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GNDU Question Paper-2023
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. Define and explain the following musical terms:
(i) Sangeet
(ii) Aroh, Avroh and Pakad.
2. Write in detail about the history of your instrument. Also explain its parts.
SECTION-B
3. What is the importance of Laya and Taal in Music ? Explain Vibhag, Matra, Tali, Khali
and Sam in context to Taal.
4. Give brief life sketch and detailed contribution of Ustad Alaudin Khan Sahib.
SECTION-C
5. Write description and fast Gat of Raga Kalyan.
6. Write description and notation of Teen Taal.
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SECTION-D
7. Define and explain Mahalla and Rahao in context of Gurmat Sangeet.
8. Write detailed contribution of Shri Guru Nanak Dev Ji towards Music.
GNDU Answer Paper-2023
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. Define and explain the following musical terms:
(i) Sangeet
(ii) Aroh, Avroh and Pakad.
Ans: 1. Definition and Explanation of Musical Terms
(i) Sangeet ()
Let’s begin with the word "Sangeet". This is not just a word; it's the soul of Indian classical
music and culture.
Imagine yourself sitting in a peaceful village in India. The sun is setting, birds are returning to
their nests, and in the distance, you hear a flute being played by an old man sitting under a
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tree. You are mesmerized by the melody. That beautiful experience—where sound,
emotion, and rhythm come together—is what we call Sangeet.
Sangeet is a Sanskrit word that literally means "Sang (together)" + "Geet (song)", i.e., the art
of combining sound and rhythm.
But in classical terms, Sangeet is more than just singing. It includes:
1. Gayan () – Vocal music or singing
2. Vadan () – Instrumental music or playing musical instruments
3. Nartan () – Dance
So, when we talk about Sangeet, we are referring to a complete art form that blends voice,
instruments, and movement to express emotions, feelings, and stories.
Components of Sangeet:
• Shruti (
) – Microtones or small sound variations that form the basis of Indian
music.
• Swar () – Notes. There are 7 basic notes (Sa, Re, Ga, Ma, Pa, Dha, Ni).
• Taal () – Rhythm. The cycle of beats.
• Raag () – Melodic framework based on certain rules.
• Laya () – Tempo or speed.
In essence, Sangeet is the bridge that connects the heart with sound.
(ii) Aroh, Avroh and Pakad (, )
Now let’s understand three important terms that form the structure of a Raag (Raga) in
Indian classical music: Aroh, Avroh and Pakad.
Aroh (Aaroh – ): The Ascending Scale
Aroh comes from the root word "Aarohan," which means to go upwards.
In music, Aroh refers to the ascending order of swaras (notes) used in a Raga. It is like
climbing a staircase — you go one step at a time, from lower to higher notes.
Example:
Suppose you are singing Raag Bhupali, the Aroh would be:
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Sa Re Ga Pa Dha Sa’
• You start from the base note (Sa) and move up through Re, Ga, Pa, Dha, and finally
the higher Sa.
• It creates a rising melody.
• Think of it like the morning sun rising, gradually spreading light.
Importance of Aroh:
• It tells us which notes are allowed when ascending.
• It forms the basis for the upward movements in the Raga.
Avroh (Avaroh – ): The Descending Scale
If Aroh is going up, Avroh is the opposite — it means coming down.
In music, Avroh is the descending order of swaras in a Raga.
Example:
For the same Raag Bhupali, the Avroh is:
Sa’ Dha Pa Ga Re Sa
• You begin from the higher note and descend slowly.
• Think of it like the sunset – peaceful and calm, with the colors fading away slowly.
Importance of Avroh:
• It defines how to return or descend in the melody.
• The combination of Aroh and Avroh gives the Raga its unique movement.
Pakad (): The Signature Phrase of a Raga
Now imagine you are listening to a classical music concert. Without the singer telling you
which Raga is being performed, how can you guess it?
The answer is through Pakad.
Pakad means “to catch” or “to hold.” In music, Pakad is the unique musical phrase that
captures the essence of a Raga. It is like the signature or identity of the Raga.
It’s a short pattern of swaras that helps identify the Raga immediately. Every Raga has a
different Pakad, just like every person has a different handwriting or voice.
Example:
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In Raag Bhupali, the Pakad is:
Sa Re Ga – Pa Ga – Dha Sa
This phrase gives the listener the feel of Bhupali even without the full Aroh or Avroh. If you
play or sing this pattern, someone who knows music can say, “This is Bhupali!”
Importance of Pakad:
• Helps in identifying the Raga instantly.
• Represents the “mood” or “flavor” of the Raga.
• Used in compositions, improvisations, and performances.
Real-Life Analogy for Aroh, Avroh, and Pakad
Think of Aroh as the path you take to climb a mountain. Every step takes you higher.
Avroh is the path to come down from the mountain — slow and controlled.
Pakad is like the photo of a beautiful spot on the mountain that people recognize and love.
It's the part that stays in memory.
Let’s connect it all through a story
Once, a young boy named Aarav wanted to learn Indian classical music. His guru (teacher)
said, “To master a Raga, you must understand its Aroh and Avroh.”
Aarav asked, “But how will I know which Raga is being played?”
The Guru smiled and said, “Every Raga has its own Pakad. It’s like the heartbeat of the Raga.
If you listen to the Pakad carefully, you’ll know the Raga even with closed eyes.”
So, the Guru taught him Raag Yaman. The Aroh was: Ni Re Ga Ma(tivra) Dha Ni Sa, and the
Avroh was Sa Ni Dha Pa Ma(tivra) Ga Re Sa.
The Pakad was: Ni Re Ga, Ma Dha, Pa Ma Ga Re Sa.
Aarav practiced for weeks. One day, he was listening to an old radio. A song was playing.
Suddenly, he smiled and said, “This is Raag Yaman!”
His Guru was proud. Aarav had learned not just to hear music, but to feel and recognize its
soul.
Conclusion
Understanding Sangeet, Aroh, Avroh, and Pakad is like unlocking the foundation of Indian
classical music.
• Sangeet is the union of voice, instruments, and dance — a divine art.
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• Aroh and Avroh teach us the path of ascending and descending musical notes.
• Pakad gives a Raga its unique identity, like a fingerprint.
For a university student, learning these terms is like learning the grammar of a musical
language. Once you understand them, you can compose, perform, and appreciate music
deeply and confidently.
Remember, music is not just about notes—it’s about expression, devotion, and feeling. And
these terms help you connect with that beautiful world.
2. Write in detail about the history of your instrument. Also explain its parts.
Ans: Introduction
Music is a universal language. It touches the soul, expresses emotions, and reflects culture.
Instruments are a crucial part of music, and every instrument carries with it a history, a
tradition, and a structure that makes it unique. One such beautiful and culturally rich
instrument is the Tabla.
The Tabla is a traditional Indian percussion instrument used widely in Hindustani classical
music, devotional songs, film music, and folk performances. It is known for its sweet tone,
rhythmic complexity, and flexibility to blend with various music styles.
History of the Tabla
The history of the Tabla is both fascinating and debated among scholars and musicians.
While some theories trace its origins back to ancient Indian drums, others believe it was
influenced by Persian or Arabic instruments.
1. Ancient Origins
Many music historians believe that the Tabla evolved from ancient Indian drums like the
Pakhawaj or Mridangam. These are double-sided barrel-shaped drums used in classical
Indian music. The Pakhawaj was mainly used in Dhrupad music, which is one of the oldest
forms of Indian classical singing.
It is believed that the Tabla came into existence when the Pakhawaj was split into two
separate drums to allow more versatility and variety in rhythm. This made it easier for solo
performances and for accompanying vocal and instrumental music.
2. The Persian Connection
Another popular theory says that the Tabla was invented in the 13th century by Amir
Khusro, a great poet and musician in the Delhi Sultanate. According to this view, Khusro
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combined the Indian Pakhawaj with the Persian or Arabic drums called tabl, giving birth to
the Tabla.
Though there is no strong historical evidence for this, the theory is widely popular in Indian
musical circles.
3. Mughal Influence
During the Mughal period in India, especially under rulers like Akbar, music flourished. The
Tabla gained more popularity as it fit well with the evolving styles of music like Khayal and
Thumri. The Mughal courts supported many musicians who helped refine and spread the art
of Tabla playing.
4. Development in the Modern Era
In the 18th and 19th centuries, Tabla playing became more specialized. Different "gharanas"
or schools of Tabla playing emerged, each with its unique style, compositions, and
techniques. Some of the famous Gharanas are:
• Delhi Gharana
• Lucknow Gharana
• Punjab Gharana
• Banaras Gharana
• Ajrada Gharana
These gharanas trained musicians in specific ways of playing, maintaining rhythm patterns,
and improvising.
In the 20th century, great Tabla maestros like Ustad Zakir Hussain, Pandit Kishan Maharaj,
and Ustad Alla Rakha brought international recognition to this instrument.
Parts of the Tabla
The Tabla is actually a pair of drums. Each part is different in size, material, sound, and
function. Let’s look at the two main components and their parts in detail.
1. Dayan (Right Drum)
• Material: Made from hardwood like teak or rosewood.
• Shape: Cylindrical, open at the bottom.
• Sound: Produces clear, high-pitched sounds.
• Tuning: Tuned to the main note (Sa) of the raga being played.
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Main Parts of Dayan:
• Puri (Drum head): Made of goat or buffalo skin and has three layers.
• Syahi (Black Spot): This is the black circular spot in the center made with a mixture
of iron filings and flour. It helps in tuning and gives the Tabla its unique sound.
• Gajara (Woven ring): Holds the skin in place.
• Chanti (Outer ring): Helps in producing sharp sounds.
• Baddi (Straps): Leather straps used to tighten or loosen the drum head for tuning.
• Gatta (Wooden dowels): Placed under the straps for fine-tuning.
2. Bayan (Left Drum)
• Material: Traditionally made from metal such as copper or brass. In modern times,
steel or even clay versions exist.
• Shape: Kettle-shaped or round.
• Sound: Produces bass or low-pitched sounds.
Main Parts of Bayan:
• Puri: Like the Dayan, the Bayan also has a multi-layered drum head.
• Syahi: Larger than on the Dayan, creating a deep bass tone.
• Gajara and Baddi: Same function as on the Dayan.
• Chanti: Assists in creating different tonal variations when the palm is moved on it.
How the Tabla Works
The player uses fingers and palms in various combinations to produce different sounds or
"bols." These bols are specific sounds like "Na," "Tin," "Dha," "Dhin," etc. Each bol has its
character and is used in rhythmic patterns called Taal (rhythmic cycle).
Tabla can be played solo, but it is also widely used to accompany vocalists, instrumentalists
(like sitar or harmonium), and dancers (especially in Kathak).
Conclusion
The Tabla is more than just an instrument—it is a cultural symbol, a rhythmic language, and
a bridge between tradition and innovation. From royal courts to international stages, the
Tabla has traveled far and wide. Its beauty lies in its depth of sound, intricate patterns, and
the years of dedication it takes to master.
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Understanding the history and parts of the Tabla not only helps us appreciate this amazing
instrument but also connects us to the rich musical heritage of India.
SECTION-B
3. What is the importance of Laya and Taal in Music ? Explain Vibhag, Matra, Tali, Khali
and Sam in context to Taal.
Ans: The Importance of Laya and Taal in Music
Music is like a flowing river. Just as water flows in rhythm with nature, music flows with
rhythm created by beats and time. This rhythm in Indian classical music is governed by two
very important elements – Laya and Taal.
1. What is Laya?
The word ‘Laya’ means speed or tempo. It is the consistent flow of time or the pace at which
music moves. Laya gives life to music. Without Laya, music would become disorganized and
would lose its structure.
Laya is of three types:
• Vilambit Laya (Slow tempo) – Used in the beginning of classical performances like
slow Alap.
• Madhya Laya (Medium tempo) – Most compositions are set in this pace.
• Drut Laya (Fast tempo) – Often used in the final parts of a performance to bring
energy and excitement.
Think of Laya as the heartbeat of music. Just like our heartbeat keeps us alive and steady,
Laya keeps music flowing smoothly.
2. What is Taal?
Taal is the rhythmic cycle in music. It is a fixed pattern of beats that repeats in a cyclic
manner. Every composition in Indian classical music is set in a specific Taal.
Taal consists of Matras (beats) and these Matras are arranged into sections called Vibhags.
Each Taal has a specific number of beats. For example:
• Teentaal has 16 beats
• Ektaal has 12 beats
• Rupak Taal has 7 beats
• Jhaptal has 10 beats
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Each Taal has its own unique structure and mood. For example, Teentaal is very balanced
and commonly used, while Rupak Taal has an unusual rhythm that creates a different mood.
Importance of Laya and Taal in Music
Let’s understand this through a simple story.
Imagine a group of dancers performing on stage. The music starts, but there is no rhythm,
no beat. Some dancers move fast, others slow. Some pause, some spin. The audience gets
confused. There is no coordination, no beauty.
Now, the music restarts – this time with a consistent beat, a rhythm – Laya. The dancers
now move together, in harmony, in time with the beat – Taal. Suddenly, the performance
becomes magical. The rhythm unites the performers and creates a beautiful experience.
This is the power of Laya and Taal in music. They create:
• Structure – Musicians know when and what to play or sing.
• Coordination – All performers stay in sync.
• Emotion and Expression – Speed and rhythm influence how music feels.
In Indian classical music, Laya and Taal are not just background elements. They are central
to the performance. Every singer, instrumentalist, or dancer must have a strong command
over Taal and Laya to deliver a meaningful presentation.
Detailed Explanation of Taal Terms
Let us now understand the important components of Taal in detail:
1. Matra () – The Beat
A Matra is the smallest unit of time in a Taal. It is like a beat in Western music. Just as a
second is a unit of time, a Matra is a unit of rhythm.
For example, Teentaal has 16 Matras. That means it has 16 beats in one cycle. These beats
may be played slowly or quickly depending on the Laya.
2. Vibhag () – The Section
A Vibhag is a group of Matras. A Taal is divided into several Vibhags to make it easier to
understand and play.
For instance, Teentaal has 16 Matras which are divided into 4 Vibhags of 4 Matras each:
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| 1 2 3 4 | 5 6 7 8 | 9 10 11 12 | 13 14 15 16 |
Each Vibhag may be marked by a clap (Tali) or a wave (Khali) which we will explain below.
Vibhag helps the performer remember the structure of the Taal and maintain the cycle
accurately.
3. Tali () – The Clap
Tali means clap. It indicates the strong beats of the Taal. These are the Matras that are
accented or emphasized.
In the above Teentaal example, the 1st, 5th, and 13th Matras are marked with Tali. The
performer claps on these beats:
• 1st Tali – First Matra (Sam)
• 2nd Tali – Fifth Matra
• 3rd Tali – Thirteenth Matra
Tali shows that a certain Matra is the beginning of a strong rhythmic part. It gives direction
to the cycle and helps in remembering the Taal structure.
4. Khali () – The Wave
Khali means empty. It is marked by a wave of the hand instead of a clap.
In Teentaal, the 9th Matra is Khali. That means the second half of the Taal starts here, but it
is not accented. This contrast between Tali and Khali adds beauty to the rhythm.
Khali provides a break or relief in the rhythm. It helps to balance the energy and creates
contrast within the Taal.
5. Sam () – The Starting Point
Sam is the first Matra of the Taal cycle. It is the most important beat.
Every Taal starts from the Sam. All musicians aim to return to the Sam after completing each
cycle of the Taal. It is the point where the composition and the rhythm unite.
You can think of Sam like the starting point of a circle. No matter how far you go, you always
come back to this point to complete the cycle.
If a singer or tabla player misses the Sam, it is considered a serious mistake in performance.
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Conclusion:
Laya and Taal are the foundation of Indian music. Without them, music would be like a body
without a heartbeat. Whether it is classical vocal, instrumental, or dance, all forms of Indian
music depend on the perfect balance of rhythm and tempo.
Each concept — Matra, Vibhag, Tali, Khali, and Sam — plays a vital role in shaping the Taal.
Together, they give identity and meaning to the rhythm. Understanding these concepts
helps a music student develop timing, coordination, and deeper appreciation for musical
structure.
For university-level students, this knowledge is essential not only for theory exams but also
for stage performances and practical application. Mastery of Laya and Taal leads to mastery
of music itself.
4. Give brief life sketch and detailed contribution of Ustad Alaudin Khan Sahib.
Ans: Introduction
Ustad Allauddin Khan Sahib was one of the most respected and legendary figures in Indian
classical music. He was a master musician, a multi-instrumentalist, and a great teacher who
played a key role in shaping Hindustani classical music in the 20th century. Ustad Allauddin
Khan is best known as the founder of the Maihar Gharana and as the guru of some of the
greatest musicians in modern India, including Pandit Ravi Shankar, Ustad Ali Akbar Khan,
and Annapurna Devi.
Let’s understand his life and contributions in a simple, story-like and meaningful way.
Early Life of Ustad Allauddin Khan (1862–1972)
Ustad Allauddin Khan was born in the year 1862 in a small village called Shibpur near
Brahmanbaria in present-day Bangladesh. His father was Sabdar Hossain Khan, a soldier in
the army of the Nawab of Bengal. Allauddin Khan showed interest in music from a very
young age, but his family, especially his father, wanted him to become a soldier or follow a
more traditional profession.
Despite the opposition, Allauddin Khan was determined to learn music. As a child, he ran
away from home to pursue his dream. This marked the beginning of a long and difficult
journey towards becoming a great musician.
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Musical Training
Allauddin Khan first learned music from a wandering baul singer (folk musician). Later, he
came to Kolkata (then Calcutta), where he studied under Gopal Krishna Bhattacharya, also
known as Nulo Gopal, who taught him the basics of classical music. He then trained under
Amritalal Dutt, a music director at the Star Theatre in Kolkata, where he learned to play
many Western and Indian instruments.
However, the most important turning point in his life came when he met the great Ustad
Wazir Khan, the court musician of Rampur and the last great representative of the Senia
Gharana—a tradition that traced its roots back to Tansen, the legendary musician of
Emperor Akbar’s court. Allauddin Khan became Wazir Khan's disciple and spent over 12
years learning Dhrupad, Khayal, and how to master the sarod, an instrument he would later
make world-famous.
Master of Many Instruments
What made Allauddin Khan truly special was his ability to play many instruments with
perfection. He was a multi-instrumentalist who could play:
• Sarod – His primary instrument
• Sitar
• Violin
• Rudra Veena
• Surbahar
• Tabla
• Shehnai
He not only played these instruments but also taught them, developed new techniques, and
helped to refine their structures.
Founding of Maihar Gharana
After his training, Allauddin Khan got a job as the court musician in Maihar, a small princely
state in Madhya Pradesh. He was later appointed as the conductor and music director of the
Maihar court orchestra by the king. In Maihar, he established his own style of music, which
later came to be known as the Maihar Gharana.
The Maihar Gharana blended the dhrupad and khayal traditions with instrumental music.
Ustad Allauddin Khan was one of the few musicians who gave importance to both vocal and
instrumental music and believed they should be learned together.
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In Maihar, he also started a music school for orphan children, where he trained them in
classical music. This unique school produced many fine musicians.
Great Disciples of Allauddin Khan
Ustad Allauddin Khan’s greatest contribution was perhaps his teaching. He was a strict guru,
but deeply caring, and he gave his students complete knowledge of music. Many of his
disciples became world-famous and carried forward his legacy:
1. Pandit Ravi Shankar – The sitar maestro who made Indian classical music popular all
over the world.
2. Ustad Ali Akbar Khan – His son and a legendary sarod player, known for establishing
the Ali Akbar College of Music in California.
3. Annapurna Devi – His daughter, who became a reclusive but deeply respected
surbahar player.
4. Pandit Nikhil Banerjee – A great sitarist with deep, meditative style.
5. Pandit Pannalal Ghosh – A flutist who brought the bansuri (bamboo flute) into
classical music.
These disciples spread the teachings and style of Allauddin Khan to different parts of India
and the world.
His Style and Innovations
Ustad Allauddin Khan’s style was rich in depth, discipline, and devotion. He believed that
music was a form of worship and a way to connect with the divine. He emphasized:
• Rigorous practice (riyaz) – He would make his students practice for hours every day.
• Discipline and humility – Music, for him, was a path of truth and simplicity.
• Combining vocal and instrumental styles – This gave his music emotional depth and
technical brilliance.
• Orchestration – In the Maihar court, he formed an orchestra of Indian and Western
instruments, something very rare at that time.
He also made changes to instruments like the sarod, making them better suited for modern
performances.
Awards and Recognition
Although he never sought fame, Ustad Allauddin Khan received many honors for his
contribution to music:
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• Padma Bhushan (1958)
• Padma Vibhushan (1971)
• Sangeet Natak Akademi Award – India's highest honor for performing arts
• He was also a guru at the Shantiniketan (founded by Rabindranath Tagore)
Personal Qualities and Life Philosophy
Allauddin Khan was not only a great musician but also a deeply spiritual person. He followed
a simple lifestyle, stayed away from luxury, and treated music as sacred. He believed that
music must be learned with respect, patience, and dedication. His life was a message that
true greatness lies in hard work, sincerity, and service to art.
He lived to the age of 110 years, passing away in 1972. Even after his death, his music lives
on through his disciples and their students.
Conclusion
Ustad Allauddin Khan Sahib was a musical genius whose contributions to Indian classical
music are immeasurable. As a performer, teacher, and reformer, he laid the foundation for
a new age of classical music in India. He created a legacy that not only preserved the ancient
traditions of Indian music but also adapted them for the modern world. Through the Maihar
Gharana and his legendary disciples, Ustad Allauddin Khan continues to inspire generations
of musicians.
His life is a perfect example of how passion, hard work, and devotion to art can lead to
greatness. For university students and young learners, his story is not just about music but
about following one’s dream, no matter how difficult the journey.
SECTION-C
5. Write description and fast Gat of Raga Kalyan.
Ans: Introduction to Raga Kalyan
Raga Kalyan is one of the most well-known and widely performed ragas in Indian classical
music, especially in the Hindustani (North Indian) tradition. It belongs to the Kalyan Thaat,
and it is considered a Shuddha Raga, meaning it has a sense of calmness, positivity, and
spiritual upliftment.
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The name "Kalyan" itself means welfare, prosperity, or good fortune, and the mood of the
raga reflects this. It is a raga that inspires devotion, grace, and elegance. Many musicians
use it to start their concerts because of its auspicious nature.
Let’s understand this raga step by step.
Thaat and Aroha–Avaroha
• Thaat (Parent Scale): Kalyan
• Jati (Note count): Audav–Sampurna (5 notes in ascent, 7 in descent)
• Vadi (Most important note): Ga (Gandhar)
• Samvadi (Second most important note): Ni (Nishad)
Aroha (Ascent):
Ni Re Ga Ma(T) Dha Ni Sa’
• In Aroha, five notes are used (Audav).
• Ma is Tivra (sharp Ma) which makes this raga stand out.
Avaroha (Descent):
Sa’ Ni Dha Pa Ma(T) Ga Re Sa
• All seven notes are used (Sampurna).
Special Note:
Raga Kalyan uses Tivra Ma (sharp Ma) instead of Shuddha Ma (natural Ma).
This one note—Tivra Ma—is what gives the raga its special emotional color and bright
character.
Time of Performance:
Raga Kalyan is a night raga, generally performed between 7 pm and 10 pm. It is believed to
be most effective and emotionally resonant during this time.
Mood and Emotion (Rasa):
Raga Kalyan evokes feelings of:
• Devotion (Bhakti)
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• Peace (Shanti)
• Grace and auspiciousness (Mangalik Bhava)
• It is commonly played in spiritual gatherings or as an invocation to begin a
performance.
Pakad (Signature Phrase):
A "pakad" is a small musical phrase that captures the unique identity of a raga. It’s like the
"face" of the raga.
Pakad of Kalyan:
Ni Re Ga | Ma(T) Dha | Pa, Ma(T) Ga | Re Sa
This helps the listener and performer to identify the raga immediately.
Chalan (Movement or Flow):
The movement of Raga Kalyan is smooth and graceful. The Tivra Ma is always approached
gently, either sliding into it from Ga or leading into Dha. The movement is:
• Free flowing,
• Melodic,
• Avoids sharp jumps.
Use in Instrumental Music:
In instrumental performances—especially on sitar, sarod, flute, or violin—Raga Kalyan is
presented with:
• Alap (slow, note-by-note introduction)
• Jod (adding rhythm)
• Jhala (fast-paced strumming or fingering)
• Gat (composition with tabla accompaniment)
Fast Gat in Raga Kalyan
Now let’s talk about the Fast Gat or Drut Gat, which is a very exciting part of the
performance.
What is a Gat?
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A Gat is a fixed composition set to a rhythmic cycle (Tala) and played on an instrument like
sitar, sarod, or violin.
• Vilambit Gat = slow tempo
• Madhya Gat = medium tempo
• Drut Gat = fast tempo (what we’re describing here)
Structure of Fast Gat:
In Raga Kalyan, the fast gat is:
• Set to Teentaal (16 beats) or Ektal (12 beats)
• Played with tabla accompaniment
• Begins after the slow development of the raga (Alap, Jod)
Musical Characteristics of Fast Gat:
1. Speed: It is played in a fast tempo, showcasing the musician’s technical skills.
2. Layakari (Rhythmic Variations): Complex patterns are played in sync with tabla.
3. Tihai (Rhythmic Phrases): Phrases that repeat three times to land on the first beat
(Sam).
4. Improvisation: Even though the gat is a fixed melody, the musician plays taans (fast
melodic runs), gamak (oscillations), and meend (glides).
Example of a Fast Gat Phrase in Kalyan:
Sa Re Ga Ma(T) Dha Pa | Ma(T) Dha Ni Sa’ Ni Dha Pa Ma(T) | Ga Re Sa
• It uses the signature Tivra Ma.
• The phrases flow smoothly without big jumps.
• Often ends with a tihai to return to the start (Sam).
How It Sounds:
• The mood is energetic, yet still elegant.
• The Tivra Ma sparkles in fast passages.
• When tabla joins, it becomes dynamic and thrilling.
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• You may hear sitarists like Pt. Nikhil Banerjee or Ustad Vilayat Khan use complex
patterns in Kalyan’s fast gat.
Why Fast Gat is Important:
1. Showcases Mastery: It tests the artist’s control over speed, tala, and notes.
2. Connects With Audience: The faster tempo is more engaging and exciting for
listeners.
3. Balance of Technique and Raga Bhava: Though fast, the artist must not lose the
emotion of Kalyan.
4. Musical Climax: It usually comes after the alap and slow gat, making it the highlight
of the performance.
Conclusion:
Raga Kalyan is a foundational raga in Hindustani music that blends spiritual richness with
musical depth. Its use of Tivra Ma, calm character, and structured beauty make it a favorite
among performers and listeners alike.
The Fast Gat in Raga Kalyan is not just a demonstration of speed but a celebration of skill,
devotion, and melody. For students of music, understanding Kalyan and practicing its gat
helps develop both emotional connection and technical precision.
When performed on an instrument like sitar or flute, Kalyan’s fast gat feels like a river
flowing swiftly but smoothly, touching the listener’s heart with its bright and graceful
movements.
6. Write description and notation of Teen Taal.
Ans: Teen Taal (or Tintal) – Description and Notation
Introduction to Taal in Indian Music
In Indian classical music, both in Hindustani (North Indian) and Carnatic (South Indian)
traditions, Taal (or Tala) plays a very important role. A Taal is a rhythmic cycle of a specific
number of beats, within which all the music, especially instrumental and vocal
performances, are structured.
Just as a sentence in a language is structured with proper grammar, music is structured with
rhythm – and that rhythm in Indian music comes through the taal system.
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Among the many taals in Hindustani classical music, Teen Taal is the most popular and
widely used taal in both vocal and instrumental music. Whether it's tabla solo, classical
singing, sitar, sarod, or dance forms like Kathak, Teen Taal forms the foundation of rhythm.
1. Meaning of Teen Taal
• The word ‘Teen’ means three, and ‘Taal’ means rhythmic cycle.
• Teen Taal is named so because it has three sections (vibhags) of four beats each,
making it a 16-beat cycle in total.
• Despite the name “Teen” (which means three), Teen Taal actually has four vibhags.
The confusion often comes because of the name, but it historically refers to the
pattern rather than the number of divisions.
2. Structure of Teen Taal
Teen Taal consists of 16 beats divided into 4 equal vibhags (sections) of 4 beats each.
Here’s how it looks:
Division:
| Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Ta Dhin Dhin Dha |
Beats:
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
• Claps (Tali) are marked on beat 1, beat 5, and beat 13.
• Wave (Khali) is marked on beat 9.
So:
• Sam (starting point): Beat 1 – This is the most important beat.
• Tali 1: Beat 5 – Clap.
• Khali (empty beat): Beat 9 – Wave.
• Tali 2: Beat 13 – Clap.
3. Explanation of Terms
i. Sam ():
The first beat of the taal cycle. It’s the most important point, where most musical phrases
resolve or begin. Both the performer and accompanist (like the tabla player) emphasize it.
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ii. Tali ():
Clapping points in the taal that mark the stressed parts. These indicate the divisions in the
cycle and are essential for understanding the rhythm.
iii. Khali ():
Means empty or unstressed beat. This is shown with a wave of the hand instead of a clap. It
gives variety to the rhythm and helps in recognizing the cycle structure.
iv. Vibhag ():
A section or division of the taal. Teen Taal has 4 vibhags, each of 4 beats.
4. Teen Taal Notation (Theka)
The Theka is the basic pattern played on the tabla for a given taal. It is like the rhythmic face
or identity of the taal.
Here is the theka of Teen Taal:
Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Ta Dhin Dhin
Dha
(1) (2) (3) (4) (5) (6) (7) (8) (9) (10) (11) (12) (13) (14) (15) (16)
Tali Tali Khali Tali
Each bol (word-like syllable) represents a sound made by the tabla. For example:
• Dha – a combination of both hands
• Dhin – a resonant sound of the right hand
• Tin – a softer, empty sound (used in khali)
• Ta – a crisp right-hand stroke
The variation between Dha-Dhin and Tin-Ta helps to distinguish the vibhags and creates a
dynamic rhythm.
5. Practical Application of Teen Taal
In Vocal Music:
Classical khayal or semi-classical genres like thumri often use Teen Taal. The singer
structures the musical phrases in alignment with the 16-beat cycle.
In Instrumental Music:
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Sitar, sarod, flute, or violin players use Teen Taal as the base rhythmic cycle over which they
develop melodies and improvisation.
In Tabla Solo:
Teen Taal is extensively used for showcasing tabla compositions like kaidas, relas, tukras,
gats, etc.
In Dance (e.g., Kathak):
The dancer performs footwork and movements in synchronization with the 16-beat cycle,
and special compositions like tihai (a phrase repeated 3 times to land on sam) are designed
to fit into Teen Taal.
6. Visualization for Better Understanding
Imagine you are clapping along to music:
1. Clap at 1 → this is the start (sam)
2. Clap at 5 → the next division
3. Wave at 9 → shows emptiness or variation
4. Clap at 13 → prepares for the return to sam at 1
This cycle repeats again and again during a performance.
7. Variations in Teen Taal
Although the basic theka remains constant, tabla players often add variations or fillers
(known as paltas or variations) in the theka to make the performance more interesting,
especially during accompaniment or solos.
Example of variation:
Dha - Tin - Tin - Ta | Dha - Dhin - Dhin - Dha
They may change the emphasis, insert silence, or change the pattern of strokes – but the
structure of 16 beats remains unchanged.
8. Importance of Teen Taal in Learning
For students of music:
• Learning Teen Taal gives a foundation of rhythm.
• It helps in timing, coordination, and understanding phrasing in music.
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• It improves the ability to listen carefully, especially for the sam and khali.
• Knowing the theka helps in performing with tabla players confidently.
• Dance students benefit by learning how to compose movements and footwork
according to this rhythmic pattern.
Conclusion
Teen Taal is not just a rhythmic cycle; it is the heartbeat of Indian classical music. Its
balanced 16-beat cycle makes it ideal for compositions, improvisations, and learning rhythm
in a systematic way.
Whether you are a student of vocal, instrumental, dance, or percussion – Teen Taal is your
first step toward understanding the rich world of rhythm in Indian music. Like grammar to a
language, Teen Taal provides structure and beauty to a musical sentence. By mastering Teen
Taal, a student builds the rhythmic confidence that supports all musical expression.
SECTION-D
7. Define and explain Mahalla and Rahao in context of Gurmat Sangeet.
Ans: Introduction to Gurmat Sangeet
To begin with, let us understand the foundation. Gurmat Sangeet is not just a form of music;
it is a divine system of spiritual expression rooted in Sikhism. It is the music of the Gurbani—
the teachings of the Sikh Gurus—and it is sung in the form of Kirtan (musical recitation of
scripture) as a way to connect the soul to the divine.
Unlike other forms of music where the primary aim might be entertainment or emotion,
Gurmat Sangeet is a form of devotion. Every element in Gurmat Sangeet, including musical
terms like Mahalla and Rahao, has a deeper spiritual purpose. These terms are not
randomly placed—they guide the listener and the performer alike to understand the
message of the Guru more deeply.
What is Mahalla?
Mahalla () is a term used in Sri Guru Granth Sahib Ji (SGGS), the holy scripture of Sikhs.
The word "Mahalla" literally means "house" or "mansion," but in the context of Gurbani, it
denotes the Guru who authored a specific hymn or Shabad.
Explanation:
Each Shabad in Guru Granth Sahib begins with a heading that includes:
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• The Raag (musical scale),
• The Mahalla (the Guru who composed the hymn),
• The Rahao (central idea),
• And sometimes specific performance instructions.
For example:
Raag Gauri Mahalla 5 Rahao
This means:
• The Shabad is composed in Raag Gauri,
• Composed by Guru Arjan Dev Ji (5th Guru),
• The central idea is marked by Rahao.
Significance of Mahalla:
1. Identification of Guru: It tells the reader which Guru composed the Shabad. Mahalla
1 means Guru Nanak Dev Ji, Mahalla 2 is Guru Angad Dev Ji, and so on.
2. Style & Language: Each Guru had their own style and often used different dialects or
poetic forms. Knowing the Mahalla helps understand the linguistic context.
3. Continuity in Scripture: It helps in organizing the Shabads in SGGS, giving clarity and
uniformity.
Mahallas in SGGS:
• Mahalla 1 – Guru Nanak Dev Ji
• Mahalla 2 – Guru Angad Dev Ji
• Mahalla 3 – Guru Amar Das Ji
• Mahalla 4 – Guru Ram Das Ji
• Mahalla 5 – Guru Arjan Dev Ji
• Mahalla 9 – Guru Tegh Bahadur Ji
Gurus after Guru Arjan Dev Ji didn’t add more compositions except for Guru Tegh Bahadur Ji
(Mahalla 9), and Guru Gobind Singh Ji did not contribute to SGGS as he gave the status of
Eternal Guru to it.
What is Rahao?
Now, let’s talk about the term Rahao (
). This is perhaps one of the most powerful yet
simplest tools used in Gurmat Sangeet to guide understanding.
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Definition:
The word "Rahao" means "pause" or "stay". In the context of Gurbani, it indicates the
central theme or main message of the Shabad. While the whole Shabad has spiritual
meaning, the verse followed by "Rahao" is the one we must focus on.
Musical Role of Rahao:
In terms of performance, Rahao is the part that is usually:
• Repeated during singing (like a chorus in modern music),
• Set to a slightly different tune to give it emphasis,
• Meditated upon more deeply by the listener.
Spiritual Purpose:
1. Main Message of the Shabad: If you don’t have time to read the whole Shabad, just
read the Rahao line—it contains the essence.
2. Mental Pause: It invites the reader or singer to pause and reflect. It's like a moment
of realization.
3. Guide for Kirtaniyas (singers): Helps in deciding which line to musically emphasize
during a Kirtan performance.
Example:
Let’s consider this Shabad:
“Mann toon jot saroop hai, apna mool pehchaan
Mann har jee terey naal hai, gurmatii rang maan”
Rahao
Translation:
“O mind, you are the embodiment of Divine Light—recognize your origin.
O mind, the Lord is always with you—through the Guru’s wisdom, enjoy His love.”
Rahao
Here, the Rahao line reveals the core idea: the human soul is divine in nature and must
recognize its spiritual origin.
How Mahalla and Rahao Work Together in a Shabad
Both Mahalla and Rahao work hand in hand to deepen our understanding. Let’s imagine a
Shabad as a well-crafted letter:
• The Mahalla tells you who wrote the letter (which Guru),
• The Rahao tells you what the main message of the letter is.
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Together, they help the reader:
• Understand the authorship (Mahalla),
• Grasp the core teaching (Rahao),
• Feel the emotion and devotion (through melody and musical Raag).
Conclusion
To sum up:
• Mahalla helps us identify the Guru who composed the hymn. It gives us historical,
linguistic, and spiritual context.
• Rahao is the central message of the Shabad. It is a spiritual and musical pause that
highlights the theme.
For a university student studying Music Instruments and Gurmat Sangeet, it’s important to
realize that these are not just technical terms. They are spiritual tools created by the Gurus
to help us meditate, reflect, and transform ourselves through music. In the world of Gurmat
Sangeet, every term has a divine purpose, and understanding Mahalla and Rahao opens the
door to deeper, more meaningful listening and singing of Gurbani.
By focusing on Mahalla, we give due respect to the authorship of the Guru. By reflecting on
Rahao, we connect with the divine message intended for our inner growth. So next time you
hear or sing a Shabad, pay special attention to these elements—they are keys to
understanding the Guru's wisdom.
8. Write detailed contribution of Shri Guru Nanak Dev Ji towards Music.
Ans: Contribution of Shri Guru Nanak Dev Ji Towards Music
Introduction:
Shri Guru Nanak Dev Ji, the founder of Sikhism and the first Guru of the Sikhs, was not just a
spiritual teacher and a reformer, but also a great lover and contributor to music. For Guru
Nanak Dev Ji, music was not merely entertainment—it was a powerful medium for
expressing devotion, connecting with God, and spreading his divine message to humanity.
His deep understanding of music and its spiritual power helped shape the foundation of Sikh
music traditions that continue to this day.
Let us now explore the beautiful and impactful journey of Guru Nanak Dev Ji’s contributions
to music in a detailed and simplified way.
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1. Music as a Medium of Spiritual Expression:
Guru Nanak Dev Ji believed that music was the purest form of communication between the
soul and God. He saw divine music (Naad) as a reflection of the Supreme Truth. According to
him, Shabad (sacred word), when sung with love and devotion, becomes a powerful form of
worship.
He said:
“Gurbani is the Shabad, and Shabad is the Guru.”
He chose poetry and music to express the deepest spiritual truths, knowing that rhythm and
melody touch the heart more directly than any lecture or sermon.
2. Creation of Gurbani (Hymns):
Guru Nanak Dev Ji composed around 974 hymns (shabads), which are now part of the Guru
Granth Sahib, the holy scripture of Sikhs. These hymns were not just written but were sung
in specific Ragas (classical musical scales). This approach ensured that the hymns could be
sung in a melodious and structured way, thus enhancing their spiritual effect.
Each Raga conveys a specific mood or emotion—such as peace, devotion, longing, joy, or
sadness. Guru Nanak Dev Ji skillfully selected the right Raga for each hymn, making the
message more meaningful and impactful. Some of the Ragas he used include:
• Raga Asa
• Raga Dhanasari
• Raga Tilang
• Raga Sorath
• Raga Ramkali
There are 31 major Ragas used in Guru Granth Sahib, and many of Guru Nanak Dev Ji’s
hymns are organized under these musical forms.
3. Introduction of Kirtan Tradition:
Guru Nanak Dev Ji is considered the pioneer of the Kirtan tradition in Sikhism. Kirtan means
the musical recitation or singing of Gurbani. It is central to Sikh worship even today.
Guru Nanak used to travel across India and beyond, singing divine hymns accompanied by
his loyal companion Bhai Mardana, who played the rabab (a stringed musical instrument).
While Guru Nanak sang, Bhai Mardana played the rabab, and together they created a
spiritual atmosphere wherever they went.
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This simple but profound act of traveling with music allowed Guru Nanak Dev Ji to preach
his teachings not through complex philosophy, but through soulful songs that people of all
religions, castes, and backgrounds could understand and relate to.
4. Use of Bhai Mardana and the Rabab:
A very important musical contribution was the inclusion of Bhai Mardana, a Muslim by birth,
as a close companion and musician. Bhai Mardana played the rabab, and it became the first
Sikh musical instrument associated with Kirtan.
The partnership between Guru Nanak Dev Ji and Bhai Mardana symbolized interfaith
harmony and unity. It showed that spiritual music has no religion—it only speaks the
language of the soul.
The Rabab, under Guru Nanak's use, became a sacred instrument. It laid the foundation for
Gurmat Sangeet (Sikh sacred music), where specific instruments are used to perform Kirtan.
5. Foundation of Gurmat Sangeet:
Guru Nanak Dev Ji laid the base for what later became known as Gurmat Sangeet—the
music system based on the teachings of the Sikh Gurus.
Key characteristics of Gurmat Sangeet:
• Only Gurbani (sacred hymns) are sung.
• Performed in Ragas.
• Based on the Indian classical system, but simplified for spiritual use.
• Focus on Bhav (emotion) and Bhakti (devotion), not just technical expertise.
Guru Nanak Dev Ji’s vision was to make music spiritual rather than just technical. The music
was meant to awaken the soul, not just entertain the ears.
6. Impact on Sikh Gurdwaras and Daily Worship:
Due to Guru Nanak Dev Ji’s influence, Kirtan became the heart of Sikh worship practices. In
every Gurdwara across the world, the daily recitation of Asa di Vaar, Sukhmani Sahib, and
other Bani is done through musical Kirtan.
Morning and evening prayers in Gurdwaras are conducted through the singing of hymns in
Ragas—this tradition started with Guru Nanak Dev Ji himself.
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7. Philosophical Impact of Music:
Guru Nanak Dev Ji connected music with divine truth. According to him:
“Bani Guru, Guru hai Bani, vich Bani Amrit saare.”
(The Word is the Guru, and the Guru is the Word, and within the Word is the nectar of life.)
He believed that:
• Sound (Naad) is the essence of the universe.
• Through Suran (melody), a person can control the mind.
• By singing with love, the ego disappears, and one comes closer to Waheguru (God).
8. Influence on Later Sikh Gurus:
The musical foundation laid by Guru Nanak Dev Ji inspired all the following Sikh Gurus.
Especially:
• Guru Arjan Dev Ji, the 5th Guru, compiled the Guru Granth Sahib and preserved Guru
Nanak’s hymns in their musical form.
• Guru Gobind Singh Ji used music in his court and also contributed many hymns.
• Many traditional Sikh instruments like taus, saranda, dilruba, etc., were developed
later, continuing the musical path started by Guru Nanak.
Conclusion:
Shri Guru Nanak Dev Ji’s contribution to music is not just historical—it is spiritual, cultural,
and eternal. He turned music into a divine path, a way to spread love, peace, and truth. His
hymns are sung even today in every corner of the world, connecting millions of souls with
Waheguru through melody and devotion.
By making music the carrier of divine wisdom, Guru Nanak Dev Ji ensured that even the
illiterate, the poor, and the marginalized could feel the presence of God. His musical legacy
lives on through Kirtan, Gurbani, and the hearts of those who sing 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.”
