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GNDU Question Paper-2024
B.A 2
nd
Semester
MUSIC (Vocal)
Time Allowed: 3 Hours Maximum Marks: 50
Note: There are Eight questions of equal marks. Candidates are required to attempt any Four
questions.
SECTION-A
1. Define following terms:
(i) Raag
(ii) Thata
(iii)Samvadi
(iv) Meend.
2. Explain in detail the historical development of Indian Classic Music in Vedic Period.
SECTION-B
3. Write down the salient features of time theory in Indian Music.
4. Write down in detail the life sketch and contribution of Pt. Vishnu Narayan Bhatkhande.
SECTION-C
5. Write Down the Ekgun, Dugun and Chaugun layakaries of Ektaal and Kehrava.
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6. Write dowr-the Notation of Drut Khyal in Raag Kalyan along with Raga Parichay.
SECTION-D
7. Give in detail the contribution of Bhai Mardana towards Music.
8. Explain the following terms in context of Gurmat Sangeet:
(i)Ashtpadi
(ii)Ank
(iii)Kirtaniya
(iv) Pada.
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GNDU Answer Paper-2024
B.A 2
nd
Semester
MUSIC (Vocal)
Time Allowed: 3 Hours Maximum Marks: 50
Note: There are Eight questions of equal marks. Candidates are required to attempt any Four
questions.
SECTION-A
1. Define following terms:
(i) Raag
(ii) Thata
(iii)Samvadi
(iv) Meend.
Ans: 1. Raag (Raga)
A Raag is the soul of Indian classical music. It is a combination of musical notes arranged in a specific
order to create a particular mood or emotion. Each Raag follows a set of rules regarding which
notes (Swaras) can be used, how they should be played, and in what sequence.
Think of a Raag as a recipe for a musical mood. Just like a dish is made using specific ingredients in a
particular way, a Raag is made using specific notes (Swaras) played in a particular manner.
Key Features of a Raag
1. Aaroh and Avaroh – Every Raag has an ascending (Aaroh) and descending (Avaroh) pattern
of notes.
2. Pakad (Characteristic Phrase) – Each Raag has a distinct musical phrase that makes it
recognizable.
3. Time of Performance – Raags are linked to specific times of the day or seasons, which
enhances their emotional effect.
4. Emotion (Rasa) – Each Raag evokes a particular feeling. For example:
o Raag Bhairav creates a sense of devotion and peace.
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o Raag Yaman brings a feeling of calmness and romance.
o Raag Malkauns sounds deep and meditative.
Example of a Raag – Raag Yaman
• Aaroh (Ascending Notes): Ni Re Ga Ma Dha Ni Sa
• Avaroh (Descending Notes): Sa Ni Dha Pa Ma Ga Re Sa
• Vadi (Most important note): Ga
• Samvadi (Second most important note): Ni
Raag Yaman is generally sung in the evening and gives a feeling of peace and devotion.
2. Thaat
A Thaat is a basic scale or framework of notes from which Raags are formed. It is like a family of
Raags that share the same set of notes.
Indian classical music has ten main Thaats, and each Raag belongs to one of these Thaats.
Understanding Thaat with an Analogy
Imagine Thaat as a "group of colors," and Raags as "paintings." Each painting (Raag) is created using
a specific set of colors (notes), and different paintings can use colors from the same group.
Example of a Thaat – Kalyan Thaat
• Notes: Sa Re Ga Ma Dha Ni Sa
• Raags under Kalyan Thaat:
o Raag Yaman
o Raag Bhupali
o Raag Kedar
Since all these Raags use the same notes, they belong to the Kalyan Thaat.
3. Samvadi (Second Important Note in a Raag)
In every Raag, there are certain notes that hold more importance than others. The Vadi note is the
most dominant note, while the Samvadi note is the second most important note.
How Vadi and Samvadi Work?
• Vadi is like the "main hero" of a movie – the most prominent and frequently used note.
• Samvadi is like the "supporting character" – it enhances the effect of the Vadi note and
balances the Raag.
Example of Samvadi in Raag Yaman
• Vadi (Main Note): Ga
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• Samvadi (Second Important Note): Ni
Since Ga and Ni are at a balanced distance from each other, they create a harmonious effect when
played together in the Raag.
4. Meend
Meend is a technique in Indian classical music where the musician smoothly glides from one note to
another instead of jumping abruptly. It is like a musical slide that makes the transition between
notes sound natural and beautiful.
How Does Meend Work?
Imagine you are drawing a line between two points:
• If you draw a straight line, the movement is direct and abrupt (like playing notes separately).
• If you draw a curved line, the movement is smooth and connected (like using Meend).
In Meend, the singer or instrumentalist does not play each note separately but connects them in a
fluid manner.
Example of Meend in Singing and Instruments
• In vocal music, a singer stretches their voice to smoothly reach the next note, making it
sound expressive and emotional.
• In string instruments like Sitar or Veena, the player pulls the string while shifting from one
note to another to create a sliding effect.
Why is Meend Important?
Meend adds depth, beauty, and emotion to music. Without Meend, the notes would sound robotic
and disconnected. It is a hallmark of Indian classical music and distinguishes it from Western music,
where notes are usually played separately.
Conclusion
Each of these terms – Raag, Thaat, Samvadi, and Meend – plays a crucial role in shaping Indian
classical music.
• Raag is the musical expression of emotions using a specific set of notes.
• Thaat is the framework or scale from which Raags are derived.
• Samvadi is the second most important note in a Raag that complements the main note
(Vadi).
• Meend is a technique of smoothly gliding between notes to make the music more
expressive.
These concepts help musicians create beautiful and meaningful compositions that have been
cherished in Indian culture for centuries. Whether it is a classical concert, a film song, or devotional
music, the influence of Raags and these techniques is found everywhere in Indian music.
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2. Explain in detail the historical development of Indian Classic Music in Vedic Period.
Ans: Vedic Music History
The Historical Development of Indian Classical Music in the Vedic Period
Indian Classical Music has a rich and ancient history that dates back thousands of years. One of its
earliest phases of development can be traced to the Vedic Period (1500 BCE – 500 BCE). This period
played a crucial role in shaping the foundation of Indian music, particularly its religious and spiritual
aspects. During this time, music was deeply connected with rituals, prayers, and the recitation of
hymns.
The Vedic Period: An Overview
The Vedic Period is named after the Vedas, which are the oldest sacred texts of Hinduism. There are
four main Vedas:
1. Rigveda
2. Samaveda
3. Yajurveda
4. Atharvaveda
Among these, the Samaveda is considered the most important for the development of Indian
Classical Music. This is because it contains hymns and chants that were sung rather than simply
recited. The Samaveda laid the foundation for the system of melodic chanting, which later evolved
into classical music.
Role of Music in the Vedic Period
Music during the Vedic period was not just for entertainment; it was deeply spiritual and connected
to religious rituals. The chanting of Vedic hymns was believed to bring divine blessings, create
harmony, and even influence natural forces like rain and crops.
Types of Music in the Vedic Period
1. Chanting of Mantras: The priests, known as Rishis, chanted hymns in specific melodies to
please the gods.
2. Sama Gana (Musical Recitation of the Samaveda): This was an early form of singing where
hymns were set to different musical notes.
3. Instrumental Accompaniments: Although vocal music was dominant, simple musical
instruments like the Veena, Dundubhi (a type of drum), and flute were used during rituals.
Samaveda and Its Contribution to Music
The Samaveda is regarded as the oldest known text that deals with music in India. Unlike
the Rigveda, which consists of hymns for recitation, the Samaveda provides musical notes for
chanting. This means that the hymns of the Rigveda were given a musical form through the
Samaveda.
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Features of Samaveda Music
• The hymns were sung in a three-note system (later expanded to a seven-note system,
similar to the modern Sargam: Sa, Re, Ga, Ma, Pa, Dha, Ni).
• The chants had different rhythms and patterns depending on the occasion.
• Singing was performed by a special group of priests called Udgataras, who were responsible
for preserving and performing the hymns melodically.
The Role of Ragas in the Vedic Period
Although the fully developed system of Ragas (melodic frameworks in Indian Classical Music) came
much later, the Vedic period laid its foundation. Different hymns were sung at different times of the
day, much like how Ragas are associated with specific times in later Indian music traditions.
For example:
• Hymns for the morning had a soft and soothing tone.
• Hymns for evening prayers had a deep and resonant quality.
• Hymns for war or celebrations had a strong and rhythmic nature.
Musical Instruments in the Vedic Period
While vocal music was dominant, some musical instruments accompanied the singing. The main
instruments of the Vedic period included:
1. Veena: A string instrument, which was considered sacred and was often played by sages and
priests.
2. Dundubhi: A type of drum used during religious ceremonies and battles.
3. Flute: Used for devotional and pastoral music.
4. Conch (Shankha): Blown during religious rituals and prayers to invoke divine blessings.
Influence of Vedic Music on Later Indian Classical Music
The traditions developed during the Vedic period did not disappear but evolved over time, forming
the base of Indian Classical Music. Here’s how:
1. From Vedic Chants to Ragas: The structured singing of Vedic hymns evolved into the
complex system of Ragas found in later Indian music.
2. The Tradition of Guru-Shishya Parampara: The oral transmission of Vedic music from
teacher (Guru) to student (Shishya) became a lifelong tradition in Indian classical music.
3. Religious and Spiritual Music: Even today, classical music in India retains a spiritual aspect,
much like its origins in the Vedic chants.
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4. Impact on Bhakti and Devotional Music: The concept of singing prayers for divine
connection influenced later Bhakti movements and devotional singing (e.g., Bhajans and
Kirtans).
Conclusion
The Vedic period was a crucial phase in the history of Indian music. It provided the foundation for
Indian Classical Music through its sacred chants, structured musical recitations, and the use of basic
musical instruments. The Samaveda, in particular, played a key role in giving music a definite
structure and form.
Even today, elements of Vedic music can be seen in Hindu rituals, classical compositions, and
devotional music. Thus, the impact of this ancient tradition continues to shape the rich and diverse
world of Indian music.
By understanding the history of Indian music from the Vedic period, we gain insight into how music
was not just an art form but a sacred and powerful medium of spiritual expression. This knowledge
helps us appreciate the depth and beauty of Indian Classical Music as it stands today.
SECTION-B
3. Write down the salient features of time theory in Indian Music.
Ans: Salient Features of Time Theory in Indian Music
Indian classical music is deeply connected with time and nature. One of the most unique aspects of
this music system is the Time Theory of Ragas. According to this theory, each raga is associated with
a specific time of the day or night when it is most effective and has the maximum emotional impact.
This concept is based on the belief that different times of the day influence human emotions and
moods, and certain ragas align best with these feelings.
This time theory makes Indian music more natural, expressive, and spiritually enriching. It is
believed that when a raga is sung at its appropriate time, it creates a more profound and pleasing
effect on both the listener and the performer.
Now, let’s discuss the important features of Time Theory in Indian Music in detail.
1. The Division of the Day and Night
In Indian classical music, the 24-hour period is divided into two main parts:
1. Daytime (from 12 AM to 12 PM)
2. Nighttime (from 12 PM to 12 AM)
Each of these two parts is further divided into four sections:
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A. Daytime Divisions
• Morning (6 AM – 12 PM)
• Afternoon (12 PM – 6 PM)
B. Nighttime Divisions
• Evening (6 PM – 12 AM)
• Late Night (12 AM – 6 AM)
Each raga is assigned a specific time within these divisions.
2. Why is Time Important for Ragas?
The main reason behind this theory is that each part of the day creates a different mood or feeling.
The human mind and body also react differently to sound and music at different times. For
example:
• In the morning, the air is fresh, and the mind is calm. So, ragas that create a peaceful and
soothing effect, such as Raga Bhairav, are sung in the early morning.
• In the afternoon, the sun is at its peak, and energy levels are high. Hence, ragas like Raga
Sarang, which are lively and energetic, are performed.
• In the evening, the environment becomes cool and relaxing. Ragas like Raga Yaman and Raga
Bihag, which express love and devotion, are sung.
• At midnight, a mysterious and meditative atmosphere is present. Ragas like Raga Malkauns,
which are deep and serious, are preferred.
Thus, singing a raga at the right time enhances its emotional impact and makes it more effective.
3. Classification of Ragas According to Time
The time classification of ragas is based on their musical notes (Swaras) and their effects. There are
two primary categories:
A. Purva Ragas () – Sung from 12 AM to 12 PM
• Purva Ragas are performed in the first half of the day.
• These ragas have Re (Rishabh) and Dha (Dhaivat) as weak notes (Komal or flat).
• They create a bright, uplifting, and sometimes meditative mood.
• Examples: Raga Bhairav (early morning), Raga Sarang (afternoon).
B. Uttar Ragas () – Sung from 12 PM to 12 AM
• Uttar Ragas are performed in the second half of the day.
• These ragas have Ga (Gandhar) and Ni (Nishad) as weak notes.
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• They create a soft, romantic, or deep emotional effect.
• Examples: Raga Yaman (evening), Raga Malkauns (midnight).
4. Examples of Ragas and Their Time
Here are some well-known ragas and their assigned time slots:
Time of the Day
Example Ragas
Mood & Effect
Early Morning (4 AM – 8 AM)
Bhairav, Todi, Lalit
Peaceful, meditative, spiritual
Morning (8 AM – 12 PM)
Bilawal, Deshkar
Cheerful, fresh, energetic
Afternoon (12 PM – 4 PM)
Sarang, Multani
Warm, lively, bright
Evening (4 PM – 8 PM)
Yaman, Bihag, Puriya
Romantic, devotional, soothing
Night (8 PM – 12 AM)
Malkauns, Darbari Kanada
Deep, serious, mysterious
Late Night (12 AM – 4 AM)
Bageshree, Sohini
Calm, introspective, emotional
5. Connection with Human Emotions
Each raga is designed to influence human emotions and moods. The time theory is based on natural
human responses to different times of the day. For example:
• Morning ragas help in spiritual awakening and bring peace of mind.
• Afternoon ragas create an energetic and enthusiastic mood.
• Evening ragas bring love, devotion, and relaxation.
• Night ragas are often introspective, serious, and deep.
This emotional connection makes Indian music a powerful medium for expressing feelings.
6. Exceptions and Practical Adaptations
Although time theory is an essential part of Indian music, there are some exceptions:
1. Concerts and Performances: Many concerts take place in the evening or night, where ragas
of other times may be performed due to audience demand.
2. Devotional Music: Bhajans and kirtans are sung at various times, regardless of raga time
restrictions.
3. Film and Light Music: In modern music and Bollywood songs, ragas are often used freely,
without following the time theory strictly.
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7. Scientific Basis of Time Theory
Modern studies suggest that sound waves and frequencies can influence human brain waves,
emotions, and even biological rhythms. The Indian system of Nada Yoga (the yoga of sound)
supports the idea that specific musical notes interact with the body’s natural cycles.
• Morning ragas use soft, smooth notes that align with the slow, peaceful heartbeat of early
hours.
• Evening ragas use brighter, more vibrant notes that match the activity levels of the evening.
• Night ragas often have deep, serious notes, which resonate with the body's relaxation
phase.
This scientific connection reinforces the effectiveness of the Time Theory in Indian Music.
Conclusion
The Time Theory in Indian Music is a unique concept that aligns ragas with specific times of the day
and night. This system enhances the impact of music, making it more powerful, natural, and
emotionally deep.
By following this theory, musicians can connect better with nature, human emotions, and the
audience. Even though modern adaptations sometimes overlook strict time restrictions, the essence
of this tradition remains strong in classical performances.
Understanding and respecting this theory can help musicians and listeners appreciate Indian
classical music in a more profound way. It is not just about playing notes—it is about feeling, timing,
and creating a magical experience through music!
4. Write down in detail the life sketch and contribution of Pt. Vishnu Narayan Bhatkhande.
Ans: Life Sketch and Contribution of Pandit Vishnu Narayan Bhatkhande
Introduction
Pandit Vishnu Narayan Bhatkhande was a great scholar, musicologist, and reformer of Indian
classical music. He played a crucial role in organizing and systematizing Hindustani classical music,
making it more accessible to learners and performers. His work remains a foundation for modern
music education in India.
Early Life and Education
Pandit Vishnu Narayan Bhatkhande was born on August 10, 1860, in Mumbai (then Bombay),
Maharashtra. From a young age, he had a deep interest in music, even though he initially pursued
studies in law. He graduated with a degree in law and became a lawyer, but his passion for music
never faded. He studied music under various gurus and traveled across India to learn about
different musical traditions.
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Musical Journey and Research
Bhatkhande was deeply concerned about the lack of a standardized system in Hindustani classical
music. At that time, music was mainly passed down orally from teacher to student, and there were
no written rules or structured methods for learning. To bring order and clarity, he decided to study
the music of different gharanas (schools of music) and document them.
To understand the origins of Indian classical music, he studied ancient texts like the Natya Shastra
and Sangeet Ratnakar. He also traveled across India to interact with musicians, observe
performances, and collect compositions from different regions.
Classification of Ragas
One of Bhatkhande’s most significant contributions was his classification of ragas. Before his time,
ragas were grouped in an unorganized way, and different gharanas followed different systems. To
simplify and standardize them, he introduced the Thaat system, where he categorized ragas into
ten broad groups based on their scale patterns. These ten Thaats are:
1. Bilawal
2. Kalyan
3. Khamaj
4. Bhairav
5. Bhairavi
6. Asavari
7. Todi
8. Marwa
9. Poorvi
10. Kafi
This system made it easier for students to understand and classify ragas, helping in structured
learning.
Writing and Documentation
To preserve and spread knowledge about Hindustani classical music, Bhatkhande wrote several
books. His most famous works include:
1. Hindustani Sangeet Paddhati – A detailed four-volume book that explains the science of
Hindustani music.
2. Kramik Pustak Malika – A collection of musical compositions from different gharanas,
written in an organized manner.
These books became a standard reference for musicians and students.
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Role in Music Education
Bhatkhande strongly believed that music should be taught in a systematic way, just like other
subjects. To achieve this, he helped establish music institutions where students could learn classical
music scientifically. He played an important role in setting up the Madhav Music College in Gwalior
and Marris College of Music in Lucknow (now Bhatkhande Music Institute University).
His efforts led to the inclusion of classical music as a subject in universities, making it a part of
formal education in India.
Simplifying Music Notation
In his time, different regions followed different music notation systems, making it difficult to write
and read music compositions. To solve this problem, Bhatkhande developed a simple notation
system, which is still widely used today. This system allowed musicians to write down compositions
in a structured way, preserving them for future generations.
Influence on Indian Classical Music
Bhatkhande’s work had a lasting impact on Indian classical music. His systematic approach made
learning music easier and helped in spreading classical music beyond traditional circles. His
classification of ragas and notation system are still followed by musicians and students today.
Challenges and Criticism
Despite his contributions, Bhatkhande faced criticism from some traditional musicians who believed
that classical music should be passed down orally rather than written down. However, over time, his
work proved to be extremely beneficial in preserving and propagating classical music.
Conclusion
Pandit Vishnu Narayan Bhatkhande was a visionary who played a crucial role in modernizing and
standardizing Hindustani classical music. His efforts in classification, notation, and education have
made it easier for students to learn and appreciate this rich musical tradition. Today, his legacy
continues through music institutions, books, and the numerous musicians who follow his structured
approach to learning music.
Through his dedication and research, Bhatkhande ensured that the beauty of Indian classical music
would be preserved for generations to come.
SECTION-C
5. Write Down the Ekgun, Dugun and Chaugun layakaries of Ektaal and Kehrava.
Ans: Understanding Layakari in Music : In Indian classical music, Layakari refers to the variation of
rhythm within a given Taal (rhythmic cycle). It is an important aspect of music that helps in
improvisation and makes a composition more interesting.
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There are different types of Layakari:
1. Ekgun (1x speed) – The original or basic speed of the taal.
2. Dugun (2x speed) – Doubling the speed of the beats.
3. Chaugun (4x speed) – Playing four times faster than the basic speed.
These variations allow musicians to experiment with rhythm while maintaining the structure of the
taal. Now, let’s understand how Ekgun, Dugun, and Chaugun apply to Ektaal and Kehrava.
Ektaal (12 beats cycle)
Ektaal is a well-structured and balanced taal with 12 beats (matras). It is commonly used in classical
vocal music, instrumental music, and dance forms. The theka (basic rhythm pattern) of Ektaal is:
Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Ta Tin Tin Ta | Ta Dhin Dhin Dha
Ekgun in Ektaal (1x speed)
Ekgun means maintaining the original speed of the taal without any variation. If we clap or recite
Ektaal in its natural form, it remains in Ekgun. Each syllable (bol) is played or sung exactly as it is
written, without increasing or decreasing the number of beats.
For example:
• If you play a tabla or clap along with Ektaal, you will say Dha Dhin Dhin Dha in the natural
flow of the taal.
• In singing, if a note is placed on a particular beat, it will remain in that position without being
subdivided or extended.
Dugun in Ektaal (2x speed)
Dugun means doubling the speed. Instead of playing one syllable per beat, we now fit two syllables
into each beat.
In Ektaal, Dugun would sound like this:
Dha Dha | Dhin Dhin | Dhin Dhin | Dha Dha | Dha Dha | Dhin Dhin | Dhin Dhin | Dha Dha | Ta Ta |
Tin Tin | Tin Tin | Ta Ta | Ta Ta | Dhin Dhin | Dhin Dhin | Dha Dha
• If a singer is performing in Dugun, they will fit twice as many syllables into the same
timeframe.
• A tabla player will strike the drum twice for every original beat.
Chaugun in Ektaal (4x speed)
Chaugun means quadrupling the speed. Instead of one syllable per beat, we now fit four syllables
into each beat.
In Ektaal, Chaugun would sound like this:
Dha Dha Dha Dha | Dhin Dhin Dhin Dhin | Dhin Dhin Dhin Dhin | Dha Dha Dha Dha | Dha Dha Dha
Dha | Dhin Dhin Dhin Dhin | Dhin Dhin Dhin Dhin | Dha Dha Dha Dha | Ta Ta Ta Ta | Tin Tin Tin Tin |
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Tin Tin Tin Tin | Ta Ta Ta Ta | Ta Ta Ta Ta | Dhin Dhin Dhin Dhin | Dhin Dhin Dhin Dhin | Dha Dha
Dha Dha
• This is a much faster version where each beat contains four syllables.
• Singers and instrumentalists must be highly skilled to maintain clarity and precision in
Chaugun Layakari.
Kehrava Taal (8 beats cycle)
Kehrava is one of the most popular taals in Indian music, especially in light classical and folk music.
It consists of 8 beats (matras) divided into two equal parts of 4 beats each.
The basic theka (rhythm pattern) of Kehrava is:
Dha Ge Na Ti | Na Ka Dhin Na
Ekgun in Kehrava (1x speed)
In Ekgun, Kehrava is played in its original speed. Every syllable remains in its position without any
subdivision or doubling.
For example:
• If a singer is singing a song in Kehrava, the melody follows the natural flow of the taal.
• A tabla player plays Dha Ge Na Ti | Na Ka Dhin Na in a steady rhythm.
Dugun in Kehrava (2x speed)
In Dugun, we double the number of syllables in each beat. Instead of playing one sound per beat,
we now play two.
Kehrava Dugun sounds like this:
Dha Dha | Ge Ge | Na Na | Ti Ti | Na Na | Ka Ka | Dhin Dhin | Na Na
• A singer or musician will fit twice as many syllables into the same timeframe.
• The tabla player will strike twice as many beats while maintaining the same total cycle
length.
Chaugun in Kehrava (4x speed)
In Chaugun, the speed is quadrupled, meaning four sounds fit into each beat.
Kehrava Chaugun sounds like this:
Dha Dha Dha Dha | Ge Ge Ge Ge | Na Na Na Na | Ti Ti Ti Ti | Na Na Na Na | Ka Ka Ka Ka | Dhin Dhin
Dhin Dhin | Na Na Na Na
• This version requires a high level of control and precision.
• Singers performing in Chaugun must clearly pronounce four syllables per beat without losing
clarity.
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Examples and Analogies
1. Walking, Jogging, and Running – Imagine you are walking at a normal pace; this is Ekgun. If
you start jogging and cover double the distance in the same time, that's Dugun. If you sprint
at four times the speed, that's Chaugun.
2. Clock Ticking – If you count seconds on a clock normally, it is Ekgun. If you count every half-
second, it is Dugun. If you count every quarter-second, it is Chaugun.
3. Beating a Drum – Tap a table slowly at a steady pace; that’s Ekgun. Now tap twice as fast for
each beat; that’s Dugun. Now tap four times for each beat; that’s Chaugun.
Conclusion
Understanding Layakari is essential for mastering rhythm in Indian classical music. Ekgun, Dugun,
and Chaugun add variation and complexity, making a performance more engaging. Ektaal (12 beats)
and Kehrava (8 beats) are two commonly used taals where these layakaries can be practiced and
applied.
By practicing these variations, musicians can develop a strong sense of rhythm, enhance their
improvisation skills, and create more dynamic performances.
6. Write dowr-the Notation of Drut Khyal in Raag Kalyan along with Raga Parichay.
Ans: Raag Kalyan – Introduction and Drut Khyal Notation
Introduction to Raag Kalyan
Raag Kalyan is one of the most important and melodious ragas in Indian classical music. It belongs
to the Kalyan Thaat, which is also named after this raga. The word ‘Kalyan’ means blessing or
welfare, and true to its name, this raga evokes a sense of peace, devotion, and grandeur. It is often
played in the evening and is considered very auspicious.
Basic Features of Raag Kalyan
• Thaat: Kalyan
• Vadi (Most prominent note): Ga (Gandhar)
• Samvadi (Second most prominent note): Ni (Nishad)
• Jati: Sampurna (all seven notes used in both ascent and descent)
• Time of Singing: Evening (6 PM – 9 PM)
• Pakad (Characteristic phrase): Ni Re Ga Re Sa, Re Ga Ma Dha Ni Dha Pa, Ma Ga Re Sa
• Emotional Mood (Bhava): Devotion, grandeur, and calmness
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Arohana and Avarohana (Ascending and Descending Scales)
• Arohana (Ascent): Sa Re Ga Ma♯ (Tivra Ma) Pa Dha Ni Sa
• Avarohana (Descent): Sa Ni Dha Pa Ma♯ (Tivra Ma) Ga Re Sa
Here, Tivra Ma (sharp Ma) is used instead of the natural Ma, which gives Raag Kalyan its distinct and
bright sound. All other notes are shuddha (natural).
Characteristics of Raag Kalyan
1. Tivra Ma is the Highlight: Unlike most ragas that use Shuddha Ma, Raag Kalyan’s Tivra Ma
gives it a unique sweetness and depth.
2. Ga and Ni are Prominent: These notes are frequently emphasized in compositions.
3. Pa is Mostly Avoided in Ascent: This helps maintain the beauty of the raga’s movement.
4. Used in Bhajans and Light Music: Due to its auspicious and devotional nature, it is widely
used in prayers and semi-classical compositions.
Drut Khyal in Raag Kalyan
A Drut Khyal is a fast-tempo composition set in Teen Taal (16 beats) or Ek Taal (12 beats). It
showcases the raga’s essence through intricate taans (fast melodic phrases) and bol (lyrics).
Notation of Drut Khyal in Raag Kalyan (Teen Taal - 16 beats)
Sthayi (First Part)
(Played in medium speed initially and then develops with variations)
Beats
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
Notes
Sa
Re
Ga
Ma*
Pa
Dha
Ni
Sa*
Re*
Ga*
Ma*
Dha*
Ni*
Sa*
Ni*
Dha*
Lyrics
Ta
na
re
da
ni
pa
ma
ga
re
sa
ni
re
sa
ni
dha
pa
Antara (Second Part)
(This section moves to the higher octave and comes back to the lower)
Beats
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
Notes
Sa*
Ni*
Dha*
Pa*
Ma*
Ga*
Re*
Sa*
Ni
Dha
Pa
Ma
Ga
Re
Sa
Ni
Lyrics
re
da
ni
sa*
ni*
dha*
pa*
ma*
ga*
re*
sa*
ni
re
sa
ni
dha
Explanation of the Composition
1. Sthayi:
o The Sthayi remains in the lower and middle octaves.
o The composition starts with a soft and slow introduction of the raga’s core notes.
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o Words like “Ta na re da” give a rhythmic feel and help in setting the taal.
2. Antara:
o This part explores the higher octave and returns gracefully.
o It shows the beauty of Raag Kalyan by emphasizing Tivra Ma.
o Ending with Sa Ni Dha gives a smooth closure.
Examples and Analogies to Understand Raag Kalyan
• Imagine a bright evening sky turning into night—the way the orange hues fade into dark
blue. Similarly, Raag Kalyan starts with bright, high-pitched notes and gradually settles into a
peaceful ending.
• It is like a flowing river that shines under moonlight, with gentle waves reflecting the depth
and beauty of the melody.
• Comparison with Yaman: Raag Kalyan is often confused with Raag Yaman, but the key
difference is in the phrases. Yaman has a smoother flow, while Kalyan has a slightly more
majestic and structured feel.
Conclusion
Raag Kalyan is a majestic evening raga known for its divine and soothing effect. It is widely used in
devotional music, classical concerts, and film music. Drut Khyal in Raag Kalyan provides a fast-paced
yet graceful rendition of the raga, allowing for intricate taans and rhythmic creativity.
If you are a beginner, start by practicing the Arohana and Avarohana. Listen to classical maestros
like Bhimsen Joshi, Kishori Amonkar, or Prabha Atre to understand how the raga is sung in different
styles.
SECTION-D
7. Give in detail the contribution of Bhai Mardana towards Music.
Ans: Bhai Mardana and His Contribution to Music
Bhai Mardana holds a significant place in the history of Indian music, particularly in the tradition of
Sikh music. He was the lifelong companion of Guru Nanak Dev, the founder of Sikhism, and played a
crucial role in spreading his teachings through music. Bhai Mardana was a skilled rababi (a musician
who plays the rabab) and contributed immensely to the development of Sikh devotional music,
known as Gurmat Sangeet. His contributions are deeply embedded in Sikh history and continue to
influence religious and spiritual music today.
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Early Life and Background
Bhai Mardana was born in 1459 in a Muslim family in Talwandi, now known as Nankana Sahib (in
present-day Pakistan). His birth name was Mardana, and he was from the Mirasi community, which
was traditionally associated with music and storytelling. Since childhood, he showed a deep interest
in music and poetry. As a young boy, he would visit the household of Guru Nanak, where he
developed a close bond with him.
Guru Nanak, realizing Bhai Mardana’s musical talent, encouraged him to use his skills to spread
spiritual wisdom. Bhai Mardana became his constant companion and played a vital role in their
travels, known as Udasis, where they spread messages of love, equality, and devotion through
hymns and poetry.
Role as Guru Nanak’s Musical Companion
Bhai Mardana accompanied Guru Nanak on all his journeys across India and beyond, including
places like Tibet, Mecca, Baghdad, and Persia. His primary role was to play the rabab while Guru
Nanak recited hymns. This musical collaboration helped in conveying profound spiritual teachings to
people in a way that was engaging and easy to understand.
Music was an essential medium for Guru Nanak to communicate with people from different
backgrounds. Bhai Mardana’s rabab playing added melody to Guru Nanak’s divine compositions,
making them more appealing and accessible to the masses. This tradition of singing hymns with
musical accompaniment laid the foundation for kirtan, which remains a core practice in Sikh
worship today.
Introduction of the Rabab in Sikh Music
One of Bhai Mardana’s greatest contributions to music was the introduction of the rabab in Sikh
devotional singing. The rabab is a stringed instrument that produces soothing and meditative
sounds, perfectly suited for spiritual hymns.
Guru Nanak composed many hymns, which Bhai Mardana would sing and play on the rabab. This
practice of performing Gurbani (the words of the Guru) with instrumental accompaniment became
the cornerstone of Sikh kirtan tradition.
To this day, the rabab is considered a sacred instrument in Sikh music, and many kirtan performers
strive to maintain the musical style introduced by Bhai Mardana.
Preserving and Spreading Guru Nanak’s Teachings
Bhai Mardana played a crucial role in preserving Guru Nanak’s hymns. Before the hymns were
compiled into the Guru Granth Sahib (the holy scripture of Sikhism), they were memorized and
passed down orally. Since written records were not commonly kept at the time, Bhai Mardana’s
musical skills helped in remembering and sharing these hymns accurately.
By singing the hymns in different places, Bhai Mardana ensured that Guru Nanak’s message reached
far and wide. His role can be compared to a modern-day musician spreading a powerful social or
spiritual message through songs. Just as today’s music influences people’s thoughts and emotions,
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Bhai Mardana’s music deeply impacted those who heard it, inspiring them to lead more righteous
and truthful lives.
Influence on Sikh Kirtan Tradition
The Sikh kirtan tradition, which involves the singing of Gurbani with musical accompaniment, traces
its roots to the musical partnership of Guru Nanak and Bhai Mardana. Even today, Sikh religious
gatherings and gurdwaras (Sikh places of worship) emphasize kirtan as an essential form of
devotion.
In the early Sikh period, musicians known as rababis carried forward Bhai Mardana’s musical legacy.
These rababis were primarily from Muslim backgrounds but played a crucial role in Sikh religious
music. The tradition of rababi kirtan continued for centuries until political and social changes led to
its decline. However, its impact remains significant, and many efforts are being made to revive and
preserve it.
Bhai Mardana’s Legacy in Music
Bhai Mardana’s contribution to music extends beyond Sikhism. His use of the rabab and the style of
devotional singing he practiced influenced other Indian musical traditions as well. His approach
blended elements of Persian, Indian, and folk music, creating a unique and deeply spiritual sound.
His legacy can be compared to that of legendary musicians who revolutionized their respective
musical genres. Just as figures like Tansen in Mughal India or Beethoven in Western classical music
transformed musical traditions, Bhai Mardana helped shape Sikh kirtan into a deeply respected art
form that continues to inspire millions.
Conclusion
Bhai Mardana’s contribution to music is invaluable. Through his talent, dedication, and partnership
with Guru Nanak, he helped establish a rich musical tradition that continues to thrive in Sikhism. His
use of the rabab, his role in preserving hymns, and his efforts in spreading Guru Nanak’s teachings
through music made him a pioneer of Sikh devotional music.
Today, his influence can be seen in every kirtan performed in a gurdwara, every Sikh musician who
plays the rabab, and every devotee who finds spiritual solace in the music he helped create. His life
is a testament to the power of music as a means of devotion, connection, and transformation,
making him one of the most respected figures in the history of Indian and Sikh music.
8. Explain the following terms in context of Gurmat Sangeet:
(i)Ashtpadi
(ii)Ank
(iii)Kirtaniya
(iv) Pada.
Ans: Understanding Important Terms in Gurmat Sangeet
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Gurmat Sangeet is the devotional music tradition of Sikhism, which is based on singing Gurbani
(hymns from Guru Granth Sahib) in specific Raags (melodic frameworks). This music style is deeply
spiritual and focuses on connecting the singer and listener with divine teachings.
Now, let’s understand the four important terms:
1. Ashtpadi
Meaning and Explanation
The word Ashtpadi is made up of two words:
• "Asht", which means eight
• "Padi", which means steps or stanzas
So, Ashtpadi refers to a composition that has eight stanzas or sections.
Ashtpadi in Gurmat Sangeet
In Gurmat Sangeet, Ashtpadi is a specific type of Shabad (hymn) found in Guru Granth Sahib (GGS).
The most well-known example of an Ashtpadi is the Sukhmani Sahib, written by Guru Arjan Dev Ji.
Sukhmani Sahib is a long bani (sacred composition) that consists of 24 Ashtpadis. Each Ashtpadi in
Sukhmani Sahib has eight stanzas, and every stanza carries deep spiritual meaning.
Purpose of Ashtpadi
The main purpose of an Ashtpadi is to convey spiritual wisdom, moral values, and guidance for a
righteous life. Since it is divided into eight parts, it allows a step-by-step understanding of a
particular spiritual message.
Example from Guru Granth Sahib
In Sukhmani Sahib, the first Ashtpadi starts with:
"Aadh Gureh Nameh, Jugaadh Gureh Nameh, Satgureh Nameh, Sri Guru Devay Nameh"
This means: "I bow to the Primal Guru, I bow to the Guru of all ages, I bow to the True Guru, I bow to
the Divine Guru."
Each stanza in an Ashtpadi builds on the previous one and expands the meaning, making it easier to
understand deep spiritual concepts gradually.
2. Ank
Meaning and Explanation
The word Ank literally means number or count. In the context of Gurmat Sangeet, Ank refers to the
numbering of Shabads in Guru Granth Sahib.
Role of Ank in Gurmat Sangeet
• Guru Granth Sahib contains hymns (Shabads) written by various Gurus and saints. To
maintain proper order and structure, each hymn is assigned a specific number or Ank.
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• These numbers help in identifying the sequence of Shabads and make it easier to find a
particular hymn in the holy scripture.
• The numbering system of Ank was designed to prevent anyone from adding or removing any
part of Guru Granth Sahib, ensuring that the scripture remains authentic and unaltered.
Example from Guru Granth Sahib
Each page of Guru Granth Sahib has a running number at the bottom. For example, if a hymn
appears on page 50, then the Ank (number) for that hymn is 50. This numbering system is
continuous throughout the entire Guru Granth Sahib.
Why is Ank Important?
1. Maintains Authenticity – It ensures that no changes or additions can be made to the
scripture.
2. Helps in Finding Shabads – Just like chapters and verses in other religious texts, the Ank
system makes it easy to locate specific hymns.
3. Prevents Confusion – Since multiple Shabads can have similar starting lines, numbering
helps in distinguishing them.
3. Kirtaniya
Meaning and Explanation
The word Kirtaniya comes from "Kirtan", which means devotional singing of Gurbani. A Kirtaniya is a
person who performs Kirtan.
Who is a Kirtaniya?
A Kirtaniya is someone who:
• Sings hymns (Shabads) from Guru Granth Sahib in Raag-based melodies.
• Uses musical instruments such as the harmonium, tabla, rabab, sarangi, taus, etc.
• Performs in Gurdwaras (Sikh temples) or at religious gatherings to spread the teachings of
Sikh Gurus.
Types of Kirtaniyas
1. Hazoori Ragi – Professional Kirtaniyas who perform regularly in Harmandir Sahib (Golden
Temple) and other Gurdwaras.
2. Parvasi Kirtaniyas – Those who sing Gurbani in different parts of the world, promoting Sikh
traditions.
3. Local Sangat Kirtaniyas – Devotees who perform Kirtan voluntarily during Sangat
(congregational worship).
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Example of a Famous Kirtaniya
• Bhai Mardana Ji, a companion of Guru Nanak Dev Ji, was the first Kirtaniya of Sikh history.
He played the rabab (a stringed instrument) while Guru Nanak Dev Ji sang hymns.
• Today, many Ragi Jathas (groups of Kirtaniyas) continue this tradition by singing Gurbani
Kirtan worldwide.
Importance of Kirtaniyas in Sikhism
• They help in preserving and spreading Gurmat Sangeet traditions.
• Through their singing, they create a spiritual atmosphere that allows people to connect with
divine teachings.
• They educate the Sangat by explaining the meaning of the hymns they sing.
4. Pada
Meaning and Explanation
The word Pada means a verse, stanza, or section of a hymn. In Gurmat Sangeet, a Pada is a part of a
Shabad (hymn) that carries a specific message.
Pada in Guru Granth Sahib
• Many hymns in Guru Granth Sahib are divided into Padas.
• A Pada helps in breaking a long hymn into smaller, understandable parts.
• Usually, a Shabad has two, three, or four Padas, depending on its structure.
Example from Guru Granth Sahib
A famous Shabad by Guru Arjan Dev Ji:
"Tera Kiya Meetha Laage"
This Shabad has multiple Padas, each carrying a deeper meaning of accepting God's will (Hukam).
Why is Pada Important?
1. Simplifies the Meaning – Instead of reading long verses, breaking them into Padas makes
them easier to understand.
2. Helps in Singing – In Kirtan, each Pada is sung in a specific melodic pattern (Raag), making it
more impactful.
3. Encourages Reflection – Since each Pada carries a separate message, listeners can focus on
one idea at a time.
Conclusion
Understanding these four terms is essential for anyone learning about Gurmat Sangeet.
• Ashtpadi refers to a composition with eight stanzas, commonly found in Sukhmani Sahib.
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• Ank is the numbering system used in Guru Granth Sahib to maintain order and authenticity.
• Kirtaniya is a person who performs Kirtan, spreading spiritual messages through Gurbani.
• Pada is a stanza or verse of a Shabad, helping in understanding and singing Gurbani.
These elements together form the rich and spiritual tradition of Sikh devotional music, allowing
people to connect with divine wisdom through melody and rhythm.
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