RAAGA SYSTEM OF NORTH INDIA

Music is a gift of Almighty, one of the significant Art forms. It is one of the best
medium to reach God. Music is a divine art which has got therapeutic values. The
importance of music and the power of reciting the musical notes are described as:

^^oh.kkoknuUroK% Jqfrtkfrfo'kknj%A
rkyK'pkiz;klsu eks{kekxZ p xPNfr 1AA**

Meaning : A person who is aware and knowledgeable in veena vaadan,who

acquires complete knowledge and awareness in the concepts of veenavaadan, &
Exponent in sruti, Jaati concepts with taala & laya, is believed to attain salvation.

The evolution of word “Sangeet” and the meaning is given in the ancient Sanskrit
Granth as “Vanmayi’ in the form of “Samyak Geet”. The definitions and descriptions in
music are related to its three art forms namely“Geetam, Vadhyam and Nrityam and they
are described in almost all the granthas from the ancient times. The 13th century
musicologist Sarang Dev, in sangeet Ratnakar Granth expressed that the combination of
these three art forms is said to be sangeet.

Even in “Sangeet Paarijaat”Granth same concept is believed:

xhr.kfn=u`R;kauk =; laxhreqP;rsA 2

Music is always a special and significant art among all the art forms in the
Universe, which still helps to preserve our culture and traditions.

^^rokfLexhr jkxs.k gfj.kk izléa âr%A

¼'kkdqUrye~½] vgks jkxifjokfg.kh xhfr% ¼'kdq0½ 3A**
The soul of vocal and instrumental music is raag. Even in dance raag is a very
important factor.

RAAG :

The word Raag is derived from Sanskrit language, which is extracted from the
Dhatu (Root) Ranj. This extraction reveals the truth that Ranjakata (a sweet sound that
pleases an ear) is Raag. Ranjakata is the synonym of Raag. Raag without Ranjakata
cannot be imagined.

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The evolution of the word raag has its origin from ancient times. Raag, which is
the present basis of melody in Indian music, was not a technical term in the Natyashastra.
Bharatamuni in Natyashastra only expressed that word raag is based on Ranjkata. Where
as Matang muni in Brihaddesi described and defined the term raag as the Swar Samudai
(group of notes) that bringsout Ranjakata to a raag. In Natyashastra only Jaati gayan
system was discussed. In his time 18 kinds of jaatis were popular also the moorcchanas
evolved through the shadaj and Madhyam gram use to help in the existence of ras
pradayak swaras. He also described 10 jaati lakshanas, they are:-

GRAH, AMSH, NYAS, APANYAS, SHADAVATV,

AUDAVATV, ALPATV, BAHUTV, MANDRA, TAAR.

After 6th century A.D. the evolution of raag started and gradually with the pace
of time, Jaati – gaayan faded out. Matangmuni in his work Brihaddesi for the first time
defined on the word Raag as :

^^Lojo.kZ fof'k"Bsu /ofuHksnsu ok iqu%A

jT;rs ;su ;% df'pr~ l jkx% ler% lrke~AA**
^^"kksMlkS /ofufo'ks"kLrq Lojo.kZ& foHkwf"kr%A
jatdks tufpÙkkuka l p jkx mnkârAA”4
Meaning: “The above given definitions of Raag by great musicologists shows
that the sound and the compositions which are eloquent due to the beautiful
combinations of the swaras and swara varnas, is said to be a RAAG”.

Pt. 'Kallinath' defined Raga as, "one that is formed of the four Varnas i.e Sthayi,
Aarohana, Avarohana and Sanchari".

^^prq.kkZfefn o.kkZuka ;ks jkx% 'kksHkuks Hkosr~]

l loksZ n`';rs ;s"kq rsu jkxk bfrLe`rk%**5
Also some of the musicians say that, "The sound with which the whole Universe,
Gandharvas, Gods and Goddesses get immersed and fill with joy (ranjan) in the Trilokas,
such Naad is said to be a raag".

In this manner, the basic element and soul of Indian music, Raag is a brilliant and
significant invention by Muniswaras and musicians with their immense knowledge and
innovative ideas.

24
 
 
 

Prof. P.Sambhamurthy has said that the‘hridaya-ranjaka character was the tie of
the desi music and possessed more vigour and attractive feature, and so Matanga has
significantly; Styled his musical work as Brihaddeshi. But whatever may be the
controversy regarding the pleasing character or ties of Gandharva and desi music, we
may arrive at the conclusion from a close scrutiny of the ancient treatises on music that
the evolution of the clear concept of raga was at work in the beginning of the classical
period in the 600-500 B.C., though it is believed to have existed in a nucleus form in the
Vedic period.

RAAG VARGEEKARAN: (RAAG CLASSIFICATION) :

The ragas are classified according to different categories, under equivalent scales,
based on Moorchhana system, Jaatis etc the classifications are being introduced and
invented by great musicologists and musicians since from the ancient period to the
current period. In order to understand the concept of Raag & Raaga classifications, their
different stages of development, one should know the classifications of ragas from
ancient period to the present period.

Classifying a raag according to their class, category and group is said to be Raag
vargeekaran or Raaga classification; Based on the three Ages the Raaga system is
classified as:

1. Raag classification in the Ancient period:

a. Gram- raag Vargeekaran

b. Ratnakar Nirmit Raag- Vargeekaran
c. Shuddh, Chhaya lag, Sankeern Vargeekaran

2. (Madhya kaalin) Raag Vargeekaran in the Medieval period:

a. Raag- Raagini vargeekaran

b. Mel– Raag – Vargeekaran

3. Raag vargeekaran in the Modern Period

a. Thaat Raag Vargeekaran

b. Raagaang-paddhati

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RAAG CLASSIFICATION IN THE ANCIENT PERIOD:

(A) GRAMA RAAGAS OF MATANG MUNI 6 :

Based on the ancient Jaati-Gram- Moorchhana classification described by

Bharata in Natyashastra are later expounded by Matang muni in Brihaddesi as Gram-raag
classification for the first time in the period between 5th -7th century A.D. The Gram-raag
classification of Matang muni are given below in detail.

Matang muni specially classified, ragas according to Gram- Raag and Bhasha
Raag” (Desi raag) under “Geetis”.

The list of Geetis classified by Matangmuni

1- Choksha ¼pks{kk½ or shuddha ¼'kq)k½

2- Bhinna ¼fHkUu½
3- Goudi ¼xkSMh½
4- Raag ¼jkx½
5- Sadharan ¼lk/kkj.k½
6- Bhasha ¼Hkk"kk½
7- Vibhasha ¼foHkk"kk½

Matang muni has categorized Gram- Raagas under first five Geetis and under the
rest two Geetis he categorized Desi ragas. The swara prayogas and various laya prayogas
are related to Geetis.

Matang muni has categorized some of the Gram Raagas i.e. total 27 Gram Ragas.
Under Madhyam Gram 15 grama ragas are categorized and 12 Grama ragas under shadaj
Gram.

Later, Sharangdev has described on Gram raagas in his work Sangeet Ratnakar.
The Geetis given by Sharangdev are not based on Matangmuni classification. He has
followed according to “yaashthik ^^;kf"Vd**A

1. Shuddh
2. Bhinn
3. Besara and
4. Saadharani

26
 
 
 

Therefore, there are the various descriptions, divisions or classifications of Gram,

moorchhana, Jaati-vargeekarans given by great vidwans before 12th century A.D.

(B) RAAGA CLASSIFICATIONS BASED ON SANGEET RATNAKAR7 :

Sangeet Ratnakar stands as a basic Granth between Ancient and Medieval period.
“Sharang Dev” has introduced new techniques and new raag classifications in his period
according to the different changes took place in Indian music system since from the early
period.

He has categorized and explained popular ragas of his creation in his period into
ten they are:

1. Gram Raag
2. Upraag
3. Raag
4. Bhasha
5. Vibhasha
6. Antarbhasha
7. Raagaang
8. Bhaashaang
9. Kriyaang
10. Upaang.

In the above list of ragas, first 6 ragas are categorized under “MAARGI
SANGEET” and the rest four i.e. Raagaang, Bhaashaang, Kriyaang, and upaang are
categorized under “DESI RAGAS”.

GRAM RAAG, UPRAAG, RAAG :

Pt. Sharang Dev has keenly examined and classified ragas based on pure
Sangeeta Shastras. He was the first Sage to describe that Raagas are related to Gram and
Jaatis.

mUgksaus ;kf"Vd dh Hkkafr ewy 'kq)rk] mldk la'kks/ku] Loj&U;kl] ?kuRo xfr
bR;kfn ds vk/kkj ij mijksDr ik¡p xzke jkx crk,A ;s dsoy xhfr;ksa ds izdkj ugh gS
vfirq mlds vykSfdd Lo:i ^jkx* ds Hkh izdkj gSA

27
 
 
 

Gram raag, Raag, Upraag are evolved from Jaatis. Sarangdev did not discuss
about Gram Raag, Raag & upraag in detail. He has categorized total 30 Gram ragas and
stated that they are evolved from Jaatis.

BHASHA, VIBHASHA AND ANTARBHASHA :

After discussing about Gram Raag, Raag and upraagas, Sarangdev’s fourth kind
Highlights on Bhasha ragas. According to Matangmuni this is one kind of gaayan shyli
¼xk;u 'kSyh½A Sarangdev did not describe about the word Bhasha. According to
Matangmuni Bhasha means– the Aalaap prakaar of Gram ragas or different prakaars and
singing styles of Gram raagas.

xzkejkxkesokyki izdkj] Hkk"kkokP;k%

Hkk"kk'kCnh·= izdkjokph 8AA**
Therefore, the raagas sung under this style ¼'kSyh½ are said to be Bhasha Raagas.
The total number or Bhasha raagas are 96.

Pt. Kallinath quoting the same statement of Matang muni opines that Bhasha
means Aalaap prakars of different Gram Ragas.

VIBHASHA AND ANTARBHASHA :

There are no specific descriptions on the word Vibhasha and Antarbhasha, but
based on “Kallinath”, Vibhasha & Antarbhasha is said to be the concept similar to
“Bhasha” i.e. the Aalaap prakaars of gram ragas. ‘Yashthik’ believes that Bhasha
Vibhasha  Antarbhasha are inter-related i.e. it is from Bhasha, the Vibhasha has
took birth and from vibhasha, the Antarbhasha has come out with. These three are inter-
related.

xzke jkxksa ds gh ,sls izdkj ftudk fodkl Hkk"kk vkSj foHkk"kk ds ckn gqvk vkSj tks
bu nksuksa dh vis{kk xzke jkxksa ls vkSj Hkh T;knk nwj Fks] vUrj Hkk"kk dgykrs gSA

28
 
 
 

RAAGAANG, BHASHAANG, KRIYAANG AND UPAANG 9 :

RAAGAANG :

The raagas in which the features of the Gram raagas are exhibited, are said to be
Raagang Raagas according to Matangmuni.

   xzkeksäkuka rq jkxk.ka Nk;kek= HkosfnfrA

xhrKS% dfFkrk% losZ jkxkaxkLrsu gsrqukAA10

Meaning: The Raagas that evolve from Gram Raaga’s Ang or mishran are said to
be Raagaang raagas. xzke jkxksa ds vax feJ.k vFkok fodkl ls gS tks jkx mRiUu gq, os
jkxkax of.kZr gS& Eg: Sankarabharanam, Deepak, Bhairav etc.

BHAASHAANG :

The raagas that are derived based on the features of Bhasha Raagas are said to be
Bhashaang :

Hkk"kkNk;kfjok;su tk;rs ln`'kk%fdyA

Hkk"kkaxkLrsu d|;rs xk;dS% LikSfrdkfnfHk%AA11

Meaning: jkxksa esa mRiUu gq, fodkj fdUrq mudh Nk;k vFkkZr~ fdUgh vaxksa dks
j[krs gq, jkxksa dk fodkl gqvk mls Hkk"kkax dgrs gSA
Sharangdev in the Granth Sangeet Ratnakar created almost 20 Bhasha raagas.
The raagas which are derived with the features (or) with the chhaya of Bhasha Raagas
are said to be Bhashaang Raagas.

KRIYAANG :

The raagas in which karuna, utsaah and shok kind of moods are portrayed such
ragas are said to be kriyaang raagas.

According to Matangmuni:

d:.kksRlkg'kksdkfn izHkok% ;ksfØ;k ro%A

tk;ars ;rks xe fØ;kax dkj.kkrr%AA12

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 The names of kriyaang Raagas that end with the letters “kri’ ^Øh* or “Kriti” ^Ñfr*
is said to be Kriyaang ragas. Eg: Bhavakri, Aajekri, Naamakri etc.

Sharang dev invented about 15 kriyaang raagas. Kriyaang raagas are suitable for
Bhav pradhan “Geet”, they also suit for Thumri kind of Nritya– geet.

UPAANG:

Upaang raagas are the mixture of the three i.e. Raagang, Bhashaang and
Kriyaang ragas. The raagas that are derived from the mixture or Raagaang, Bhashaang &
kriyaang raagas is said to be upaang ragas. Upaang raagas have the chhaya of the three
kinds.

^^vaxPNk;kuqdkfjRokrs"kkeqikaxRo pA**13

The raagas derived from gram raag, Bhasha, vibhasha, Antarbhasha and have
direct relation and connection with there gram, Bhasha, vibhasha etc. with slight changes
and having resemblance with other raagas are said to be Upaang raagas categorized
under Desi raag vargeekaran. Pt. Sharang Dev introduced 30 Upaang raagas.

(C) SHUDDH, CHHAYA LAG AND SANKEERN RAAG VARGEEKARAN :

According to a shlok in “Sangeet Makrand”

   ;nk/kiØes.kSo jkx% 'kq) mnkâr%A

miØI; ;nk jkxks esyua lfEeJde~
iquLruekxZukeua lky³sfr izdhfrZr%A
ladh.kZ jkx feJk.kka jkx% ladh.kZ mP;rsAA14

Meaning: According to Pt. Sharang Dev Raagas are divided into three
categories:

1. Shuddh
2. Chhayalag and
3. Sankeern

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SHUDDH RAAG :

The ragas which are completely sung for classical compositions without the
mixture of other ragas are said to be Shuddh Ragas. Example: All Ashray raagas, apart
from Ashray raagas like Bhupali, Bageshree, Bihag, etc.

CHHAYA LAG :

The raga in which there is a chhaya (shade) of any other raga and sounds very
melodious are said to be chhaya lag ragas. Example: Paraj, Tilak Kamod, Shyam Kalyan,
Bilaskhani Todi, Shuddh Kalyan etc.

SANKEERN RAAG :

Sankeern raag is the mixture of both Shuddh & Chhaya Lag ragas. This kind of
raagas give more pleasure to the listeners. Eg: Piloo, Pahadi, Gaara, Mishra Bhairavi etc.

These three kinds can also be described as, the Raagas which have a systematic
form or raaga swarup and which has an independent Raag swarup is said to be a Shuddh
raag. These classifications are even now followed by the present Hindustani music
system.

Chhaya lag, which sound melodious with the resemblance and wondrous notes of
other ragas slightly without deviating from its original raga swarup. The beauty of this
kind of ragas lie on the mixture of the Shuddh, Chhaya Lag raagas.

The above mentioned important Raga classifications were also adopted by many
Granthas, Granthakaras during medieval period.

Pt. Shubhankar has classified ragas into three categories.

1. Shuddh
2. Saalag
3. Sankeern

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II. RAAG CLASSIFICATION IN THE MEDIEVAL PERIOD

A. RAAG - RAAGINI VARGEEKARAN15 :

Based on the Indian history, the Raag– Raagini raag classification took their form
in the reign of 12th century A.D. Along with Mela Raag classification, the Raag– Raagini
raag classifications were found and introduced in the medieval period, this Raag-
Raaginis are also introduced based on the Matangmuni’s Gram-Raag and Bhasha–
Vibhasha classifications. The Raag- Raaginis were categorized according to four MATS.

The names of these four Mats are invented in Hindu period. Therefore the names
of these Mats were related to the places of that particular period.

 Someshwar Mat
 Kallinath Mat
 Bharat Mat
 Hanuman Mat

SOMESHWAR MAT 16 :

Someshvar Mat is also called as Shiv Mat. Dhrupad gayan is the most important
and popular style during this Mat. There ragas listed under Someshwar Mat are:

1. BHAIRAV
2. SHREE
3. BASANT
4. PANCHAM
5. NAT NARAYAN
6. MEGH

Under these 6 ragas, in each main raag 5 raaginis are categorized they are:

1. BHAIRAV - BHAIRAVI, GUJRI, REVA, GUNAKARI, BANGALI

2. SHREE - MALAVA, GAURI, KEDARA, MADHUMADHAVI,
PAHADI
3. VASANT - DESHI, DEVGIRI, VARADI, TODI, LALIT
4. PANCHAM - VIBHASH, BHUPALI, BUGHAN, MALASHREE,
PATMANJARI

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5. NAT NARAYAN - KAMODI, KALYANI, GOWRI, NATIKA,

SAARANG
6. MEGH - MALHAAR, SOUDA, SAVERI, GANDHARI,

KOUSHIKI

KALLINATH MAT 17 :

Kallinath mat is also called as Krishna Mat. This Mat is used more in places like
Mathura– Brindavan to Dwaraka. Also this Mat is spread in Uttar Pradesh, Madhya-
Pradesh, Rajasthan, Maharashtra and Gujrat.

The ragas listed under Kallinath Mat are:

1. BHAIRAV
2. SHREE
3. VASANT
4. PANCHAM
5. NAT NARAYAN
6. MEGH

The raaginis to these 6 Raagas are :

1. BHAIRAV - BHAIRAVI, GOURI, REVA, GUNAKALI, BANGALI

2. SHREE - MALAVI, TRIVENI, KEDARI, MADHUMADHAVI,
GAURI
3. VASANT - DESHI, DEVGIRI, BAIRADI, TODI, LALIT
4. PANCHAM - VIBHASH, BHUPALI, PATMANJARI, MALASHREE,
BADAHANS
5. NAT NARAYAN- KAMODI, KALYANI, SAARANG, NARHARMI,
NAATIKA
6. MEGH - MALHAARI, SORATHI, SAVERI, KOUSHIKI,
GANDHARI

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BHARAT MAT18 :

The impact of Bharat Mat spread almost in the places like Uttar Pradesh, near
Gadhwal Pahadi, Madhya Pradesh, Bihar, Bangal and some parts of Assam.

The Raag – Raaginis according to Bharat Mat are

1. BHAIRAV - MADHU MADHAVI, BHAIRAVI, BANGALI,

BAARADI, SINDHAVI
2. MALKOSH - TODI, KAMBHAVATI, GOURI, GUNAKALI,
KAKUMBHA
3. DEEPAK - NAT, KANDHARI, KEDARA, DESHI, PAHADI
4. HINDOL - BILAWALI, RAMKALI, PATMANJARI,
DEVASHAKH, LALIT
5. SHREE - BASANT, MALVI, MALASHREE, MALHAARI,
ASAAVARI
6. MEGH - MALHAARI, DESHKAARI, BHUPALI,
BAHARI, GUJARI

HANUMAN MAT19 :

It is said Rameshwaram is the place of identity for Hanuman Mat also it is

believed that when Shree Ram after winning the Lanka and while returning to Ayodhya
Hanuman ji performed ‘Dharmaparayanata’, there he sang a Bhavukathapurn madhur
bhakti geet. This Bhakti geet is named by Hanuman as Hanuman Mat. This Mat is a
special feature of South India, popular in the places like Tamilnadu, Karnataka and
Andhra Pradesh.

The Raag-Raaginis under this Mat.

1. BHAIRAV - BHAIRAVI, BARADI, SINDHAVI,

MADHUMATHI, BANGAAL
2. MALKONS - TODI, GAURI, GUNAKALI, KHAMBHAVATI,
KOKUMBH
3. DEEPAK - GANDHARI, KAMOD, KEDARA, DESHI, NAT
4. HINDOL - LALIT, BILAWALI, DEVSARKHA, RAMKALI,
PATMANJARI
5. SHREE - ASAVARI, BASANT, MAARWA, MALASHREE,

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DHANASHREE
6. MEGH - GUJRI, BHUPALI, TANKA, MALHAAR,
DESHKAAR

After the period Pt.Sharangdev, a successor to him and a great Granthakara “Pt.
Sudha kalash” in his grantha ‘Sangeetopanishadsaar; has divided popular Desi ragas
into 6 Masculine ragas. Under each masculine raag he categorized 6-6 Raaginis.
According to “Sangeet Makrand” in Narad Mat the ragas are classified based on Raag-
Raaginis which is in detail given in Chapter-1. Pt. Damodar, Granthkaar of ‘Sangeet
Darpan’ after discussing the evolution of Raagas, described and categorized the Raag-
Raagini into three “Mats”

Pt. Pundarikavitthal in his Granth ‘Raagmaala’ classified 5 feminine, their putra

(son) ragas under 6 main ragas. Therefore there are many Grantas and Graanthakaras
who accepted Raag-Raagini classification like ‘Fakirullah’ in Raag-Darpan, ‘Abul Fazal
in ‘Aayine-Akbari’ discussed ragas according to Raag- raagini system also Pt.Bhava Batt
in “Anupsangeetakush” classified ragas based on Raag- Raagini system.

In 1813, i.e. in the beginning of 18th century, a musician named MOHAMMAD

RAZA wrote a Granth called ‘NAGHMAATE-AASAFI’. He introduced a new ‘Mat’
based on Raag-Raagini raag classification. He described Raag and 36 Raaginis
classification. Under this Raag and 36 Raagini he described the Raaga and Raaginis
according to his style. The scope of a raag and Raaga history is so vast and limitless.
Gradually musicians opined that classifying ragas based on Raag- Raaginis, also
classifying sampurn ragas based on Raag- Raaginis is difficult, therefore Raag raagini
system slowly became obsolete.

B. MELA-RAAG CLASSIFICATION :

After ‘Amir Khusro’ took his last breath in 1325 A.D, 12 years later a South
Indian musicologist Pt.Vidhyaranya for the first time defined and invented the word
‘Mela’. He classified nearly 50 raagas under the Melas like ‘Nat, Gurjari’ ‘Varaali’,
‘Shree raag’, Bhairavi’, ‘Sankarabharanam’, ‘Saamanta’, ‘Kambhoji’, ‘Mukhari’,
‘Shuddh-raamakriya’, ‘Kedara Gaud’, ‘Hejujji’ and ‘Deshakshi’. Pt. Kallinath defined
word ‘Mela’ as

^Dokfi tU;&tudk;ks% esy u Hksn%A20

35
 
 
 

In the world of Indian classical music and in all the classical works, word ‘Mela’
acquired more popularity and formal. Whereas in the ‘Lok- Bhasha’ the same concept is
called as ‘Thaat’. Pt. Somnath, a medieval Granthkaar compared ‘Mela’ with “Sansthan”
^laLFkku*.
Loj laLFkku& fo'ks"kk% esyk%A21

 
Similarly, Pt. Lochan kavi also compared and described, Thaat as ‘Sansthiti’ or
‘Sansthan’. According to Pt. Lochan, the veena is an instrument that has the strength to
explore all the swaras in a raag. It has that ‘Sansthiti’, and it explores the beauty in the
swaras. He says that the Santhiti are 12 in number. Under these 12 sansthitis (swaras)
Lochan has classified ragas. Similarly, the usage of the word lafLFkfr Sansthan was also
first used by Lochan kavi in Tarangini Granth, For Eg: After describing the raag
Bhairavi he quotes as ^bfr HkSjoh laLFkku*A Pt. Ramamaatya in “Swaramela kalanidhi
“Granth, introduced 20 Mela ragas under each Mela he described the janya ragas in
detail.

Later Pt. Somnath gave about 960 melakartas, but he only described ragas under
23 Melas. Later Pt. Pundarik Vitthal “Sadraag Chandrodai” Granth gave about 19 melas
under which he described and classified 63 raagas.

Pt. Ahobal and Srinivas Sangeet paddhati defined Mela or Thaat as the swaras
which have the capability to produce a raag. Also they have classified such Swaras &
Ragas in a sequence.

Pt. Srinivas has divided– Melas into three forms :

Sampoorn
Mela Shadav
Audav

In this manner, based on the raga classifications that are given by great
musicologists like Matang muni and others were later expounded by Pt. Kallinath,
Somnath, Lochan etc, the great classical musicologists of 15th and 16th century to the
world of Indain classical music, in a new form called Mela or Thaat system.

36
 
 
 

Therefore, the classicalists and musicologists of different periods discussed and

introduced various new methods of raga classifications based on the opinion and leaning
in their time. Gradually the melas are shaped into different ways based on the
musicologists opinions in their period and they are finally stepped into the modern
period.

In the words of Prof. P. Sambamurthy 22 – “A clear-cut definition of the Mela we

came across for the first time in Pandit Somanath’s Raga vibodha of the early 17th
century A.D., and there -we find the name thata of Persian origin. The name, melakarta
was given by the music authors of the Karnatic system. But it should be remembered
that the definite form of mela evolved long before Pt. Somanath. As we find that
Madhavacharya-Vidyaranya (14th century A.D.) formulated 19 melas in his
Sangitasara, Pandit Ramamatya (1550 A.D.) formulated 20 melas in, his
Svaramelakalanidhi and Pt. Pundarika Vitthala (1590 A.D.), 19 melas in his
Sadragachandrodaya. Pt. Vitthala lived during, the time of Emperor Akbar (1556-1605
A.D.). Somanath has said that as the series or arrangements of tones unify the melody-
types or ragas they are called ‘mela’. Sometimes they are known as ‘Thata’. ‘Milanti
vargi bhavanti raga yatreti tadashrayah svarasamthana vishesa melah’, ‘thata’ iti
bhashayam, te kathyante’.

Pt. Somanath has further said that by different arrangements of sharp (shuddha)
and flat (vikrita) tones, 960 melas could be evolved. After Pt. Somanath, we find
different numbers of melas in the works of different authors on music of different times.
In the 1620 AD, Pandit Venkatamakhi formulated 72 melakartas, though most of them
were out of practice during his life time. In the middle of the 17th century A.D., we find
12 melas or samsthanas in Kavi Lochana’s ‘Ragatarangini’, and it seems that on that
basis Pandit V. N. Bhatkhande devised 10 melas to determine all kinds of ragas. The
melas, as selected by Pt. Bhatkhande are: (1) Bilaval (2) Kalyan, (3) Khamaj, (4)
Bhairav (5) Purvi, (6) Marava, (7) Kaphi (8) Asavari (9) Bhairavi and (10) Todi. Again
some have devised 32 melas of shuddha-ma and tivra-ma, with the admixture of the first
and last parts (4+4) of these 10 melas of Pt. V. N. Bhatkhande. These 32 melas are
known as the purva-mela and the uttara-mela.”

Melakarta scheme is described in detail in chapter-3 (SOUTH INDIAN RAGA

SYSTEM).

37
 
 
 

III. RAAGA SYSTEM IN THE MODERN PERIOD

A. THAAT RAAG SYSTEM :

After 18th century A.D. drastic changes occured in North Indian classical music
system. One of the great musicologist & classicalist of Indian classical music Pt. V.N Pt.
Bhatkhande based on the Melakartas, or Mela raag cassificatons has systematized the
concepts of Hindustani music system. In this raga classifications, Pt. Bhatkahande
emphasized on swar and swarup both. Also in the place of Mela he named the
classifications with the word THAAT. He has adopted 10 thaats among 72 Melas
designed by Pt. Venkatamakhi. He did not accept the Shodasa swaras i.e. the 16 swaras
that are used in Carnatic music system. Especially in the 72 Melakartas the Melas like
“KANAKANGI”, “RATNANGI” use 16 swaras apart from 12 swaras. A theory that is
expounded and accepted by the Carnatic classicalists.

He described and invented Shuddh & vikrit swaras of 10 Thaats as follows.

Bilawal Thaat - lk js x e i /k uh lka

Kalyan Thaat - lk js x e« i /k uh lka
Khamaj Thaat - lk js x e i /k uh lka
Bhairav Thaat - lk js x e i /k uh lka
Porvi Thaat - lk js x e« i /k uh lka
Maarwa Thaat - lk js x e« i /k uh lka
Kafi Thaat - lk js x e i /k uh lka
Asavari Thaat - lk js x e i /k uh lka
Bhairavi Thaat - lk js x e i /k uh lka
Todi Thaat - lk js x e« i /k uh lka

After introducing the 10 Thaat scheme keeping in view the principles of a raag,
described the ragas that derive from these Thaatas. he had classified raagas into three
categories.
1. The Raagas with js] x and /k Shuddh
2. The Raagas with js Komal and x] uh Shuddh
3. The Raagas with x] uh komal

38
 
 
 

Pt. Bhatkhande says about the ragas which donot come under the above
mentioned categories as:

“izpkj esa dqN f}Lo:i vkrs gSa ijUrq dqy feykdj mu jkxksa ds pyu ,oa jpuk
dks ns[krs gq, esjh le> esa muds i`Fkd oxZ djus dh vko';drk izrhr ugha gksrhA ;s
oxZ fuf'pr gks tkus ds dkj.k bu leLr jkxksa ds oxhZdj.k gsrq fuEukafdr nl esy
vFkok FkkVksa dks eSaus fgUnqLrkuh laxhr dh uhao ekuuk ilUn fd;k 23A**
The 10 Thaat ragas and the classification which are introduced by Pt. Bhatkhande
are even now strictly followed by the musicians, learners of Hindustani music system.
Especially the present Hindustani music system is based on the Thaat system and
concepts introduced by Pt.Bhatkhande. His concepts and inventions are like a path and a
guide to all music learners and musicians of current period of Hindustani music.

B. RAAGANG PADDHATI :

In Indian music ragas have a wide scope. It is a creative cycle that has limitless
scope. The great musicologists and musicians of our country had found many ways to
classify the ragas that are existed in Indian music. Since from the pre-historic period this
classifications are taken up by the musicians which are shown above. In all the Sangeet
shastra granthas the description of ragas and raaga classifications can be found in
sequence. Depending on the tastes and changing cultures the classification of ragas have
also changed gradually from time to time. The period between 11th to 14th century the
Raag-Raagini raaga classification was more in practise. Later this system slowly
disappeared. Similarly the Melakarta system and Thaat system is one of the brilliant and
highly meritorious scheme found in almost all the raga classifications. Which is still
followed by all the musicians in the country and it is a guide to all the classical music
learners.
24
Pt. Narayan Moreshwar Khare, the founder of Raagang-paddhati , says
that Kaafi Thaat possess the notes komal GA and Komal NI, the rest swaras are shuddh,
from this Thaat the raagas like Kafi, Bhimpalasi, Dhanasree, Saindhavi, Malhaar and
Bageshree etc. are derived. Similarly, Bhairav Thaat employs the raagas like Ramkali,
Jogiya, Kalingada etc., this applies to all other 8 Thaats, from where an innumerable
raagas derive. But, Pt. N. M. Khare opines that there are some limitations with the 10
Thaat scheme i.e. he says that newly created raagas and the notes which do not match

39
 
 
 

with any of the 10 thaatas, cannot be categorized in any of these Thaats like Gorakh
Kalyan, Madhu kauns, Jog kauns etc. Therefore, Pt. N. M. Khare invented “Raagaang-
Paddhati” which enables and give a wide scope to categorize prachlit raagas and newly
invented raagas under suitale Thaat. The Raagang raagas are described and explained by
the musicologists like “NAANYADEV”, “KUMBH” etc. Raagang was also called as
“BHED PADDHATI (Hksn&i)fr)” in the Medieval period. Raagang raaga classification
are also discussed by the great musicologists and granthkaras like “LOCHAN
KAVI”,”BHAV BHATT”, “AHOBAL” and “FAKEERULLAH” etc.

In the present Hindustani music system, the Raagang raag vargeekaran has got
more significance. Various artists and musicologists like “Krishndhan Benerjee” and
“S.M.Tagore” described the importance of Raagang raag vargeekaran. In the words of
Pt.Narayan Moreshwar Khare- “the main basis of any raag to some extent depends on
“Vishisht swar sandarbh” ¼fof'k"V Loj lanHkZ½. Therefore, this vishisht swar reveals an
important truth that every swar combination or composition has an independent stucture.
Based on the swar-sandarbh different kinds of moods or ras in a raag is portrayed also
based on this raagang swar-samuh many number of ragas are developed. Every raag is
derived from a parental scale. A Thaat or a sampoorn scale contains a “mool naam”from
which many upraagas are derived. The upraagas which derive from the principle or the
main raag is called as “RAAGANG RAAGAS”. The Raagang raagas derived from the
Thaat or Sampoorn scales are given below:

BHAIRAV

1.Bhairav 2. Kalingada 3. Jogiya 4. Gunakri 5. Gauri 6. Shivmat 7. Ramkali

8. Ahir 9. Prabhat 10. Mangal 11. Bairagi 12. Shobhavari.

BILAWAL

1. Bilawal 2. Alahiya 3. Sarparda 4. Kukubh 5. Lachchhasakh 6. Shukl

7. Yamani 8. Devgiri 9. Jaij 10. Sukhiya

KALYAN

1. Kalyan 2. Shuddh kalyan or Bhup kalyan 3. Yaman 4. Chandrakant

5. Teevra kalyan 6. Pahadi 7. Hemkalyan 8. Jayat kalyan.

KHAMAJ

1. Khamaj 2. Jinjhoti 3. Tilang 4. Maand 5. Khambavati.

40
 
 
 

KAFI

1. Kafi 2. Sindhoora 3. Anand bhairavi.

POORVI

1. Poorvi 2. Puriyadhanashree 3. Paraj

MAARWA

1.Maarwa 2. Bhatiyar 3. Bhankar 4. Puriya

TODI

1. Todi 2. Gurjari Todi 3. Chhaya Todi 4. Multani

BHAIRAVI

1. Bhairavi 2. Malkauns 3. Bhupal 4. Sindhubhairavi

ASAVARI

1. Asavari 2. Jaunpuri 3. Gandhari 4. Devgandhar 5. Komal rishabh asavari

6. Deshi

SAARANG

1. Brindavani saarang 2. Megh 3. Shuddh saarang 4. Madhmaad saarang

DHANASHREE

1. Dhanashree 2. Bheempalasi 3. Dhaani 4. Patdeep 5. pradeepki

6. Hamns kinkani.

LALIT

1. Lalit 2. Basant 3. Pancham 4. Prabhat 5. Lalita gauri

PILOO

1. Piloo 2. Barva 3. Badahams

SORAT

1. Sorat 2.Desh 3. Tilak kamod 4. Jai jaivanti

VIBHAS

1. Vibhas 2. Reva 3. Jayantashree

41
 
 
 

NAT

1. Nat 2. Gaud

SHREE

1. Shree raag 2. Tirvan 3. Chaiti 4.Deepak

BAGESHREE

1. Bageshree 2. Rageshree 3. Bahaar 4. Kaushik kanhada

KEDAR

1. Kedar nat 2. Bhavani kedar 3.Kamod 4. Jaldhar kedar.

SHANKARA

1. Shankara 2. Malashree 3. Bihag 4. Hamsadhwani.

KANHADA

1. Darbari 2. Adana 3. Sughrayi 4. Shahana 5. Nayaki 6. Gunji

7. kanhada malhaar 8. Husseni kanhada 9. Mudriki 10. Kaunsi 11. Aabhogi.

MALHAAR

1.Malhaar 2. Ramdasi malhaar 3. Sur malhaar 4. Gaud malhaar 5. Meghmalhaar

6. Nat malhaar 7. Charjuki malhar 8. Dhundiya malhaar.

HINDOL

1. Hindol 2. Sohini 3. Bhinnshadaj 4. Shuddh sohini.

BHUPALI

1. Bhupali 2. Deshkar 3. Jayat 4. Jayat kalyan.

AASA

1. Aasa 2. Durga 3. Bhavani.

HINDUSTANI SANGEET PADHATI:

The music of the present time is the direct descendant of the ancient schools,
whose traditions have been handed down with comment and expansion in the guilds of
the hereditary musicians. While the words of a song may have been composed at any
date, the musical theme communicated orally from masters to disciple, are essentially

42
 
 
 

ancient. Hence Desi Sangeet was changed into two forms according to its utility among
the inhabitants of the country and are known as the Hindusthani Sangeet and the
Carnatic Sangeet.’ This was only due to the numerous foreign invasions in the North,
whereas the South was more or less free from such invasions and warfare:

^^iz.kkY;ks rq izfl)s }s laxhrL; fonka ersA

vk|k d.kkZVdh [;krk fgUnqLFkkuh rFkkijkAA**24

IMPACT OF MUSLIM RULERS AND THEIR MUSIC ON HINDUSTANI

SYSTEM FROM THE PERIOD 13TH CENTURY TO TILL THE PRESENT
PERIOD :

After the great work Sangeet Ratnakar written by Sharang Dev, it is in this period
gradually the Islam and Muslim invaders ruled and influenced the Northern part of India.
Due to this impact, gradually many changes occured regarding the musical concepts like
Khyal,Qawwalis,Thumris,Tappa etc came into existence and the names of the raagas like
Khamaj, Zeelaf, Miyan ki Todi etc were also invented which are accumulated the North
Indian music system. Therefore, all these influences and changes which took place in
Hindustani music system are described in detail i.e. period from 13th to current period.

The modern North Indian classical music has its roots in ancient Indian music,
but appears to have acquired its present form after the 14th and 15th century A.D.
Nevertheless, internal evidence shows that the musical system of ancient India as
described in the Natyashastra differed considerably from that of today. The ancient
melodic system was based on modes (Jaati), each with its characteristic features, which
were constructed on heptatonic series of notes (murchhana), beginning on the successive
degrees of two parent scales, Shadjagrama and Madhyamagrama which is already
discussed. Sharngadev’s Sangeeta Ratnakara (first half of 13th century AD). This work is
particularly interesting as it was written at the court of Yadava dynasty in the Deccan
shortly before Muslim conquest of this area and is, to a large extent, free from Islamic
influence.

New conventions had evidently already entered Indian music and ragas had
proliferated, for Sharangadev mentions 264 of them. It is difficult to assess positively,
however, whether the ancient music based on the jatis and the two parent scales was also
in existence at this time, for the Sangit Ratnakar, like many other Indian musical

43
 
 
 

treatises, does not always distinguish clearly between current practice and antiquated
theory.

INDIAN MUSIC DURING MUGHAL RULERS (12th century to 18th century):

The conquering Muslims encountered in India a musical system which was

highly developed and probably quite similar to their own. The Navabs and the Muslim
rulers in North patronage Music and fine arts. During 12th century A.D. Mohammad
Gouri18 was the first Muslim ruler in India. He conquered the country and settled in
India. He was the lover of music. In the Darbar of Mohammad Gouri 25 many number of
artists used to sing in Persian language. It is in his period the Sufis use to sing Qawwali
in the form of Bhakti geet. Qawwalis were first introduced in this period only.

Music apparently flourished in the Deccan under the yadava kings to such an
extent that, after the Muslim conquest led by Malik Kafur, all the musicians and their
Hindu preceptors were taken with the royal armies and settled in the North. The poet
Amir Khusro, who was expert in both Indian and Persian music at the court of ‘Ala’al-
Din Khilji ,Sultan of Delhi (1296-1316), is unsparing in his praise of Indian music said
that Indian music, the fire that burns heart and soul, is superior to the music of any other
country.

AMIR KHUSRO AND HIS CONTRIBUTION TO HINDUSTANI MUSIC:

During 13th century A.D. when the Bhakti movement in the country is gradually
declining due to the Muslim invaders and Islam impact, arised conflicts between Hindu,
Muslims. In this period some of saints and singers preached that in their compositions
that Supreme power is universal to every one either he is a Muslim or Hindu, this kind of
Bhakti bhava geets were cultivated to the people by Amir Khusro26 and Jai Dev along
with some other saints during 12th century A.D.

Jai Dev is one of the great poets from Bengal who also belong to the period
between 12th to 13thcentury. He wrote “GEET GOVIND” a geet sangrah in Sanskrit
language. His Geet Govind depicts the situations between Radha Krishn their virah and
Bhakti in the whole compositions. These are popularly called as “ASTHAPADI” an
Ashthapadi contains 8 stanzas. His contributions to the world of devotional music is
immeasurable.

44
 
 
 

From Amir Khusro's time until well into the Mughal period, foreign music,
particularly from Iran, was commonly heard at the Indian courts together with Indian
music. Under these circumstances it is not surprising that Indian music was subjected to
new influences. Amir Khusro20, in spite of his dedication to traditional Indian music, was
a great innovator and is credited with the introduction of a number of Persian and Arabic
elements into Indian music: new vocal forms as well as new Raags, Taal, and Musical
instruments including Sitar, Sarod and Tabla etc which are so prominent today of the
vocal forms especially Sitar and Tabla instruments particularly important in the present
Hindustani music: Qaul, which is said to be the origin of Qawwali, a form of Muslim
religious song, and Tarana ( a song composed of meaningless syllables), both of which
are still common today are introduced by him. Amir Khusroo‘s original name is “ABUL
HAUSNAYAMUDDIN”. AMIR KHUSRO was born in 1253 A.D. in Uttar Pradesh,
near Patiali. The bent of Amir Khusro was more flourished during the reign of Navab
Jalaluddin Khilji. Since from his childhood Amir Khusro developed Bhakti bhavas,
therefore he became a great devotee of “NIZAMUDDIN AULIYA”. “AULIYA” is a
SUFI SANT. He has started a new style Qawwali singing based on the Sufi bachans
which have spiritual essence. It is from Khusro’s period a new trend of Qawwali singing
occurred and flourished.

He introduced the concepts like QAWWALI, KASIDA, KALBANA, NAKSH,

KAAL, RANGTARANG, PAD KE RUP MEIN PAHELIYA (puzzle kind of sentences
in a pad), GUL, NISAAR, SOHILI, MASNAVI, DOHA and SAVAN. He introduced
writing Ghazals in a new pattern. He mixed the culture of Iran in Indian music system in
his style of singing as he is aware of Iran music. Amir Khusro contributed many new
things to Hindustani sangeet paddhati. It is said that Amir Khusro for the first time
invented and changed the earlier 12 shrutis into 22 shrutis according to Irani system. He
united and created a harmony between the cultures and traditions of Hindu and Muslim
with Sufi music. The Sufi music and the Qawwalis which are devotional or said to be
Muslim Bhakti Sangeet are still popular in Northern part of India; this shows the impact
of Amir Khusro and Islam culture on Hindustani music.

He also introduced Khyal- gayan which is now an important classical performing

item in Hindustani music. It is said that he was the inventor of raag KALYAN. Also he
introduced ragas and Raaginis like KAFI, BAHAR, ZEELAPH, SAAZGIRI,

45
 
 
 

SARPARDA, USHAK and MUHEVEER etc.He also invented Taranas and Tirvat into
Hindustani sangeet paddhati.

All the inventions of Amir Khusro and his culture if compared with present North
Indian music system brought a lot of impact on North Indian culture and language.
Therefore Hindustani music tradition bifurcated from the tradition of Carnatic system.
Carnatic system does not possess Qawwalis, Ghazals etc. The culture and tradition of
South India is completely different and pure. In the 1325 Amir Khusro took his last
breath contributing immense to North Indian music system. Later during the reign of
Sultan Muhammad b. Tughluq (1325-1351), music was apparently encouraged on a
grand scale

EVOLUTION OF KHYAL SINGING IN HINDUSTANI MUSIC: 27

The word Khyal seems to be an Arabic term, Meaning ‘Thought’, ‘imagination’,

which is imported to India through the medium of Persian language. In comparison with
the Dhrupad, Prabanda type of songs, the Khyal singing is imaginative and creative,
where as Dhrupad is concentrative, contemplative and majestic. There are different
opinions in the evolution of Khyal composition. However in most of the references it is
given that the nucleus of Khyal singing starts from Amir Khusroo’s time and formally it
is emanated in the period 14th -15th century by Muhammad (Sultan) Sharque, a
contemporary of Man singh Tomar, a profound Dhrupad singer. Anyway, Khyal was a
later form of Dhrupad. It gradually acquired popularity as prominent singing style only
after 18th century A.D. Some others also say that it was Niyamat Khan, “Sadarang”21, the
court musician of Sultan Muhammed Shah of 18th century A.D., who really designed the
novel type of Khyal on the structures of some old sastric prabandhas and with the
mixture of different languages of that time.

Therefore after 15th century A.D. profound Dhrupad singers in the court of
Navabs and Sultans continued till 18th century, like the Hindu Raja, Man Singh Tomar of
Gwalior (1486-1516). His principal contribution was the rejuvenation of the traditional
form of song, Dhrupad, by his compositions in Hindi, some of which are still said to
exist today and when the patronage of music reached its peak under the Mughal
Emperors, Akbar (1550-1605), Jahangir (1605-1627) and Shahjahan (1628-1658). Much
of the Akbar’s reign was developed to the expansion and consolidation of the Mughal
Empire; nevertheless, he maintained a magnificent court at which literature, philosophy

46
 
 
 

and arts occupied a prominent place. Music was presented on a lavish scale and Akbar
himself is said to have been a prolific composer. The most famous musician of this
period was undoubtedly MIYA TANSEN22. He was unquestionably a great musician as
well as a composer and an exponent in Dhrupad singing. Several ragas till bear his name
like Miya Mallhar etc. Another musician in the court of Akbar was Baz Bahadur. In
Akbar’s time the Dhrupad style of singing was pre-eminent. In this manner, continuing
the concepts of Man singh Tomar and Miya Tansen further great artists like son of
Tansen, Bilas Khan in the court of Navabs continued Dhrupad singing till 18th century.
on the other hand the period between 16th -17th musical literature was in great
importance. Since great musicologists like Ramamatya, Lochana Kavi, Pt. Venkatamakhi
introduced brilliant concepts related to classical music as already discussed.

Gradually Khyal singing attracted the minds of the beauty loving artists, the later
Sultans and Royal families. It is said that there were two great artists during the time of
Sultan Muhammad Shah (1719-1748 A.D.) ‘Adarang’ and ‘Sadarang’, who composed
more than one thousand Khyal compositions and taught them to their students. It is a fact
that these two great artists designed the elegant classical form of Khyal in a majestic and
colourful slow tempo Vilambit laya. They have heightened the classical form of Khyal
into North India. Thence from, it attained the similar high position like Dhrupad and
gradually came to be developed with many modifications and changes in forms and
styles even upto the present time.

Apart from the classical music point of view the period after 12th century to till
18th century is said to be a Golden period for devotional music. It is in these period great
saints from North as well as from South took birth.

In the second half of the 18th century India was divided into several conflicting
factions, the most important of which were the Marathas, Mughals, Afghans and a
coalition headed by the Nizam of Hyderabad. It was just at this time too that the British
began to assert themselves in Indian politics. Musicians were dispersed to the various
courts and palaces of noblemen throughout the country, their fortunes, as always,
depending on the affluence of their patrons. There was little sign of British interest in
Indian music, except for a treatise written by the Oriental scholar, Sir William Jones,
entitled On the Musical Modes of the Hindus, which appeared in 1799 also Capt. Willard
etc showed their interest on Indian music. In 18th century the Mughal rulers and their
ruling slowly disappeared and it was the period gradually the Brishers ruled our country.
Therefore the impact of Muslim rulers slowly declined.

47
 
 
 

GHARANAS28 :

Gharanas23 are different methods or schools of embellishment or improvisation of

the classical songs did not only evolve through the medium of culture of the Khyal type
of songs, but also evolved in connection with the Dhrupad. It is said that during the
period 1857, when the Britishers occupied and were Governing our country, a kind fear
arised among the Navabs of AGRA, GWALIOR, JAIPUR, and KIRANA etc., and they
have started preserving and saving the culture by taking care of all the artists. In many
places of North the Navabs sent their artists to save the Hindustani music culture. In this
manner the Gharanas (family traditions) owe their oirigin. There are various Gharanas
like:

VOCAL GHARANAS:-

 GWALIOR GHARANA
 AGRA GHARANA
 JAIPUR GHARANA
 KIRANA GHARANA
 PATIALA GHARANA

INSTRUMENTAL GHARANAS:-
(TABLA)
 DEHLI GHARANA
 AJRADA GHARANA (BRANCH OF DELHI GHARANA)
 LUCKNOW GHARANA (BRANCH OF DELHI GHARANA)
 BANARAS GHARANA (BRANCH OF LUCKNOW GHARANA)
 FARRUKKHABAD GHARANA (BRANCH OF LUCKNOW GHARANA)
 PUNJAB GHARANA

(SITAR)
 SENIYA GHARANA
 PT. RAVI SHANKAR’S GHARANA

Later, Pt.V.N.Bhatkhande contributed a lot to the present North Indian classical

system. Pandit Vishnu Narayan Bhatkhande (August 10, 1860 – September 19, 1936)

48
 
 
 

was an Indian musicologist who wrote the first modern treatise on Hindustani Classical
Music (The North Indian variety of Indian classical music), Ragas used to be classified
into Raga (male), Raagini (female), and Putra (children), Bhatkhande reclassified them
into the currently used Thaat system. Bhatkhande travelled throughout India, meeting
with Ustads and Pandits, and researching music to make this cultural heritage accessible
to the common man. He noted that several ragas did not conform to their description in
ancient Sanskrit texts. He explained the ragas in an easy-to-understand language and
composed several bandishes which explained the grammar of the ragas. He borrowed the
idea of lakshan geet from the Carnatic music scholar Venkatamakhi.

During his travels in India, he spent time in Baroda, Gwalior, and Rampur; an
unverified claim says he collected some works of Tansen. Ustads like Mohammed Ali
Khan, Asgar Ali Khan, and Ahmad Ali Khan of Jaipur gave him more than 300 precious
compositions of the Manarang Gharana. After travelling widely and having discussions
with practitioners of various schools especially in his research and tours, he has been to
South India to find out the techniques related to the Melakarta scheme from the disciples
of Pt. Venkata Makhi , Bhatkhande arranged all the ragas of Hindustani classical music
across 10 musical scales, called Thaats.

Bhatkhande started schools and colleges in India for systematic teaching of

Hindustani music. In 1916, he re-organized the Baroda state music school, and later with
the help of the Maharaja of Gwalior, established the Madhav Music College in Gwalior.
Preparation of that course material was a landmark achievement of Bhatkhande since
musical knowledge used to be passed on orally in earlier times from Gurus and Ustads to
their disciples. Also Pt.Vishnu Digambar Paluskar contemporary musician to
Pt.Bhatkhande contributed a lot to North Indian classical world.

THE TIME THEORY IN HINDUSTANI MUSIC SYSTEM :

The idea of the association of raga with season and Time of day does not seem to
be as old as the raga system itself. Whereas the raga system begins to have definite form
at about the time of Matanga, it is only by the 8th century of Naarad’s Sangeet Makrand
that such temporal rules are developed. Even after this date the associations are not strict;
neither do they apply to all ragas. Above all, a most important system of our music like
the South Indian system has almost no such rules, whereas the present day North Indian
musical system is full of such restrictions.

49
 
 
 

PRAHARS29 :

In Hindustani music the Time of singing a raag in a particular prahar plays a very
prominent role. This system has a separate theory to sing ragas in a particular time. They
follow it strictly while practicing and performing. Based on the praharas the day is
divided into four prahars and the Night is also divided into four prahars.

DAY PRAHARS

PRATHAM PRAHAR First part of a day 7.00 AM – 10.00 AM

DWITEEYA PRAHAR Second part of a day 10.00 AM – 1.00 PM

TRITEEYA PRAHAR Third part of a day 1.00 PM – 4.00 PM

CHATURTH PRAHAR Fourth part of a day 4.00 PM – 7.00 PM

NIGHT PRAHARS

PRATHAM PRAHAR First part of the night 7.00 PM – 10.00 PM

DWITEEYA PRAHAR Second part of the night 10.00 PM – 1.00 AM

TRITEEYA PRAHAR Third part of the night 1.00 AM – 4.00 AM

CHATURTH PRAHAR Fourth part of the night 4.00 AM – 7.00 AM

The time of day at which different ragas should be sung is an important factor in
Hindustani music system. Each raga is closely connected to a certain time of day and
season of the year. The reason is that each raga is associated with a particular passion or
mood. The time before sunrise, moon, late afternoon, early evening, and late night is
associated in this music with a definite sentiment. The different swara of ragas appeal to
different moods and passions and therefore the Indian musicians have rightly fixed
different times for different ragas. For example the ragas describing the feeling of early
evening should be sung or played in the early evening, the ragas describing the peace
and tranquality, should be sung in early morning and so on. In the South the time theory
is a matter of tradition, but this subject has not been much in practice.

The Raag of the Hindustani Music System are classified into three groups
according to the notes used in them for the purpose of determining their times of singing.
For instance:

50
 
 
 

fgUnqLFkkuh; jkx.kka =;ks oxkZ% lqfuf'prk%A

Loj foÑR;/khukLrs y{;y{k.kdksfonS%AA
fjx/krhozdk jkxk oxsZ fxzes O;ofLFkrk%A
f}rh;s dhfrZrk% loZ fj/k dkseyla;qrk%AA
r`rh;s rq fu;qDrk% L;qxZfudksey eafMrkA
le;kfnO;oLFkk= HkosUesuk/onf'kZukAA30

SANDHI PRAKASH RAAG :

Sandhi Prakash Raag are such, in which Rishabha, Dhaivata are Komal and
Gandhar Shuddh. These Raagas are usually sung or played at twilight that is just an hour
before sunrise and after sunset. The characteristic of these Raag is entirely based on the
notes used in them. Komal Rishabha is essential, both the forms of Madhyama may be
used either separately, simultaneously or just one after the other and both the forms of
Dhaivata (flat and sharp A) are used and the remaining notes are all in their Shuddha
(sharp) form are permitted to be used in this type of Raag. But maximum of morning
Sandhi Prakash raagas possess shuddh Madhyam swar and evening Sandhi Prakash
raagas posses Teevra Madhyam swar.

TIME THEORY ACCORDING TO Pt. V.N. BHATKHANDE31 :

Pt. Bhatkhande says that among these Sandhi Prakash Raag Teevra Madhyama,
if prominent, denotes evening and whereas the prominence of Shuddh Madhyam
indicates morning sunset. That is the prominence of Madhyama denotes the time. The
Raag derived from Bhairava, Poorvi and Marva Thaat can be placed in this group. Pt.
V.N. Bhatkhande has laid down certain rules to determine the time of different ragas and these
are as following:

1. The position of Vadi Swara.

2. The presence or absence of Tivra Ma.
3. The position of Komal and Tivra Swara.
4. The absence of certain swara in a Raga.

These four musical factors determining the time of ragas.

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TIME OF RAGAS BASED ON VAADI SWAR:

Vaadi Swara plays an important role in determining the time of Ragas. Whether
the Ragas should be sung or played in the first or the second half of the day is decided by
the position of the Vaadi Swara.

We can see that Ragas having their Vaadi in the lower part (Purvanga) of the
scale, come between noon and midnight. They are called Purva ragas. Purva ragas are
sung from midday onwards upto midnight.

Again the Ragas having their Vaadi Swara in the second part (Uttaranga) of
Saptak come between midnight and noon. They are called Uttar Ragas. Uttar raagas are
sung from midnight onwards up to mid-day. Vaadi Swara is helpful in allotting particular
hours to the different Ragas.

PURVANG VAADI RAAG:

Purva or Purvanga Vadi Raag, in which Shuddha Rishabha, Gandhara and

Dhaivata (sharp D, E and A) are used. Purva Raag are sung after the Sandhi Prakash
Raag and before the mid-night and also mid-day. The Vadi Svara of these Raag are
always found in any of the notes,, “Sa”, “Re”, “Ga”, “Ma” and “Pa”. It is sung between
7a.m. and mid-day and also 7 p.m. and mid-night. The Raagas derived from Bilaval,
Kalyan and Khamaj Thaat, which takes all the Shuddha, notes of the octave and also
the Teevra Madhyama in the case of Kalyan and Komala Nishada as Vivadi Svara, which
is permitted, are placed in this group.

UTTARANG VAADI RAAG :

Raag with Komala Gandhar, Nishada and also Rishabha and Dhaivata in both the
forms are known as Uttara Raag or Uttaranga Vaadi Raag.

These Raag are sung after the Purva Raag and before the Sandi Prakash Raag.
That is at mid-day between 4 to 5 PM in the evening and also at midnight between 4 to 5
AM early in the morning. The predominent notes of all these Raag generally stick to any
one note of the second half of the octave (upper Tetra chord) that is “Pa”, “Dha”, “Ni”
and top “Sa”. Raagas derived from Kafi, Asavari, Bhairavi and Todi Thaat are
considered to belong to this group.

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It is to be noted here that, the two main classes namely the Purva and Uttara
Raag are formed from the Vadi and Samavadi aspect and not exactly from the flat and
sharp note point of view.

SOME OF THE FUNDAMENTAL CONCEPTS IN CURRENT HINDUSTANI

MUSIC32 :

Indian music is complete only due to the musicologist’s musical works of the
past. Every concept introduced and invented by the earlier musicologists and the sages
are like pillars for the scholars and musicologists who came after 13th century. In the
earlier musical works like the Natyashastra, Brihaddesi, Sangeeta Ratnakar gave ten
profound Jaati lakshanas already given in the earlier descriptions they are like Graha,
Amsa, Nyasa etc. These Jaati lakshanas are followed as Raag lakshanas even after the
existence of Raaga system, Similarly after bifurcation the two systems have come out
with different changes in their raaga classifications and theoritical concepts based on
their traditions and culture. Now, after discussing every aspect of Hindustani Raaga
system, researcher made an attempt to describe the current raaga lakshanas of Hindustani
music. The scholars and musicians adopt the following lakshanas which are important to
know about a raag. In Hindustani music system, especially the classical trends are mainly
based on the practical concepts and theories introduced by V.N.Bhatkhande. The theories
and concepts introduced in 19th century by Pt.Bhatkhande are like a boon to the present
North Indian classical musicians and Hindustani music learners.

Before describing a raag in Hindustani music the following features in a raag

should be described. The present Hindustani music system consider the following raga
features:

THAAT, VARJYA SWAR, JAATI AND AAROH-AVAROH :

Thaat enables the swarasthanas on which parent scale does the derivative raag
belongs to, whether shuddh, komal, teevra swaras taken in the raag are identified based
on the thaat. Thaat according to Pt. V.N. Bhatkhande, a Thaat only shows the swaras
taken in a raag i.e. only the scale is shown. The method of singing the swaras are known
only through the Aaroh and Avaroh. Also Aaroh & Avaroh of a raag are divided based
on shuddh, vakra swaras. The Aaroh & Avaroh of a raag which explores the swaras in
sequence are said to be Shuddh raag or swaras in the Aaroh are Shuddh and in which the

53
 
 
 

sequence of the swaras are crisscross or Zig-Zag, such kind of Aaroh is said to be a
Vakra raag. This concept is very important in a raag. This gives raise to the invention of
innumerable number of ragas.

VARJYA SWARA :

Some of the notes may be left out in a raga, either in ascent or in descent or in
both. Such notes are called varjita or Varjya swara. This is an another lakshan of a raag,
this enable to know the swaras that are absent in the Aaroh & Avaroh of a raag. Based on
this Jaati of a raag is identified. Eg: If any raag possess 5 swaras in its Aaroh & 7 notes
in the avaroh then the Jaati of the particular raag becomes Audav- Sampoorn.

AAROH & AVAROH :

Aaroh & Avaroh shows the clear sequence of a raag. The raag structure is
identified through the Aaroh and Avaroh. The usage of notes in a raga are only identified
through the sequence of Aaroh & avaroh of a raag.

VAADI, SAMVAADI ANUVAADI, VIVAADI

VAADI :

Vaadi, Samvaadi, Vivaadi, Anuvaadi according to Pt. V.N. Bhatkhande.33

In every raag four swaras are to be focused and observed i.e. Vaadi, Samvaadi,
Anuvaadi and Vivadi. Every raag possess a vaadi swar, similarly there will be a
samvaadi swar.

According to Pt.V.N.Bhatkhande 25 the note which is used most in a raga is called

Vadi. It is called the “King of Notes”. Vadi means a speaker or a dictator, because it
determines the character of a Raga. It is the most important note during the elaboration
of a raga and sets the mood for the entire raga. Vadi is emphasized most strongly and
serves as the “home base”, it is the predominant note. Vadi generates the greater number
of emotions and feelings. It is the salient note upon which the musician dwells lovingly,
giving it prominence by coming to rest on it. The vadi can be anywhere in the octave in
use. The vadi is really the pivotal note of the Raga. The descriptions on vaadi swar in
different Granthas are as follows:

54
 
 
 

SAMVADI :

There is a corresponding note to the vaadi that is second in importance in the raga
and is known as Samvadi. Samvadi is always at the interval of a fourth or fifth from the
Vadi. It strengthens the expression of the vadi. In the present Hindustani raga lakshna
theories the emphasis on Vaadi and Samvaadi swaras is Mandatory.

ANUVADI :

The other notes in a particular raga-apart from the vadi and samvadi-are called
Anuvadi or assonants. Anuvadi notes help the Vadi note.

VIVADI :

All the other notes outside a given scale are called Vivadi (“enemies”, or
dissonant notes) and they may not be played in a Raga to which they do not belong. Very
rarely, however a Vivadi will be used in a Raga for a special effect of dissonance. Vivadi
means quarrelling to other Vadi notes and to each other. Vivadis form a sort of
opposition, as being the second Samvadis to the Samvadis of the Vadi note. In particular
cases they have to be avoided, or carefully used. The pairs Nishada and Gandhara and
Rishabha and Dhaivata are Vivadis.In the present day music, the last two viz. Vivadi and
Anuvadi have no real significance, although the terms have been preserved.

Note: only a single Vaadi swar and single samvaadi swar is considered in
Hindustani music. Therefore, leaving these two swaras, and the rest swaras in a raag are
said to be Anuvaadi swaras and a raag in which foreign note is used such swar is said to
be a vivaadi swar.

PAKAD :

Pakad literally means a ‘catch’. It is a short section of a particular raga that

embodies its characteristic, recognizable features that destinguish one raga from another.
Pakad helps the singer to hold his grip on the raga by resorting to it repeatedly. The
repetition also enables the listeners to fix the indentity of the Raga. It is the commonest
method of recognising a raga by remembering the peculiar pakad of that Raga. Raga
swarup is known through the Pakad.

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POORVANG – UTTARANG :

A Saptaka has been divided into 2 parts 1. Poorvanga and 2. Uttaranga. This
division fixes the time of a Raga according to its Vadi Swara. A Raga, with a Vadi
Swara in its Purvanga will be sung in the first half of the day. Similarly a Raga having
its Vaadi in Uttaranga will be sung in the second part of the day

TIME OF SINGING :

The significance of Time while singing a raag is more in Hindustani music which
is in explained in the earlier descriptions in detail.

RASA:

The Rasa helps to portray and depict the essence or bhava in a raag. Ras is the
soul of a raag.

SWARAS USED BY PRESENT HINDUTANI MUSIC SYSTEM

Scholars selected only seven Shrutis and termed them as “Swaras”. These Swaras
are Sa, Re, Ga, Ma,- Pa, Dha, Ni. The definition of Swara can be given thus, “A musical
note, which has the quality of pleasing the heart of the listener and giving him delight, is
called a Swara. Lojks jat;fr Jksr`fpÙke~AA34 “Swa” means by “itself” and “ra” connotes
the idea of ‘Ranjana’ which means “pleasing”.

SWARA :

Prakrat Swara are the pure notes or Shuddha. They are the main notes of the
Indian music, both old and new. They are fixed and seven in number viz.: Sa, Re, Ga,
Ma, Pa, Dha, Ni.

VIKRIT SWARA :

The notes which are not Shuddha are called Vikrita, meaning “Modified”, but
they have to be in relations with the main notes. They are defined by Bhatkhande as :

LojLrq izP;qr% JqR;k fu;rk;k ;nkHkosrA

rnk rL; foÑRoeaxh dqoZfUr iafMrAA35

56
 
 
 

ie, when a note falls from its position in such a way as to be controlled by Shrutis,
its Vikrit tatwa is accepted by Pandits. The Present day Indian music takes notice of only
5 Vikrit notes. They are Re, Ga, Ma, Dha, Ni.

Vikrit Swaras are of two kinds:

1. Komal Vikrit.
2. Tivra Vikrit

KOMAL VIKRIT :

When a note falls from its fixed position, it is called Komal as for example Re,
Ga, Dha, Ni are changeable and when they fall from their original position, they are
called Komal swara. Its sign is a line under the Swara as Re Ga Dha Ni.

TIVRA VIKRIT :

When a note rises high from its fixed position, it is called a Tivra Swara as for
example Ma, becomes Tivra, when it rises high. Its symbol is a straight line above the
Swara, Ma.

SAPTAK :

Saptaka is a systematic arrangement of the seven Shuddha and five Vikrit notes
placed in between the Seven Shuddha notes just one after the other in a regular order. Or
we can say that the twelve notes, seven Shuddha and five Vikrit are termed as “Saptak”.
Thus a Saptak denotes the whole range from Shadaj to Nishad. Indian music which was
meant specially to deal with singing recognises only three Saptakas. They are known as:

MANDRA SAPTAKA :

The notes in the Mandra Saptaka are shown by the sign dot (Ni), which is placed
under the notes, as for example. They require a little exertion of the chest or bosom.

MADHYA SAPTAKA :

The notes of the Madhya Saptaka are just double to the notes of Mandra Saptaka.
They need no sign to show their ‘Sthan’. They are just written like Re, Ga, Ma.Madhya
Saptaka is expressed in the throat. The notes of Madhya Saptaka (means middle) are the
natural voice coming form the throat.

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TAR SAPTAKA :

The Tara (high or Shrill) notes are just double to the notes of Tar Saptaka. They
are shown by the sign, dot above the Swara as, Re, Ga, Ma.

GRAHA, ANSHA, NYASA

These three words are amongst the ten essentials of the Raga and determine the
characteristic of a Raga.

GRAHA :

“Graha” means a note, from which a raga begins. It is the initial note and the
manifestation of a raga begins with this note. We can also say that from Grah, the song
or the part of the song takes its, start, i.e. ^^;r~ izo`re Hkosn~ xkue~A**

ANSHA :

Ansh is the dominant note. It is the chief note, where a raga takes on its full
manifestation and from where it begins, i.e., rÙk va'kks uke] ;fLeu olfr jkxLrq ;LekPpSo
izorZrsAA It is a prominant note and essential for a raga. This note was gradually known
as vadi swara later on.

VAKRA SWARA :

Vakra means crooked. Before reaching the extreme limit, we may have one or
more turns. Vakra chalan gives a turn to the swara. In short, vakra may be called as a
turning note.

Nyasa Nyasa is the note on which the Raga ends. It is the concluding note. The
manifestation of a raga ends on the Nyasa swara, i.e., “Nyasohi Angsamapto”.

THAAT :

A Thaat can be defined as the group of notes from which Raga can be formed. It
is the parent scale of Hindustani music. These parent scales are the source of all Indian
Ragas. The word Thaat was adopted in the early seventeen century A.D. It is said that the
word Thata is an Indo-Persian product. Thaat has got only an order of ascending and

58
 
 
 

descending and it should be Sampoorn (having seven notes of Saptak in both Aroh and
Avaroh). That can be formed only in the ascending order, the descending order being not
necessary for it.

Pt. V.N. Bhatkhande devised 10 Thatas to classify the ragas of North Indian
System of music. They are, Kalyan, Bilaval, Khamaj, Todi, Purvi, Marwa, Kafi, Asavari,
Bhairav, Bhairavi. The Thaats are the basic ragas and the other ragas evolve upon these
bases. The chief characteristics of Thasts are as the following:

1. A Thaat must have essentailly seven notes, ie, it should be Sampooma.

2. The notes in a Thaat should be in perfect order as for example.
3. A Thaat only needs Aroha, and this Aroha indicates the Swara of that Thaat.
4. A Thaat is not Sung, therefore it does not have- a Vadi, Samvadi, Pakad,
Alap, Tan etc.
5. A Thaat is not necessarily melodious, because it is not sung. It only creates
Ragas.
6. A thaat does not have vadi, samvadi pakad etc.

A RAGA SHOULD HAVE THE FOLLOWING DISTINCTIVE FEATURES :

1. It must necessarily be melodious.

2. It must always take Shadaj, as the fundamental.
3. It must employ the full range of Saptaka and must have Poorvang and
Uttarang both.
4. It must not omit both Ma and Pa simultaneously, which means that it must
always include “at least one of them, if not both.
5. It must not take both Komal and Tivra of the same note at the same time.

JAATI :

Jaati means the category of Ragas, by which Ragas may be classified into three
classes.

1. Sampoorn: having seven notes in ascent and descent, it means complete.

2. Shadava: having 6 notes in ascent and descent.
3. Audava: having 5 notes in same swaras both in ascent and descent.

59
 
 
 

CLASSIFICATION OF RAGAS AMONG THAATS :

As far as the classification of Ragas is concerned, the Northern musicians have

had as many systems as musicians. It was only during the nineteenth century that Pt.
V.N.Bhatkhande systematically classified all ragas into 10 thatas. There are no emotional
similarities in such ragas coming under one Thata, but those are parallel to each other
only in the use of notes, determining their general character, in affinity with Swara
structure.

The present day 10 Thaats are already given in the above Thaat Raag
Vargeekaran. Each Thaat has got a Raga of the same name. Other ragas emerge out of
these 10 Thata. Different compositions can be set in one raga. So a Raga can give birth to
different melodies. Although the various, ragas are successfully classified under these
Thaats yet there are some exceptions. There are some Ragas which use notes which are
not taken into the Janak Thaat. However it may be mentioned that there is no other
successful method of classifying Ragas which would replace the present Thaat system
and the subject is open to research.

The names of Ragas, that are derived from these ten Thaatas. These ragas are in
detail analysed in chapter-4.

Eg: Kalyan Group: The Ragas which are included under this group are: Hamir,
Kedar, Kamod, Shyam kalyan.

ASHRAY RAAG :

Ashray ragas are born of Thaatas. They are also called as “THAAT VACHAK
RAGAS”. The janya ragas, which are named after their Thaat are called Ashray ragas.
For example: S R G M P D N S indicates that it belongs to Bhairav Thaat. Now this
Bhairav Thaat gives birth to raag Bhairav, which has similar swara. Therefore this janya
rag Bhairav will be called Ashray raag. Ashray raag is the most important raag born of
its Thaat and also it is similar to the name of its Janak Thaat. Every raag born of each
Thaat has somewhat resemblance to its Ashray raag. There are ten Ashray ragas. i.e.
Bilaval, Kalyan i.e., all the 10 Thaats. It will be noted that Pt. Bhatkhande has chosen
ten of the Southern melakartas for his primary ragas, and he then classifies all the other
northern ragas under these. Each group of ragas reveals a distinct characteristic and this
system expresses the musical facts better than the strictly logical system of the South.

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ALANKAR :

Alankaras are the combined forms of the ascent and descent of seven notes and as
such they are the varieties of the varnas or musical efforts. Alankars are considered
necessary for musical exercise and at present also they are good for music. As Bharat
says, “a song without an alankar is just like a night without a moon, a river without
water, a creeper without flowers, and a woman without ornaments.” Alankars are
necessary for definite and clear manifestation of the notes and songs. The music of India
is enriched with their precious contributions and they will remain as the guiding stars to
the lovers of music. As Sarangadeva says, alankars are 63 in number viz. Jhompa,
Dhruwa, Mathya, Rupaka, Jhampa, Triputa etc (These alankaras are presently used in the
Carnatic music system while exercising the Suladi Sapta taalas i.e., Dhruva, Mathya,
Jhampe, Rupaka, Ata, Triputa, Eka. these are in detail described in Chapter-3 ). Some of
the alankars have been defined in a Urdu book “Marifunna Gamat” as following :

1. Bhadra -l js l] js x js] x eA
2. Nanda - l] js js l l] js js x x js jsA
3. Jita - l x js l] js e x jsA
4. Bhala - l x js e e x js l] js e x i e x jsA
5. Bindu - l l l js] js js js xA
6. Trivama - l js x x x] js x e e eA
7. Akshepa - l js x] js x e x e iA
8. Krama - l js js] x x e] js x e js x e iA
9. Kokila - l js x l js x e] jsx e js x e x js x e iA
10. Mahavajra - l js x] js l js x e js x e x js x e iA
11. Mandradi - l js x e e x js l l js x js x e] js x e i e x js js x e
x js x e iA

The Alankars have Shuddha or Vikrita Swaras according to the ragas. Also the
varjita swaras in a raga must be left out in its alankars.

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PALTA :

In the present day music the alankars are called as palta in Hindustani music
system. These Palta are also meant as a creative musical exercise.

CHAL SWARA AND ACHAL SWARA

1. Achala Swara : Achal means unchangeable swaras. Shadaj and Pancham are
Achala Sawara as they do not move from their fixed places. Achala Swara are the
fixed or the key-notes. They can not change their place or position.

2. Chala Swara: The rest of the notes Re,Ma, Dha, and Ni are changeable or
movable swaras and known as Chala Swara. Each of these Chala Swara has two
forms known as Shuddha and Vikrita.

3. Komal Swara : Komala means soft. In music it means the flat Swara.

4. Teevra Swara : It means raised or sharp Swara.

5. Raag Chalan : Chalan literally means ‘motion’. It is in detail and introduces the
main characteristics of the raga. It is connected with the rhythm.

AALAP :

In Hindustani music the Alap expresses the characteristics of a raga in respect to

a melody. It is the soul of a raga especially while singing Khyal. It is during the Alap that
the broad texture of a raga is woven. The character of a raga is revealed. It is a free
improvisation of a raga. In the beginning of the Alap, there is no rhythm and it is very
slow, serene. It expresses Shanta and Karuna rasa. Actually it is the introductory part. It
is one of the tests of che ability of the singer. It brings out the Vadi and Samvadi and also
the particular phrases and gamakas which belong to the raga. Through Alapa, a musician
is merged into meditation to realise and express fully the form and sentiment of a raga.
Alap is divided into- three parts .

Aalap is given the highest place in Indian music. It is the beginning of the
composition and expresses and unfolds the characteristics of a Raga in respect to
melody. It is mainly concerned with the voice-training of an artist (vocalist). The Alap is
an improvisation of an artist. It has no measured rhythm and is very slow in tempo.

In Indian music, the training of Alap is compulsory to every student. It is

executed first to a slow, then to a medium and finally to a fast measure of time. In an
Alap, the dominant notes (Vadi-Samvadi) of a Raga always receive special prominence.

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There are two kinds of Alap at present viz.,

1. Nom-Tom Alap 2. Aakar-Alap 3. Bol-Alap

1. Nom-Tom Alap :

When the Alap uses the syllables like Na, Te, Re, Nom, Tom, Tanana, it is called
Non-Tom Alap. It is inherited from the old traditional style of Alap and the present
Dhrupad singers still make use of these syllables. These syllables are given in the song
proper and with the syllables of the words of the song itself. These syllables are
traditionally used in vocalisation, and offer special facility and variety of pronunciation.
The Alaps are first very short and always on the tonic note (Shadaj). Each successive
Alap gradually accommodates fresh notes and more and more syllables.

When the each individual cycle of Alap is complete, the Tabla player confirms
this completion by striking on Tabla for a second. This act is again ad again done. There
is wider scope of artistic skill in Nom-Tom Ka Alap, as it is very serious and leaves an
impact on the audience. Different varieties of graces like Gamak, Meend, Rhythmic
patterns can be shown in this kind of Alap. The final link in the Alap ends on the tonic
and is followed by a fixed link, called Jod-Ka-Alap, which leads from the tonic to the
burden of the song.

2. Akar-Ka-Alap :

The second form of Alap is sung without making the use of syllables. It is
pronounced in Akar, i.e. It has not that serious impact as that of Nom-Tom Alap. The
rhythmic pattern are also difficult to be shown in this form and variety of Layakaries is
also very little. Gamakas and other graces are also not easy in this Alap. Now-a-days, the
Alap in the beginning of the composition has been reduced and Bol-Alap have been
replaced, which are sung after presenting the Sthayi and Antara of a Raga. Bol-Alaps
include all the same characteristics of Alap. It is sung with the words of the composition,
but the laya is vilambit and Madhya (medium), not very fast. Bol-Alaps also include
variety of short tans, which is called ‘Bahlava’ in some Gharanas.

3. Bol Alaps:

In Hindustani music while singing Aalap in a Vilambh Khyal, some times artists
to enhance the beauty of Aalap, sing aalap using a word that exists in Bandish or Khyal
and creatively improvise the aalap in rhythm.

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TAN :

Tan means to “Spread”, Tan is formed by rapid succession or rapid variation of

notes. The following notes Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa will form a Tan when
rendered repidly like this. Tan from the root r= (to spread) is defined as that which is
used to expand a raga and consists of a certain number of the .notes put in different
orders. There are number of Tanas i.e.,; Tanas are of two kinds, Shuddha and Kuta tan. A
Shuddha Tana has all the notes in the natural order, either in ascent or, descent as Sa, Re,
Ga, Ma, and Sa, Ni, Dha, Pa. A Kuta Tan has not got its notes in the correct order, as Re,
Ma, Ga, Ga, Re,ma, Ga, Ma Re, and Ma, Re, Ga, Ma.. In a Kuta Tan, there is a crooked
use of 8 note a zigzag, which is difficult to sing flawlessly.

Indian music is so full of tanas it has popularly come to be equated with tanbazi.
There are variety of tans, each producing a different effect, simple Tans, Gamak Tans.
The attraction of Tans lies mainly in the display of vocal techniques and rhythmic
dexterity. Tar as have an imoportant place in the scheme of musical form. Tanas are
resorted to as “finishing strokes”. They provide a relief and make the musical
atmosphere lively.

BOL TAN :

Tans with the use of words, syllabic and melodic variation of words. These tans
are interlinked with words. A line of verse is sung in such a way that isolated words are
used in a variety of ways to express different shades of emotion.

VARIETIES OF TAN

“A Tan is the swift elaboration of Swara and Akar (without Swara).” Tan is
helpful in the manifestation of Geet and renders enjoyment to the listerners. For creating
thrill, a simple tan is not sufficient, rather it needs a variety. For this purpose, there has
been a large variety of tans, say simple tans (Shuddha), Koot tans, Mishra tans etc.

1. Straight Tan: A tan which has a direct ascent and descent of the Swara of a
particular Raga, is known as straight Tan (Sapaat Tan), as for example “Ni Sa Re
Ma Pa Ni Sa Re Sa Ni Pa Ma Re Sa Ni Sa” (Brindavani Saranga).

2. Shuddha Tan: A Shuddha Tan has all its notes in the natural order as Re Ga Ma.

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It is almost like the Sapaat Tan, Stated above. Shuddha Tan is according
to the ascent and descent of a Raga, for example:

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

3. Koot Tan (Illusive, not Straight) : A Tan which is not straight, rather it is in a
Vakra form, is called Koot Tan. It has not got its notes in the correct order, as for
example: “Sa Ga Re Ma Ga. Pa Re Ga Re Ma Ga Re “(Gaur Sarang)”

4. Ladant Ki Tan ¼yM+Ur dh rku½ Where there is a variety of Laya in a Tan with
the contrast of tabla, it is known as Ladant Ki Tan. Sometimes, this Tan is in
Dugun (in Carnatic music the same concept is called as first kaalam or speed),
Tigun (second kaalam or speed) Chaugun (fourth kaalam or speed) and
Sometimes in Ada- Laya. The tabla player has much scope to show his skill in
the accompaniment of such Tans etc. still there are many number of Tans.

TAAL SYSTEM IN HINDUSTANI MUSIC36

TAL NOTATION OF THE FOLLOWING TALS WITH THEKAS, MATRAS

VIBHAGS, TALIS, KHALIS

Teental, Jhaptal, Chartal, Dadra, Keherwa, Ektal, Tilwada, Roopak, Tivra, Jat tal,
Deepchandi, Sooltal, Dhamar, Adachautal, Jhumra.

1. Teen Tal

Matras - (Beats) - 16
Vibhags - (Khand) – 4
st th
Talis - (3) on 1 , 5 and 13th Beat
Khalis - (1) on ninth beat.

Sam - on 1st beat.

Theka of Teen Tal

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Dha Dhin Dhin Dha| Dha Dhin Dhin Dha | Dha Tin Tin Ta| Ta Dhin Dhin Dha
× 2 0 3
Sam Tali Khali Tali

Note : Teental is the most popular Tal, played on the tabla and used to accompany Khyal song.

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2. Jhap Tal

Matras - 10
Vibhags - 4 (Two bars having 2 beats in each and two bars having 3 beats in each)
Sam - On 1st Matra
Talis - On 1st, 3rd & 8th beat.
Khali - On sixth beat

Theka

1 2 3 4 5 6 7 8 9 10
Dhi Na |Dhi Dhi Na | Ti Na | Dhi Dhi Na
× 2 0 3
Sam Tali Khali Tali

Note : This Tal is also used to accompany Khyal music.

3. Chartal

Matra - 12
Vibhags - 6 (each bar, having two beats)
Sam - On 1th beat
th
Tali - On 5 , 11th
Khali - On 3rd and 7th
Chartal is mostly used in Dhrupad compositions.

Theka

1 2 3 4 5 6 7 8 9 10 11 12
Dha dha | din Ta | Kit Dha | Din Ta | Tit Kat | Gadi Gina
× 0 2 0 3 4
Sam Khali Tali Khali Tali Tali

4. Tal Dadra
Matra - 6
Vibhags - 2 (2 Vibhags having 3 beats in each)
Sam - On 1st beat
Tali - On 1st beat
Khali - On 4th beat

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Dadra Tal is played on Tabla to accompany the light classicial style, known as
Dadra. This Tal is also used for folk and popular tunes, Bhajans, Qawwali, Ghazals and
other types.

Theka

1 2 3 4 5 6
Dha Dhi Na | Dha Ti Na
× 0

5. Tal Keherwa

Matra - 8
Vibhagas - 2, (4 beats in each bar)

Sam - On 1st beat

Tali - On 1st beat

Khali - On 5th beat

Kehrwa Tal is used for light classical and popular music.

Theka

1 2 3 4 5 6 7 8
Dha Ge Ne Ti | Na Ke Dhin Na
× 0

6. Tal Ektal

Matra - 12
Vibhagas - 6, (2 beats in each bar)

Sam - on 1st beat

Tali - On 1st, 5th, 9th & 11th beat

Khali - On 3rd and 7th

Ektal is played on Tabla to accompany Khyal compositions.

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Theka

1 2 3 4 5 6 7 8 9 10
Dhin Dhin | Dhage Tirkit | Too Na | Ka Ta| Dhage Tirkit |
x 0 2 0 3
sam Khali Tali Khali Tali
11 12
Dhi Na
4
Tali

7. Tal Tilwada

Matra - 16
Vibhagas - 4, (each bar having four beats)
Tali - 1, 5, 13
Khali - 9
Sam - 1

Theka

1 2 3 4 5 6 7 8

Dha Tirkit Dhin Dhin | Dha Dha Tin Tin |

x 2
sam Tali
9 10 11 12 13 14 15 16
Ta Tirkit Dhin Dhin | Dha Dha Dhin Dhin
0 3
Khali Tali

8. Tal Deepchandi

Matra - 14
Vibhags - 4, 2 (bars having 3 beats and two bars having 4 beats)
Sam - On 1st beat
Tali - 1, 4, 11
Khali - 8

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Theka

1 2 3 4 5 6 7

Dha Dhin - | Dha Dha Tin -

× 2
8 9 10 11 12 13 14
Ta Tin - | Dha Dha Dhin -
0 3

9. Tal Jhoomra

Matra - 14

Vibhags - 4 grouped 3-4 3-4

Sam - On 1st beat

Tali - 1, 4, 11
Khali - 8

Jhoomra Tal accompanies very slow Khyal compositions on Tabla.

Theka

1 2 3 4 5 6 7

Dhin - Dha Tirkit | Dhin Dhin Dhage Tirkit

× 2

8 9 10 11 12 13 14
Tin - Ta Tirkit | Dhin Dhin Dhage Tirkit
0 3

10. Tal Ada Chautal

Matra - 14 grouped 2-4-4-4

Vibhags - 7

Sam - On 1st beat

Tali - 1, 3, 7, 11
Khali - 5, 9, 13

Ada Chautal is played on Tabla to accompany Khyal compositions.

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Theka

1 2 3 4 5 6
Dhin Trikit | Dhi Na | Too Na |
× 2 0
7 8 9 10 11 12 13 14
Ka Ta | Trikit Dhi | Na Dhi | Dhi Na
3 0 4 0

11. Tal Dhamar

Matra - 14 grouped 5-2, 3-4

Vibhags - on 1st beat

Sam - On 1st beat

Tali - 1, 6, 11
Khali - 8

This Tal is played on Pakhawaj to accompany Dhamar style, describing Holi Festival.

Theka

1 2 3 4 5 6 7 8 9 10
Ka Dhi Ta Dhi Ta | Dha - | Ga Ti Ta |
× 2 0
11 12 13 14
Ti Ta | Ta -
3

12. Tal Sool

Matra - 10
Vibhagas - 5 (two beats in each bar)

Sam - On 1st beat

Tali - 1, 5, 7
Khali - 3, 9

Sool Tal is played on Pakhawaj to accompany Dhrupad compositions and also

to accompany the old group of stinged instruments such as been, rabab, sursingar and
surbahar.

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Theka

1 2 3 4 5 6 7 8 9 10
Dha Dha | Din Ta | Kit Dha | Tit Ka | Gadi Gina
× 0 2 3 4

13. Tal Roopak

Matra - 7
Vibhags - 3 grouped 3-2-2
Sam - 1
Tali - 1, 4, 6

Roopak is a popular Taal generally played on the Tabla. It is used to accompany

either vocal or instrumental music in the khyal style, it is also used in light music.

Theka
1 2 3 4 5 6 7
Ti Ti Na | Dhi Na | Dhi Na
× 2 3

14. Tal Teevra

Matra - 7
Vibhags - 3 grouped 3-2-2
Sam - 1
Tali - 1, 4, 6

Teevra Tal is played on Pakhawaj to accompany a song composed in this tala in a

fast tempo.

Theka

1 2 3 4 5 6 7

Dha Din Ta | Tit kata | Gadi Gana

× 2 3

There are different forms of compositions like Dhrupad, Dhamar, Thumri, Dadra,
Tappa, Khyal, etc of Hindustani music are described as below:

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DIFFERENT FORMS OF CLASSICAL COMPOSITIONS IN HINDUSTANI MUSIC

Indian music has from time to time evolved a number of forms and compositions
for the expressionof its various beauties. These are the following:

DHRUPAD :

Dhrupad is the strict style. Emphasis is given on alaap. These alaps do not
employ any fixed time- measure but intend to elaborate the beauties of the chosen Raag.
The voice-culture is very important as the whole Alap Gayaki depends on
embellishments of different notes, which are called Gamakas, the soul of the Raag is
depicted in four parts Sthayi, Antara, Sanchari and Abhog.

In Sthayi the clear picture of the Raag is given in the form of a group of notes
which extends upto Madhya Saptak. Antara is the portion which is sung after the Sthayi
and extends upto Taar Saptak, laying emphasis on Taar, Shadaj. The third part, Sanchari,
is the combination of Arohi and Avrohi Varnas. The last part, Abhog, means to repeat
the Sanchari Varna in Taar Saptak, also using the way type of Gamakas. Dhrupad
compositions are mostly found in Braj Bhasha. The use of fast Taans is not allowed in
Drupad. Layakaries are the main soul of Dhrupad Gayaki. An artist does Dugun, Tigun,
Chaugun and even shows some very odd divisions of the rhythm. Dhrupad is a majestic
form of composition in Hindustani classical music.which needs an imposing or manly
voice. Dhrupad preserves the purity of a raga.

The Dhrupad which we listen now-a-days is having entirely a new Shape, having
all sorts of Gamakas and sometimes with light touch of fast taans.

Dhamar: Dhamar is another form of old classical singing, much similar to

Dhrupad. The theme of Dhamar is connected with Holi festival that usually concerns
itself with the playful incidents of the childhood of Lord Shri Krishna. Dhamar is sung in
a special Taal ‘Dhamar’ in different layakaris, Bol-Bant, Gamak and other
embellishments of time measure.

KHYAL SINGING :

The most important form of musical composition is Khyal. This is the classical
performing item in the present Hindustani music system, like the Kriti, Keertanas in
Carnatic music system. The Khyal have two varieties viz., the Vilambit (Bada Khyal)
and Drut (Chhota Khyal).

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Vilambit Khyal: Vilambit Khyal takes longer time and is sung in slow tempo.
The slow and steady development of this Khyal enables the music to preserve the
serenity and weight as in the Dhrupad style. After singing the Sthayi once, Alaaps are
gradually sung starting from Mandra saptak notes to higher notes in Vilambit laya. As
soon as the Aalaap reaches the higher note, it indicates the Antara part is to be
improvised in Taar saptak which sounds mellifluous, then few Aalaaps in Taar saptak
notes are sung in Antara and after singing the whole Antara again artist rests on sthayi
part and gradually increasing the tempo, Sargam Bant or Bol bant is sung, which is one
of the most attractive and interesting part of Khyal singing. Then the taane are sung by
an artist in high speed which is an energized part. Then the artist after singing the Sthayi
once ends the outstanding performance. This Vilambit Khyal is composed in various
number of Taals such as Tilwada, Jhumra, Dheema Teental, Ada Chautal, Ektal etc. This
Khyal is mostly sung in slow tempo.

Drut Khyal: After singing Vilambit khyal every artist immediately attempt
second form of Khyal called Chhota Khyal or Drut Khyal. These are usually in medium,
Teen-taal, Jhaptal, Ektaal etc, and are first sung to medium and then to fast tempo. These
short Khyals have comparatively lighter themes such as those of the thumris. There is no
scope for slow Alaps or Tanas in these Khyals. While the Vilambit Khyal is fully
developed, in the same continuation, short Khyals develop the same progress in fast
tempo. A short Khyal depicts the lighter and more rapid portion of the same raag. There
is another variety in Khyal singing i.e. Madhya Khyal which is sung in medium tempo.
Some of the artists start with Madhya Khyal instead of Vilambit Khyal and end with
Drut Khyal.

TYPES OF SEMI-CLASSICAL MUSIC (VOCAL)

THUMRI:

Thumri is an interesting form of semi-classical musical composition in the

present Hindustani music. The word Thumri has been derived from the word Thumak,
which means the graceful movement of the foot. So there seems to be a connection
between dancing and this form of singing. An imaginative mind and a flexible voice are
needed for Thumri. The treatment of the Raag is more liberal in Thumari. The same bols
of composition are repeated everytime by different note patterns fully embellished with
all the delicacies. Khatka and Murki are mostly used in it. Sadig Ali Khan of Lucknow is

73
 
 
 

said to have invented Thumri. Thumri is generally sung in a few selected Ragas like
Khamaj, Piloo, Desh, Tilak Kamod, Kafi, Bhairavi, Tilang, Gaara, Pahadi etc. Taans are
not taken in Thumri. The Taals generally used in Thumri are Chanchar, Deepchandi,
Keherwa and Jhat Taal. The purity of the Raag is not so much sustained in Thumri.
Thumri is a highly imaginative form of singing. Thumri is a combination of folk tunes as
well as the classical type of Indian music. It has limited field of Ragas, but it is equally
popular among both the masses and the advanced classes. Prominent Thumri singers
have been Ustad Bade Gulam Ali Khan, Ustad Abdul Karim Khan, Beghum Akhtar,
Rasoolan Bai, Siddeshwari Devi.

DADRA :

Although this style of singing is very similar to Thumri, yet it has its separate
distinctive style. Like Thumri, Dadra portray erotic Ras, but its tempo is faster than that
of Thumri. Dadra is sung in Dadra Taal, consisting of six matras. It equally enjoys the
reputation among the artists as Thumri. The structure, theme, language and sentiment of
Dadra are the same as in Thumri. This style takes its place between the light classical
music and the folk lore. Dadra flourished in Lucknow and Banaras. It is a combination of
the qualities of Khyal and techniques of Thumri style. Late Beghum Akhtar Faizabadi
was very famous in singing Dadra. Rasoolan Bai also sings this style with great mastery.
An artist, well-versed in Thumri style, can easily sing Dadra.

TAPPA :

This is another form of semi-classical musical composition in Hindustani music.

It employs the same Ragas as those of the Thumri. It contains two parts of Sthayi and
Antara like in Khyal. Shringar Rasa is more prominent in Tappa Gayaki, Ghulam Nabi
(Miyan Shori) is considered to be the father of this style. It has Punjabi words. The Taals
used are Punjabi. Its speciality lies in the formation of small taans, the Taans are quick.
Taans are called Daanedar Taans. Tappa can be sung in chosen Ragas only, as Bhairavi,
Khamaj, Barwa, Jhinjhoti etc. Shori Miyan’s son, Miyan Gammu, earned good name as a
Tappa singer. Tappa Gayaki is beautifully elaborated through Murki, Khatka, Gitkari,
Jamjama etc.

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TARANA :

Tarana is also a form of musical composition. This is very similar to Khyal type
of singing with the exception that no words are used in Tarana. The song of Tarana
consists of no words or any peotry, but only it has some meaningless words like Nom,
Tom, Na, Te, Re, Dani, Dilani, Yalali, Taredani etc. Taranas are composed in different
ragas and Talaas. The artist should be well-versed in the rhythm. Tarana is full of
Layakaries and Ragdari. The syllables of Pakhawaj and Mridang are also introduced in
it. After finishing Khyal, some of the artists sing Tarana in fast tempo, showing their wits
in Layakaries. Tarana is a part of classical music. The Taranas are equivalent to
TILLANAS in Carnatic music system. The syllabals used in Tillanas are like Dheem, Na
na, Tillana, Nadir dhim, Taka Takita, Tom, Takita, Jham, ta, Jham etc.

Apart from classical and semi-classical compositions, another type is light music.
In light music Geet, Bhajan, Ghazals etc. are the different forms. The Taalas used in light
music are Keharwa, Dadra, Rupak etc.

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REFERENCES:

1. “Prajnanananda Swami”, A HISTORICAL STUDY OF INDIAN MUSIC,

Anandadhara Prakashan, 8, Calcutta – 12, pg no: 125, Feb. – 1965.

2. “Sharma bharati”, “HINDUSTANI SANGEET MEIN SHUDDH-CHHAYA LAG

YEVAM SANKEERN RAGON KI AVDARANA”, Published by Sanjay
Prakashan, New Delhi, Pg no: 5, 2005.

3. Sharma bharati”, “HINDUSTANI SANGEET MEIN SHUDDH-CHHAYA LAG

YEVAM SANKEERN RAGON KI AVDARANA”, Published by Sanjay
Prakashan, New Delhi, Pg no: 23, 2005.

4. “Choudary Subhadra, “SARANGDEVKRIT SANGEET RATNAKAR – 2”

‘SARASWATI VYAKHYA AUR ANUVAD SAHIT’, shree Nitin garg Radha
publications,Daryaganj,New Delhi -94, Pg no: 2, 2008. and Kapila Vatsyayan,
Sharma Prem Latha”,” Beohar Anil Bihari”, “BRIHADDESI OF SRI
MATANGAMUNI,” Indira Gandhi National Centre for the Arts, New Delhi.
“Motilal Banarsidass Publishers pvt. Ltd., Bungalow Road, Jawahar Nagar, Delhi.

5. ‘Patak Sunanda’, “HINDUSTANI SANGEET MEIN RAAG KI UTPATTI”,

Radha Patil, Delhi, 1977

6. Bhatkhande Vishnu Narayan (Vishnu Sharma), Bhatt Sri Vishwambharnath, Dube

Sudama Prasad, Sangeetacharya,” “BHATKHANDE SANGEETSHASTRA part-
1”, Sangeet karyalai, Hathras (U.P.), 1964.

7. ‘Sarang Dev’, “SANGEET RATNAKAR PART-1 SWARADHYAY”,Pg no:

19.and ‘Sharma Swati’, “BHARATIYA SANGEET KA ITIHAS”, published by
Aastha publication, pg no:66, 2009.

8. Kapila Vatsyayan, Sharma Prem Latha”,” Beohar Anil Bihari”, “BRIHADDESI

OF SRI MATANGAMUNI,” Indira Gandhi National Centre for the Arts, New
Delhi. “Motilal Banarsidass Publishers pvt. Ltd., Bungalow Road, Jawahar Nagar,
Delhi.

76
 
 
 

9. ‘Sharma Swati’, “BHARATIYA SANGEET KA ITIHAS”, published by Aastha

publication, pg no: 67, 2009.

10. “Prajnanananda Swami”, A HISTORICAL STUDY OF INDIAN MUSIC,

Anandadhara Prakashan, 8 , Calcutta – 12, pg no: 202, Feb. – 1965

11. ‘Sarang Dev’, “SANGEET RATNAKAR PART-1 SWARADHYAY”, Pg no: 29

and ‘Sharma Swati’, “BHARATIYA SANGEET KA ITIHAS”, published by
Aastha publication, pg no: 71, 2009.

12. ‘Sarang Dev’, “SANGEET RATNAKAR PART-1 SWARADHYAY”,Pg no: 19

and
‘Sharma Swati’, “BHARATIYA SANGEET KA ITIHAS”, published by Aastha
publication, pg no: 72, 2009.

13. Sharma bharati”, “HINDUSTANI SANGEET MEIN SHUDDH-CHHAYA LAG

YEVAM SANKEERN RAGON KI AVDARANA”, Published by Sanjay
Prakashan, New Delhi, Pg no: 23, 2005.

14. ‘Sharma Swati’, “BHARATIYA SANGEET KA ITIHAS”, published by Aastha

publication, pg no: 72, 2009

15. Sharma Swati’, “BHARATIYA SANGEET KA ITIHAS”, published by Aastha

publication, pg no: 76, 2009

16. Raam Avtaar Veer’, “BHARATIYA SANGEET KA ITIHAS”, PART-2 (1st

century A.D. to 1986), Radha Publications, New Delhi – 2006

17. Raam Avtaar Veer’, “BHARATIYA SANGEET KA ITIHAS”, PART-2 (1st

century A.D. to 1986), Radha Publications, New Delhi – 2006

18. Raam Avtaar Veer’, “BHARATIYA SANGEET KA ITIHAS”, PART-2 (1st

century A.D. to 1986), Radha Publications, New Delhi – 2006.

19. Sharma Swati’, “BHARATIYA SANGEET KA ITIHAS”, published by Aastha

publication, pg no: 77, 2009.

77
 
 
 

20. “Prajnanananda”Swami, A HISTORY OF INDIAN MUSIC, Ramakrishna

Vedanata Math, 19 B, Raja Rajkrishna Street, Calcutta – 6, May – pg no: 46,1963
and Sharma Swati’, “BHARATIYA SANGEET KA ITIHAS”, published by
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21. Sharma Swati’, “BHARATIYA SANGEET KA ITIHAS”, published by Aastha

publication, pg no: 78, 2009.

22. “Prajnanananda”Swami, A HISTORY OF INDIAN MUSIC, Ramakrishna

Vedanata Math, 19 B, Raja Rajkrishna Street, Calcutta – 6, May – pg no: 46,1963
and Sharma Swati’, “BHARATIYA SANGEET KA ITIHAS”, published by
Aastha Publication, pg no: 80, 2009 and ‘Buddh dev vidyalankar’, “RAAG
VIGNAN PART-6”, pg no: 10.

23. Bandyopadhyaya.S, “INDIAN MUSIC THROUGH THE AGES” 2400 B.C. TO

THE PRESENT ERA”, B.R. publishing Corporation, Delhi-110052, pg no: 85,
1985.

24. Raam Avtaar Veer’, “BHARATIYA SANGEET KA ITIHAS”, PART-1 (1st

century A.D. to 1986), Radha Publications, New Delhi – 2006.

25. Raam Avtaar Veer’, “BHARATIYA SANGEET KA ITIHAS”, PART-1 (1st

century A.D. to 1986), Radha Publications, New Delhi – 2006.

26. “Prajnanananda Swami”, A HISTORICAL STUDY OF INDIAN MUSIC,

Anandadhara Prakashan,8, Calcutta – 12, Feb. – 1965.

27. ‘Shri khande Suresh Gopal’, “HINDUSTANI SHASTREEYA GAAYAN KI

SHIKSHA PRANAALI”, Abhishek publications, sector-17c, Chandigarh-17, 1993.

28. Bandyopadhyaya.S, “INDIAN MUSIC THROUGH THE AGES” 2400 B.C. TO

THE PRESENT ERA”, B.R. publishing Corporation, Delhi-110052, pg no: 100,
1985.

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29. Bandyopadhyaya.S, “INDIAN MUSIC THROUGH THE AGES” 2400 B.C. TO

THE PRESENT ERA”, B.R. publishing Corporation, Delhi-110052, pg no: 100,
1985.

30. Bhatkhande Vishnu Narayan (Vishnu Sharma), Bhatt Sri Vishwambharnath, Dube
Sudama Prasad, Sangeetacharya,” “BHATKHANDE SANGEETSHASTRA part-
1”, Sangeet karyalai, Hathras (U.P.), pg no: 1964.

31. ‘Sharma’ swatantra, “FUNDAMENTALS OF INDIAN MUSIC”, published by

Pratibha Prakashan, Delhi – pg no: 24, 1996.

32. Sharma’ swatantra, “FUNDAMENTALS OF INDIAN MUSIC”, published by

Pratibha Prakashan, Delhi – pg no: 136, 1996 and Bhatkhande Vishnu Narayan
(Vishnu Sharma), Bhatt Sri Vishwambharnath, Dube Sudama Prasad,
Sangeetacharya,” “BHATKHANDE SANGEETSHASTRA part-1”, Sangeet
karyalai, Hathras (U.P.), pg no: 1964.

33. Sharma’ swatantra, “FUNDAMENTALS OF INDIAN MUSIC”, published by

Pratibha Prakashan, Delhi – pg no: 16, 1996.

34. Sharma’ swatantra, “FUNDAMENTALS OF INDIAN MUSIC”, published by

Pratibha Prakashan, Delhi – pg no: 17, 1996.

35. Sharma’ swatantra, “FUNDAMENTALS OF INDIAN MUSIC”, published by

Pratibha Prakashan, Delhi – pg no: 136, 1996.

36. Sharma’ swatantra, “FUNDAMENTALS OF INDIAN MUSIC”, published by

Pratibha Prakashan, Delhi - 1996.

79