindu saint singing divine hymns accompanied by a Muslim

musician reflected Guru Nanak’s message that music and divinity know no boundaries of

caste, religion, or social status.

Creation of Raag-based Poetry

One of Guru Nanak Dev Ji’s most important contributions to music was the use of classical

raagas (melodic frameworks in Indian music) for his hymns. Unlike earlier Bhakti poets who

would write and sing freely in folk tunes, Guru Nanak chose to give his hymns a precise

musical structure.

In the Guru Granth Sahib, his hymns are arranged under 31 Raagas, such as Raag Asa, Raag

Bilawal, Raag Suhi, Raag Dhanasari, and so on. This was a unique and revolutionary step. He

ensured that every Shabad was tagged with the specific Raag it should be sung in. This gave

his poetry rhythm, melody, and spiritual mood.

For example:

• A hymn in Raag Asa evokes inspiration and hope.

• A Shabad in Raag Suhi expresses deep love and longing.

• Hymns in Raag Maru often carry a martial or heroic tone.

This method created a powerful spiritual impact. Listeners were not just hearing words—

they were experiencing divine emotions through the language of music.

Promotion of Gurmat Sangeet

Guru Nanak Dev Ji laid the foundation for what is now called Gurmat Sangeet—the music of

the Sikh Gurus based on divine wisdom ("Gurmat"). Gurmat Sangeet is a spiritual and

musical discipline where Shabads are sung in Raagas with devotional sincerity. Guru Nanak

Dev Ji did not promote music for entertainment; rather, he emphasized music as a medium

of spiritual elevation.

His contribution to Gurmat Sangeet includes:

• Raag Vidya (Raag System): Introducing the use of Raags for spiritual songs.

• Musical Instruments: Using instruments like Rebab to accompany hymns.

Easy2Siksha

• Kirtan Tradition: Establishing the tradition of Singing Kirtan (devotional singing) in

religious congregations, which later became a central practice in all Sikh Gurdwaras.

• Spiritual Themes through Music: Emphasizing themes like oneness of God, universal

brotherhood, compassion, humility, and justice through musical compositions.

Universal Message Through Music

Another beautiful aspect of Guru Nanak Dev Ji’s musical contribution is that he traveled

across the Indian subcontinent and beyond, singing his hymns in different languages and

dialects. His music adapted to local traditions and rhythms, making his spiritual message

accessible to diverse audiences. His travels, known as Udasis, took him to Tibet, Sri Lanka,

Mecca, Baghdad, and various parts of India.

In each region, music was his tool to bridge cultures, overcome religious divides, and share

the message of Ek Onkar—the oneness of all creation.

Preservation of Musical Heritage in Guru Granth Sahib

Guru Nanak Dev Ji’s vision was carried forward by the other Sikh Gurus, especially Guru

Arjan Dev Ji, the fifth Guru, who compiled the Guru Granth Sahib. The scripture preserved

Guru Nanak’s hymns along with the designated Raagas. This act ensured that his musical

teachings would never be altered or lost.

Even today, in every Gurdwara across the world, the Kirtan that is sung follows the Raag and

musical tradition laid down by Guru Nanak Dev Ji.

Musical Reforms and Social Change

Guru Nanak Dev Ji used music to challenge the social evils of his time:

• He condemned caste discrimination through his egalitarian hymns.

• He rejected meaningless rituals and stressed internal devotion, expressing this

musically.

• He encouraged gender equality, often referring to the strength and grace of women

in his Shabads.

• His music encouraged the values of sewa (service), simran (meditation), and truthful

living.

In this way, his music was not just devotional—it was revolutionary.

Easy2Siksha

Conclusion: The Eternal Sound of Guru Nanak’s Music

Guru Nanak Dev Ji’s contribution to music is divine, disciplined, and timeless. He saw music

as the most powerful way to express the Naam (Name of God). Through his vision, he

created a system where music became the heart of spirituality—a tradition that still beats in

the soul of Sikhism today.

His legacy lives in every note of Gurmat Sangeet, in every Shabad sung in a Gurdwara, and in

the hearts of those who listen with devotion.

“This paper has been carefully prepared for educational purposes. If you notice any mistakes or

have suggestions, feel free to share your feedback.”