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2006 Syllabus for practical Vocal and Theory Exams
ABGMVM - Akhil Bharatiya Gandharva Mahavidyalay Mandal – India
abgmvm.org

Madhyama Poorna Syllabus

Total Points: 250, Minimum needed for passing: 88,
Practical – Oral exam – 40 minutes : 150 points (minimum needed for passing : 53)
Theory – Written exam – 3 hours : 100 points (minimum needed for passing : 35)
Only taanpuraa and tablaa will be used for oral exams. Harmonium is not allowed.

Theory:

1. Detailed information of raagaas from syllabus and study similarities and differences between raagaas with
examples. Recognize raagaas from cluster of swar and improvise further.
2. Detailed (comprehensive) study of all taal starting from first exam. Learn to write all taal in Paluskar and Bhatkhande
lipi (notation type or script).
3. Ability to write all taal from syllabus in dugun and chougun in both notation systems.
4. Ability to write notation for all bandish and vilambit khyaal (compositions) in both swarlipi (Paluskar and
Bhatkhande).
5. Detailed study of following technical words:Va
Naad, Shruti, Swarasthaan, Saptak, Ashtak, Poorvaanga – Uttaraanga, Varna, Alankaar, Vaadi – Saunvaadi,
Ardhvadarshak swar, Samaprakrutik raag, Prabandha, Vastu, Roopak, Graha, Ansha, Nyaas.
6. Introduction to (basic knowledge): modern and ancient characteristics of raag, Jaatigaayan, Sanyaas, Vinyaas,
Apanyaas, Alpatva – Bahutva, Aavirbhaav – Tirobhaav, Gaayakee – Naayakee.

7. Biographies of following musicians and scholars:

1. Gopaalnaayak, 2. Ameer Khusro, 3. Maansinha Tomar, 4. Jayadev, 5. Tyaagraaj, 6. Taansen, 7. Purandardaas

8. Division of 22 shruti into seven swar from ancient basic saptak according to ‘Bharat muni’ (sage Bharat).
9. Full knowledge of merits (virtues and faults) of singers (vocalists) as described in a book ‘ Sangeet Ratnaakar’.
10. Ability to write essays of following topics:
a. Classical music and folk music
b. Collaboration of science in evolution of music
c. Literature and music
d. Importance of music in everyday life
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Practical:
a. Knowledge of swar :-
1. Taanpuraa: Learn to tune real acoustic Taanpuraa. Practice to sing taan properly. Acquire ability to improvise a raag
appropriately. Also learn to perform accurate form of a raag. Improvise raag with aalaap and bol-aalaap. General
knowledge of tuning tablaa and play basic thekaa for some taal.

b. Knowledge of raag:
2. for following six raag, learn to sing vilambit khyaal (in two different taal), and drut khyaal. Develop ability to catch the
mukhdaa for each raag (catch sam for the beginning phrase) and improvise each raag for fifteen minutes.

1. Bheempalaasee, 2. Vrundaavanee Saarang, 3. Kedaar, 4. Jaunpuri, 5. Malkauns, 6. Bhairav

For general knowledge, six raag are listed below. Learn to perform one bandish in medium tempo in each of the
following raag with aalaap taan.

1. Shankaraa, 2. Jaijaivantee, 3. Gaudsaarang, 4. Puriyaa Dhanaashree, 5. Kaamod, 6. Chhaayaanat

3. In the above raag, prepare one dhrupad and one dhamaar with dugun, tigun and chougun.

4. From any two raag in syllabus, perform two taraana.

5. Sing the prarthanaa (prayer) of ABGMVM – ‘Jaya jagadisha hare’.

6. Ability to perform one bhajan, one gajal, one patriotic song and one folk song.

c. Knowledge of taal:

Recite dugun of Roopak, Deepchandi and Choutaal. With number, recite 2 in 3 and 3 in 2, or demonstrate how you
would adapt any one taal into other taal.

Show dugun, tigun, chougun of taal from previous exams with hand while reciting bols.
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Total Points: 250, Minimum needed for passing: 88,

Theory – Written exam – 3 hours : 100 points (minimum needed for passing : 35)
Practical – Oral exam – 40 minutes : 150 points (minimum needed for passing : 53)
Only taanpuraa and tablaa will be used for oral exams. Harmonium is not allowed.
In each row, question will be asked about a different raag. This way, entire syllabus will be covered.

Exam format:
Following questions will be asked in oral exam. Total 40 minutes.

Questions Pts
From three alternate raag, a vilambit bandish with aalaap, taan for one (7 minutes) 14
Vilambit bandishes in one more raag with two aalaaps or two taan 8
Two vilambit bandishes: one in a raag of this year’s syllabus as well as from a raag 4+4
from previous year with just bandish and an aalaap
A bandish in medium tempo with full improvization in a new raga of this year (5 minutes) 10
A medium tempo bandish with two aalaap and five taans in another raga 8
From previous year’s raag, a bandish with three aalaap 7
Dhrupad or Dhamaar 6
Chougun of sthaayee or antaraa of dhrupad or dhamaar or an alankaar 9
Taraanaa or drut ektaal bandish 10
Upshastriya (semi classical) type of composition (Bhajan, gazal, patriotic song, folk song) 10
Show with taalee - khaalee and say bol (words) for two thekaa (taal) from this 4+
year. From these taal, perform tigun for one and chougun for another 3+3
Recognize one vilambit lay taal and one madhya lay taal 4
With number, recite 2 in 3 and 3 in 2 6
Improvisation: Aalaap of two raag from this year and three raag from 20
previous years
Recognize raag: two from this year and three from last years 10
Read swar lipi (One line of four maatraas) and 10
sing a rhythmic sargam geet and play it on harmonium

Total 150
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Chapter 1: Explanation of Technical Words
“Ashtak” : Octave
A ‘Saptak’ has 7 notes: “ srgmpd n ”. Until the next higher note ‘` ’ is rendered, the ‘Saptak’ is considered
incomplete. Upon adding that higher note, “ srgmpd n` ”make an octave. In the western musical notations the
above collection of 8 notes is also called an octave.

Swarasthan : (Swara = Note, Sthan = Position)

Strumming on a string instrument produces a vibration. The number of vibrations produced in one second is called the
‘vibration frequency’. Every note has its characteristic vibration frequency. (In physics, this is measured in Hertz (Hz))’. When
the vibration frequency is high, the sound has a high pitch. Conversely a low pitch sound indicate fewer vibrations (i.e. lower
vibration frequency). The vibration frequency is also related to the length of the string. Shorter string vibrates at a higher
frequency (i.e. gives a high pitch sound) while a longer string yields a lower frequency sound.
There is a well-defined separation in the vibration frequency of notes within an octave, called ‘Swarantar’ (Swar = Note, Antar
= Distance). As an example if the vibration frequency of s is 240 Hz, then the swar phas a frequency of 360 Hz. By
maintaining this ‘Swarantar’, each note has a unique position in an octave. The position of each note (i.e. the vibration
frequency of that note) is defined in relation to the vibration frequency of s.
Consider two notes where the second note has a vibration frequency which is two times the vibration frequency of the first
note (e.g. 240 Hz and 480 Hz). The musical theory scholars have identified 22 distinct frequencies within such a range. They are
called “Shruties” (singular Shruti). The 22 Shruties are divided in to 7 notes. This defines the “Swarasthan” (Swar = Note, Sthan
= position), i.e. the position of each note (in the frequency scale as well as the octave). It also defined the separation between
different notes, i.e. Swarantar.

Adhvadarshak Swar
(Adhwa = Road, Darshan = Show, Adhwa Darshan = Guiding the road, providing direction)

In the north Indian musical style, the ragas are sung (or played using musical instruments) at specific time period of the
day or night. The note m plays the most important role in selecting this time period. When assigning the time period,
the note ‘m’ provides guidance (to create the appropriate mood or feeling). Hence m is called ‘Adhadarshak Swar”.
The shuddha m is the characteristic note of the morning period. In the dawn period, the ragas with komal e and
komal a, use shuddha m (e.g. Raga xxx). In contrast the raagas sung in the evening use teevra k . By changing the
selection of m (shuddha, teevra), the mood of the song changes. Hence it is often stated that the day or night of
musical scholars is indicated by m (not by the sun or moon)  There are some exceptions to this rule. By most ragas
adhere to the selection of time period based on Ma.

Samaprakrutik Raga
(Sama = Same, Prakruti = characteristics Samaprakrutik = with similar characteristics)
When two (or more) ragas use the same notes but differ in their presentation, e.g. the style, vadi, sanvadi, aaroh-avroha, the
time period for singing, they are called Samaprakrutic ragas. As example, ragas Bhimpalasi, Kaafi and Bageshri use the komal
f and komal b. Bhimpalasi and Bageshri have the same Vadi and sanvadi, m and s. But the ragas differ in Aaroha
Bageshri: 9sfmdb`
Bhimpalas: 9sfmpb`
Bageshri and Kaafi are sung at night while Bhimpalasi is a noon time raga. Therefore, these three rages are called
Samaprakrutik. Other examples are: Marwa – Puriya – Sohani, Kedar – Hameer – Gaud Saarang – Cchaayaanat
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Prabandha, Vastu, Roopak:

(Prabandha = Arrangement, Vastu = Object, Article, Roopaka = Metaphor, Symbol)

Prabandha is an ancient style of song composition. It’s definition is “Pra-kar-shay-na Bun-dha-naa-ta” (Sanskrit words: Pra-kar-
sha = Excellence, Bun-dh-na = Binding, Union, Joining). It is a song that is bound by rules. There are two types of rules. The first
types of rules, called ‘Dhaatu’, apply to the structure of the song. The second set of rules, called ‘Maatu’ apply to the
coherence (union) of the words, notes and rhythm.
The Dhaatu (structural rules) have 4 types: (1) Udagraha : the beginning portion, (2) Dhruva : Main portion, (3) Melapak : The
portion that connects the beginning (Udagraha) and main (Dhruva) portion and (4) Abhoga : The ending portion.
Besides these 4 sections, a Prabandha has 6 Maatu or angas (an-ga-s) (Body, limbs, characteristics, components): Swara (Note),
Birooda, Taina, Pada, Paata and Taala (rhythm). A Prabandha MUST have at least 2 of these components.
Prabandha may be described as a Prabanha or a Vastu or a Roopak. There are small differences in these types. A Prabandha
uses 4 Dhatus (structural rules) and 6 angas. Because the composition “lives” within the confines of Dhaatu and anga, it is also
called ‘Vastu’. In dramas, when a Prabandha is used to describe the main character (hero); hence it is called Roopak.
The first, third and fifth ‘charan (stanza)’ of Prabanndha used to have 15 matra.
The first half of Prabandha used to have ‘swar’ and ‘paat’; while the second half had ‘swara’ and ‘ Tain’.
This form of composition is now extinct. However many principles of Prabandha are still found in contemporary music.
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Chapter 2: General Knowledge
1. Ancient and modern characteristics of raagas

Jaati Gaayan: (Ancient characteristics of raagas)

Jaati and Raag can be considered as synonyms of each other. Just as we sing raagas these days, jaati singing was
popular in old days. A beautiful composition containing ‘swar and varna’ was called ‘Jaati’. Raag also has the same
definition. In old days, Jaati was considered to have ten characteristics : Graha, Ansha, Nyaas, Apanyaas, Alpatva,
Bahutva, Odatatva, Shaadatatva, Mandra and Taar. Bharat (a writer) called it ‘Das vidhi jaati lakshanam’. From
Graam to Murcchanaa and based on Murcchanaa, many Jaatis were composed. In a treatise ‘Sangeet Ratnaakar’,
jaati is described as having thirteen characteristics. In addition to Bharat’s 10 characteristics, ‘Sharngadev’ added
Sanyaas, Vinyaas and Antarmaarga to Jaati.
1. Graha: The swar or note where Jaati Gaayan commenced, that note was called ‘Graha Swar’. Only ‘Ansha swar’
became ‘Graha swar’. Jaati could have more than one ‘Ansha swar’. It is agreed upon that, in total, there are 63 Ansha
swar, hence there are also 63 Graha swar.
2. Ansha: Main (dominant) notes of jaati were called ‘Ansha swar’. These days, main swar of any raag is called ‘Vaadi’.
Jaati could have more than one ‘Ansha Swar’. Some jaatis had five, some had three and some jaatis had one Ansha
swar.
3. Nyaas: The note where a vocal or instrumental composition ended, that note or swar was called nyaas swar.One jaati
could have more than one nyaas swar. Example: in ‘Shadja – Madhyam jaati’, nyaas was performed on ‘ ` and m ‘.
4. Apanyaas: The swar or note where middle portion of a composition (vocal or instrumental) ended, was called
‘Apanyaas’. Any jaati could have more than one ‘Apanyaas’.
5. Alpatva – Bahutva: (Fewness – Manyness) : If the swaras or notes were used sparingly in a jaati, their status was
considered ‘Alpatva’. There are two types of Alpatva – Langhan and Anabhyaas. ‘Bahutva’ was the status of swaras or
notes that were used in large quantities in a jaati. There are two types of Bahutva – Alanghan and Abhyaas.
6. Shaadatatva – Odatatva: If a jaati used six swaras, its form was considered to have ‘Shaadatatva’, and a jaati that used
five swaras was thought to have ‘Odatavta’ form.
7. Mandra and Taar: Each jaati had a specific boundary and a vocalist or instrumentalist had to stay within that
boundary. In Mandra sthaan (position), one could go upto ansha swar, nyaas or apanyaas. In the same way, in taar
sthaan (position), one would perform from ansha swar to fourth, fifth or seventh swar.
8. Sanyaas: The swaras where assorted sections from the first part of the composition ended, were called ‘Sanyaas swar’.
Example: If Sthaayee has three lines, the last note of each line will be called ‘Sanyaas’.
9. Vinyaas: Last swaras (notes) of different limbs (avayav or sections) of a song are called ‘Vinyaas swar’. Example: Song
has four ‘Khanda or sections’: Sthaayee, Antaraa, Sanchaaree and Aabhog. Last swar or each of these Khandas is called
‘Vinyaas swar’. Example: Consider a song with eight lines and Sthaayee and Antaraa each have four lines. The swar
where the song begins is called ‘Graha swar’, and the swar where the song ends is called ‘Nyaas swar’. The swar where
the early part of song ends (last note of Sthaayee) is called ‘Apanyaas swar’ (also ‘Vinyaas swar’). Last note of second
line of Sthaayee is a ‘Sanyaas swar’.
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Adhunik raag Lakshan (Modern Characteristics of Raagas)
In modern days, the characteristics of raagas are found is different forms. Following characteristics are
considered standard in modern era.
1. Composition of swaras that is pleasant to hear, is melodious as well as uplifting to the soul is called a ‘Raag’. It is
necessary for a raag to be entertaining.
2. Raag needs to have minimum five and maximum seven notes. Raag cannot be constructed with less than five notes.
3. Each raag has to originate from a thaat.
4. Shadja is never varjit in a raag, since it is a foundation swar of a Saptak (octave).
5. Each raag is required to have at least one swar from Pancham and Madhyam. Hence both Madhyam and Pancham are
never varjya in any raag.
6. For each raag, it is a must to determine its own aaroha, avaroha, pakad, vaadi-saunvaadi, varjit swar, vikrut swar, time
for singing.
7. Two forms of same swar (example: shuddha, komal) are not used in succession (back to back, in a row) in a raag.
Examples: In aaroha or avaroha of any raag, one does not use shuddharafter komal eor shddha d after komal a.
Exceptions are: Raag Lalit, Shudha Saarang, Malhaar etc.

Gaayakee and Naayakee:

Naayak – Naayakee:
There are two meanings of the word Naayak:
1. Naayak is a person who creates new compostions in music. Such a person needs to have thorough knowledge of music
performance and music theory or science, otherwise he or she cannot become a successful Naayak.
2. Second interpretation of the word Naayak is that, Naayak is a person who dutifully learns lessons from his / her Guru
(teacher) and does not contribute his own creative work or ideas to it. He or she sings exactly as per Guru’s
instructions. He/she does not do any research or innovation in his/her Guru’s lessons. Such a person is called a
‘Naayak’ and his/her singing style is called ‘Naayakee’. Baiju, Gopal Nayak were called ‘Naayaks’.

Gaayak – Gaayakee:
A person, who adds to the knowledge he acquired from his/her Guru, through research and prolonged study,
is called Gaayak. It is necessary for a Gaayak to be an expert in practical performance singing since he/she makes
the music very attractive and entertaining through surprising and beautiful arrangements.
It is not necessary for a Gaayak to be a Naayak (create compositions), however, it is necessary for a Naayak
to be a Gaayak. Naayak cannot create new compositions unless he/she is a skilled musician. However, a Naayak
does not have to be a stage performer. Being a stage performer depends upon several factors including his/her
inner desires. Being a stage performer and becoming an expert in practical music are two different
accomplishments.
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Avirbhaav – Tirobhaav:
Sometimes a raaga’s entertainment capacity is enhanced by using relaxed set of rules. At times original
character of a raag is slightly hidden and another raag with similar character is displayed. This way a ‘Tirobhaav’
is performed on the original raag. After Tirobhaav when you come back to performing original raag, it is called
‘Avirbhaav’.
It is essential to firmly establish character of original raag before performing Tirobhaav. Tirobhaav needs to
be performed quickly for a short period of time other wise it can harm the original raag.
Example:

srgmd, d k p (Hameer)
n

k pdpm (Kedaar) - Tirobhaav

pgm dp,gmrs (Hameer) – Avirbhaav

n

In this example, after singing Hameer swaras in the beginning, Tirobhaav was performed on Hemeer by using
few swaras from Kedaar and then Avirbhaav of original raag was performed by singing Hameer swaras again.
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Chapter 3: Information of raag

1. Raag Jaunpuri

Swar fab komal, other notes are shuddha or pure Varjya swar Gandhaar is varjya in aaroha, no swar is varjya in avaroha
Thaat Aasaavaree Jaati Shaadav Sampoorna
Vaadi Dhaivat (a)
Saunvaadi Gandhaar (f) Samay Second prahar of day
|
Pakad m p d b s ba p, m p mf r m
c c c c
| |
Aaroha s r m p bam, p a b s Avaroha s b a p, a m p r m, p f r s
c c c
(Some scholars believe Jaunpuri’s vaadi sauvaadi are Shadja and Pancham.)

Characteristics of Raag:
1. This is an “Uttaraanga pradhaan” raag
|
2. m p d b s & pa mp rm are main phrases of swar for this raag.
c c c c

3. Shadja, Pancham and Madhyam are nyaas swar.

| | |
4. In ‘aarohee chalan’ (ascending usage or expansion), m p d b s, m p a a s, mpaps
c c c c
following phrases are used.
5. In avaroha, Gandhaar occurs in a zigzag manner like this: ‘ mpf ‘. By using ‘mpf‘ and ‘rmpaap‘,
Aasaavaree raagaanga becomes clear.
s
6. In avaroha, Rishabh is usually used with Shadja as kanaswar: ‘ f rs ‘

7. This raag is considered to express ‘Karuna ras’ or pathos.

Swar vistaar (Swar Expansion)

. . . . . .
1. s, r b s, r b a p, p a s, r m p f r s
s

s r m p I, r m p a ap, a m p r m i
b b

2.
| | | |
3. r m p b a i p, a m, p a b s I, s a, p a s i m p a p s
c c c

| | | | | | | |
4. p a s r f r s, r b a p, m p a b s a p, a m p r m, r m p a m p f i r s
m s

c c c c c c c c c c c

Practically, Jaunpuri is just a different form of Raag Aasaavaree. Many scholars do not think there is much difference in these two raagas.
However, other scholars think it is necessary to differentiate between Jaunpuri and Aasaavaree. We will now compare these two raagas.

Comparison between Jaunpuri and Aasaavaree

Similarities:
1. Both raagas have fab komal and other notes are shuddha or pure
2. Thaat is Aasaavaree for both raagas.
|
3. Following swar are used in both raagas: m p a i s, m p a m p f rs s

4. Both raagas are ‘Uttranga pradhaan’ and time for singing is second prahar of day for both.
Differences:
1. Aasaavaree is a ‘Janak’ raag of thaat Aasaavaree or it is a main raga in thaat Aasaavaree, while Jaunpuri is a ‘Janya’ raag that
originates from thaat Aasaavaree.
2. Aasaavaree’s jaati is ‘Odav – Sampoorna’ since f and b are ‘varjit’ in aaroha. In raag Jaunpuri, only Gandhaar is varjya in
aaroha, hence Jaunpuri’s jaati is ‘Shaadav – Sampoorna’.
|
3. In Aasaavaree, you approach ‘Taar Shadja’ in this manner: m p a I, p a s
| | |
In Jaunpuri, singer moves towards taar shadja like this: m p a b s, m p a i a i s, m p aps
| |
4. In Aasaavaree’s avaroha, there is nyaas on Pancham : Examples: s b a p, sa p
| | |
Jaunpuri’s avaroha has nyaas on Pancham: Examples s b a p, s a p, r b a p
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Jaunpuri can also have nyaas on Madhyam like this: p a m p r mi

2. Raag Malkauns

Swar fab komal, other notes are shuddha or pure Varjya swar Rishabh, Pancham
Thaat Bhairavee Jaati Odav
Vaadi Madhyam (m)
Saunvaadi Shadja (s) Samay Midnight
. .
Pakad a b s m f, s f m f s

. | |
Aaroha b s f m ba b s Avaroha s b, a m, f m f s

Characteristics of Raag:
1. This raag is effective is all three octaves.
2. This raag has serious disposition.
3. Since all swar are komal, this raag is included in Bhairavee thaat. In Bhairavee raaga’s expansion in uttaranga, often swar phrase
‘ fmabs s‘ is used. This is the reason Malkauns is thought to be generated from Bhairavee thaat instead of Aasaavaree thaat.
4. Shadja, Madhyam and Dhaivat are nyaas swar.
5. You can see Shadja – Madhyam interaction or dialogue element in this raag. You can derive pairs of swar like sm, fa, mb
from this dialogue element. Because of this dialogue element, this raag has considerable capacity for improvisation, expansion or
elaboration as well as beautiful swar phrases.
.
6. A specialty of ‘Kans’ ragaanga, b s f s is seen in this raag.

Swar vistaar (Swar Expansion)

. . . . . . .
1. s ib f s, b s a I, m a b s, b f s

b s f m I, s f m I, f m a f m f s
2. cc c
| | |
3. s f m a i m, f m a i a, f m a b s a I, a b s i s
| | | | | | | | | | | |
4. s b f s, b s f, m f s, f f s b s a m, f m a f m f s
c c c c c c c
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3. Raaga Bheempalaasee
Introduction:
Swaras: Gandhar Nishad Komal Thaat: Kaafee
Vaadi: Madhyam Samvaadi: Shadja
Varjya swaras: Rishabh, dhaivat in aaroha Jaati: Odav-Sampoorna
Time: Afternoon (3 – 5 PM)

Pakad b s m, m p f m, m f r s
|
Aaroha b s f m p b s
|
Avaroha s b d p, m p f m, f r s

Characteristics of the raaga:

(1) Since this Raag originates from Kaafee thaat (Janya raag from Kafee Thaat), it uses komal Gandhar and Komal Nishaad.
(2) In this raag, undulations are done while singing Gandhar and Nishaad.
(3) Doing ‘Nyaas’ on Madhyam (Ending compositions on Madhyam and lingering on it) clearly shows the character of this
raag. Like Madhyam, one can also perform ‘Nyaas’ on Pancham.
Examples: sfmp, fmp, fmpbdp, pbsbdp etc.
(4) Compositions in this raag usually start with Nishaad.
(5) Along with Vaadi-Saunvaadi, Gandhar and Nishaad are also important in this raag.
(6) Rishabh, Dhaivat are ‘varjya’ in aaroha and even in avaroha there is no resting or lingering on these swaras.
(7) Even though this raag is useful for singing khyaal, it is also popular for singing Bhajan, Natyageet and other light songs.

Raaga elaboration and expansion (Vistaar):

. . . . . .
1 sbb p b s, p b s f rs

.
2 rsb s m f, s f m p f, r s
c c

3 b s fm, f m p, f m p b d p, d p m f f m, s f m f r s

| | | |
4 b s f m p i, f m p b, psbsbs s bdp, m p f m,m f rs
c c c c c
| | | | | || | | | |
5 p m,pm, f m p b,s b, s b, p bsbs,pb s mgrs, r bs,bdp,
c c c c c c

d m p f m, s f m pmfr s
c
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4. Raag Bhairav

Swar e,a komal Varjya swar None

Thaat Bhairav Jaati Sampoorna
Vaadi Dhaivat Samay Early morning
Saunvaadi Rishabh Nyaas Shadja, Pancham
Pakad g m n
a n
a p, p
g m e
g g
e s
|
|
Aaroha s e g m p nana n s Avaroha s n nanap,pg m gege s
c

Characteristics of Raag:
1. This is thaat Bhairav’s janak or aashray (shelter or main) raag.
2. It has ‘Bhairav’ like characteristics. (Bhairav anga)
This raag’s jaati is sampoorna. However, while singing this raag, some rules are followed. Example: While going from s to
p, Rishabh is omitted and swar cluster ‘ sgmp ‘ is used. You can approach p by several different ways, such as:
3.
‘ sgmp, gme, egmp ‘. Nishaad is used very little in uttaraanga. It is mostly used as a kanaswar to Dhaivat like
this: ‘ gm a as ‘. Also in avaroha, instead of mges, gmes is used more often.
n n

4. Since vaadi is Dhaivat and it is a morning raag, it is uttaraanga pradhaan raag.

5. It is necessary to oscillate (aandolan) on swar Rishabh and Dhaivat to clearly show the character of raag Bhairav.
6. Raag Bhairav is called an early morning ‘sandhiprakaash’ raag (or twilight raag).
7. Bhairav is mostly used to create devotional compositions.
8. Some compositions also have praises of the lord or descriptions of morning time.
9. One should not linger on Madhyam in this raag, as that will make it sound like raag Jogiyaa.
10. Raag Kaalingadaa is close to raag Bhairav’s.
11. There are many forms of Bhairav in practice. Examples: Prabhaat Bhairav, Bairaagee Bhairav, Mangal Bhairav etc.

Swar vistaar (Swar Expansion)

. .. . . . . . .
s nanas, n s n s n s e s a a s, e g i me s
1. c c c cc
s e g i g m gege, e g m p, g mge s
2.
3. g m p, g m a a p, a i a p m p g m ge, e g m p, g m gege s
c c c c
| | | | | | | | |
g m nana p, g m nana s ns, e e s n s n s e s nana p a a p m p g m gege s
4. c c c c

| | | | | | | | | | | | | | | |
g m a a s, a n s e e s, s r g, g m e s n s e s a p m p i g m gege s
n n g

5. c c c c
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5. Raag Kedaar
Swar Two Madhyam, Two Nishaad Varjya swar Rishabh and Gandhaar in aaroha, Gandhaar in avaroha
Thaat Kalyaan Jaati Odav – Shaadav
Vaadi Shuddha Madhyam Samay First Prahar of night
Saunvaadi Shadja Nyaas Pancham
s m, m gp, d k p m,mr s
Pakad c c
|
Aaroha s m gp, d n s Avaroha sndp,kpdbdp,kpdpmmrs

Characteristics of Raag:
1. Even though this raag has two Nishaads and two Madhyams, it is considered to belong to thaat Kalyaan.
2. Shuddha Madhyam is strong in this raag and ‘Anshik nyaas’ is peformed on shuddha Madhyam. (Ansh = main swar)
pdkp, dkp, kpdbdp, kpdbs are the swar clusters that use teevra Madhyam. Nyaas is not done
3.
on teevra Madhyam and it is used only in Aaroha.
4. Komal Nishaad is used only in avaroha and it enhances the beauty of raag.
5. Shuddha Nishaad and teevra Madhyam combination also adds to the melodiousness of this raag: such as: nkp
Gandhaar is varjya (varjit) or omitted in this raag. However, when going from Ma to Pa, Ga is used as a kana swar (grace
6.
note). It is not used in a bold manner. A touch of Gandhaar is considered necessary.
7. In aaroha, sm combination is used. Sometimes, srsm is also used.
8. A swar cluster pdkps is often used in this raag which specifes raag Kalyaan.
9. Kaamod, Hameer, Cchaayaanat are the raagas that are close to Kedaar.
Swar vistaar (Swar Expansion)
. . . . . .
s, s m mr s s r s d kp p d k p s s r s
1. c c cc
s r s s m m gp k p k p, k p d p m mr s
2.
3. s m gp, k p d p m, k p d b d p m, p d k p mr s
|
4. s r s m, m gp, k p d p m, k p d n s n d p, k p d p m, s r i s
| | | | | | |

5. s m p d p s, s r s d p, p d k p, n s r s, d p, k d p m mr s
C c
| | | | | | | | || | | | | | .

6. p d k p s d p k p s, s r s, s s m mr s s r s s d p k p d b d p, k p d p m r s n s r s
c c c c c c c c c c c c
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6. Raag Vrundaavanee Saarang

Swar Two Nishaad Varjya swar Gandhaar and Dhaivat
Thaat Kaafee Jaati Odav
Vaadi Rishabh Samay Mid day
Saunvaadi Pancham
.
Pakad r m p r, m r n s
. | |
Aaroha n s r m p n s Avaroha sbp m rs

Characteristics of Raag:
1. Saarang ‘anga’ (body or structure) is strong in this raag.
2. Shuddha nishaad shines in raag Saarang.
3. Shuddha Nishaad is used in aaroha and komal Nishaad is used in avaroha.
4. Raag ususally begins with Nishaad.
5. Nyaas is done only on vaadi, saunvaadi and Shadja.
6. Saarang has many forms. Vrundaavanee Saarang is very popular.
7. Saarang is considered a ‘raagaanga’ of thaat Kaafee.
Swar vistaar (Swar Expansion)
. . . . . . .
s r n s, s b p, m p n sn s
1.
. . . . .
2. p n s r n s r r r mn n s

. .
3. n s r m r, r m p, m p m p b p m r, r n s
. | | |
4. n s r m p, r m p n sn s s b p m p b p m r s
| | | | | | | | | | .

5. m m r s n s r m p n, p n n s, p n s r n s r, r m r n s, s b p, m p b p m r rn s
c c c c c c c c
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7. Raag Jayjayvanti (Baageshree anga or Baageshree style)

Swar Two Nishaad, Two Gandhar; other notes shuddha Varjya swar None
Thaat Khamaaj Jaati Odav Sampoorna
Vaadi Rishabh (Re) Samay Second prahar of night
Saunvaadi Pancham (Pa)
. . .
Pakad r f r s,rn s sd b r
| | . . .
Aaroha s r g m d n s Avaroha sbd p mgr,frs,nsdbr

Characteristics of Raag:
1. This raag is performed in three styles.
A. Des anga: ‘mpn` ‘ is used as seen above in aaroha. Hence it is called Khamaj thaat’s Jayjayvanti.
B. Baageshree Anga – ‘mdb` ‘ is seen in aaroha (see below). Hence it is called Kafee thaat’s Jayjayvanti. Some scholars
use shuddha Nishaad - ‘mdn` ‘. Some scholars think ‘mdb` ‘ and ‘mpn` ‘ can be used together.
C. Some scholars think there is no komal gandhar in Jayjayvanti. With only shuddha Gandhaar,
‘rgmp mgrs,09r‘ is used while singing Jayjayvanti. This style is not used very often.
2. Jayjayvanti is a ‘paramela praveshak’ raag. In the first and second prahar of night, raagas from Kalyaan thaat using shuddha
Re, Dha are performed (Bhoop, Yaman etc.). At midnight, raagas with komal ‘fb‘ e.g. raagas from Kafee or Aaasaavaree
thaat are performed (Bageshree, Darbaaree Kaanadaa etc.). Jayjayvanti has characteristics of both these Thaats. Jayjayvanti
has suddha ‘rd‘ and komal ‘fb‘. Hence it indicates that time for Kalyaan thaat raagas is coming to an end and time for
Kafee or Aasaavaree thaat raagas is beginning. It indicates entrance from one ‘mel’ (thaat) to another mel, hence
Jayjayvanti is called ‘paramel praveshak’ (indicating entrance to another thaat) raag.
3. This raag is particularly effective in ‘madhya saptak’.
4. In thisraag, shuddha Gandhaar and shuddha Nishaad are used in aaroha. Komal Nishaad, komal Gandhaar as well as
shuddha Gandhaar are used in avaroha. Shuddha Gandhaar is used more often than komal Gandhaar. Komal Gandhaar is
only used in this ‘swar samooha’ (swar cluster) ‘rfrs‘.
Shuddha Nishaad is used only with Shadja (‘mpn`‘ or ‘1n`‘). Komal Nishaad is used more often than shuddha
Nishaad. (09r, rgmbdp, `bdpetc.)
5. Rishabh, Pancham and Shadja are nyaas swar. ‘=gr‘ is this raaga’s special swar combination.
6. This raga has two Gandhar and two Nishaad. There is no such Thaat in Bhatkhande vargikaran paddhati (cliassification
method). Hence this raga is an exception in this thaat classification method. Since Shuddha Gandhaar and Komal Nishaad are
proportionally used more often in this raag, it is included in Khamaaj Thaat. When Jayjayvanti is performed with Baageshree
‘anga (style or genre)’ by using ‘ mdb` ‘ swar cluster, it is included in Kafee Thaat.

Swar vistaar (Swar Expansion)

1. s09 r,rfrs8s09 rI,rgmgrirfrs,r8s09= ri

g g g

2. rgmpip,r g mpdbdip,rgmbbddpmpn``

3. `i nn`,1n` db7 1I,p 13 i 1,13531, 1 31 ` 1 n`db 1i`

1 3 3 3

`bdp, r g mp ` b d p,pdpdbdpmgrirfrsr8s09gr
4.
cc
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Comparison study between Raag Jayjayvanti and Raag Des
Similarities:

1. Both ragas use two Nishads. Shuddha Nishad in aaroha and komal Nishad in avaroha. In both ragas, shuddha Gandhar is
important.
2. Both ragas belong to thaat Khamaaj.
3. Nyaas is performed on Rishabh in both ragas.
4. Both ragas use following swar samoohas (Swar clusters): ‘ mpnin` ‘ , ‘ `bdpmgri ‘
5.
6.

Differences:

1. In Jayjayvanti, along with shuddha Gandhar, komal gandhar is also important. ( rfrs8s09ri )
Usually aalaap end with komal gandhar. ( rgmpmgr, frs )
Des does not have komal Gandhar. Even so, sometimes it is used as a vivaadi in only taar saptak like this: ‘pn`1i,
`141`,19dp’
2. In Jayjayvanti, nyaas is performed on Rishabh in both aaroha and avaroha. ( s09ri – aarohi nyaas ),
( rgmpmgri – avarohi nyaas ).
In raag Des, generally, there is avarohi nyaas on Rishabh. ( pdmgri, 8srmgrietc.).
3. In avaroha of both ragas, `bdpmgr swar construction is common. However, swar samoohas at the end of
avaroha are different and hence these two ragas can be recognized by them.
Jayjayvanti’s avaroha: `bdpmgrirfrs
Des’s avaroha: `bdpmgrirg8s
4. Jayjayvanti’s vaadi saunvadi are ‘ r--p‘and Des’s vaadi saunvaadi are ‘ p--r‘
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Characters of Jayjayvanti (Baageshree Anga)

Aaroha: srgmdn`

Avaroha: `bdpmgr, frs8s09r

Pakad: rfrs 09r

s

Aalaap:

1. sr8s90=,=r,rfrs,s09ris
sr8s 09r,grgir,frs8s09ris
s

c c
2. 8srgmgr,rgmp,rgmbdp,ddpmpdmgr,
c c c c c c c c c c c c c

rgmpirmgr,rfmfrs, 9s09ris
r

c c c c c c c c
3. srgmdn`,1n`db1,31`,`1n`ibdp,
c c c c c c cc c c

pdn`bdpdmgr,rgmpirmgr,rgmfrs 8s
r

c c c c c c c c c c c
4. gmdn ` ibdpmgmdn`in``db1,13i1,
c c c c c c c c c c c c

13571531,rgmprmgr,rgmfrs8s09rs
cc c c c c c c c c c c

Taan
1. 8srgmgrfrs8s,8srgmpmgmgrfrs8s,8srgmbdpmgrfrs9s
2. gmdb`bdpmgrfrs9s,gmdb`1`bdpmgrfrs8s,
gmdb`131`bdpmgrfrs9s,gmdb`1354141`bdpmgrfrs8s
3. srgm,rgmd,gmdb,mdn`,db`141`b,1`bd,`bdp,
bdpm,dpmg,pmgr,rfrs8s
4. srgmgr,rgmdpm,mdb`bd,db`1`b,b`141`,db`bdp,pdbdpm,
gmpmgr,rfrs8s
5. srgmddpm,gmdb``bd,db`141`b,dn11`bdp,pdbdpmgr,
rgmpdpmgrg,mgrfrs
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8. Raag Gaud Saarang

Swar Two Madhyam, other notes shuddha Varjya swar None

Thaat Kalyaan Jaati Vakra Sampoorna
Vaadi Gandhar (Ga) Samay Afternoon (Do prahar)
Saunvaadi Dhaivat (Dha)
Pakad s, g r m g, p r s
. | |
Aaroha n s g r m g, p k d k p s Avaroha sndp,kpmgm g rmg,pr s

Characteristics of Raag:
1. Poorvaanga pradhaan raag with quiet, pleasant nature.
2. Nyaas is performed on Gandhaar, Pancham and Shadja.
3. Shuddha Madhyam is used more often than Teevra Madhyam.
4. ‘Vakra Chalan’ or ‘Topsy tervy character’ is a specialty: grmg, pkdp, dn, pdkp etc.
5. This is one of the raagas from ‘Kalyan Panchak’ (Five raagaas resembling Kalyaan). Kalyaan raagaang (raag character) is seen
by use of swars like ‘ pr’ as well as‘pdkp`’.
6. Taar Shadja is approached in two ways: ‘ pdkp`’,’kpdn`’.

7. This is one type of Saarang, however swaras indicating ‘ rmr‘ are not used. Some scholars think while using
‘ pr‘ combination, Rishabh can be used with a ‘kanaswar’ (grace note) of Madhyam- ‘pmrs‘- and this arrangement
will resemble Raag Saarang.
Swar vistaar (Swar Expansion)

1. sgrmgI,g,rgrmgI,mgmrsrss, s08==0==sI,grmgprs
ccc ccc

2. grmgpI,p d ppmgrmg,s gpip,dkpmgrmg,grmgprs

m

3. pn d npdppmg,rgrmgp i p,pdpp`i`,kpdn`dpdpp`I, ` 3 1 531 ` 1 ` `

c cc ccc ccc
`ndp, d k pmgr m g,gr,mg,prs
4.
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9 Raag Chhaayaanat

Two Madhyam, Two Nishad;

Swar Varjya swar Ni in Aaroha, None in Avaroha.
all other notes shuddha
Thaat Kalyaan Jaati Shaadav Sampoorna
Vaadi Rishabh (r) Samay First prahar of night
Saunvaadi Pancham (p)
Vivaadi Komal Nishad ( b)
Pakad p r, r g g m p r s
| |
Aaroha s, r g g m p, p kdkp s Avaroha sndkp, d kppr,rg g mpprs

Characteristics of Raag:
1. Performed in Madhya Saptak. Composing various aalaap from Rishabh to Pancham is a specialty of this raag
( rrggmmprs )
2. Chhaayaanat is one of the raagas in ‘Kalyaan Panchak raagas’ (Five raagas like Kalyaan).’dkp, pr, pdpp` ‘ are
raag Kalyaan style swar clusters (swar samooha) found in this raag.
3. This raag has two Madhyam. Shuddha madhyam is used more often that teevra madhyam. Shuddha Madhyam is prominent
and Nyaas is also performed on it. Teevra Madhyam is only used in ‘ dkp‘ combination.
4. This raag has two Nishaad. Nishaad has a minor role in this raag. Shuddha Nishaad is used in small quantity in following
manner: ‘ `ndp‘, ‘ dn`1` ‘. Komal Nishaad is used as a Vivaadi like this: ‘ rgmbdp ‘.
5. Rishabh, Pancham and Shadja are nyaas swar.
6. A swar sentence or cluster, ‘gmrs‘, seen in ‘Kalyaan Panchak’ raagas is also seen in this raag.

Swar vistaar (Swar Expansion)

1. rrggm r s,s0=,=0 = =s,srs r g mpmI,pgmrs

cc c

2. rrggmmpI,rgmdip,dkprI,gmrs
cc

3. sr, r g,gm,kp,p d kp ` i`, ` d p dkp ` I,p ` 1 i 1 i`

n

c ccc
p d k p `, d p k p n ` 1 `, 1, 3 5 71 `, ` d m p r I, 1 I, r g, g m, b d p dkprI,rgI,gmI,piris
4. ccc c cccc c cc
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10 Raag Shankaraa

Varjya
Swar All notes are shuddha, r is weak r,m in Aaroha, m in Avaroha
swar
Thaat Bilaaval Jaati Odav Shadav
Vaadi Gandhar (g) Samay Second prahar of night
Saunvaadi Nishad (n)
|
Pakad p n d s n, d
p g p g
r
s
r

| |
Aaroha p
s gp, n d s n Avaroha sndp,gprgrs

Characteristics of Raag:
1. Even though Gandhaar is a vaadi, this is a uttaraanga pradhaan raag. This raag has Heroic or brave warrior character.,
2. Nyaas is performed on sgpn
3. In avaroha, Rishabh and Dhaivat are used as grace notes (Kana swar). However, their presence is important. It is mandatory
to use Dhaivat and Rishabh as grace notes in following manner: ‘n p, gp g s‘. d r r

Swar vistaar (Swar Expansion)

1. gp g s,= 8 s gp g s,s gpipdppg p g s

r r p r r p r r

ccccc

2. sgspI,=8 s pp,gpn p,gp g s g d r r

3. gp n inI,sgp, g pn,pnd ` n I,gpn ` i

pnd ` in,pn ` 31`, ` 1 ` ` nnd ` ndpnidpg,gndpg,pgprgrs

4.
cccc

Comparison study between Raag Shankaraa and Raag Bihaag

Similarities:

1. Both ragas originate from Bilaaval thaat. (‘Bilaaval thaat janya’.)

2. Vaadi is swar Gandhaar and saunvaadi is swar Nishaad for both ragas.
3. In both ragas nyaas is performed on Shadja, Gandhar, Pancham and Nishad.
4. In both ragas Rishabh is varjit in aaroha.
5. In avaroha of both ragas, it is necessary to use Dhaivat and Rishabh as ‘Kanaswar’.
6. ‘ =8sg s’,’ n p’,’ pn`I’ ‘ pn`3 `’ are the swar samooha (note clusters) are used in both
r d 1

ragas.

7. For both ragas, time for singing is second prahar of night.

Differences:

1. In Shankaraa, Madhyam is fully omitted. Bihaag uses two Madhyams. Because of use of Madhyam, Bihaag shows
completely different character than Shankaraa.
2. Shankara’s jaati (type) is odav-shaadav since Rishabh and Madhyam are varjya in Shankara’s aaroha (and Madhyam is
omitted in avaroha too). Bihaag’s aaroha avaroha has Madhyam and Bihaag’s jaati is Odav Sampoorna (rd are ommitted
in Bihaag’s aaroha).
3. Shankaraa is an uttaraanga pradhaan raag. Bihaag is performed in all three octaves. Bihaag has calm and peaceful
character. In Bihaag one can especially enjoy aalaap expansions. Shankaraa has an energetic or warrior character.
Shankaraa is effective while singing taan, sargam and ‘layakaaree (tempo variations)’.
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11 Raag Puriyaa Dhanaashree

ea Komal, Teevra Madhyam- k,

Swar Varjya swar None
other notes are shuddha
Thaat Poorvee Jaati Sampoorna
Vaadi Pancham (p) Samay Evening (Evening ‘Sandhi prakaash raag’)
Saunvaadi Rishabh (e)
Pakad k a p,a p k g,keg, e s
k

` n 1 n akp,apkg,keg,kes
Aaroha 9 e g k p, k a p, k a ` n Avaroha ccc

Characteristics of Raag:
1. Originates from Poorvee Thaat (Janya)
2. Puriyaa Dhanaashree is considered to be an independent form of raga.
3. Another opinion is that this raga is a mixture of raga Dhanaashree (Poovee thaat janya) and raga Puriyaa
4. Distinct swar samooha (note combinations) are: keg,enap, Two ways to approach Taar Shadja (Top Sa)- ‘kans’
and ‘kas’
5. Gandhaar, Pancham and Shadja are nyaas swar.
6. This raag is effective is Madhya Saptak and Aalaap are predominant during expansion.

Swar vistaar (Swar Expansion)

.
1. 8egI,k g k eges,e 8 -=,k-s,8e s

2. 8e g gpI,e g kaip,pa,kp,gk, egkegeis

k k k

3. gka ip,gkan, a 2naip,k a n `,n2s

n23,6 2 3 2i`,2 n aip,akpk,g,keg,egkaikges

4.
ccc c
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12 Raag Kaamod

Gandhar and Nishad are varjya in

Varjya
Swar Two Madhyam, other notes shuddha aaroha.
swar
None in avaroha.
Odav Sampoorna (Some scholars think
Thaat Kalyaan Jaati
the jatti of Kaamod is Vakra Sampoorna)
Vaadi Pancham (p) Samay First prahar of night
Saunvaadi Rishabh (r)
Pakad r p, k p, d p, g m r s
| | |

Aaroha m
s rp, d p s Avaroha s d p, rp,gmpgmrs
s k m

Characteristics of Raag:
1. This raag is sung in ‘Madhya Saptak’ (middle octave),
2. Main characteristic of this raga is, in Aaroha, Rishabh is used with a grace note of Madhyam ( s r rp),
m m

3. This is one of the ragas from ‘Kalyan Panchak’ (Five ragas resembling raga Kalyaan). ‘dkp’ and ‘pdkps’ denote
‘Kalyaan anga’ or Kalyaan characteristics.
4. Shadja and Pancham are nyaas swar.
5. In this raag, there is very little use of Nishaad. Examples: : ’pdpps nrs’ and ‘s d p’
n

6. Kaamod can be sung by omitting Gandhaar In Avaroha, such as: ‘ dkp,mrs ‘

7. . Some scholars use Gandhaar in following manner: ‘ p,gmrs ‘, ‘ gmp,gmrs ‘

Swar vistaar (Swar Expansion)

1. m
rmrp,pd p p gmsrs,r s 0=,=ssrs, g msrs

2. s r rpi, pdip,pdkpgmrppI,p`dp,kpdkp,gmp,gmrs
m m

ccc cccc cc c

3. m
rmr p i dip,pd k p ` i`, ` d p d pp`,p`n 1 s, ` 35` 1 `, ` 1 73 5 1 `,
cc c c c cc
` 1 n ` d d kp,gm p gmrs
cccc cc c
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Chapter 4: Taal

Taal : Information, Thekaa, Dugun, Tigun, Chougun:

Pnadit Bhatkhande and Pandit Paluskar Lipi

Praveshikaa Pratham Exam (Information and Thekaa only – Oral exam)

Daadraa, Keharvaa, Teentaal, Ektaal, Jhaptaal, Choutaal (Chaartaal)

Praveshikaa Poorna Exam: (Information, Thekaa and Dugun - Oral and written exams)
1. Recognize taal playing on tablaa.
2. Show Thaah and Dugun laya (single and double tempo) with hand while reciting numbers or bol (taal words).
3. Show dugun of Vilambit Ektaal, Choutaal, Dhamaar, Roopak and Teentaal with hand while reciting bol (taal words).
(Dhamaar, Roopak, Daadraa, Keharvaa, Teentaal, Ektaal, Jhaptaal, Choutaal)

Madhyamaa Pratham Exam:

1. Show with hand while reciting bol:
Jhoomraa, Vilambit Ektaal, Tilvaadaa, Dhamaar, Sooltaal (Information, Thekaa and Dugun - Oral and written exams)
2. Show with hand while reciting bol : Dugun, Tigun, Chougun of taal studied earlier.
Roopak, Daadraa, Keharvaa, Teentaal, Jhaptaal, Choutaal (Information, Thekaa, Dugun, Tigun, Chougun - Oral and written exams)

Madhyamaa Poorna Exam:

1. Say and show Dugun of Roopak, Deepchandi, Choutaal
2. Ability to say 2 into 3 OR 3 into 2 with help of numbers, or, convert any one taal into other taal.
Information, and identify when a taal is playing on Tablaa.
Learn to say and show Dugun, Tigun, Chougun for all Taal from previous years.
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Praveshikaa Pratham
Taal Daadraa: Dhaa Dhee Naa Dhaa Tee Naa Taal Kervaa: Dhaa Ge Naa Tee Na Ka Dhi Na
Maatraa (Beats): 6, Vibhaag or Khanda (sections) : 2 (3,3) Maatraa (Beats): 8, Khanda (sections) : 2 (4, 4)
Taalee: 1 (on 1st beat or Maatraa) Taalee: 1 (on 1st beat or Maatraa)
Khaalee or Kaal: 1 (on 4th Beat or Maatraa) Khaalee or Kaal: 1 (on 5th Beat or Maatraa)
Taal Teentaal Taal Ektaal
Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa
Maatraa (Beats): 16, Vibhaag or Khanda (sections) : 4 (4, 4, 4, 4) Maatraa (Beats): 12
Taalee: 3 (on 1, 5, 13 beat or Maatraa) Vibhaag or Khanda (sections) : 6 (2, 2, 2, 2, 2, 2)
Khaalee or Kaal: 1 (on 9th Beat or Maatraa) Taalee: 4 (on 1, 5, 9, 11th beat or Maatraa)
Khaalee or Kaal: 2 (on 3rd and 7th Beat or Maatraa)
Taal Jhaptaal: Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Taal Choutaal – Chaartaal
Maatraa (Beats): 10, Vibhaag or Khanda (sections) : 4 (2, 3, 2, 3) Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana

Taalee: 3 (on 1, 3, 8 beat or Maatraa) Maatraa (Beats): 12

Vibhaag or Khanda (sections) : 6 (2, 2, 2, 2, 2, 2)
Khaalee or Kaal: 1 (on 6th Beat or Maatraa)
Taalee: 4 (on 1, 5, 9, 11th beat or Maatraa)
Khaalee or Kaal: 2 (on 3rd and 7th Beat or Maatraa)

Praveshikaa Poorna

Taal Dhamaar Taal Roopak

Kat Dhi Ta Dhi Ta Dha I Ga Ti Ta Ti Ta Taa I Tee Tee Naa Dhi Naa Dhi Naa Tee

Maatraa (Beats): 14, Vibhaag or Khanda (sections) : 4 (5, 2, 3, 4) Maatraa (Beats): 7, Vibhaag or Khanda (sections) : 3 (3, 2, 2)
Taalee: 3 (on 1, 6, 11 beat or Maatraa) Taalee: 2 (on 4th and 6th beat or Maatraa)
Khaalee or Kaal: 1 (on 8th Beat or Maatraa) Khaalee or Kaal: 1 (on 1st Beat or Maatraa)

Madhyamaa Pratham

Taal Jhoomraa Taal Tilvaadaa

Dhin I Dhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin I Taa Tirakita Dhin Dhin DhaaGe Tirakita Dhaa Tirakita Dhin Dhin Dhaa Dhaa Tin Tin Taa Tirakita Dhin Dhin Dhaa Dhaa Dhin Dhin

Maatraa (Beats): 14, Vibhaag or Khanda (sections) : 4 (3, 4, 3, 4) Maatraa (Beats): 16, Vibhaag or Khanda (sections) : 4 (4, 4, 4, 4)
Taalee: 3 (on 1, 4, 11 beat or Maatraa) Taalee: 3 (on 1, 5, 13 beat or Maatraa)
Khaalee or Kaal: 1 (on 8th Beat or Maatraa) Khaalee or Kaal: 1 (on 9th Beat or Maatraa)
Taal Sooltaal
Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee
Maatraa (Beats): 10, Vibhaag or Khanda (sections) : 5 (2, 2, 2, 2, 2)
Taalee: 3 (on 1, 5, 7th beat or Maatraa)
Khaalee or Kaal: 2 (on 3rd and 9th Beat or Maatraa)

Madhyamaa Poorna

Taal Deepchandi Taal Aadaa Choutaal Maatraa (Beats): 14,

Dhaa Dheen i Dhaa Dhaa Teeni Taa TeeniDhaa Dhaa Dheeni Dheen Tirakita Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa

Maatraa (Beats): 14, Vibhaag or Khanda (sections) : 4 (3, 4, 3, 4) Vibhaag or Khanda (sections) : 7 (2,2,2,2,2,2,2)
Taalee: 3 (on 1, 4, 11 beat or Maatraa) Taalee: 4 (on 1, 3, 7, 11 beat or Maatraa)
Khaalee or Kaal: 1 (on 8th Beat or Maatraa) Khaalee or Kaal: 3 (on 5th, 9th, 13th Beat or Maatraa)
Taal Teevraa Dhaa Din Taa KitaTaka Gadee Gana

Maatraa (Beats): 7, Vibhaag or Khanda (sections) : 3 (3, 2, 2)

Taalee: 3 (on 1st, 4th and 6th beat or Maatraa)
Khaalee or Kaal: There is no khaalee
 25
© Anjali Nandedkar, nandedkarproductions.com
ताल दादरा Taal Daadraa
मात्रा : 6, विभाग (खंड) – 2 (3, 3), Maatraa (Beats): 6, Vibhaag or Khanda (sections) : 2 (3,3)
ताली : 1 (पहली मात्रापर), Taalee: 1 (on 1st beat or Maatraa)
खाली : 1 (चौथी मात्रापर) Khaalee or Kaal: 1 (on 4th Beat or Maatraa)

भातखंडे ताल – ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का धा धध ना धा ती ना धा

Thekaa Dhaa Dhee Naa Dhaa Tee Naa Dhaa

X O X

दग
ु न
ु धा धध ना धा ती ना धा धध ना धा ती ना धा
DhaaDhi NaaDhaa TeeNaa DhaaDhi NaaDhaa TeeNaa Dhaa
Dugun
(Double X O X
speed)

Dugun – Single cycle

दग
ु ुन धा धध ना धा धध ना धा ती ना धा

Dugun Dhaa Dhee Naa DhaaDhi NaaDhaa TeeNaa Dhaa

(Double X O X
speed)

ततगुन धा धध ना धा ती ना धा धध ना धा ती ना धा धध ना धा ती ना धा
DhaaDhiNaa DhaaTeeNaa DhaaDhiNaa DhaaTeeNaa DhaaDhiNaa DhaaTeeNaa Dhaa
Tigun
(Triple X O X
speed)

Tigun – Single Cycle

ततगन
ु धा धध ना धा धा धध ना धा ती ना धा

Tigun Dhaa Dhee Naa Dhaa DhaaDhiNaa DhaaTeeNaa Dhaa

(Triple X O X
speed)

चौगन
ु धा धध ना धा ती ना धा धध ना धा ती ना धा धध ना धा ती ना धा धध ना धा ती ना धा
DhaaDhiNaaDhaa TeeNaaDhaaDhi NaaDhaaTeeNaa DhaaDhiNaaDhaa TeeNaaDhaaDhi NaaDhaaTeeNaa Dhaa
Chougun
(Quadruple X O X
speed)

Chougun – Single Cycle

चौगुन धा धध ना धा - - धा धध ना धा ती ना धा
Dhaa Dhee Naa Dhaa - - Dhaa Dhi NaaDhaaTeeNaa Dhaa
Chougun
(Quadruple X O X
speed)
 26
© Anjali Nandedkar, nandedkarproductions.com
पलुस्कर ताल – ललपी Pandit Paluskar Taal – Lipi (Taal script)

ठे का धा धध ना धा ती ना धा
Dhaa Dhi Naa Dhaa Tee Naa Dhaa
Thekaa z z z z z z Z
1 + 1

दग
ु ुन धा धध ना धा ती ना धा धध ना धा ती ना धा
DhaaDhi NaaDhaa TeeNaa DhaaDhi NaaDhaa TeeNaa Dhaa
Dugun Xx Xx Xx Xx Xx Xx z
1 + 1

Dugun – Single cycle

दग
ु न
ु धा धध ना धा धध ना धा ती ना धा
Dhaa Dhi Naa DhaaDhi NaaDhaa TeeNaa Dhaa
Dugun z z z Xx Xx Xx z
1 + 1

ततगुन धा धध ना धा ती ना धा धध ना धा ती ना धा धध ना धा ती ना धा
DhaaDhiNaa DhaaTeeNaa DhaaDhiNaa DhaaTeeNaa DhaaDhiNaa DhaaTeeNaa Dhaa
Tigun H h h H h h H h h H h h H h h H h h z
1 + 1

Tigun – Single cycle

ततगुन धा धध ना धा धा धध ना धा ती ना धा
Dhaa Dhi Naa Dhaa DhaaDhiNaa DhaaTeeNaa Dhaa
Tigun z z z z H h h H h h z
1 + 1

चौगन
ु धा धध ना धा ती ना धा धध ना धा ती ना धा धध ना धा ती ना धा धध ना धा ती ना धा
DhaaDhiNaaDhaa TeeNaaDhaaDhi NaaDhaaTeeNaa DhaaDhiNaaDhaa TeeNaaDhaaDhi NaaDhaaTeeNaa Dhaa
Chougun C c c c C c c c C c c c C c c c C c c c C c c c
1 + 1

Chougun – Single cycle

चौगुन धा धध ना धा - - धा धध ना धा ती ना धा
Dhaa Dhi Naa Dhaa - - Dhaa Dhi NaaDhaaTeeNaa Dhaa
Chougun
z z z z C c c c C c c c

1 + 1
 27
© Anjali Nandedkar, nandedkarproductions.com
Praveshikaa Pratham Exam

ताल केरवा Taal Kervaa

मात्रा : 8, विभाग (खंड) – 2 (4, 4), Maatraa (Beats): 8, Khanda (sections) : 2 (4, 4)
ताली : 1 (पहली मात्रापर), Taalee: 1 (on 1st beat or Maatraa)
खाली : 1 (पााँचिी मात्रापर) Khaalee or Kaal: 1 (on 5th Beat or Maatraa)

भातखंडे ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का धा गे ना ती न क धध न धा
Dhaa Ge Naa Tee Na Ka Dhi Na Dhaa
Thekaa X O X

दग
ु न
ु धागे नाती नक धधन धागे नाती नक धधन धा
Dugun Dhaa Ge Naa Tee Na Ka Dhi Na DhaaGe NaaTee NaKa DhiNa Dhaa
(Double X
Speed) X O

Dugun – Single cycle

दग
ु न
ु धा गे ना ती धागे नाती नक धधन धा
Dugun Dhaa Ge Naa Tee DhaaGe NaaTee NaKa DhiNa Dhaa
(Double X
Speed) X O

ततगुन धागेना तीनक धधनधा गेनाती नकधध नधागे नातीन कधधन धा

Tigun DhaaGeNaa TeeNaKa DhiNaDhaa GeNaaTee NaKaDhi NaDhaaGe NaaTeeNa KaDhiNa Dhaa
(Triple
speed) X O X

Tigun – Single cycle

ततगुन धा गे ना ती न - धा गे नातीन कधधन धा
Tigun Dhaa Ge Naa Tee Na - DhaaGe NaaTeeNa KaDhiNa Dhaa
(Triple
speed) X O X

चौगन
ु धागेनाती नकधधन धागेनाती नकधधन धागेनाती नकधधन धागेनाती नकधधन धा
Chougun DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa Dhaa
(Quadruple
speed) X O X

Chougun – Single cycle

चौगन
ु धा गे ना ती न क धागेनाती नकधधन धा
Chougun Dhaa Ge Naa Tee Na Ka DhaaGeNaaTee NaKaDhiNa Dhaa
(Quadruple
speed) X O X
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© Anjali Nandedkar, nandedkarproductions.com
पलस्
ु कर ललपी Pandit Paluskar Taal – Lipi (Taal script)

ठे का धा गे ना ती न क धध न धा
Dhaa Ge Naa Tee Na Ka Dhi Na Dhaa
Thekaa z z z z z z z z Z
1 + 1

दग
ु न
ु धागे नाती नक धधन धागे नाती नक धधन धा
DhaaGe NaaTee NaKa DhiNa DhaaGe NaaTee NaKa DhiNa Dhaa
Dugun Xx Xx xx Xx Xx Xx xx Xx z
(Double
speed) 1 + 1

Dugun – Single cycle

दग
ु ुन धा गे ना ती धागे नाती नक धधन धा
Dhaa Ge Naa Tee DhaaGe NaaTee NaKa DhiNa Dhaa
Dugun z z z z xx
Xx Xx Xx z
(Double
speed) 1 + 1

ततगन
ु धागेना तीनक धधनधा गेनाती नकधध नधागे नातीन कधधन धा
DhaaGeNaa TeeNaKa DhinNaDhaa GeNaaTee NaKaDhi NaDhaaGe NaaTeeNa KaDhiNa Dhaa
Tigun H h h H h h H h h H h h H h h H h h H h h H h h z

(Triple
1 + 1
speed)

Tigun – Single cycle

ततगुन धा गे ना ती न - धागे नातीन कधधन धा

Dhaa Ge Naa Tee Na - DhaaGe NaaTeeNa KaDhiNa Dhaa
Tigun z z z z z H h h H h h H h h z
(Triple
speed) 1 + 1

चौगुन धागेनाती नकधधन धागेनाती नकधधन धागेनाती नकधधन धागेनाती नकधधन धा

DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa DhaaGeNaaTee NaKaDhiNa Dhaa
Chougun C c c c C c cc C c c c C c c c C c c c C c c c C c c c C c c c z

(Quadruple
1 + 1
Speed)

Chougun – Single cycle

चौगुन धा गे ना ती न क धागेनाती नकधधन धा

Dhaa Ge Naa Tee Na Ka DhaaGeNaaTee NaKaDhiNa Dhaa
Chougun z z z z z z C c c c C c c c z
(Quadruple
Speed) 1 + 1
 29
© Anjali Nandedkar, nandedkarproductions.com
Praveshikaa Pratham Exam

ताल तीनताल Taal Teentaal

मात्रा : 16, विभाग (खंड) – 4 (4, 4, 4, 4), Maatraa (Beats): 16, Vibhaag or Khanda (sections) : 4 (4, 4, 4, 4)
ताली : 3 (1, 5, 13 मात्रा पर), Taalee: 3 (on 1, 5, 13 beat or Maatraa)
खाली : 1 (9 िी मात्रा पर) Khaalee or Kaal: 1 (on 9th Beat or Maatraa)

भातखंडे ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का धा धधं धधं धा धा धधं धधं धा

Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa
Thekaa X 2

धा ततं ततं ता ता धधं धधं धा धा

Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa Dhaa
O 3 X

दग
ु ुन धाधधं धधंधा धाधधं धधंधा धाततं ततंता ताधधं धधंधा
DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa
Dugun
(Double X 2
speed)
धाधधं धधंधा धाधधं धधंधा धाततं ततंता ताधधं धधंधा धा
DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa Dhaa

O 3 X

Dugun – Single cycle

दग
ु ुन धा धधं धधं धा धा धधं धधं धा
Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa
Dugun
(Double X 2
speed)
धाधधं धधंधा धाधधं धधंधा धाततं ततंता ताधधं धधंधा धा
DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa Dhaa

O 3 X

ततगन
ु धाधधंधधं धाधाधधं धधंधाधा ततंततंता ताधधंधधं धाधाधधं धधंधाधा धधंधधंधा
DhaaDhinDhin DhaaDhaaDhin DhinDhaaDhaa TinTinTaa TaaDhinDhin DhaaDhaaDhin DhinDhaaDhaa DhinDhinDhaa
Tigun 2
X

धाततंततं ताताधधं धधंधाधा धधंधधंधा धाधधंधधं धाधाततं ततंताता धधंधधंधा धा

DhaaTinTin TaaTaaDhin DhinDhaaDhaa DhinDhinDhaa DhaaDhinDhin DhaaDhaaTin TinTaaTaa DhinDhinDhaa Dhaa
O 3 X

Tigun – Single cycle

ततगुन धा धधं धधं धा धा धधं धधं धा

Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa
Tigun
X 2

धा ततं - - धा धधंधधंधा धाधधंधधं धाधाततं ततंताता धधंधधंधा धा

Dhaa Tin - - Dhaa DhinDhinDhaa DhaaDhinDhin DhaaDhaaTin TinTaaTaa DhinDhinDhaa Dhaa
O 3 X
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© Anjali Nandedkar, nandedkarproductions.com

चौगन
ु धाधधंधधंधा धाधधंधधंधा धाततंततंता ताधधंधधंधा धाधधंधधंधा धाधधंधधंधा धाततंततंता ताधधंधधंधा
DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa
Chougun
X 2

धाधधंधधंधा धाधधंधधंधा धाततंततंता ताधधंधधंधा धाधधंधधंधा धाधधंधधंधा धाततंततंता ताधधंधधंधा धा

DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa Dhaa
O 3

Chougun – Single cycle

चौगुन धा धधं धधं धा धा धधं धधं धा
Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa
Chougun
X 2

धा ततं ततं ता धाधधंधधंधा धाधधंधधंधा धाततंततंता ताधधंधधंधा धा

Dhaa Tin Tin Taa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa Dhaa
O 3

ताल तीनताल : पलस्

ु कर ललपी Taal Teentaal : Pandit Paluskar Taal – Lipi (Taal script)
ठे का धा धधं धधं धा धा धधं धधं धा
Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa
Thekaa z z
z z z z z z
1 5

धा ततं ततं ता ता धधं धधं धा धा

Dhaa Tin Tin Taa Taa Dhin Dhin Dhaa Dhaa
z z z z z z z z Z
+ 13 1

दग
ु न
ु धाधधं धधंधा धाधधं धधंधा धाततं ततंता ताधधं धधंधा
DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa
Dugun Xx Xx xx Xx Xx Xx xx Xx
(Double 1 5
speed)
धाधधं धधंधा धाधधं धधंधा धाततं ततंता ताधधं धधंधा धा
DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa Dhaa
Xx Xx xx Xx Xx Xx xx Xx z
+ 13 1

Dugun – Single cycle

दग
ु ुन धा धधं धधं धा धा धधं धधं धा
Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa
Dugun z z z z z z z z
(Double 1 5
speed)
धाधधं धधंधा धाधधं धधंधा धाततं ततंता ताधधं धधंधा धा
DhaaDhin DhinDhaa DhaaDhin DhinDhaa DhaaTin TinTaa TaaDhin DhinDhaa Dhaa
Xx Xx xx Xx Xx Xx xx Xx z
+ 13 1
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ततगुन धाधधंधधं धाधाधधं धधंधाधा ततंततंता ताधधंधधं धाधाधधं धधंधाधा धधंधधंधा

DhaaDhinDhin DhaaDhaaDhin DhinDhaaDhaa TinTinTaa TaaDhinDhin DhaaDhaaDhin DhinDhaaDhaa DhinDhinDhaa
Tigun H h h H h h H h h H h h H h h H h h H h h H h h
(Triple 1 5
speed)
धाततंततं ताताधधं धधंधाधा धधंधधंधा धाधधंधधं धाधाततं ततंताता धधंधधंधा धा
DhaaTinTin TaaTaaDhin DhinDhaaDhaa DhinDhinDhaa DhaaDhinDhin DhaaDhaaTin TinTaaTaa DhinDhinDhaa Dhaa
H h h H h h H h h H h h H h h H h h H h h H h h z
+ 13 1

Tigun – Single cycle

ततगुन धा धधं धधं धा धा धधं धधं धा

Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa
Tigun z z z z z z z z
(Triple
speed) 1 5

धा ततं- - - धा धधंधधंधा धाधधंधधं धाधाततं ततंताता धधंधधंधा धा

Dhaa Tin - - Dhaa DhinDhinDhaa DhaaDhinDhin DhaaDhaaTin TinTaaTaa DhinDhinDhaa Dhaa
z z H h h H h h H h h H h h H h h H h h z

+ 13 1

चौगुन धा धधं धधं धा धा धधं धधं धा धा ततं ततं ता ता धधं धधं धा धा धधं धधं धा धा धधं धधं धा धा ततं ततं ता ता धधं धधं धा
DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa
Chougun C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c

(Quadruple 1 5
speed)
धा धधं धधं धा धा धधं धधं धा धा ततं ततं ता ता धधं धधं धा धा धधं धधं धा धा धधं धधं धा धा ततं ततं ता ता धधं धधं धा धा
DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa Dhaa
C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c z
+ 13 1

Chougun – Single cycle

चौगन
ु धा धधं धधं धा धा धधं धधं धा
Dhaa Dhin Dhin Dhaa Dhaa Dhin Dhin Dhaa
Chougun z z z z z z z z
(Quadruple 1 5
speed)
धा ततं ततं ता धा धधं धधं धा धा धधं धधं धा धा ततं ततं ता ता धधं धधं धा धा
Dhaa Tin Tin Taa DhaaDhinDhinDhaa DhaaDhinDhinDhaa DhaaTinTinTaa TaaDhinDhinDhaa Dhaa
z z z z C c c c C c c c C c c c C c c c z

+ 13 1
 32
© Anjali Nandedkar, nandedkarproductions.com

Praveshikaa Pratham Exam

ताल एकताल Taal Ektaal
मात्रा : 12, Maatraa (Beats): 12
विभाग (खंड) – 6 (2, 2, 2, 2, 2, 2), Vibhaag or Khanda (sections) : 6 (2, 2, 2, 2, 2, 2)
ताली : 4 (1, 5, 9, 11 िी मात्रा पर), Taalee: 4 (on 1, 5, 9, 11th beat or Maatraa)
खाली : 2 (3 तथा 7 िी मात्रा पर) Khaalee or Kaal: 2 (on 3rd and 7th Beat or Maatraa)

भातखंडे ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का धधं धधं धागे ततरककट तू ना

Dhin Dhin DhaaGe Tirakita Too Naa
Thekaa X O 2

कत ् ता धागे ततरककट धी ना धधं

Kat Taa DhaaGe Tirakita Dhee Naa Dhin
O 3 4 X

दग
ु ुन धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa
Dugun
(Double X O 2
speed)
धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना धधं
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin

O 3 4 X
Dugun – Single cycle

दग
ु ुन धधं धधं धागे ततरककट तू ना
Dhin Dhin DhaaGe Tirakita Too Naa
Dugun
(Double X O 2
speed)
धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना धधं
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin

O 3 4 X

ततगन
ु धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना धधं धधं धागे ततरककट तू ना
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa
Tigun
X O 2

कत ् ता धागे ततरककट धी ना धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना धधं

Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin

O 3 4 X

Tigun – Single cycle

ततगन
ु धधं धधं धागे ततरककट तू ना
Dhin Dhin DhaaGe Tirakita Too Naa
Tigun
X O 2

कत ् ता धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना धधं

Kat Taa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin

O 3 4 X
 33
© Anjali Nandedkar, nandedkarproductions.com

चौगुन धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa
Chougun
X O 2

धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना धधं
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa

O 3 4 X

Chougun – Single cycle

चौगन
ु धधं धधं धागे ततरककट तू ना
Dhin Dhin DhaaGe Tirakita Too Naa
Chougun
X O 2

कत ् ता धागे धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना धधं

Kat Taa DhaaGe Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa

O 3 4 X

Praveshikaa Pratham Exam

ताल एकताल : पलस्

ु कर ललपी Taal Ektaal : Pandit Paluskar Taal – Lipi (Taal script)
ठे का धधं धधं धागे ततरककट तू ना
Dhin Dhin DhaaGe Tirakita Too Naa
Thekaa z z X x cccc z z
1 + 5

कत ् ता धागे ततरककट धी ना धधं

Kat Taa DhaaGe Tirakita Dhee Naa Dhin
z z X x cccc z z Z
+ 9 11 1

दग
ु ुन धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa
Dugun X x C c vvvv X x Xx C c vvvv Xx
(Double 1 + 5
speed)
धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना धधं
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
X x C c vvvv X x Xx C c vvvv Xx z
+ 9 11 1

Dugun – Single cycle

दग
ु ुन धधं धधं धागे ततरककट तू ना
Dhin Dhin DhaaGe Tirakita Too Naa
Dugun z z X x cccc z z
(Double 1 + 5
speed)
धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना धधं
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
X x C c vvvv X x Xx C c vvvv Xx z
+ 9 11 1
 34
© Anjali Nandedkar, nandedkarproductions.com

ततगुन धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना धधं धधं धागे ततरककट तू ना
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa
Tigun H h j j llll h h H h j j llll h h H h j j llll h h
(Triple 1 + 5
speed)
कत ् ता धागे ततरककट धी ना धधं धधं धा गे ततरककट तू ना कत ् ता धागे ततरककट धी ना धधं
Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
H h j j llll h h H h j j llll h h H h j j llll h h z
+ 9 11 1

Tigun – Single cycle

ततगुन धधं धधं धागे ततरककट तू ना

Dhin Dhin DhaaGe Tirakita Too Naa
Tigun z z X x cccc z z
(Triple
speed) 1 + 5

कत ् ता धधं धधं धा गे ततरककट तू ना कत ् ता धागे ततरककट धी ना धधं

Kat Taa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
z z H h j j llll h h H h j j llll h h
z
+ 9 11 1

धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना
चौगन
ु
Dhin Dhin DhaaGe Tirakita
C c v v yyyy
Too Naa Kat Taa
C c c c
DhaaGe Tirakita Dhee Naa
v v yyyy c c
Dhin Dhin DhaaGe Tirakita
C c v v yyyy
Too Naa Kat Taa
C c c c
DhaaGe Tirakita Dhee Naa
v v yyyy c c

Chougun 1 + 5
(Quadruple
speed) धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना धधं
Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
C c v v yyyy C c c c v v yyyy c c C c v v yyyy C c c c v v yyyy c c z
+ 9 11 1

Chougun – Single cycle

धधं धधं धागे ततरककट तू ना

चौगुन Dhin Dhin DhaaGe Tirakita Too Naa
z z X x cccc z z
Chougun 1 + 5
(Quadruple
speed) कत ् ता धागे धधं धधं धागे ततरककट तू ना कत ् ता धागे ततरककट धी ना धधं
Kat Taa DhaaGe Dhin Dhin DhaaGe Tirakita Too Naa Kat Taa DhaaGe Tirakita Dhee Naa Dhin
z z X x C c v v yyyy C c c c v v yyyy c c z
+ 9 11 1
 35
© Anjali Nandedkar, nandedkarproductions.com

Praveshikaa Pratham Exam

ताल झपताल Taal Jhaptaal
मात्रा : 10, विभाग (खंड) – 4 (2, 3, 2, 3), Maatraa (Beats): 10, Vibhaag or Khanda (sections) : 4 (2, 3, 2, 3)
ताली : 3 (1, 3, 8 िी मात्रा पर), Taalee: 3 (on 1, 3, 8 beat or Maatraa)
खाली : 1 (6 िी मात्रा पर) Khaalee or Kaal: 1 (on 6th Beat or Maatraa)

भातखंडे ताल – ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का धध ना धध धध ना तत ना धध धध ना धध
Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Thekaa X 2 O 3 X

दग
ु ुन धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध
Dugun Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
(Double
speed) X 2 O 3 X

Dugun – Single cycle

दग
ु ुन धध ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध
Dugun Dhi Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
(Double
speed) X 2 O 3 X

ततगन
ु धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध
Tigun Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
(Triple
speed)
X 2 O 3 X

Tigun – Single cycle

ततगुन धध ना धध धध ना तत - - धध ना धध धध ना तत ना धध धध ना धध
Tigun Dhi Naa Dhi Dhi Naa Ti - - Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
(Triple
speed)
X 2 O 3 X

चौगुन धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध
Chougun Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
(Quadruple
speed) X 2 O 3 X

Chougun – Single cycle

चौगन
ु धध ना धध धध ना तत ना - - धध ना धध धध ना तत ना धध धध ना धध
Chougun Dhi Naa Dhi Dhi Naa Ti Naa - - Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
(Quadruple
speed) X 2 O 3 X
 36
© Anjali Nandedkar, nandedkarproductions.com
ताल झपताल : पलुस्कर ताल – ललपी Taal: Jhaptaal : Pandit Paluskar Taal – Lipi (Taal script)

ठे का धध ना धध धध ना तत ना धध धध ना धध
Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Thekaa z z z z z z z z z z Z
1 3 + 8 1

दग
ु ुन धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध
Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Dugun Xx Xx Xx Xx Xx Xx Xx Xx Xx Xx z
1 3 + 8 1

Dugun – Single cycle

दग
ु ुन धध ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध
Dhi Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Dugun z z z z z Xx Xx Xx Xx Xx z
1 3 + 8 1

ततगुन धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध
Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Tigun H h h H h h H h h H h h H h h H h h H h h H h h H h h H h h z
1 3 + 8 1

Tigun – Single cycle

ततगुन धध ना धध धध ना तत - - धध ना धध धध ना तत ना धध धध ना धध
Dhi Naa Dhi Dhi Naa Ti - - Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Tigun z z z z z z H h h H h h H h h H h h z
1 3 + 8 1

चौगुन धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध ना धध धध ना तत ना धध धध ना धध
Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi Naa Dhi Dhi Naa Ti Naa Dhi Dhi Naa DhiNaa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Chougun C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c C c c c
1 3 + 8 1

Chougun – Single cycle

चौगुन धध ना धध धध ना तत ना - - धध ना धध धध ना तत ना धध धध ना धध
Dhi Naa Dhi Dhi Naa Ti Naa - - DhiNaa Dhi Dhi Naa Ti Naa Dhi Dhi Naa Dhi
Chougun z z z z z z z C c c c C c c c C c c c

1 3 + 8 1
 37
© Anjali Nandedkar, nandedkarproductions.com
Praveshikaa Pratham Exam
ताल चौताल चारताल Taal Choutaal – Chaartaal
मात्रा : 12, Maatraa (Beats): 12
विभाग (खंड) – 6 (2, 2, 2, 2, 2, 2), Vibhaag or Khanda (sections) : 6 (2, 2, 2, 2, 2, 2)
ताली : 4 (1, 5, 9, 11 िी मात्रा पर), Taalee: 4 (on 1, 5, 9, 11th beat or Maatraa)
खाली : 2 (3 तथा 7 िी मात्रा पर) Khaalee or Kaal: 2 (on 3rd and 7th Beat or Maatraa)

भातखंडे ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का धा धा द ं ता ककट धा
Dhaa Dhaa Din Taa Kita Dhaa
Thekaa
X O 2

द ं ता ककट तक गद गन धा
Din Taa Kita Tak Gadi Gana Dhaa

O 3 4 X

दग
ु ुन धा धा द ं ता ककट धा द ं ता ककट तक गद गन
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Tak Gadi Gana
Dugun
(Double X O 2
speed)
धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Tak Gadi Gana Dhaa

O 3 4 X
Dugun – Single cycle

दग
ु न
ु धा धा द ं ता ककट धा
Dhaa Dhaa Din Taa Kita Dhaa
Dugun
(Double X O 2
speed)
धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Tak Gadi Gana Dhaa

O 3 4 X

ततगुन धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा धा द ं ता ककट धा

Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa
Tigun
X O 2

द ं ता ककट तक गद गन धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा

Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa

O 3 4 X

Tigun – Single cycle

ततगुन धा धा द ं ता ककट धा
Dhaa Dhaa Din Taa Kita Dhaa
Tigun

द ं ता धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा
Din Taa Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa

O 3 4 X
 38
© Anjali Nandedkar, nandedkarproductions.com

चौगुन धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा धा द ं ता ककट धा द ं ता ककट तक गद गन

Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana
Chougun
X O 2

धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा

Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa

O 3 4 X

Chougun – Single cycle

चौगुन धा धा द ं ता ककट धा
Dhaa Dhaa Din Taa Kita Dhaa
Chougun
X O 2

द ं ता ककट धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा

Din Taa Kita Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa

O 3 4 X

Praveshikaa Pratham Exam

ताल चौताल : पलस्
ु कर ललपी Taal: Choutaal : Pandit Paluskar Taal – Lipi (Taal script)
ठे का धा धा द ं ता ककट धा
Dhaa Dhaa Din Taa Ki ta Dhaa
Thekaa z z z z xx z
1 + 5

द ं ता ककट तक गद गन धा
Din Taa Kita Taka Gadi Gana Dhaa
z z Xx xx Xx xx Z
+ 9 11 1

दग
ु ुन धा धा द ं ता ककट धा द ं ता ककट तक गद गन
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana
Dugun X x X x cc x X x Cc cc cc cc
(Double 1 + 5
speed)
1 धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
X x X x cc x X x Cc cc cc cc z
+ 9 11 1

Dugun – Single cycle

दग
ु ुन धा धा द ं ता ककट धा
Dhaa Dhaa Din Taa Ki ta Dhaa
Dugun z z z z xx z
(Double 1 + 5
speed)
2 धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
X x X x cc x X x Cc cc cc cc z
+ 9 11 1
 39
© Anjali Nandedkar, nandedkarproductions.com

ततगुन धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा धा द ं ता ककट धा

Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Tak Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa
Tigun H h h H jj h H h jj Jj jj jj H h h H jj h
(Triple 1 + 5
speed)
द ं ता ककट तक गद गन धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा
Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
H h jj Jj jj jj H h h H jj h H h jj Jj jj jj z
+ 9 11 1

Tigun – Single cycle

ततगुन धा धा द ं ता ककट धा
Dhaa Dhaa Din Taa Ki ta Dhaa
Tigun z z z z xx z
(Triple 1 + 5
speed)
द ं ता धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा
Din Taa Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
z z H h h H jj h H h jj Jj jj jj z
+ 9 11 1

धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा धा द ं ता ककट धा द ं ता ककट तक गद गन

चौगुन Dhaa Dhaa Din Taa
C c c c
Kita Dhaa Din Taa
Vv c c c
Kita
vv
Taka
vv
Gadi
vv
Gana
vv
Dhaa Dhaa Din Taa
C c c c
Kita Dhaa Din Taa
Vv c c c
Kita
vv
Taka Gadi
vv vv
Gana
vv

Chougun 1 + 5
(Quadruple
speed) धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा
Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
C c c c Vv c c c vv vv vv vv C c c c Vv c c c vv vv vv vv z
+ 9 11 1

Chougun – Single cycle

धा धा द ं ता ककट धा
चौगुन Dhaa
z
Dhaa
z
Din
z
Taa
z
Ki ta
xx
Dhaa
z
Chougun 1 + 5
(Quadruple
speed) द ं ता ककट धा धा द ं ता ककट धा द ं ता ककट तक गद गन धा
Din Taa Kita Dhaa Dhaa Din Taa Kita Dhaa Din Taa Kita Taka Gadi Gana Dhaa
z z Xx C c c c Vv c c c vv vv vv vv z
+ 9 11 1
 40
© Anjali Nandedkar, nandedkarproductions.com

Praveshikaa Poorna Exam

ताल धमार Taal Dhamaar
मात्रा : 14, विभाग (खंड) – 4 (5, 2, 3, 4), Maatraa (Beats): 14, Vibhaag or Khanda (sections) : 4 (5, 2, 3, 4)
ताली : 3 (1, 6, 11 मात्रा पर), Taalee: 3 (on 1, 6, 11 beat or Maatraa)
खाली : 1 (8 िी मात्रा पर) Khaalee or Kaal: 1 (on 8th Beat or Maatraa)

भातखंडे ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का कत ् धध ट धध ट धा i
Kat Dhi Ta Dhi Ta Dhaa i
Thekaa
X 2

ग तत ट तत ट ता i कत ्
Ga Ti Ta Ti Ta Taa i Kat

O 3 X

दग
ु ुन कत ् धध ट धध ट धा Iग तत ट तत ट ता i
Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa i
Dugun
(Double X 2
speed)
1 कत ् धध ट धध ट धा Iग तत ट तत ट ता i कत ्
Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa i Kat

O 3 X

Dugun – Single cycle

दग
ु ुन कत ् धध ट धध ट धा i
Kat Dhi Ta Dhi Ta Dhaa i
Dugun
(Double X 2
speed)
कत ् धध ट धध ट धा Iग तत ट तत ट ता i कत ्
2
Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa i Kat

O 3 X

ततगुन कत ् धध ट धध ट धा I ग तत ट तत ट ता I कत ् धध ट धध ट धा I
Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I kat Dhi Ta Dhi Ta Dha I
Tigun
X 2
1
ग तत ट तत ट ता I कत ् धध ट धध ट धा I ग तत ट तत ट ता i कत ्
Ga Ti Ta Ti Ta Taa I Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa I Kat

O 3 X

Tigun – Single cycle

ततगन
ु कत ् धध ट धध ट धा i
Kat Dhi Ta Dhi Ta Dhaa i
Tigun
X 2
2
ग तत - कत ् धध ट धध ट धा I ग तत ट तत ट ता i कत ्
Ga Ti
- Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa I Kat

O 3 X
 41
© Anjali Nandedkar, nandedkarproductions.com

चौगुन कत ् धध ट धध ट धा I ग तत ट तत ट ता I कत ् धध ट धध ट धा I ग तत ट तत ट ता I
Kat Dhi Ta Dhi Ta Dha I Ga Ti Ta Ti Ta Taa I Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I
Chougun
X 2
1
कत ् धध ट धध ट धा I ग तत ट तत ट ता I कत ् धध ट धध ट धा I ग तत ट तत ट ता I कत ्
Kat Dhi Ta Dhi Ta Dha I Ga Ti Ta Ti Ta Taa I Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I

O 3 X

Chougun – Single cycle

चौगुन कत ् धध ट धध ट धा i
Kat Dhi Ta Dhi Ta Dhaa i
Chougun
X 2
2
ग तत ट - - कत ् धध ट धध ट धा I ग तत ट तत ट ता I कत ्
Ga Ti Ta
- - Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I

O 3 X

Praveshikaa Poorna Exam

ताल धमार : पलस्

ु कर ललपी Taal : Dhamaar: Pandit Paluskar Taal – Lipi (Taal script)
ठे का कत ् धध ट धध ट धा i
Kat Dhi Ta Dhi Ta Dhaa i
Thekaa z z
z z z z z
1 6

ग तत ट तत ट ता i कत ्
Ga Ti Ta Ti Ta Taa i Kat
z z z z z z z Z
+ 11 1

दग
ु न
ु कत ् धध ट धध ट धा i
Kat Dhi Ta Dhi Ta Dhaa i
Dugun z z z z z z z
(Double
speed) 1 6

1 कत ् धध ट धध ट धा Iग तत ट तत ट ता i कत ्
Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa i Kat
Xx Xx xx Xx Xx xx Xx z
+ 11 1
Dugun – Single cycle

दग
ु न
ु कत ् धध ट धध ट धा Iग तत ट तत ट ता i
Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa i
Dugun
Xx Xx xx Xx Xx xx Xx
(Double
speed) 1 6
2 कत ् धध ट धध ट धा Iग तत ट तत ट ता i कत ्
Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa i Kat
Xx Xx xx Xx Xx xx Xx z
+ 11 1
 42
© Anjali Nandedkar, nandedkarproductions.com
ततगुन कत ् धध ट धध ट धा I ग तत ट तत ट ता I कत ् धध ट धध ट धा I
Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I kat Dhi Ta Dhi Ta Dha I
Tigun H h h H h h H h h H h h H h h H h h H h h
(Triple 1 6
speed)
1 ग तत ट तत ट ता I कत ् धध ट धध ट धा I ग तत ट तत ट ता i कत ्
Ga Ti Ta Ti Ta Taa I Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa I Kat
H h h H h h H h h H h h H h h H h h H h h z
+ 11 1

Tigun – Single cycle

ततगुन कत ् धध ट धध ट धा i
Kat Dhi Ta Dhi Ta Dhaa i
Tigun z z z z z z z
(Triple
speed) 1 6

2 ग तत I कत ् धध ट धध ट धा I ग तत ट तत ट ता i कत ्
Ga Ti I Kat Dhi Ta Dhi Ta Dhaa IGa Ti Ta Ti Ta Taa I Kat
z z H h h H h h H h h H h h H h h z

+ 11 1

कत ् धध ट धध ट धा I ग तत ट तत ट ता I कत ् धध ट धध ट धा I ग तत ट तत ट ता I
चौगुन Kat Dhi Ta Dhi Ta Dha I Ga Ti Ta Ti Ta Taa I Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I
C c c c C c c c C c c c C c c c C c c c C c c c C c c c

Chougun 1 6
(Quadruple
speed) कत ् धध ट धध ट धा I ग तत ट तत ट ता I कत ् धध ट धध ट धा I ग तत ट तत ट ता I कत ्
Ta Dha I Ga Taa I Kat Dhi I Ga Ti Ta Ti Ta Taa I
1 Kat Dhi Ta Dhi
C c c c C c c c
Ti Ta Ti Ta
C c c c C c c c
Ta Dhi Ta Dhaa
C c c c C c c c C c c c
Kat
z
+ 11 1

Chougun – Single cycle

कत ् धध ट धध ट धा i
Kat Dhi Ta Dhi Ta Dhaa i

चौगुन z z z z z z z
1 6
Chougun
(Quadruple
speed) ग तत ट - - कत ् धध ट धध ट धा I ग तत ट तत ट ता I कत ्
Ga Ti Ta
2 - - Kat Dhi Ta Dhi Ta Dhaa I Ga Ti Ta Ti Ta Taa I Kat

z z z C c c c C c c c C c c c C c c c z

+ 11 1
 43
© Anjali Nandedkar, nandedkarproductions.com

Praveshikaa Poorna Exam

ताल रूपक Taal Roopak

मात्रा : 7, विभाग (खंड) – 3 (3, 2, 2), Maatraa (Beats): 7, Vibhaag or Khanda (sections) : 3 (3, 2, 2)
ताली : 2 (4, 6 िी मात्रा पर), Taalee: 2 (on 4th and 6th beat or Maatraa)
खाली : 1 (1 ली मात्रा पर) Khaalee or Kaal: 1 (on 1st Beat or Maatraa)

भातखंडे ताल – ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का ती ती ना धध ना धध ना ती
Tee Tee Naa Dhi Naa Dhi Naa Tee
Thekaa
1 2

दग
ु ुन ती ती ना धध ना धध ना ती ती ना धध ना धध ना ती
Dugun Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee
(Double
speed) 1 2

Dugun – Single cycle

दग
ु ुन ती ती ना - ती ती ना धध ना धध ना ती
Dugun Dhi Naa
Tee Tee Naa - Tee Tee Naa Dhi Naa Tee
(Double
speed) 1 2

ततगुन ती ती ना धध ना धध ना ती ती ना धध ना धध ना ती ती ना धध ना धध ना ती
Tigun Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee
(Triple speed) 1 2

Tigun – Single cycle

ततगन
ु ती ती ना धध - - ती ती ना धध ना धध ना ती
Tigun
(Triple speed)
Tee Tee Naa Dhi - - Tee Tee Naa Dhi Naa Dhi Naa Tee

1 2

चौगुन ती ती ना धध ना धध ना ती ती ना धध ना धध ना ती ती ना धध ना धध ना ती ती ना धध ना धध ना ती
Chougun Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee
(Quadruple
speed) 1 2

Chougun – Single cycle

चौगन
ु ती ती ना धध ना - ती ती ना धध ना धध ना ती
Chougun
(Quadruple
Tee Tee Naa Dhi Naa - Tee Tee Naa Dhi Naa Dhi Naa Tee
speed)
1 2
 44
© Anjali Nandedkar, nandedkarproductions.com
ताल रूपक : पलुस्कर ताल – ललपी Taal Roopak : Pandit Paluskar Taal – Lipi (Taal script)

ठे का ती ती ना धध ना धध ना ती
Tee Tee Naa Dhi Naa Dhi Naa Tee
Thekaa z z z z z z z Z
+ 4 6 +

दग
ु ुन ती ती ना धध ना धध ना ती ती ना धध ना धध ना ती
Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee
Dugun Xx Xx Xx Xx Xx Xx Xx Z
+ 4 6 +

Dugun – Single cycle

दग
ु ुन ती ती ना - ती ती ना धध ना धध ना ती
Dugun Tee Tee Naa - Tee Tee Naa Dhi Naa Dhi Naa Tee

z z z Xx Xx Xx Xx Z
+ 4 6 +

ततगन
ु ती ती ना धध ना धध ना ती ती ना धध ना धध ना ती ती ना धध ना धध ना ती
Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Dhi Tee Naa Dhi Naa Dhi Naa Tee
Tigun H h h H h h H h h H h h H h h H h h H h h z
+ 4 6 +

Tigun – Single cycle

ततगुन ती ती ना धध - - ती ती ना धध ना धध ना ती
Tigun Tee Tee Naa Dhi - - Tee Tee Naa Dhi Naa Dhi Naa Tee

z z z z H h h H h h H h h z
+ 4 6 +

चौगुन ती ती ना धध ना धध ना ती ती ना धध ना धध ना ती ती ना धध ना धध ना ती ती ना धध ना धध ना ती
Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee Tee Naa Dhi Naa Dhi Naa Tee
Chougun C c c c C c c c C c c c C c c c C c c c C c c c C c c c
+ 4 6 +

Chougun – Single cycle

चौगन
ु ती ती ना धध ना - ती ती ना धध ना धध ना ती
Tee Tee Naa Dhi Naa - Tee Tee Naa Dhi Naa Dhi Naa Tee
Chougun z z z z z C c c c C c c c

+ 4 6 +
 45
© Anjali Nandedkar, nandedkarproductions.com
Madhyama Pratham Exam

ताल झम
ु रा Taal Jhoomraa
मात्रा : 14, विभाग (खंड) – 4 (3, 4, 3, 4), Maatraa (Beats): 14, Vibhaag or Khanda (sections) : 4 (3, 4, 3, 4)
ताली : 3 (1, 4, 11 मात्रा पर), Taalee: 3 (on 1, 4, 11 beat or Maatraa)
खाली : 1 (8 िी मात्रा पर) Khaalee or Kaal: 1 (on 8th Beat or Maatraa)

भातखंडे ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का धधं iधा ततरककट धधं धधं धागे ततरककट

Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita
Thekaa
X 2

ततं iता ततरककट धधं धधं धागे ततरककट धधं

Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin

O 3 X

दग
ु ुन धधं iधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट
Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita
Dugun
(Double X 2
speed)
धधं iधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट धधं
Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin

O 3 X

Dugun – Single cycle

दग
ु ुन धधं iधा ततरककट धधं धधं धागे ततरककट
Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita
Dugun
(Double X 2
speed)
धधं iधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट धधं
Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin

O 3 X

ततगन
ु धधं iधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट धधं iधा ततरककट धधं धधं धागे ततरककट
Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita
Tigun
X 2

ततं iता ततरककट धधं धधं धागे ततरककट धधं iधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट धधं
Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin

O 3 X

Tigun – Single cycle

ततगुन धधं iधा ततरककट धधं धधं धागे ततरककट
Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita
Tigun
X 2

ततं iता - धधं iधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट धधं
Tin iTaa - Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin

O 3 X
 46
© Anjali Nandedkar, nandedkarproductions.com

धधं iधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट धधंiधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट
चौगन
ु DhiniDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGeTirakita DhiniDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita
Chougun
X 2

धधं iधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट धधंiधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट धधं
DhiniDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGeTirakita DhiniDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin

O 3 X

Chougun – Single cycle

चौगुन धधं iधा ततरककट धधं धधं धागे ततरककट

Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita
Chougun
X 2

ततं iता ततरककट - - धधं iधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट धधं

Tin iTaa Tirakita - - Dhin iDhaa

Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin

O 3 X

Madhyama Pratham Exam

ताल झम
ु रा : पलस्
ु कर ललपी Taal Jhumraa : Pandit Paluskar Taal – Lipi (Taal script)
ठे का धधं iधा ततरककट धधं धधं धागे ततरककट
Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita
Thekaa z xx cccc z z xx cccc

1 4

ततं iता ततरककट धधं धधं धागे ततरककट धधं

Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin
z xx cccc z z xx cccc Z
+ 11 1

दग
ु ुन धधं iधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट
Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita
Dugun X cc Vvvvx X cc vvvvx Cc vvvv xx Cc vvvv
(Double 1 4
speed)
धधं iधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट धधं
Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin
X cc Vvvv x X cc vvvv x Cc vvvv xx Cc vvvv Z
+ 11 1

Dugun – Single cycle

दग
ु ुन धधं iधा ततरककट धधं धधं धागे ततरककट
Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita
Dugun z xx cccc z z xx cccc
(Double
speed) 1 4

धधं iधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट धधं
Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin
X cc Vvvv x X cc vvvv x Cc vvvv xx Cc vvvv Z
+ 11 1
 47
© Anjali Nandedkar, nandedkarproductions.com

ततगुन धधं iधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट धधं iधा ततरककट धधं धधं धागे ततरककट
Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita
Tigun H jj llll H h jj llll h jj Llll h h Jj llll h Jj llll h H jj llll
(Triple 1 4
speed)
ततं iता ततरककट धधं धधं धागे ततरककट धधं iधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट धधं
Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin iDhaa Tirakita Dhin DhinDhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin
H jj llll H h jj Llll h jj llll h h Jj llll h Jj llll h H jj llll z
+ 11 1

Tigun – Single cycle

ततगुन धधं iधा ततरककट धधं धधं धागे ततरककट

Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita
Tigun z xx cccc z z xx cccc
(Triple
speed) 1 4

ततं iता - धधं iधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट धधं
Tin iTaa - Dhin iDhaa Tirakita Dhin DhinDhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin

z xx h h jj llll h h Jj llll h Jj llll h H jj llll z

+ 11 1

धधं iधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट धधंiधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट
चौगुन DhiniDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Titakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita
Dhin iDhaa Tirakita

Chougun C vv yyyy c C vv yyyy c Vv yyyy c c Vv yyyy c vv Yyyy c c vv Yyyy c vv yyyy C c vv yyyy

(Quadruple 1 4
speed)
धधं iधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट धधंiधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट धधं
DhiniDhaa Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Titakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita
Dhin iDhaa Tirakita Dhin
C vv yyyy c C vv yyyy c Vv yyyy c c Vv yyyy c vv Yyyy c c vv Yyyy c vv yyyy C c vv yyyy z
+ 11 1

Chougun – Single cycle

चौगन
ु धधं iधा ततरककट धधं धधं धागे ततरककट
Dhin iDhaa Tirakita Dhin Dhin DhaaGe Tirakita
Chougun z xx cccc z z xx cccc
(Quadruple
speed) 1 4

ततं iता ततरककट - - धधं iधा ततरककट धधं धधं धागे ततरककट ततं iता ततरककट धधं धधं धागे ततरककट धधं
Tin iTaa Tirakita - - Dhin iDhaa
Tirakita Dhin Dhin DhaaGe Tirakita Tin iTaa Tirakita Dhin Dhin DhaaGe Tirakita Dhin

z xx cccc c c c vv Yyyy c c vv Yyyy c vv yyyy C c vv yyyy z

+ 11 1
 48
© Anjali Nandedkar, nandedkarproductions.com

Madhyama Pratham Exam

ताल ततलवाड़ा Taal Tilvaadaa

मात्रा : 16, विभाग (खंड) – 4 (4, 4, 4, 4), Maatraa (Beats): 16, Vibhaag or Khanda (sections) : 4 (4, 4, 4, 4)
ताली : 3 (1, 5, 13 मात्रा पर), Taalee: 3 (on 1, 5, 13 beat or Maatraa)
खाली : 1 (9 िी मात्रा पर) Khaalee or Kaal: 1 (on 9th Beat or Maatraa)

भातखंडे ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का धा ततरककट धीं धीं धा धा तीं तीं

Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen
Thekaa X 2

ता ततरककट धीं धीं धा धा धीं धीं धा

Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
O 3 X

दग
ु ुन धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen
Dugun
(Double X 2
speed)
धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं धा
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa

O 3 X

Dugun – Single cycle

दग
ु ुन धा ततरककट धीं धीं धा धा तीं तीं
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen
Dugun X 2
(Double
speed)
धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं धा
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa

O 3 X

ततगुन धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं धा ततरककट धीं धीं धा धा तीं तीं
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita DheenDheen Dhaa Dhaa Dheen Dheen Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen
Tigun
X 2

ता ततरककट धीं धीं धा धा धीं धीं धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं धा
Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Teen

O 3 X

Tigun – Single cycle

ततगन
ु धा ततरककट धीं धीं धा धा तीं तीं
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen
Tigun
X 2

ता ततरककट - - धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं धा
Taa Tirakita - - Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Teen

O 3 X
 49
© Anjali Nandedkar, nandedkarproductions.com

धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं
चौगुन Dhaa Dhaa Dheen Dheen
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen
Chougun
X 2

धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं धा
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa

O 3 X
Chougun – Single cycle

चौगन
ु धा ततरककट धीं धीं धा धा तीं तीं
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen
Chougun
X 2

ता ततरककट धीं धीं धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं धा
Taa Tirakita Dheen Dheen Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa

O 3 X

Madhyama Pratham Exam

ताल ततलवाड़ा : पलस्

ु कर ललपी Taal Tilvaadaa : Pandit Paluskar Taal – Lipi (Taal script)
ठे का धा ततरककट धीं धीं धा धा तीं तीं
Dhaa Ti ra ki ta Dheen Dheen Dhaa Dhaa Teen Teen
Thekaa
z cccc z z z z z z
1 5

ता ततरककट धीं धीं धा धा धीं धीं धा

Taa Ti ra ki ta Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
z cccc z z z z z z Z
+ 13 1

दग
ु ुन धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं
Dhaa Ti ra ki ta Dheen Dheen Dhaa Dhaa Teen Teen Taa Ti ra ki ta Dheen Dheen Dhaa Dhaa Dheen Dheen
Dugun X vvvv Xx xx Xx Xvvvv Xx xx Xx
(Double 1 5
speed)
धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं धा
Dhaa Ti ra ki ta Dheen Dheen Dhaa Dhaa Teen Teen Taa Ti ra ki ta Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
X vvvv Xx xx Xx Xvvvv Xx xx Xx z
+ 13 1

Dugun – Single cycle

दग
ु ुन धा ततरककट धीं धीं धा धा तीं तीं
Dhaa Ti ra ki ta Dheen Dheen Dhaa Dhaa Teen Teen
Dugun z cccc z z z z z z
(Double 1 5
speed)
धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं धा
Dhaa Ti ra ki ta Dheen Dheen Dhaa Dhaa Teen Teen Taa Ti ra ki ta Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
X vvvv Xx xx Xx Xvvvv Xx xx Xx z
+ 13 1
 50
© Anjali Nandedkar, nandedkarproductions.com
ततगुन धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं धा ततरककट धीं धीं धा धा तीं तीं
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita DheenDheen Dhaa Dhaa Dheen Dheen Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen
Tigun H llll h H h h H h h llll h h H h h H h llll H h h H h h
(Triple 1 5
speed)
ता ततरककट धीं धीं धा धा धीं धीं धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं धा
Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa Tirakita DheenDheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
H llll h H h h H h h llll h h H h h H h llll H h h H h h z
+ 13 1

Tigun – Single cycle

ततगन
ु धा ततरककट धीं धीं धा धा तीं तीं
Dhaa Ti ra ki ta Dheen Dheen Dhaa Dhaa Teen Teen
Tigun z cccc z z z z z z
(Triple
speed) 1 5

ता ततरककट - - धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं धा
Taa Ti ra ki ta - - Dhaa Tirakita DheenDheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
llll h h H h h H h llll H h h H h h
z cccc H h h z

+ 13 1

धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं
चौगन
ु Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen
C yyyy c c C c c c C yyyy c c C c c c C yyyy c c C c c c C yyyy c c C c c c
Chougun
(Quadruple 1 5
speed)
धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं धा
Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
C yyyy c c C c c c C yyyy c c C c c c C yyyy c c C c c c C yyyy c c C c c c z
+ 13 1

Chougun – Single cycle

चौगुन धा ततरककट धीं धीं धा धा तीं तीं

Dhaa Ti ra ki ta Dheen Dheen Dhaa Dhaa Teen Teen
Chougun z cccc z z z z z z
(Quadruple 1 5
speed)
ता ततरककट धीं धीं धा ततरककट धीं धीं धा धा तीं तीं ता ततरककट धीं धीं धा धा धीं धीं धा
Taa Ti ra ki ta Dheen Dheen Dhaa Tirakita Dheen Dheen Dhaa Dhaa Teen Teen Taa Tirakita Dheen Dheen Dhaa Dhaa Dheen Dheen Dhaa
z cccc z z C yyyy c c C c c c C yyyy c c C c c c z

+ 13 1
 51
© Anjali Nandedkar, nandedkarproductions.com
Madhyama Pratham Exam

ताल सल
ू ताल Taal Sooltaal
मात्रा : 10, विभाग (खंड) – 5 (2, 2, 2, 2, 2), Maatraa (Beats): 10, Vibhaag or Khanda (sections) : 5 (2, 2, 2, 2, 2)
ताली : 3 (1, 5, 7 िी मात्रा पर), Taalee: 3 (on 1, 5, 7th beat or Maatraa)
खाली : 2 (3, 9 िी मात्रा पर) Khaalee or Kaal: 2 (on 3rd and 9th Beat or Maatraa)

भातखंडे ताल – ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का धा धा द ं ता ककट धा ककट तक ग ी गन धा
Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
Thekaa
X O 2 3 O X

दग
ु ुन धा धा द ं ता ककट धा ककट तक ग ी गन धा धा द ं ता ककट धा ककट तक ग ी गन धा
Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
Dugun
(Double
speed)
X O 2 3 O X

Dugun – Single cycle - -

दग
ु ुन धा धा द ं ता ककट - धा द ं ता ककट धा ककट तक ग ी गन धा
Dugun Dhaa Dhaa Din Taa Kita - Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
(Double
speed) X O 2 3 O X

ततगुन धा धा द ं ता ककट धा ककट तक ग ी गन धा धा द ं ता ककट धा ककट तक ग ी गन धा धा द ं ता ककट धा ककट तक ग ी गन धा

Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
Tigun
(Triple
speed)
X O 2 3 O X

Tigun – Single cycle - -

ततगुन धा धा द ं ता ककट धा - - धा धा द ं ता ककट धा ककट तक ग ी गन धा
Tigun Dhaa Dhaa Din Taa Kita Dhaa - - Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
(Triple
speed)
X O 2 3 O X

चौगुन धा धा द ं ता ककट धा ककट तक ग ी गन धा धा द ं ता ककट धा ककट तक ग ी गन धा धा द ं ता ककट धा ककट तक ग ी गन धा धा द ं ता ककट धा ककट तक ग ी गन धा

Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
Chougun
(Quadruple
speed) X O 2 3 O X

Chougun – Single cycle

चौगुन धा धा द ं ता ककट धा ककट - - धा धा द ं ता ककट धा ककट तक ग ी गन धा
Chougun Dhaa Dhaa Din Taa Kita Dhaa Kita - - Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
(Quadruple
speed)
X O 2 3 O X
 52
© Anjali Nandedkar, nandedkarproductions.com
ताल सूलताल : पलुस्कर ताल – ललपी Taal Sooltaal : Pandit Paluskar Taal – Lipi (Taal script)

ठे का धा धा द ं ता ककट धा ककट तक ग ी गन धा
Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
Thekaa z z z z xx z xx xx xx xx Z
1 + 5 7 + 1

दग
ु ुन धा धा द ं ता ककट धा ककट तक ग ी गन धा धा द ं ता ककट धा ककट तक ग ी गन धा
Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
Dugun X x Xx cc x cccc cccc Xx Xx cc x cccc cccc z
1 + 5 7 + 1

Dugun – Single cycle - -

दग
ु न
ु धा धा द ं ता ककट धा धा द ं ता ककट धा ककट तक ग ी गन धा
Dhaa Dhaa Din Taa Kita Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
Dugun z z z z xx Xx Xx cc x cccc cccc z
1 + 5 7 + 1

ततगन
ु धा धा द ं ता ककट धा ककट तक ग ी गन धा धा द ं ता ककट धा ककट तक ग ी गन धा धा द ं ता ककट धा ककट तक ग ी गन धा
Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
Tigun H h h H jj h jj jj jj jj h h H h jj H jj jj jj jj h H h h jj h jj jj jj jj z
1 + 5 7 + 1

Tigun – Single cycle - -

ततगुन धा धा द ं ता ककट धा - - धा धा द ं ता ककट धा ककट तक ग ी गन धा

Tigun Dhaa Dhaa Din Taa Kita Dhaa - - Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
z z z z xx z h h h H h h jj h jj jj jj jj z
1 + 5 7 + 1

चौगुन धा धा द ं ता ककट धा ककट तक ग ी गन धा धा द ं ता ककट धा ककट तक ग ी गन धा धा द ं ता ककट धा ककट तक ग ी गन धा धा द ं ता ककट धा ककट तक ग ी गन धा

Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
Chougun C c c c vv c vv vv vv vv c c C c vv c vv vv vv vv C c c c vv c vv vv vv vv c c C c vv c vv vv vv vv
1 + 5 7 + 1

Chougun – Single cycle - -

चौगुन धा धा द ं ता ककट धा ककट - - धा धा द ं ता ककट धा ककट तक ग ी गन धा
Chougun Dhaa Dhaa Din Taa Kita Dhaa Kita - - Dhaa Dhaa Din Taa Kita Dhaa Kita Taka Gadee Gana Dhaa
z z z z xx z xx c c c c C c vv c vv vv vv vv

1 + 5 7 + 1
 53
© Anjali Nandedkar, nandedkarproductions.com
Madhyama Poorna Exam

ताल दीपचंदी Taal Deepchandi

मात्रा : 14, विभाग (खंड) – 4 (3, 4, 3, 4), Maatraa (Beats): 14, Vibhaag or Khanda (sections) : 4 (3, 4, 3, 4)
ताली : 3 (1, 4, 11 मात्रा पर), Taalee: 3 (on 1, 4, 11 beat or Maatraa)
खाली : 1 (8 िी मात्रा पर) Khaalee or Kaal: 1 (on 8th Beat or Maatraa)

भातखंडे ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का धा धीं i धा धा तीं i
Dhaa Dheen i Dhaa Dhaa Teen i
Thekaa
X 2

ता तीं i धा धा धीं i धा
Taa Teen i Dhaa Dhaa Dheen i Dhaa

O 3 X

दग
ु ुन धा धीं i धा धा तीं i ता तीं i धा धा धीं i
Dhaa Dheen i Dhaa Dhaa Teen i Taa Teeni Dhaa Dhaa Dheeni
Dugun
(Double X 2
speed)
धा धीं i धा धा तीं i ता तीं i धा धा धीं i धा
Dhaa Dheen i Dhaa Dhaa Teen i Taa Teeni Dhaa Dhaa Dheeni Dhaa

O 3 X

Dugun – Single cycle - -

दग
ु ुन धा धीं i धा धा तीं i
Dhaa Dheen i Dhaa Dhaa Teen i
Dugun
(Double
speed) X 2

धा धीं i धा धा तीं i ता तीं i धा धा धीं i धा

Dhaa Dheen i Dhaa Dhaa Teen i Taa Teeni Dhaa Dhaa Dheeni Dhaa

O 3 X

ततगुन धा धीं i धा धा तीं i ता तीं i धा धा धीं i धा धीं i धा धा तीं i

Dhaa Dheeni Dhaa Dhaa Teen i TaaTeen i Dhaa Dhaa Dheeni Dhaa Dheen i Dhaa Dhaa Teen i
Tigun
X 2

ता तीं i धा धा धीं i धा धीं i धा धा तीं i ता तीं i धा धा धीं i धा

Taa Teeni Dhaa DhaaDheen i Dhaa Dheen i Dhaa Dhaa Teen i Taa Teeni Dhaa Dhaa Dheeni Dhaa

O 3 X

Tigun – Single cycle - -

ततगन
ु धा धीं i धा धा तीं i
Dhaa Dheen i Dhaa Dhaa Teen i
Tigun
X 2

ता तीं - धा धीं i धा धा तीं i ता तीं i धा धा धीं i धा

Taa Teen - Dhaa Dheen i Dhaa Dhaa Teen i Taa Teeni Dhaa Dhaa Dheeni Dhaa

O 3 X
 54
© Anjali Nandedkar, nandedkarproductions.com

चौगन
ु धा धीं i धा धा तीं i ता तीं i धा धा धीं i धा धीं i धा धा तीं i ता तीं i धा धा धींi
Dhaa Dheeni Dhaa Dhaa Teeni Taa Teeni Dhaa Dhaa Dheeni Dhaa Dheen i Dhaa Dhaa Teen i Taa Teeni Dhaa Dhaa Dheeni
Chougun
X 2

धा धीं i धा धा तीं i ता तीं i धा धा धीं i धा धीं i धा धा तीं i ता तीं i धा धा धींi धा

Dhaa Dheeni Dhaa Dhaa Teeni Taa Teeni Dhaa Dhaa Dheeni Dhaa Dheen i Dhaa Dhaa Teen i Taa Teeni Dhaa Dhaa Dheeni

O 3 X

Chougun – Single cycle - -

चौगन
ु धा धीं i धा धा तीं i
Dhaa Dheen i Dhaa Dhaa Teen i
Chougun
X 2

ता तीं i - - धा धीं i धा धा तीं i ता तीं i धा धा धींi धा

Taa Teen i - - Dhaa Dheen i Dhaa Dhaa Teen i Taa Teeni Dhaa Dhaa Dheeni

O 3 X
 55
© Anjali Nandedkar, nandedkarproductions.com
Madhyama Poorna Exam

ताल दीपचंदी : पलस्

ु कर ललपी Taal Deepchandi : Pandit Paluskar Taal – Lipi (Taal script)
ठे का धा धीं i धा धा तीं i
Dhaa Dheen i Dhaa Dhaa Teen i
Thekaa
z z z z z z z
1 4

ता तीं i धा धा धीं i धा
Taa Teen i Dhaa Dhaa Dheen i Dhaa
z z z z z z z z
+ 11 1

दग
ु न
ु धा धीं i धा धा तीं i ता तीं i धा धा धीं i
Dhaa Dheen i Dhaa Dhaa Teen i Taa Teeni Dhaa Dhaa Dheeni
Dugun
x x x x x x x x x x x x x x
(Double
speed) 1 4

धा धीं i धा धा तीं i ता तीं i धा धा धीं i धा

Dhaa Dheen i Dhaa Dhaa Teen i Taa Teeni Dhaa Dhaa Dheeni Dhaa

x x x x x x x x x x x x x x Z
+ 11 1

Dugun – Single cycle - -

दग
ु न
ु धा धीं i धा धा तीं i
Dhaa Dheen i Dhaa Dhaa Teen i
Dugun
(Double z z z z z z z
speed) 1 4

धा धीं i धा धा तीं i ता तीं i धा धा धीं i धा

Dhaa Dheen i Dhaa Dhaa Teen i Taa Teeni Dhaa Dhaa Dheeni Dhaa

x x x x x x x x x x x x x x Z
+ 11 1

ततगन
ु धा धीं i धा धा तीं i ता तीं i धा धा धीं i धा धीं i धा धा तीं i
Dhaa Dheeni Dhaa Dhaa Teen i TaaTeen i Dhaa Dhaa Dheeni Dhaa Dheen i Dhaa Dhaa Teen i
Tigun h h h h h h h h h h h h h h h h h h h h h
(Triple
1 4
speed)
ता तीं i धा धा धीं i धा धीं i धा धा तीं i ता तीं i धा धा धीं i धा
Taa Teeni Dhaa DhaaDheen i Dhaa Dheen i Dhaa Dhaa Teen i Taa Teeni Dhaa Dhaa Dheeni Dhaa
h h h h h h h h h h h h h h h h h h h h h z
+ 11 1

Tigun – Single cycle - -

ततगन
ु धा धीं i धा धा तीं i
Dhaa Dheen i Dhaa Dhaa Teen i
Tigun
(Triple z z z z z z z
speed) 1 4

ता तीं - धा धीं i धा धा तीं i ता तीं i धा धा धीं i धा

Taa Teen - Dhaa Dheen i Dhaa Dhaa Teen i Taa Teeni Dhaa Dhaa Dheeni Dhaa

z z h h h h h h h h h h h h h h h z

+ 11 1
 56
© Anjali Nandedkar, nandedkarproductions.com

चौगुन धा धीं i धा धा तीं i ता तीं i धा धा धीं i धा धीं i धा धा तीं i ता तीं i धा धा धींi

Dhaa Dheeni Dhaa Dhaa Teeni Taa Teeni Dhaa Dhaa Dheeni Dhaa Dheen i Dhaa Dhaa Teen i Taa Teeni Dhaa Dhaa Dheeni
Chougun c c c c c c c c c c c c c c c c c c c c c c c c c c c c
(Quadruple 1 4
speed)
धा धीं i धा धा तीं i ता तीं i धा धा धीं i धा धीं i धा धा तीं i ता तीं i धा धा धींi धा
Dhaa Dheeni Dhaa Dhaa Teeni Taa Teeni Dhaa Dhaa Dheeni Dhaa Dheen i Dhaa Dhaa Teen i Taa Teeni Dhaa Dhaa Dheeni Dhaa
c c c c c c c c c c c c c c c c c c c c c c c c c c c c z
+ 11 1

Chougun – Single cycle - -

चौगन
ु धा धीं i धा धा तीं i
Dhaa Dheen i Dhaa Dhaa Teen i
Chougun
(Quadruple z z z z z z z
speed) 1 4

ता तीं i - - धा धीं i धा धा तीं i ता तीं i धा धा धींi धा

Taa Teen i - - Dhaa Dheen i Dhaa Dhaa Teen i Taa Teeni Dhaa Dhaa Dheeni Dhaa

z z z c c c c c c c c c c c c c c c c z

+ 11 1
 57
© Anjali Nandedkar, nandedkarproductions.com
Madhyama Poorna Exam

ताल आडा चौताल Taal Aadaa Choutaal

मात्रा : 14, विभाग (खंड) – 7 (2,2,2,2,2,2,2), Maatraa (Beats): 14, Vibhaag or Khanda (sections) : 7 (2,2,2,2,2,2,2)
ताली : 4 (1, 3, 7, 11 िी मात्रा पर), Taalee: 4 (on 1, 3, 7, 11 beat or Maatraa)
खाली : 3 (5, 9, 13 िी मात्रा पर) Khaalee or Kaal: 3 (on 5th, 9th, 13th Beat or Maatraa)

भातखंडे ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का धीं ततरककट धध ना तू ना कत ् ता
Dheen Tirakita Dhi Naa Too Naa Kat taa
Thekaa
X 2 O 3

ततरककट धी ना धी धी ना धीं
Tirakita Dhee Naa Dhee Dhee Naa Dheen
O 4 O X

दग
ु ुन धीं ततरककट धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं ततरककट
Dheen Tirakita Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen Tirakita
Dugun
(Double
speed) X 2 O 3

धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं
Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen

O 4 O X

Dugun – Single cycle - -

दग
ु न
ु धीं ततरककट धध ना तू ना कत ् धीं ततरककट
Dheen Tirakita Dhi Naa Too Naa Kat Dheen Tirakita
Dugun
(Double X 2 O 3
speed)
धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं
Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen

O 4 O X

ततगुन धीं ततरककट धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं ततरककट धध ना तू ना कत ् ता ततरककट धी

Dheen Tirakita Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen Tirakita Dhi Naa Too Naa Kat Taa Tirakita Dhee
Tigun
X 2 O 3

ना धी धी ना धीं ततरककट धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं

Naa Dhee Dhee Naa DheenTirakita Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen

O 4 O X

Tigun – Single cycle - -

ततगुन धीं ततरककट धध ना तू ना कत ् ता

Dheen Tirakita Dhi Naa Too Naa Kat taa
Tigun
X 2 O 3

ततरककट - धीं ततरककट धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं

Tirakita - DheenTirakita Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen

O 4 O X
 58
© Anjali Nandedkar, nandedkarproductions.com

चौगुन धीं ततरककट धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं ततरककट धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं ततरककट धध ना

Dheen Tirakita Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen Tirakita Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen Tirakita Dhi Naa
Chougun
X 2 O 3

तू ना कत ् ता ततरककट धी ना धी धी ना धीं ततरककट धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं

Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen Tirakit Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen

O 4 O 3 X

Chougun – Single cycle - -

चौगुन धीं ततरककट धध ना तू ना कत ् ता

Dheen Tirakita Dhi Naa Too Naa Kat taa
Chougun
X 2 O 3

ततरककट धी - - धीं ततरककट धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं

Tirakita Dhee - - Dheen Tirakit Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen

O 4 O 3 X
 59
© Anjali Nandedkar, nandedkarproductions.com
Madhyama Poorna Exam

ताल आडा चौताल : पलस्

ु कर ललपी Taal Deepchandi : Pandit Paluskar Taal – Lipi (Taal script)
ठे का धीं ततरककट धध ना तू ना कत ् ता
Dheen Tirakita Dhi Naa Too Naa Kat taa
Thekaa z cccc z z z z z
1 3 + 7

ततरककट धी ना धी धी ना धीं
Tirakita Dhee Naa Dhee Dhee Naa Dheen
cccc z z z z z z

+ 11 + 1

दग
ु न
ु धीं ततरककट धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं ततरककट
Dheen Tirakita Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen Tirakita
Dugun x cccc x x x x x x cccc x x x x x 0 cccc
(Double 1 3 + 7
speed)
धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं
Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen
x x x x x x cccc x x x x x z
+ 11 + 1

Dugun – Single cycle - -

दग
ु ुन धीं ततरककट धध ना तू ना कत ् धीं ततरककट
Dheen Tirakita Dhi Naa Too Naa Kat Dheen Tirakita
Dugun z cccc z z z z z 0 cccc
(Double 1 3 + 7
speed)
धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं
Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen
x x x x cccc x x x x x z
x x
+ 11 + 1

ततगुन धीं ततरककट धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं ततरककट धध ना तू ना कत ् ता ततरककट धी

Dheen Tirakita Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen Tirakita Dhi Naa Too Naa Kat Taa Tirakita Dhee
Tigun h llll h h h h h h llll h h h h h h llll h h h h h h llll h

(Triple 1 3 + 7
speed)
ना धी धी ना धीं ततरककट धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं
Naa Dhee Dhee Naa Dheen Tirakita Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen
h h h h h llll h h h h h h llll h h h h h
z
+ 11 + 1

Tigun – Single cycle - -

ततगुन धीं ततरककट धध ना तू ना कत ् ता

Dheen Tirakita Dhi Naa Too Naa Kat taa
Tigun z cccc z z z z z
(Triple
1 3 + 7
speed)
ततरककट - धीं ततरककट धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं
Tirakita - Dheen Tirakita Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen
h h llll h h h h h h llll h h h h h
cccc z
+ 11 + 1
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चौगुन धीं ततरककट धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं ततरककट धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं ततरककट धध ना

Dheen Tirakita Dhi Naa Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen Tirakita Dhi Naa Too Naa Kat Taa TirakitaDhee Naa Dhee Dhee Naa Dheen Tirakita Dhi Naa
Chougun c yyyy c c c c c c yyyy c c cc c c yyyy c c c c c c yyyy c c c c c c yyyy c c

(Quadruple 1 3 + 7
speed)
तू ना कत ् ता ततरककट धी ना धी धी ना धीं ततरककट धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं
Too Naa Kat Taa Tirakita Dhee Naa Dhee Dhee Naa Dheen Tirakita Dhi Naa Too Naa Kat Taa TirakitaDhee Naa Dhee Dhee Naa Dheen
c c c c yyyy c c cc c c yyyy c c c c c c yyyy c c c c c
z
+ 11 + 1

Chougun – Single cycle - -

चौगुन धीं ततरककट धध ना तू ना कत ् ता

Dheen Tirakita Dhi Naa Too Naa Kat taa
Chougun z cccc z z z z z
(Quadruple
1 3 + 7
speed)

ततरककट धी - - धीं ततरककट धध ना तू ना कत ् ता ततरककट धी ना धी धी ना धीं

Tirakita Dhee - - Dheen Tirakita Dhi Naa Too Naa Kat Taa TirakitaDhee Naa Dhee Dhee Naa Dheen
c c c yyyy c c c c c c yyyy c c c c c
cccc z z
+ 11 + 1
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Madhyama Poorna Exam
ताल तीव्रा Taal Teevraa
मात्रा : 7, विभाग (खंड) – 3 (3, 2, 2), Maatraa (Beats): 7, Vibhaag or Khanda (sections) : 3 (3, 2, 2)
ताली : 3 (1, 4, 6 िी मात्रा पर), Taalee: 3 (on 1st, 4th and 6th beat or Maatraa)
खाली : खाली नहीं है | Khaalee or Kaal: There is no khaalee

भातखंडे ताल – ललपी Pandit Bhatkhade Taal – Lipi (Taal script)

ठे का धा द ं ता ककट तक ग ी गन धा
Dhaa Din Taa Kita Taka Gadee Gana Dhaa
Thekaa
X 2 3 X

दग
ु ुन धा द ं ता ककट तक ग ी गन धा द ं ता ककट तक ग ी गन धा
Dhaa Din Taa Kita Taka Gadee Gana Dhaa Din Taa Kita Taka Gadee Gana Dhaa
Dugun
(Double
speed) X 2 3 X

Dugun – Single cycle - -

दग
ु ुन धा द ं ता - धा द ं ता ककट तक ग ी गन धा
Dugun Dhaa Din Taa - Dhaa Din Taa Kita Taka Gadee Gana Dhaa
(Double
speed)
X 2 3 X

ततगुन धा द ं ता ककट तक ग ी गन धा द ं ता ककट तक ग ी गन धा द ं ता ककट तक ग ी गन धा

Tigun Dhaa Din Taa Kita Taka Gadee Gana Dhaa Din Taa Kita Taka Gadee Gana Dhaa Din Taa Kita Taka Gadee Gana Dhaa
(Triple
speed) X 2 3 X

Tigun – Single cycle - -

ततगुन धा द ं ता ककट - - धा द ं ता ककट तक ग ी गन धा

Tigun
(Triple
Dhaa Din Taa Kita - - Dhaa Din Taa Kita Taka Gadee Gana Dhaa
speed)

X 2 3 X

चौगन
ु धा द ं ता ककट तक ग ी गन धा द ं ता ककट तक ग ी गन धा द ं ता ककट तक ग ी गन धा द ं ता ककट तक ग ी गन धा
Chougun Dhaa Din Taa Kita Taka Gadee Gana Dhaa Din Taa Kita Taka Gadee Gana Dhaa Din Taa Kita Taka Gadee Gana Dhaa Din Taa Kita Taka Gadee Gana Dhaa
(Quadruple
speed) X 2 3 X

Chougun – Single cycle - -

चौगुन धा द ं ता ककट तक - धा द ं ता ककट तक ग ी गन धा
Chougun
(Quadruple
Dhaa Din Taa Kita Taka - Dhaa Din Taa Kita Taka Gadee Gana Dhaa
speed)

X 2 3 X
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ताल तीव्रा : पलुस्कर ताल – ललपी Taal Teevraa : Pandit Paluskar Taal – Lipi (Taal script)

ठे का धा द ं ता ककट तक ग ी गन धा
Dhaa Din Taa Kita Taka Gadee Gana Dhaa
Thekaa z z z xx xx xx xx Z
1 4 6 1

दग
ु ुन धा द ं ता ककट तक ग ी गन धा द ं ता ककट तक ग ी गन धा
Dhaa Din Taa Kita Taka Gadee Gana Dhaa Din Taa Kita Taka Gadee Gana Dhaa
Dugun Xx Xcc cccc cc x Xx cccc cccc Z
1 4 6 1

Dugun – Single cycle - -

दग
ु न
ु धा द ं ता - धा द ं ता ककट तक ग ी गन धा
Dugun Dhaa Din Taa - Dhaa Din Taa Kita Taka Gadee Gana Dhaa

z z z x x Xx cccc cccc Z
1 4 6 1

ततगन
ु धा द ं ता ककट तक ग ी गन धा द ं ता ककट तक ग ी गन धा द ं ता ककट तक ग ी गन धा
Dhaa Din Taa Kita Taka Gadee Gana Dhaa Din Taa Kita Taka Gadee Gana Dhaa Din Taa Kita Taka Gadee Gana Dhaa
Tigun H h h jj jj jj jj h h H jj jj jj jj h H h jj jj jj jj z
+ 4 6 1

Tigun – Single cycle - -

ततगन
ु धा द ं ता ककट - - धा द ं ता ककट तक ग ी गन धा
Tigun Dhaa Din Taa Kita - - Dhaa Din Taa Kita Taka Gadee Gana Dhaa
z z z xx H h h H h jj jj jj jj z
1 4 6 1

चौगुन धा द ं ता ककट तक ग ी गन धा द ं ता ककट तक ग ी गन धा द ं ता ककट तक ग ी गन धा द ं ता ककट तक ग ी गन धा

Dhaa Din Taa Kita Taka Gadee Gana Dhaa Din Taa Kita Taka Gadee Gana Dhaa Din Taa Kita Taka Gadee Gana Dhaa Din Taa Kita Taka Gadee Gana Dhaa
Chougun C c c vv vv vv vv c C c vv vv vv vv c c C vv vv vv vv c c c vv vv vv vv

1 4 6 1

Chougun – Single cycle - -

चौगुन धा द ं ता ककट तक - धा द ं ता ककट तक ग ी गन धा

Chougun Dhaa Din Taa Kita Taka - Dhaa Din Taa Kita Taka Gadee Gana Dhaa
z z z xx xx c c c c vv vv vv vv
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Chapter 5: Biographies
Biography of Amir Khusaro
Indian music has been changing, and we have experienced this again and again from time to time. Lot of invasions
(by muslims and British) happened in Northern India. As a result, in time, there were changes in state, social and
religious spheres. In these changes, muslim invasion had the biggest effect. During that time, due to differences in
the opinion of the rulers, things became chaotic. In Northern India, musical arts had to suffer a lot and bear lot of
difficulties. Some good and some bad things happened during this time. In spite of this, a very talented artist
emerged, whose name was Amir Khusaro. He mixed Indian and Persian music and brought novelty in the world of
music and earned a lot of respect.

Amir Khusaro was born in 1253, in town of Patiyaali Mominpur in a district of Etah. His father Saifuddin Ahamad
came from Turksthaan and sought shelter in India. His mother was a Rajput lady. His full name was Abul Hasan
Yamin Ud-Din Khusaro. He got music education right from his childhood from his parents’ families. Initially he was
also interested in literature and poetry. Persian, Turkish and Indian cultures influenced him. He enjoyed writing
poems and gazals and became a darling of everyone around him. Seeing his intellect and passion for music, Sultaan
Jalaaluddin Firozshah honored him with a title "Amir". Since then, he was known as Amir Khusaro.

He received initiation and guidance from saint Khvaajaa Nizamuddin Chishti of Delhi. This Guru was very fond of
Amir Khusaro. For a short time, Amir Khusaro was working in a court of a king from Delhi, Gayaasuddin Balban from
Gulaam dynasty. Amir Khusaro was very impressed with music and poetry singing from ‘Avadh’ region. For some
time, Amir Khusaro also stayed with Jalaaluddin Khilaji. This king had many beautiful singers in his court. Amir
Khusaro has descriptions of their beauty in his compositions.

When Alauddin Khilaji came to power and invaded Devagiri, Amir Khusaro was with him. King from Devagiri lost the
battle. During this time, there was a competition between Amir Khusaro and Gopal Nayak which Amir Khusaro won
by his deceitful tricks. Though, in his heart, he greatly respected Gopal Nayak and brought him to Delhi with him.
Amir Khusaro studied Indian art forms and music theory. He created his own style by introducing Persian, Arabic and
Turkish elements into Indian classical music. He was an expert in several languages such as Urdu, Parasee, Turkee,
Hindi, Braj, Rural dialects, Sanskrit. His poems are heavily influenced by ‘Soofee Darshan’. He also used ‘Mukraam
style’ from Iraan.

Amir Khusaro created new raagas such as Saajgiri, 'Sarpardaa Bilaaval', Yaman, Jheelap, Shahaanaa, Bahaar etc. and
also created 'Taals' like Aadaachautaal, Fardost, Soolfaak, Jhumraa, Pashto, Savaaree etc. He was famous for singing
Kavvaalee, Gajal and Taraanaa. He usually sang Taraanaas in Ektaal. In south Indian music he used and popularized
shuddha swar saptak. He composed new songs in local languages which are known as ‘Chhotaa Khyaals’ today.
Amir Khusaro wrote 99 books in Persian language and music but only 22 books are available at present. He wrote
several famous books. Out of which, Nuhsipahar, Kiraanussadain Ejaache Khusakhee are prominent. Khusaro
heartily praised Indian music and Indian artists in his treatise ‘Nuhasipahar’.

Amir Khusaro received several honorable titles from many kings. Examples: ‘Malikushshuaraa (king of Poets)’ from
Sultaan Kaikubaav, ‘Maalik-Un-Nurmaa’ from Jalaaluddin Khilaji, ‘Khusaraa-E-Shaairaan’ from Allauddin Khilaji.
In 1324, his Guru Nizamuddin Chishti passed away. This death was very traumatic for Amir Khusaro and he started
staying away from society. Around the year 1325-26 Amir Khusaro passed away. Khusaro's tomb is near the feet of
his Guru in Delhi. Every year Kavaal community celebrates a festival in Amir Khusaro’s honor at his tomb.
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Biography of Gopal Nayak
Alauddin Khalji invaded Devagiri (South) in the year 1264, where a king named Ramdev Yaadav used to rule. In his
kingdom, a person named Gopal Nayak was a court singer. There was a music competition between him and Amir
Khusaro, who came with Allauddin Khilaji’s expedition. Gopal Nayak got defeated by the smartness (some deceitful
tactics ) of Amir Khusrau and he accepted the defeat. But Amir Khusaro did acknowledge Gopal Naayak’s talent in
his heart. In Delhi, Gopal Nayak got full respect as a singer. It is said that outside Delhi, he used to tie bells indicating
specific time and raagas around the necks of ox pulling his cart.

Chatur Kallinath has mentioned his name in the 'Taal' description of 'Ratnakar granth'. This proves that Gopal Nayak
was one of the renowned singer of that time.
Hence:
कुडवकुतालस्त गोपालनायके न | राग कदम्बैरेवगुप्तवाद प्रयक्त
ु ||
Kudavkutaalasta Gopaalnaayaken | Raag Kadambairevaguptavaad prayukta

According to history, Gopal Nayak reached Delhi between the year 1264 and 1265. There was no description of
'Dhrupad' in the Sanskrit books available during that time. This proves that Gopal Nayak did not sing 'Dhrupad'.
(There was another singer named Gopal Laal during 16th century contemporary with Taan Sen and Baiju Bawara ,
who sang 'dhrupad' ). During Gopal Nayak’s life time, that is in 13th century AD, the established arrangements were
in Sanskrit, Tamil, Telugu languages. Gopal Nayak was unparalleled in singing ‘Cchanda – Prabandha’. Many treatises
have written that Raag Devgiri was created by Gopal Nayak’s genius.

Gopal Nayak was a born a 'Brahmin' and he spent the rest of his life in Delhi after spending initial time in Devagiri.
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Biography of Man Sinha Tomar

Today, what is known as Madhya Pradesh, there lived a ruler named Man Sinha Tomar from Tomar dynasty, who
was very famous as a great worrier and big music lover. He was a great patron of literature and music. His
knowledge of music was superordinate.
There have been many legendary stories found about this mighty warrior and music lover, King Man Sinha Tomar. In
olden days when people were getting bored, Sheikh Bhahauddin Zakaria of Multan, was composing new music by
mixing different raagas. At same time, Sultan Hussain of Gujrat, was transforming Hindustani music into Irani style.
King Man Sinha could not tolerate this. He understood the changing interest of the people and invented Dhrupad
singing. Man Sinha himself was expert in art and science of music.
Music world will be very grateful to Man Sinha for this invention. Dhrupad style was developed and became famous
under Baiju’s supervision. First thing Baiju did was he arranged Dhrupad in four sections: Sthaayee, Antaraa,
Sanchaaree, Abhog.
At the time of invention of Dhrupad, the king had lot of discussion with the music scholars and famous musicians of
that time. Man Sinha himself was an excellent composer. All the old songs became very uninspiring compared to
Man Sinha’s dhrupads. There were two reasons for this. First, Dhrupad compositions used local languages and
second the existing classical music was in Sanskrit language. Therefore, existing music became unpopular and
Dhrupad progressed forward.
Man Sinha helped create devotional couplets based on ‘Vishnupad’ which emerged as musical songs of ‘pushtimargi
ashtachhaap’. Along with the devotional songs, there emerged romantic Dhrupads in ‘brij bhasha’ (local language)
as an alternative to gazals. ‘SangeetGangaa’ (music stream) started flowing in a new direction. Dejected Hindu
community became energized with new zeal. Man Sinha Tomar completely washed away hundreds of years old
‘Chishti’ tradition in his 30 year rule.
Man Sinha Tomar composed songs in local languages and honored them in his court. He resurrected old tradition of
practicing existing music in temples. He brought king’s court music into public life.
In music world, Man Sinha gets full credit for reestablishing Dhrupad. This is the reason Gwaliar became the central
place for music.
‘Maanakutuhal’ is a treatise written in Man Sinha’s court. Specifically, music students did not need to refer to older
books like ‘Bharatsangeet, Sangeet Darpan and Sangeet Ratnakar’. King Man Sinha had detailed discussions with
scholars like Devaahang, Naayak Mahmood, Naayak karan and published a book about rules and characteristics of
raagas. This book got structured in such a way that people could trust the book thoroughly. By the help of the
musicians, detail characteristics of the raagas were written and its translation was done in Persian language in 1673
by Fakirulla in the book, by the name ‘Sangeet Darpan’.
There have been descriptions of various subjects in ‘Maankutuhal’ e.g. description of the raags, definition of the
words and the time when different raags are sung, which note should come first, interpretation of ragas, origin of
the swaras or notes in the body, description of musical instruments, detailed description of ‘Jal Tarang’ and much
more treasured knowledgebase of music.
Along with the description of classical music, they have shed some light on the medieval history of music and an
indication of further discovery in the field of music.
Among the many famous musicians in the court of Mansinha , Baiju, Bakshu, Charju, Bhagvan and Ramdas are worth
mentioning. King Mansinha passed away in the year 1519.
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Chapter 6: Essays
(1)Classical & Folk Music:
Indian Music has developed through many traditions over the years. During past several centuries, two types of Music
developed, some what in parallel; namely, “Folk Music”, and “Classical Music”. In seventh Century, Matang Muni discussed
these two types of Music, after a deep study of both. He called “Folk Music” as “Deshi Sangeet”, and the “Classical Music” as
“Maargiya Sangeet” (which means, a Sangeet - with direction).

He expressed this, in a short poem …..

‘ े शे े शे जनानां यद्रच्
ु या हृ यरन्जकं | गानं च िा नं नत्ृ यं तद्देशीत्यभभधीयते’ | - बह
ृ द्देशी
‘Deshe Deshe Janaanaam, Yadruchya Hrudayaranjakam, Gaanam cha Vaadanam Nrutyam, Taddesheetyabhidheeyate’ | --
Bruhaddeshi
- People in different countries develop their own music according to their interests for their enteretainment which includes
singing, instrument playing, and dancing. This is called “Deshi Sangeet” or ‘Folk Music ‘ .

We will now discuss how these two types of Sangeet developed over the years. Ancient man, when he had enough food and
water, saw and admired the beauty of nature, and started clapping, and moving his body in rhythm, with joy! He copied
musical sounds made by birds and animals. He noticed the beautiful sounds made by a chord of a bow-&-arrow, rain drops
falling on leaves-of-trees, etc., and was inspired to create his own versions of those musical sounds, and thus his music started
developing.

Ancient mankind’s societies started developing in various places on earth, as groups of people - living in clusters of human
habitats. On occasions of birth, marriage, death, new crop gathering, those habitants started celebrating their key events with
music. That music was called “Lok Sangeet”, (or, Folk Music), which developed in different native languages, addressing
various topics of every day life. It was simple, and developed for “Group participation”. It was easy (in general) for anyone to
learn, how to sing, or play it on an (musical) instrument, and was preserved through generations - when passed on from one
generation to other.

Some studious developers of those human habitats went deep in understanding music, and developed it further through
research, which took a new form, called “Classical Music”, (or, Shastriya Sangeet).

“Classical Music” is indeed entertaining, but it does have elements of seriousness because it requires discipline, brought about
through proper analysis of various aspects of music. For that reason, it takes time to learn “Classical Music”, which reflects
one’s inner mind during performance. It is not made for a group participation, like “Lok Sangeet”.

“Lok Sangeet” is called the mother of “Shastriya Sangeet”. The well established music of: Raagas - like Kanada, Malhar, Sarang;
Taals (Beats)- like Jhumara, Dhamar, Deepchandi; Types of Singing - like Dhamar, Thumri, Tappa; Musical Instrument playing -
like Shehnai, Sarangi, Bansuri (Flute); originally they all came from “Lok Sangeet”. Classical Musicians think deeply about how
to present some of the elements of “Lok Sangeet” through “Shastriya Sangeet”.

Sadarang is one of the well known musicians, who presented traditional female songs - passed on through generations - via
“Bandishes”. Shouri Miya developed “Tappa” from Punjabi “Lok Sangeet”- by adding some elements of “Shastriya Sangeet” to
it, and thereby creating a new form of “Shastriya Sangeet”. Bajid Ali Shah presented and established “Thumri” in Northern
Classical Music. Remarkable work by Modern day Pandit, Kumar Gandharva should be mentioned here as he continued this
type of special research and development. He published “Maalvaa-Ki-Lok-Dhune”, and developed new Raagas, based on “Lok
Sangeet”. He gave prominence to ‘Nirguni Bhajans’, through “Shastriya Sangeet” in Classical Musical performances.

Pandit Shiv Kumar Sharma gave an unusual prominence to “Kashmiri Lok Sangeet” through “Shastriya Sangeet” with his
unique talents of playing “Santoor”, a rare Kashmiri musical instrument. Ustad Bismilah Khan brought “Shehnai”, a “Lok
Sangeet” musical instrument into a great prominence through his “Shastriya Sangeet” performances.

With these discussions, it is clear that “Shastriya Sangeet” has originated from “Lok Sangeet”, which has always nurtured
further development of “Classical” aspects of music. Scholars of “Shastriya Sangeet” find many such opportunities to develop
it further, with a likelihood of finding a way to present it in a much more eloquent way in future.
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(2)Role of Science in development of Music:
Whenever Sangeet is to be defined, most of us summarize it as a combination of Singing, Instrument playing, and Dancing.
However, when the subject of how it all came about comes up, many stories (based on folklores) are presented. Some people
say, Brahma – the originator of Vedas – created it, while others say Lord Shiva taught music (sangeet) to his follower, Narad
Muni. Some Farsi scholars in Iran, however, say Hazarat Moosa hit a stone with a stick, and broke it into seven pieces, each of
which had a unique natural resonance of a musical note (Swara), which provided the basic notes of an octave. There can be
many such stories on the origins of music (sangeet), but Science surely played a key role in its development. That does not
limit to only Physics, but comprehensively includes many other sciences in a broad sense.

Music (Sangeet) in reality does not have a physical form. It is an abstract and invisible art.
Its two fundamental components are “notes (Swar)” and “tempo (Laya)”. These two elements, together, create music. That
is the essence of fundamental science of music.

The frequencies of the fundamental seven notes (Swaras) are quite apart from one another, which can be shown through
Physics. In Music, once a pitch of the first note (Saa) is established, the other notes follow automatically, because of the inter-
relationship of frequencies (of all Swaras – srgmpgn`). That includes seven fundamental (pure) notes, as well as,
five Vikrut or Vakra Swaras (Tivra, and Komal).

All Indian Classical Musicians practice and perform their music with accompaniment of at least one Tanpura. When the
strings of a Tanpura are plucked, they create a sound, which provides “musical Naad ” for the singer and the instrument
players, to perform together. By listening to the singer, and the instrument players, the audience can readily recognize the
Swaras being used in the performance of a raga, based on their training in music. Our ears recognize these music very well
since we are used to listening to these swaras since childhood. These notes (Swaras) are those that are well defined through
Physics, and the designs of musical instruments are also based on Principles of Physics. Thus, Science has played a major role
in development of “Sangeet”.

Now we will discuss “Raaga Sangeet” and its relationship to Science. Whether Vaadi-Samvadi are on fourth or fifth swaras, that
is at, s-m and s-paspect , can easily be established, based on the principles of Physics. Similarly, study of strings of
musical instruments like Taanpuraa, Sitaar, Dilruba, Saarangee, Violin etc., will reveal hidden physics principles. Apart from
this, music (Sangeet) will reach our ears only when musical sounds reach us through the medium of air.

Let us now look at propagation of music. Radio broadcast has played a key role in distribution of music to public. It is because
of radio broadcast (“Akashvani”, which means “voice from Akash – or sky”) music has become so popular amongst people.
These days audio-video systems also have played a major role in transmitting sound of music to public.

Wherever we go to attend a performance, there are almost always “loudspeakers and microphones”, as an aid for audience,
which also have been developed through science. Without such equipment, many performances would not be as successful.
One wonders how musical performances were managed in the past, when such equipment was not developed! Tape
Recorders, cassette players, CD players, computers, electronic Tanpura - with Tabla & Lahera, etc. are indeed gifts of science,
which helps performers reach greater heights in their accomplishments.

Similar to the role of Physics in development of Musical Instruments, knowledge of life sciences has played a key role in
development of singer’s voice, which requires focus on other body organs, like ears, nose, neck, chest, inhaling, and exhaling,
for its proper development. Once that is accomplished, then the next thing to develop is to sing various notes crisply, called
“Kantha Sadhana” (Development of Voice culture – vocal chords), usually with help from a Music Teacher.

Development of Music (Sangeet) and Science go hand in hand, because Music is based on Scientific Principles. That is why the
well known Scientist, by the name Pythagorous, established an Octave or Saptak, which is related to exact relative frequencies
of swaras.
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Human Voice development, and eventual development of Music – which encompasses: Singing, Musical Instrument Playing,
and Dancing, are based on different fields of Science, like Audio science (Phonetics), Linguistics (Philology), Instrumental
development science, Science of Nature, Psychology, Physiology, Sociology, and science or technique of teaching, education,
theory. With due study of these various branches of Science in depth, one can excel in Music.
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(3) Literature & Music (Sangeet):
साहित्यसंगीतकलावविीनः | साक्षात ् पशु पच्
ु छ ववषाण िीनः ||
“Sangeet” and “Literature” have been closely related to one another since ancient times. They are like two limbs of mankind’s progress.
Both originated with origin of humankind. As human culture developed, along with language and literature; Music also evolved. Same is
true with progress of all fine arts. That’s because creations in fine arts, as in Literature, are based on manifestation of human feelings.
Enjoyment of Painting, Sculpture, Drama, Dance, Acting, Literature, Sangeet, etc., is a sign of being a cultured or refined human being.
Progress of these arts, from macro to micro state (general or voluminous to a highly detailed state), depends on external medium for its
publicity. Through such medium, they reach appreciative people, interested in a particular art. As the significance of a medium is decreased,
the art form achieves superior quality. Medium for an art form like vocal music is only human vocal cords. Therefore it is considered to be a
Top Ranking art.

There is no literature (or lyrics) in Instrumental Music, and for Dancing it is limited to accompaniment only. Therefore, the role of
Literature in Vocal Music is higher than its role in these two types of Music. For that reason, this write up will be limited to address “Vocal
Sangeet (music)” only, wherever “Sangeet (Music)” is mentioned.

It would be appropriate now to define “Literature” here. It has been said that written “Literature” has many forms, but the one agreed to
by many Scholars is the one being discussed here: “Shabdarthou sahitou kaavyam”, which means, wherever “Words & Poem appear with its
meaning, that’s where Literature starts”. Whichever words (as part of a poem) are to be sung, with its ease in understanding of its
meaning, and ease of its pronunciations in a natural way, then that poem, with its tune and meaning, reaches music lovers.

In vocal music, words in many songs are the fundamental roots of expression. Such music has three varieties: Dhrupad Gayaki (Dhrupad
singing), Khayaal Gayaki (Khayaal singing), and semi-classical types - like Thumari, Dadara, Light Music, and Lok Sangeet (Folk Music).
Light Music, and Lok Sangeet, are well known because of the meaning of their lyrics or words. Hence, in light music and fold music, swaras
and lyrics are both equally important.

Entertaining Stories of Musical History are similar to the History of Literature. With a start in Sanskrit (Language), or Dhrupad Gayaki, music
has evolved into a modern day music. Starting from ‘Ruchaa Gaayan’ from Vedas, music gradually started including songs from local
languages. The North Indian Music has now transformed predominantly into Hindi, and its other subsidiary languages, through Popular
Songs.

We must mention “Ameer Khusro”, a great musician of 13th Century. Ameer Khusro is well known for his contribution to field of music and
literature through his poems like ‘Kahamukariyaan’. It is believed that he started “Khayaal” singing (for the first time). “Khayaal” means “a
thought or an idea”. When eloquent words and good thoughts are written in two lines and sung – it is called “Khayaal”. Such presentation of
words, through music, is itself a form of literature. In such short poems, some times there is a sad description of sorrowful separation (of
two people - Virah), or a description of a Season, or a Prayer - offered to Gods and Goddesses (Dev and Devi). After a presentation in slow
tempo (Badaa Khayaal), when the singer presents a Bandish in a faster tempo (Chhota Khayal), with the use of words and tune, he/she
reaches a climax while singing Taan and Boltaan. After “Amir Khushro”, came “King Maansing Tomaar”. Many scholars believe King
Maansing Tomaar pioneered development of “Tomari - Thhumari” gayaki (singing style).

Sometimes a very lively performance comes from a song made up of words that have no meaning. Such songs are called “Tarana”.

After that era, came “Bhakti-Kaal (Devotional Period)”, during which, prayers were presented through “Bhajan” or “Dohe”, which were all
lyrical and singable. There were different branches of “Bhakti Kal”: “1. Dnyanashrayi” (based on factual knowledge), “2. Saguna Bhakti”
(which is a worship of a Murti or statues or tangible objects), and “Nirguni Branch” (which is an abstract form of worship of the basic
elements of universe). Saints like Kabir, Guru Nanak, Dadu Dayal, as well as “Jaayasi” a great poet who wrote epic poetry, were a part of
‘Nirguni Sect’. There were many very good singers among these saints and poets, and therefore singing of their lyrical prayers was very
prominent at that time. The saints wrote, composed and sang joyous descriptive songs of God’s praises and deeds.

“Reetikaal (Customs or manners period)” followed with a Royal Support for Art and Literature. Ornamental, romantic songs were
developed during this era. “Thumri” became very popular during that time period. Types of literature like Thumari, Daadara, Kajari, Chaiti,
Hori, Baaraamaasaa (year around) were presented through “Thumari gayaki”. Such strong influence of highly descriptive, ornamental &
romantic songs created a negative impact on virtuous people. Therefore, children of such families were kept away from music, which made
them ignorant about music. Finally, a savior, by the name “Pandit Vishnu Digamber Paluskar”, arrived in the music world. to eliminate
undesirable words that were used at the time in music. He established “Gandharva Mahavidyalaya” and created musical compositions
with decent words, with his own swarlipi (written script). These good quality songs, were suitable for all members of society, including
children and women from decent families. He composed many songs, including “Bhakti” (prayer) songs, and printed music books with songs
and notation, for easy distribution to the public.

In conclusion: When musical literature has characteristics such as lovely musical notes, a stable voice, and musical meaningful words with a
good tune, a good singer’s ‘gayaki (presentation) can take the lyrics to a magnificent height.
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(4) Importance of Music (Sangeet) in Life:

It is of utmost importance to know that the role of music in life is extraordinary. Music provides support for every aspect of
human life. Humans are connected to nature, and nature is deeply connected to Music. Thus, human relationship with Music
is deep rooted. Not only music is deeply connected to human Life, but that relationship of music to human life is unbreakable.

The first breath, and voice, of a new born is a sign of its life. Thus it is said that the two basic elements of music, swara and
laya (notes and tempo), are inherent in humans. The divine gift of music, therefore, is present in every human being right from
birth. Thus, every individual is connected to music. Whether one learns music systematically in depth by learning various
raagas, music theory in classical music, he/she is always connected to music through Lok Sangeet (Folk Music).

Just like a new born acquires two main elements of music, notes and tempo (Swara & Laya), the accompaniment of music stays
with all humans throughout their lives. People celebrate birth of a new born, with music as part of enjoyment. During early
childhood, one assimilates knowledge of music from mother’s lullaby. Then, through nursery rhymes, one gets knowledge of
swara and laya. As a student, some child may get knowledge of music through a structured course work. Some improve their
concentration and focus through a medium of music. During golden years of youth, companionship with music continues. On
every auspicious occasion, music always has a place (for celebration). Love for music makes life interesting. Music helps one
relax when one is tired from hard work in life. During old age, reciting songs from past memorable programs, or remembering
your loved ones’ favorite songs, brings pleasure. Bhajans are sung when someone passes away. Thus, Music plays a very
important role in life, from start to end.

Society consists of people with many different professions. Music plays a very important role in all their lives. Women
laborers, farmers, porters from a wage earning working class; doctors, engineers from intellectual skilled worker’s class; brave
soldiers and artists; all have music in their lives. The art of music encompasses singing, musical instrument playing, and
dancing. One can find pleasure in any of these branches of music. Music plays a crucial role in uniting society. In India, there
are many different states with different type of people, with different religions, castes and class in the society, and yet their
national song is the same. The national anthem keeps them united! Music plays a very important role in all celebrations and
festivals.

Music is considered to be a supreme queen of arts. Music has two valuable specialties. Its first prime characteristic is that the
musician enjoys himself or herself immensely while performing and at the same time makes the audience very happy. Music
reduces sorrows and multiplies happiness hundred times over. The second very important characteristic of Music is that it
does not require any external means for its enjoyment. Swara (Notes) and Laya (tempo) are inherent in human beings, to
create music! One gets pleasure simply by humming! Elders (Sages) have said: “न संगीतम ् न जीिनम ्” (“Na Sangeetam na
Jivanam” i.e. There is no life without music).

Joy and sorrow have a unique relationship in human life. One can always find support from music during any of those
moments. Laborers feel less fatigued when they implement music (during their work), those doing mental work also feel less
tired when they resort to music, and thus music reduces physical & mental stress. Not only that, but music is also used to find
relief from pain. These days, many different therapeutic experiments are conducted using music. Many patients with mental
challenges, blood pressure problems, and diabetes find relief using music. It is clear from this that music plays a very
important role in Human Life!

Music is called “universal language”. Music, therefore, unites all nations. In Indian culture, the purpose of human life is
considered to be a path to ultimate salvation. Music in life is considered to be an important medium for this purpose. Hence
music brings prosperity to human life. Not only that, but God says ‘wherever there is music, I am in attendance there ’. By
pursuing Music one can experience presence of God in this mortal life!

Hence if one sees “Life is Music” in a broader sense, then one would definitely understand the role of music in life. In a nut
shell, it means that “Music is the Essence of Life”!