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GNDU Question Paper-2024

B.A 1

Semester

MUSIC (Vocal)

Time Allowed: Three Hours Max. Marks: 50

Note: Attempt Five questions in all, selecting at least One question from each section. The

Fifth question may be attempted from any section. All questions carry equal marks.

SECTION-A

1. What do you know about Sahayak Naad? Also mention its importance in classical music.

2. Write down brief notes on the following Musical Terms:

(a) Sangeet

(b) Swar

SECTION-B

3. By giving the life sketch mention the contribution of Ustad Lal Chand Yamla Jatt

towards Punjabi music.

4. What do you know about the Punjabi folk song 'Ghoriyan"? Explain in detail.

SECTION-C

5. By giving the description of Raga Bhopali give its notation of drut khyal.

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6. By giving the description of Dadra Taal, give its notation in Thaa and Dugun layakaries.

SECTION-D

7. Describe in detail about the contribution of Sri Guru Nanak Dev Ji towards Indian Music.

8. Write down brief notes on the following Musical Terms of Gurmat Sangeet:

(a) Raga

(b) Mohalla

GNDU Answer Paper-2024

B.A 1

Semester

MUSIC (Vocal)

Time Allowed: Three Hours Max. Marks: 50

Note: Attempt Five questions in all, selecting at least One question from each section. The

Fifth question may be attempted from any section. All questions carry equal marks.

SECTION-A

1. What do you know about Sahayak Naad? Also mention its importance in classical music.

Ans: Imagine you are sitting in a serene concert hall. The lights are dimmed, the audience is

silent, and a solo musician is about to begin a performance. You hear a subtle, gentle sound

accompanying the main melody, almost like a soft breeze that enhances the experience

without overshadowing the main performance. That gentle support you are hearing is what

classical music in India calls Sahayak Naad – the “supporting sound.” But there’s a lot more

to it than just being background music. It plays a critical role in shaping the emotional,

rhythmic, and melodic structure of a musical piece. Let’s explore this fascinating concept in

depth.

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Understanding Sahayak Naad: The Concept

In the world of Indian classical music, music is not just about a single voice or instrument. It

is an intricate dialogue of sounds, where every note has its place, and every rhythm has its

purpose. Sahayak Naad, which literally translates to “supporting sound,” refers to the

sounds or instruments that accompany the main melody or the primary performer. These

are sounds that do not take the spotlight but are essential in creating harmony, rhythm, and

emotional depth.

To make it simple, think of a painting. The main musician is like the central figure in the

painting—the hero that draws your eye. The Sahayak Naad is like the background: the trees,

the sky, the colors that give context, mood, and beauty to the central figure. Without it, the

main melody may feel empty or incomplete, much like a painting without a background

might feel unfinished.

The Forms of Sahayak Naad

Sahayak Naad can be expressed in multiple ways in classical music. It can be:

1. Rhythmic Support (Taal) – Instruments like the tabla, pakhawaj, mridangam, or

dholak provide a rhythmic foundation. They don’t sing the melody but create a

framework for it. Their role is like that of a heartbeat, setting the pace and keeping

the music alive. The rhythm guides the main performer and the audience, helping

them feel the pulse of the music.

2. Drone (Swar or Tanpura) – Instruments such as the tanpura or shruti box provide a

continuous harmonic drone that supports the main melody. This drone establishes

the tonal base and ensures that the main notes of the raga (musical scale) are

constantly heard in the background. Without this drone, the melody might feel

ungrounded, floating without direction.

3. Harmonic or Melodic Support – Occasionally, instruments like the violin,

harmonium, or flute play alongside the main performer, echoing certain phrases or

weaving in soft counter-melodies. These are subtle and never overpowering; they

enrich the texture and emotional depth of the performance.

The Importance of Sahayak Naad in Classical Music

The importance of Sahayak Naad in classical music cannot be overstated. It is like the silent

hero of a performance. Let’s explore its various dimensions:

1. Enhancing the Main Melody

The primary function of Sahayak Naad is to enhance the main melody. In Indian classical

music, a raga performance is highly intricate. The main artist improvises with subtle

variations in pitch, tempo, and rhythm. The supporting sounds provide a stable frame

against which these improvisations shine. For instance, the tanpura’s drone ensures that

every note the main artist plays resonates correctly, giving a sense of stability and

completeness.

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Without Sahayak Naad, the melody could feel isolated, like a tree standing alone in a vast

field with no soil to root in. The supporting sound is the soil, holding everything together.

2. Creating Emotional Depth

Music is not only a science of notes and rhythms but also an art of emotions. Classical music

often aims to evoke specific moods—peace, devotion, joy, or longing. Sahayak Naad plays a

crucial role in amplifying these emotions. For example:

• The soft, rhythmic accompaniment of a tabla can create anticipation, tension, or

excitement.

• A tanpura’s continuous hum can evoke a meditative and serene atmosphere.

• Subtle violin or flute harmonies can make a piece feel more poignant or soulful.

The emotional experience is heightened because the listener subconsciously feels a layered

soundscape rather than just a single melody line.

3. Maintaining Rhythm and Structure

Classical music is based on precise structures of rhythm (taal) and melody (raga). A

performance without rhythm can become chaotic. Sahayak Naad instruments, particularly

percussion, maintain a consistent tempo, ensuring that the main performer can explore

improvisations without losing the structure.

For example, in a tabla-accompanied performance, the tabla player emphasizes the beats

and divides the rhythmic cycle into precise patterns. The audience, even without conscious

awareness, feels the flow and predictability of the rhythm, making the performance more

engaging.

4. Providing Continuity

In many classical performances, the main artist takes long pauses or explores complex

improvisations. Sahayak Naad ensures there is continuity during these moments. The drone

or rhythmic accompaniment acts as a constant presence, making the performance feel

smooth and connected.

5. Supporting Learning and Practice

Sahayak Naad is not only important in performances but also in learning classical music.

Students practicing a raga often use a tanpura for drone support or a metronome-like

percussion device for rhythm. This helps in tuning their voice, maintaining pitch accuracy,

and understanding the intricate relationship between rhythm and melody.

6. Enhancing Audience Engagement

Even for the audience, Sahayak Naad is subtle but powerful. It subconsciously engages the

listener, making them feel the rhythm, harmony, and mood more intensely. The supporting

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sounds often allow the listener to appreciate the main artist’s improvisations and

expressions more fully.

A Story to Illustrate Its Role

Let’s picture a concert scenario to understand this better:

A renowned sitar player is performing a complex raga. Alone, the sitar might be technically

brilliant, but it would be like a bird flying alone in the sky—beautiful, yet lacking context.

Now, a tanpura hums continuously, laying down the tonal base. The tabla joins in, gently

marking the rhythm, punctuating beats with its crisp strokes. Occasionally, a soft violin

mimics the sitar’s phrases, creating echo-like patterns that delight the ear.

As the sitarist reaches the crescendo, the combined effect of these supporting sounds

makes the music feel fuller, richer, and emotionally engaging. Each instrument, though

playing a subtle or secondary role, contributes to an immersive musical experience. The

audience doesn’t just hear a sitar; they feel the universe of sound created around it.

This is exactly what Sahayak Naad accomplishes—it elevates the main performance,

weaving the melody, rhythm, and harmony into a complete, unforgettable experience.

Historical Perspective

The concept of Sahayak Naad has been present since ancient times in Indian classical music.

Ancient texts like Natya Shastra and Sangita Ratnakara mention the importance of

supportive instruments and accompanying sounds in music. Even in temple music and

devotional songs, instruments that support the main chant or melody were used to create

spiritual and emotional resonance.

In the evolution of classical music, whether in the Hindustani tradition of North India or the

Carnatic tradition of South India, Sahayak Naad has always played a vital role. From the

pakhawaj in Dhrupad music to the violin in Carnatic concerts, the supporting sounds evolved

alongside the main melody instruments to enrich the listening experience.

Conclusion: Why Sahayak Naad Matters

Sahayak Naad is like the unsung hero of Indian classical music. It may not be the star of the

show, but it provides the stage, the environment, and the emotional depth necessary for

the main performer to shine. It enhances melody, maintains rhythm, adds emotional

texture, supports continuity, and engages both the performer and the audience in a deeper

musical experience.

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To summarize simply:

• Sahayak Naad = Supportive Sound

• Main Roles = Rhythmic support, tonal foundation, harmonic enhancement,

emotional depth

• Importance = Enhances melody, maintains rhythm, enriches emotions, aids learning,

engages the audience

Without Sahayak Naad, a classical performance would feel incomplete, flat, or unstructured.

It is the invisible thread that weaves a performance into a tapestry of sound, allowing the

music to resonate, linger, and touch the soul.

Next time you listen to a classical performance, pay attention to these subtle sounds—the

tanpura hum, the gentle tabla beats, the echo of a violin—they are not just background;

they are Sahayak Naad, the supporting pillars of the majestic edifice of Indian classical

music.

2. Write down brief notes on the following Musical Terms:

(a) Sangeet

(b) Swar

Ans: (b) Swar – The Musical Note

Meaning of Swar

If Sangeet is the body of music, then Swar is its heartbeat. The word Swar comes from Swa

(self) + Ra (to shine). Thus, Swar means “that which shines by itself.”

In simple terms, a Swar is a musical sound with a fixed pitch that is pleasing to the ear. It is

not just any sound, but one that has order, sweetness, and musicality.

The Seven Swaras

Indian music is built on seven basic notes, called the Saptak:

1. Sa – Shadja

2. Re – Rishabh

3. Ga – Gandhar

4. Ma – Madhyam

5. Pa – Pancham

6. Dha – Dhaivat

7. Ni – Nishad

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These seven swaras are like the seven colors of a rainbow or the seven days of the week—

basic units that combine to create infinite possibilities.

Types of Swaras

• Shuddha Swaras (Pure notes): The natural form of the note.

• Komal Swaras (Flat notes): Lowered by a half-step (Re, Ga, Dha, Ni can be komal).

• Teevra Swara (Sharp note): Raised by a half-step (only Ma can be teevra).

Together, these variations create the rich palette of Indian ragas.

Philosophical Significance

1. Microcosm of the Universe: Ancient texts say the seven swaras correspond to

sounds of nature—Sa to the cry of a peacock, Re to the call of a bull, Ga to the

bleating of a goat, and so on.

2. Spiritual Symbolism: Each swara is linked to chakras (energy centers) in the body.

Singing them is seen as a form of meditation.

3. Foundation of Ragas: Just as letters form words, swaras form ragas—the soul of

Indian classical music.

Story-Like Illustration

Imagine a child learning music. The guru plays the tanpura and asks the child to sing “Sa.” At

first, the voice wavers, but slowly it steadies, merging with the drone. That moment—when

the note aligns perfectly—is magical. It is the discovery of Swar, the essence of music.

Meaning of Naad

If Swar is the heartbeat of music, Naad is its breath. The word Naad comes from Na (to

vibrate) + Da (to flow). Naad is a sound produced by regular vibrations that is musical and

pleasing to the ear.

Not every sound is Naad. The honk of a horn or the crash of thunder is sound, but not Naad.

Only those sounds that have order, pitch, and sweetness become Naad.

Types of Naad

1. Ahata Naad (Struck sound)

o Produced by striking or plucking—like the sound of a drum, a string, or even

the human voice.

o It is external and heard by the ear.

2. Anahata Naad (Unstruck sound)

o The mystical, inner sound heard in deep meditation.

o Yogis describe it as the cosmic vibration, the sound of “Om.”

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Characteristics of Naad

• Pitch (Shruti): How high or low the sound is.

• Duration: How long the sound lasts.

• Intensity: How loud or soft it is.

• Timbre: The quality that makes one sound different from another (a flute vs. a

violin).

Philosophical Significance

1. Cosmic Principle: Indian philosophy says the universe itself began with Naad—the

primordial sound “Om.”

2. Bridge Between Body and Spirit: Ahata Naad connects us to the outer world;

Anahata Naad connects us to the inner self.

3. Foundation of Music: Without Naad, there can be no Swar, and without Swar, no

Sangeet.

Story-Like Illustration

Picture a yogi meditating in a cave. At first, he hears the rustle of leaves, the chirping of

birds—external sounds. But as his mind quiets, he hears a deeper vibration, a humming

within himself. That is Anahata Naad—the eternal sound that underlies all existence.

Interconnection of Sangeet, Swar, and Naad

Now let’s weave them together:

• Naad is the raw material—the sound.

• Swar is the refined form of Naad—a musical note.

• Sangeet is the grand creation built from Swaras—music, dance, and instruments

together.

Think of it like this: Naad is clay, Swar is the shaped brick, and Sangeet is the temple built

from those bricks.

Conclusion

The three terms—Sangeet, Swar, and Naad—are not just technical definitions; they are the

very soul of Indian music.

• Sangeet is the complete art, uniting voice, instruments, and dance.

• Swar is the shining note, the building block of melody.

• Naad is the musical sound, the vibration that connects the human to the cosmic.

Together, they remind us that music is not just entertainment—it is philosophy, spirituality,

and life itself.

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So next time you hear a raga, remember: behind every note is Naad, behind every melody is

Swar, and behind the whole performance is Sangeet—the eternal art that has been

humanity’s companion since the dawn of time.

SECTION-B

3. By giving the life sketch mention the contribution of Ustad Lal Chand Yamla Jatt

towards Punjabi music.

Ans: When we talk about Punjabi folk music, one name shines brighter than most: Ustad Lal

Chand Yamla Jatt. Imagine the rustic fields of Punjab, the sound of the soil being tilled, and

the rhythm of village life. Amidst this vibrant culture, a young boy born in the early 20th

century would rise to become a beacon of Punjabi folk music. His journey is not just the

story of a musician; it is the story of Punjab itself, captured in melody and rhythm.

Early Life and Background

Ustad Lal Chand Yamla Jatt was born in 1910 in a small village of Punjab. From his childhood,

Lal Chand was surrounded by music—not in the form of formal training, but as the natural

rhythm of village life. Folk songs, sung during harvest, weddings, and daily chores, resonated

in the air, and the young Lal Chand absorbed them with an uncanny ability to replicate and

enrich them.

He belonged to a community where music was a form of storytelling. The elders sang tales

of valor, love, and local legends, often accompanied by instruments like the tumbi, dholak,

and chimta. Young Lal Chand was naturally drawn to these instruments, and among all, the

tumbi became his signature companion. It is said that he could extract not just melody but

emotion from the tumbi, making listeners feel the joy, sorrow, or humor embedded in the

song.

Musical Training and Development

Unlike many classical musicians of his time, Lal Chand did not have formal gurukul-style

training. Instead, his musical education was organic, learned through listening, performing,

and interacting with other folk artists. This grounded him firmly in the soul of Punjabi folk,

rather than in the strict rules of classical music. He respected classical music, but his heart

always beat for the folk traditions of his homeland.

By his twenties, Lal Chand had become a recognized folk singer and instrumentalist in

Punjab. His performances were not just about music; they were about connecting with

people. Villagers would gather around him during festivals, weddings, and fairs, and Lal

Chand would make them laugh, weep, or rejoice with his songs. His voice was both

powerful and melodious, capable of reaching the farthest corners of the village square

without any amplification—a testament to his raw talent.

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Contribution to Punjabi Music

Now, Lal Chand Yamla Jatt’s contributions to Punjabi music are immense, transformative,

and pioneering. Here’s how he shaped the musical landscape:

1. Reviving the Tumbi as a Folk Instrument

Before Lal Chand, the tumbi was often considered a simple, rural instrument, used mainly

for accompanying dance or background music. Lal Chand elevated it to a solo instrument,

capable of leading entire musical compositions. His mastery of the tumbi set a new standard

for folk musicians. Today, the tumbi is recognized worldwide as a symbol of Punjabi folk

music, largely due to his pioneering efforts.

2. Popularizing Folk Songs in Urban Spaces

During Lal Chand’s time, folk music was primarily confined to villages. He broke this barrier

by performing in urban centers and radio programs, making folk music accessible to the

growing Punjabi diaspora. His songs were broadcasted on All India Radio, which brought the

rural melodies to city listeners, bridging the gap between urban and rural Punjab.

3. Preserving Traditional Folk Narratives

Many of Lal Chand’s songs were not just musical compositions; they were repositories of

Punjabi culture and history. He sang about rural life, the joys and sorrows of farmers,

romantic tales, and heroic exploits. In a time when modernization threatened to erase

traditional practices, Lal Chand ensured that the stories of Punjab were preserved in

melody, giving the youth a connection to their roots.

4. Mentorship and Influence

Ustad Lal Chand was not just a performer but also a teacher and mentor. He trained a

generation of musicians who went on to further popularize Punjabi folk music. His disciples

carried forward the style, the techniques, and most importantly, the spirit of folk music,

ensuring its survival through decades of social and cultural change.

5. Innovations in Folk Music Performance

One of Lal Chand’s remarkable contributions was modernizing folk performances without

diluting their authenticity. He would combine vocal storytelling with instrumental solos,

creating performances that were both entertaining and emotionally resonant. His concerts

were lively, with interactive elements that engaged the audience, making folk music a

participatory experience rather than a passive listening event.

Signature Style and Famous Songs

Lal Chand Yamla Jatt was particularly famous for his high-pitched yet melodious voice and

his energetic tumbi playing. Some of his famous songs, which are still celebrated today,

include rural ballads and love songs that capture the essence of Punjabi life. The joy in his

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music lies in its simplicity: anyone listening could instantly relate to the lyrics, the rhythm,

and the stories.

Moreover, his singing style influenced countless artists in Punjabi folk and even Punjabi pop

music, showing that Lal Chand’s legacy extends beyond his era. Many contemporary Punjabi

musicians cite him as an inspiration, proving that his music was not just a product of his time

but timeless.

Awards and Recognition

Despite working in a period when folk musicians were often underappreciated, Ustad Lal

Chand Yamla Jatt received recognition for his lifelong dedication to Punjabi music. His

performances were praised by both critics and the general public. The fact that his music is

still celebrated decades after his death is a testament to its enduring impact.

Personal Traits and Legacy

What makes Lal Chand’s story so human and relatable is his personality. He was known to

be humble, approachable, and deeply connected to his community. Unlike some classical

musicians who focused solely on perfection, Lal Chand prioritized emotion, expression, and

storytelling. His legacy is not only in recordings or performances but in the joy he spread

and the cultural memory he preserved.

Today, when we hear the tumbi or Punjabi folk songs at weddings, festivals, or even in

popular music, we are experiencing the ripple effect of Lal Chand Yamla Jatt’s pioneering

work. He ensured that Punjabi music remained alive, vibrant, and emotionally resonant for

generations to come.

Conclusion

In storytelling terms, Ustad Lal Chand Yamla Jatt is like the bridge between tradition and

modernity. He took the simple, rustic tunes of Punjab and brought them to wider

audiences, making sure the heart of Punjabi folk music remained intact. His life is a beautiful

narrative of passion, dedication, and cultural preservation. Through his tumbi, his voice, and

his teachings, he became a legend of Punjabi music, someone whose songs continue to

make hearts sing and feet dance.

In short, Ustad Lal Chand Yamla Jatt was not just a musician; he was a cultural icon, a

storyteller, and a preserver of Punjabi heritage. His contributions helped shape the identity

of Punjabi music, inspiring countless generations and ensuring that the songs of Punjab

continue to echo far and wide.

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4. What do you know about the Punjabi folk song 'Ghoriyan"? Explain in detail.

Ans: The Punjabi Folk Song “Ghoriyan”

A Fresh Beginning

Picture a Punjabi village on a bright afternoon. The courtyard is decorated with marigold

flowers, women are dressed in colorful phulkari dupattas, and the air is filled with laughter.

A wedding is about to take place. Suddenly, a group of women gather in a circle, clap their

hands in rhythm, and begin to sing:

"Ghoriyan, ghoriyan, veer mere ghoriyaan..."

The song is playful, teasing, and full of joy. This is “Ghoriyan”, one of the most beloved

Punjabi folk songs, traditionally sung during weddings. It is not just a song—it is a cultural

ritual, a way of expressing emotions, and a living piece of Punjab’s heritage.

Meaning of “Ghoriyan”

The word Ghoriyan literally means “songs of the mare” (ghori = mare). In Punjabi weddings,

the groom traditionally rides a decorated mare (ghori) to the bride’s house. The songs sung

on this occasion are called Ghoriyan.

• They are sung mostly by women, especially the bride’s female relatives and friends.

• The songs are playful, teasing the groom, his family, and sometimes even the bride.

• They express joy, humor, and the festive spirit of marriage.

So, “Ghoriyan” are not just songs—they are a folk tradition woven into the very fabric of

Punjabi weddings.

Historical and Cultural Background

Punjabi folk songs have always been tied to life’s milestones—birth, harvest, festivals, and

especially weddings. Among these, Ghoriyan occupy a special place.

• In earlier times, weddings were long celebrations, often lasting several days. Music

and folk songs were the heart of these gatherings.

• Since women were often not part of the formal ceremonies, they created their own

space of expression through songs.

• Ghoriyan became a way for women to voice their feelings—sometimes joy,

sometimes sorrow, sometimes playful criticism of in-laws.

Thus, Ghoriyan are both entertainment and social commentary.

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Themes of Ghoriyan

The beauty of Ghoriyan lies in their variety. They cover many themes, often with humor and

wit.

1. Teasing the Groom

o Women sing about the groom’s appearance, his family, or his habits.

o Example: playfully mocking if he is too thin, too serious, or not wealthy

enough.

2. Advising the Bride

o Some songs give advice to the bride about her new life.

o They remind her of duties, but often in a light-hearted way.

3. Mocking the In-Laws

o The groom’s family is often teased—especially the mother-in-law or sisters-

in-law.

o This creates laughter and breaks the tension between two families.

4. Celebrating Love and Union

o Some Ghoriyan celebrate the beauty of the couple and the joy of marriage.

5. Social Satire

o Through humor, these songs sometimes comment on social issues like dowry,

wealth, or family pride.

Performance of Ghoriyan

• Who sings them? Mostly women, in groups, sitting together in the courtyard or

around the bride.

• How are they sung? With clapping, sometimes with simple instruments like the

dholki.

• When are they sung? During the groom’s procession (baraat), at the bride’s house,

or in pre-wedding functions like mehndi and sangeet.

The performance is informal, spontaneous, and full of laughter.

Example of a Ghoriyan Scene

Imagine the groom arriving on his mare, dressed in a sherwani and turban. The bride’s

sisters and cousins block his way, demanding gifts or money before letting him enter.

Meanwhile, the women sing Ghoriyan, teasing him:

• “Look at our groom, riding proudly on his mare, but wait till he meets our clever

bride!”

• “Oh groom, don’t be too proud of your wealth, for our daughter is the real jewel.”

The groom smiles, the crowd laughs, and the atmosphere becomes light-hearted.

Symbolic Significance of Ghoriyan

1. Expression of Women’s Voice

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o In traditional Punjabi society, women had limited roles in public rituals.

Ghoriyan gave them a platform to express themselves freely.

2. Bridging Families

o The playful teasing helps break the ice between the bride’s and groom’s

families.

3. Preserving Tradition

o These songs carry forward cultural values, humor, and wisdom from one

generation to the next.

4. Celebration of Community

o Weddings are not just about two individuals but about families and

communities. Ghoriyan bring everyone together in shared joy.

Artistic and Musical Aspects

• Language: Simple Punjabi, full of idioms and humor.

• Style: Call-and-response style, with one group singing a line and others repeating.

• Music: Usually unaccompanied or with minimal instruments, focusing on rhythm and

clapping.

• Tone: Light, playful, sometimes sarcastic, but always affectionate.

Comparison with Other Punjabi Folk Songs

• Tappe: Short, witty couplets sung in fast rhythm, often at weddings.

• Suhag: Songs sung by women to express the bride’s emotions, often more serious

and emotional.

• Ghoriyan: Specifically linked to the groom’s procession and mare, more playful and

teasing.

Thus, Ghoriyan occupy a unique space in the spectrum of Punjabi folk music.

Modern Relevance of Ghoriyan

In today’s times, weddings have changed. DJs, Bollywood songs, and choreographed dances

dominate. Yet, Ghoriyan still survive, especially in rural areas and traditional families.

• Many Punjabi singers have revived folk songs, blending them with modern music.

• At pre-wedding functions, families often include a “folk segment” where women sing

Ghoriyan.

• Even in diaspora communities abroad, Punjabi families keep this tradition alive,

connecting younger generations to their roots.

Philosophical Reflection

At a deeper level, Ghoriyan remind us that music is not just performance—it is life itself.

These songs capture the essence of human relationships: love, teasing, advice, and laughter.

They show how art can turn even a serious ritual like marriage into a celebration of joy and

humor.

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They also highlight the role of women as carriers of tradition. While men performed the

formal rituals, women preserved the emotional and cultural side of weddings through

songs.

Story-Like Wrap-Up

Think of a Punjabi wedding without Ghoriyan. The rituals would still happen, the food would

still be served, but something essential would be missing—the laughter, the teasing, the

warmth of women’s voices filling the courtyard.

Now think of a wedding with Ghoriyan. The groom blushes as he is teased, the bride smiles

shyly, the families laugh together, and the whole village feels united. That is the magic of

Ghoriyan.

Conclusion

The Punjabi folk song “Ghoriyan” is not just a melody; it is a cultural treasure.

• It is sung during weddings, especially when the groom rides the mare.

• It is performed by women, full of humor, teasing, and affection.

• It symbolizes the joy of marriage, the voice of women, and the unity of families.

• It has survived centuries, adapting to modern times while keeping its essence alive.

In short, Ghoriyan are the heartbeat of Punjabi weddings. They remind us that marriage is

not only a ritual but also a celebration of community, humor, and love.

So, the next time you hear women clapping and singing Ghoriyan at a wedding, remember—

you are not just hearing a song. You are hearing the echo of Punjab’s history, culture, and

spirit, carried forward in melody.

SECTION-C

5. By giving the description of Raga Bhopali give its notation of drut khyal.

Ans: Imagine walking into a serene night under a clear sky where the moonlight gently

kisses the earth, creating a calm, reflective atmosphere. In Indian classical music, such a

moment is perfectly captured by Raga Bhopali, a melodic framework that carries the

listener into a world of simplicity, devotion, and bliss. Raga Bhopali is one of the most

popular and frequently performed ragas in Hindustani classical music, known for its serene

and uplifting mood. Before diving into the technical aspects and notation of a Drut Khayal in

Bhopali, let’s take a gentle journey through its essence, characteristics, and beauty.

Origin and Time of Raga Bhopali

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Raga Bhopali belongs to the Kalyan thaat in Hindustani classical music. Its origin is traced

back to devotional and folk music traditions of India. The raga is widely used in bhajans,

light classical music, and khayal compositions due to its simplicity and spiritual charm. It is

traditionally performed in the evening, between 7 PM and 10 PM, when the mind is calm,

and emotions flow gently like a soft river. The timing is important because, in Indian classical

music, the mood of a raga is closely tied to the time of day.

Bhopali evokes feelings of devotion, tranquility, and joy. Imagine a monk sitting under a

tree, humming prayers; this serene mood is exactly what Bhopali conveys through its notes.

Structure of Raga Bhopali

Raga Bhopali is a pentatonic raga. This means it uses only five notes in both ascending

(Arohana) and descending (Avarohana) scales, making it simple yet highly expressive. The

raga avoids the use of Madhyam (Ma) and Dhaivat (Dha), which gives it a bright and open

sound.

• Arohana (Ascending Scale): Sa Re Ga Pa Dha Sa

• Avarohana (Descending Scale): Sa Dha Pa Ga Re Sa

The notes used in Bhopali are all Shuddha (natural) notes: Sa, Re, Ga, Pa, Dha.

• Vadi (Most important note): Sa

• Samvadi (Second most important note): Pa

The absence of certain notes like Ma and Ni creates a unique simplicity, allowing musicians

to focus on the emotional depth of the notes that are present.

Mood and Emotional Essence

The beauty of Bhopali lies in its simplicity. Unlike some complex ragas that create tension or

suspense, Bhopali flows like a gentle, joyous river. Its sadhana (practice) and improvisation)

often evoke feelings of devotion, calmness, and purity. Singers often choose this raga for

compositions that are bhakti-oriented or aim to lift the listener’s spirit in a light, joyful

manner.

Characteristic Phrases (Pakad) of Bhopali

Every raga has a signature phrase called a pakad, which helps listeners identify it

immediately. For Bhopali, the pakad is:

• Sa Re Ga Pa, Pa Ga Re Sa

• Sa Re Ga Pa Dha Pa, Ga Re Sa

These phrases capture the essence of Bhopali’s soothing flow and ensure that even during

improvisation, the raga retains its distinct character.

Introduction to Khayal in Hindustani Music

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Before we get into the notation, it’s essential to understand what a Drut Khayal is. Khayal is

a prominent form of Hindustani classical music characterized by improvisation and

expression of a raga’s mood. Khayal comes in two main tempos:

1. Vilambit Khayal (Slow Tempo): Often used to explore the raga slowly, emphasizing

its emotional depth.

2. Drut Khayal (Fast Tempo): Faster, lively, and rhythmic, used to bring energy and

excitement while still retaining the raga’s mood.

In a Drut Khayal, the singer can explore intricate patterns, fast taans (rapid sequences), and

rhythmic play while performing within the raga’s framework.

Notation of Drut Khayal in Raga Bhopali

Now let’s dive into the notation of a typical Drut Khayal in Bhopali. Notation in Hindustani

classical music uses sargam (Sa, Re, Ga, Ma, Pa, Dha, Ni) along with rhythm (taal) to

structure the composition. For Drut Khayal, Teental (16-beat cycle) is commonly used.

Taal: Teental (16 beats)

Vadi: Sa

Samvadi: Pa

Here is an example of Drut Khayal notation in Bhopali:

Sthayi (Opening Line / Main Theme):

Sa Re Ga Pa | Pa Ga Re Sa | Sa Re Ga Pa | Dha Pa Ga Re Sa ||

Antara (Second Part / Expansion):

Pa Dha Sa Sa | Sa Dha Pa Ga | Ga Re Sa Re | Sa Ga Pa Dha Sa ||

Taan Patterns (Fast Improvisation / Drut Tempo):

Sa Re Ga Pa Dha Sa | Sa Dha Pa Ga Re Sa | Sa Re Ga Pa Dha Sa ||

Pa Dha Sa Dha Pa Ga | Ga Re Sa Re Sa Ga Pa Dha Sa ||

Important Notes for Drut Khayal in Bhopali:

1. Emphasis on Vadi and Samvadi: The phrases often revolve around Sa and Pa, giving

the melody stability.

2. Repetition and Variation: Notes are repeated in different sequences to create

rhythm and excitement.

3. Taan Usage: Rapid sequences of Sa, Re, Ga, Pa, Dha create energetic patterns typical

of Drut Khayal.

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4. Rhythmic Alignment: Each note is carefully aligned with the beats of Teental,

maintaining the balance between melody and rhythm.

Visualizing Bhopali as a Story

To make it more human and engaging, imagine the notes as characters in a story:

• Sa (the hero): Always at the center, grounding the melody.

• Pa (the wise friend): Supports the hero and creates balance.

• Re, Ga, Dha (the companions): Bring joy, excitement, and movement to the story.

As the story unfolds, the characters (notes) move through the melody, telling a tale of

devotion, joy, and serenity. In the Drut Khayal, they move faster, running through the

landscape, yet never losing the essence of the narrative.

Performance Tips for Students

1. Start Slow: Even in Drut Khayal, practice the phrases slowly to internalize the raga.

2. Focus on Clarity: Each note should be clear and distinct, as Bhopali’s charm is in its

simplicity.

3. Taal Awareness: Always align your phrases with Teental’s 16 beats for rhythmical

beauty.

4. Emotion over Speed: While Drut Khayal is fast, never compromise the devotional

and serene mood of Bhopali.

5. Use Pakad: Let the signature phrases anchor your improvisation.

Conclusion

Raga Bhopali, with its simple pentatonic scale and serene mood, is like a gentle evening

breeze that lifts the spirit. In a Drut Khayal, the same calm energy is expressed in faster,

playful, and rhythmic patterns, allowing both performer and listener to experience joy,

devotion, and musical elegance. The notation provided above serves as a roadmap, but the

true magic comes alive when the notes are sung with emotion, devotion, and

improvisation, keeping the story of Bhopali alive in every performance.

By understanding its structure, mood, and proper notation, even a beginner student can

approach Bhopali with confidence and gradually build their improvisational skills in Drut

Khayal. And as you perform, remember — the raga is not just a collection of notes; it is a

living story, a conversation between the musician and the soul of the listener.

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6. By giving the description of Dadra Taal, give its notation in Thaa and Dugun layakaries.

Ans: Dadra Taal: Description and Notation in Thah and Dugun Layakari

A Fresh Beginning

Imagine a quiet evening in a small Indian town. The harmonium is set, the tanpura is

humming, and the tabla player sits cross-legged, ready to begin. The singer smiles and starts

a light classical thumri. The tabla player responds with a gentle, lilting rhythm—six beats,

flowing like a conversation between heartbeats. That rhythm is Dadra Taal.

Dadra is not just a taal; it is an emotion. It is the taal of intimacy, of light classical music, of

folk songs, of ghazals, and of thumris. It is simple enough for a beginner to learn, yet deep

enough for a master to explore endlessly.

What is Dadra Taal?

• Beats (Matras): Dadra Taal has 6 beats in one cycle.

• Divisions (Vibhag): It is divided into 2 vibhags of 3 beats each.

• Theka (basic pattern): The most common theka is:

Code

Dha Dhi Na | Dha Tu Na

• Sam (first beat): The starting point of the taal, marked with emphasis.

• Khali (empty beat): The 4th beat (first beat of the second vibhag) is khali, shown

with a wave of the hand instead of a clap.

So, the structure looks like this:

Beat

Bols

Dha

Dhi

Dha

Clap/Wave

Clap (Sam)

Wave (Khali)

Character of Dadra Taal

• Light and Playful: Unlike heavy taals like Teentaal (16 beats), Dadra is light, making it

perfect for semi-classical and folk forms.

• Flexible: It adapts easily to different tempos—slow for ghazals, medium for thumris,

fast for folk songs.

• Emotional: Its six-beat cycle creates a lilting, swaying feel, almost like a dance step.

Historical and Cultural Context

• Origin: Dadra Taal is closely linked to the Dadra form of semi-classical music, which

originated in North India. Over time, the taal became popular in thumris, ghazals,

and folk songs.

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• Association: It is often associated with romantic, devotional, or playful moods.

• Usage:

o In classical music, it accompanies thumri, dadra, kajri, hori, and chaiti.

o In folk music, it is used in Punjabi, Awadhi, and Bhojpuri traditions.

o In Bollywood, countless songs are set in Dadra Taal because of its easy flow.

Theka of Dadra Taal

The most common theka is:

Dha Dhi Na | Dha Tu Na

But variations exist, such as:

Na Dhi Na | Dha Tu Na

Dha Ge Na | Ti Na Ka

These variations keep the taal fresh and adaptable to different moods.

Layakari (Tempo Variations)

In Indian rhythm, layakari means playing with tempo. The same taal can be expressed in

different speeds:

1. Thah (Basic speed): One bol per beat.

2. Dugun (Double speed): Two bols per beat.

3. Tigun (Triple speed): Three bols per beat.

4. Chaugun (Quadruple speed): Four bols per beat.

For this question, we’ll focus on Thah and Dugun.

Dadra Taal in Thah (Basic Speed)

In Thah, each beat has one bol. The notation is simple:

Dha Dhi Na | Dha Tu Na

1 2 3 | 4 5 6

• Here, the cycle is clear and easy to follow.

• The tabla player plays one bol per beat, matching the singer’s melody.

• This is the form most beginners learn first.

Dadra Taal in Dugun (Double Speed)

In Dugun, each beat has two bols. So, the cycle doubles in density:

Code

Dha Ti Dhi Na | Dha Ti Tu Na

1 & 2 & | 3 & 4 &

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Expanded, it looks like:

Dha Ti Dhi Na | Dha Ti Tu Na

1 2 3 4 | 5 6 7 8 (counting in double)

• Here, the tabla player fits two bols into each beat.

• The rhythm feels faster, more energetic, and more intricate.

• Dugun is often used in performance to show virtuosity and to build excitement.

Practical Example

Let’s imagine a thumri performance in Dadra Taal.

• The singer begins slowly, with the tabla playing in Thah: Dha Dhi Na | Dha Tu Na The

mood is gentle, romantic.

• As the performance builds, the tabla shifts into Dugun: Dha Ti Dhi Na | Dha Ti Tu Na

The rhythm becomes more lively, the audience starts tapping their feet.

This shift from Thah to Dugun is like moving from a walk to a dance—it transforms the

atmosphere.

Philosophical Reflection

Dadra Taal is more than a rhythmic cycle; it is a metaphor for life.

• Its six beats remind us of balance—like the six seasons in Indian tradition, or the six

directions (north, south, east, west, up, down).

• Its two divisions reflect duality—joy and sorrow, love and separation, sound and

silence.

• Its layakari teaches us adaptability—how the same pattern can feel calm in Thah and

exciting in Dugun.

In this way, Dadra Taal is not just music; it is philosophy expressed through rhythm.

Story-Like Illustration

Picture a wedding in Punjab. The dholki starts, women gather, and someone begins a folk

song:

"Kala sha kala, ghodeya nu haan de..."

The rhythm is Dadra. The claps fall on the six beats, the song flows, and the courtyard fills

with laughter.

Now picture a mehfil in Lucknow. A courtesan sings a thumri, her voice delicate, her

gestures graceful. The tabla player accompanies her in Dadra Taal, first in Thah, then in

Dugun, matching her emotions. The audience is spellbound.

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From village courtyards to royal courts, Dadra Taal has traveled everywhere, carrying with it

the heartbeat of Indian music.

Notation Summary

Thah (Basic speed):

Code

Dha Dhi Na | Dha Tu Na

1 2 3 | 4 5 6

Dugun (Double speed):

Dha Ti Dhi Na | Dha Ti Tu Na

1 & 2 & | 3 & 4 &

Conclusion

Dadra Taal is one of the simplest yet most beautiful taals in Indian music. With just six beats,

it creates infinite possibilities.

• In Thah, it is gentle and steady, perfect for thumris and ghazals.

• In Dugun, it becomes lively and intricate, adding energy to the performance.

• Its cultural roots in folk traditions and its presence in classical music make it a bridge

between the everyday and the artistic.

In short, Dadra Taal is like a small river—narrow in form, but deep in meaning. It carries the

laughter of weddings, the romance of thumris, and the devotion of folk songs. And through

its layakari, it teaches us that rhythm, like life, can be both simple and complex, calm and

exciting, steady and playful.

SECTION-D

7. Describe in detail about the contribution of Sri Guru Nanak Dev Ji towards Indian Music.

Ans: Imagine India in the late 15th century—a land teeming with rich traditions, vibrant

colours, and the ever-resonant sounds of music echoing from temples, palaces, and village

gatherings. Music, at that time, was not just a form of entertainment; it was a spiritual

language, a way to communicate the deepest emotions of the soul. Amidst this backdrop

was born a figure whose life would forever transform not only religion but also the very

essence of Indian music—Sri Guru Nanak Dev Ji. His contribution to Indian music is so

profound that it continues to influence musicians, singers, and devotees even today.

Sri Guru Nanak Dev Ji, the founder of Sikhism, was not only a spiritual luminary but also a

visionary artist who understood the power of sound, rhythm, and melody in expressing

divine truths. Born in 1469 in Rai Bhoi Ki Talwandi (now Nankana Sahib, Pakistan), Guru

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Nanak’s life was marked by a deep connection with both humanity and the divine. He

believed that music was a bridge between the human heart and the spiritual realm—a

medium that could transcend language, caste, and creed. His vision was revolutionary

because he saw music not merely as an art form but as a sacred tool for moral, spiritual, and

social awakening.

Music as a Medium for Devotion and Expression

Guru Nanak Dev Ji’s approach to music was deeply intertwined with his spiritual teachings.

Long before popular theories of music therapy and psychology emerged, he recognized the

therapeutic and transformative power of melody. To Guru Nanak, music was not about

entertainment or showmanship; it was about devotion—about touching the soul. His

hymns, later compiled in the Guru Granth Sahib, were set in specific ragas (melodic

frameworks in Indian classical music), making them inherently musical. Through these ragas,

Guru Nanak demonstrated that each emotion—be it joy, longing, compassion, or

surrender—could be expressed and experienced through sound.

Guru Nanak’s hymns, or Shabads, were revolutionary in two major ways: their linguistic

simplicity and their musical richness. Unlike the complex Sanskrit verses of traditional texts,

Guru Nanak composed his hymns in Punjabi, Hindi, and regional dialects, making them

accessible to the common people. Yet, these simple words were imbued with profound

wisdom and were set to musical patterns, often drawn from classical Indian ragas. This

marriage of simple language with classical musical sophistication allowed the masses to

engage with spiritual truths not just intellectually, but emotionally and aurally.

The Use of Rag and Raagini in Guru Nanak’s Music

One of Guru Nanak Dev Ji’s most remarkable contributions to Indian music was his

systematic use of ragas. The Guru Granth Sahib, which is not only a religious scripture but

also a musical masterpiece, contains hymns assigned to 31 classical ragas. Each raga, with

its unique mood and structure, was deliberately chosen to enhance the devotional and

emotional impact of the hymn. For example, some ragas evoke calmness and introspection,

while others inspire joy or solemnity. Through this careful selection, Guru Nanak ensured

that the music itself became an inseparable part of spiritual experience.

Moreover, Guru Nanak introduced a sense of musical organization and discipline that was

unprecedented at the time. By categorizing his hymns according to ragas and prescribing

specific tunes for their performance, he established a structured framework for devotional

music, laying the foundation for what would later become known as Gurbani Sangeet—the

classical musical tradition of Sikhism. This was not merely about aesthetics; it was a

profound pedagogical innovation. By aligning melody with meaning, Guru Nanak made

spiritual learning more intuitive, emotional, and memorable.

Breaking Social Barriers Through Music

Another extraordinary aspect of Guru Nanak Dev Ji’s musical contribution was his inclusive

approach. At a time when music was often restricted to temples, palaces, and certain social

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classes, Guru Nanak took music to the people. He sang his hymns in village squares, at

riverbanks, and wherever people gathered. His music transcended caste, creed, and gender,

inviting everyone to experience the divine. This democratization of music was

revolutionary—it turned spiritual expression into a shared human experience, rather than

an elite or ritualistic pursuit.

Guru Nanak also encouraged the use of musical instruments in devotion, notably the

Rabab, a string instrument played by his disciple Bhai Mardana. Together, Guru Nanak and

Bhai Mardana travelled across India and beyond, singing hymns and spreading his message.

The Rabab, coupled with Guru Nanak’s vocal delivery, became the template for Sikh musical

practice. Through this, Guru Nanak not only enriched Indian music but also created a model

of collaborative and performative spirituality, where the divine could be approached

collectively through melody.

The Philosophical Dimension of Guru Nanak’s Music

To understand Guru Nanak Dev Ji’s contribution fully, one must also grasp the philosophical

depth of his musical compositions. His hymns were not just songs—they were vessels of

wisdom. Each Shabad, when sung in its designated raga, was a meditation on the nature of

God, human life, morality, and social justice. Music, in this sense, became a didactic tool, a

way to teach ethical principles and spiritual truths in a form that could be felt deeply, rather

than merely learned intellectually.

For example, Guru Nanak’s emphasis on Naam Simran (meditation on God’s name) was

often expressed through music. Singing the divine name in a raga was considered a path to

inner peace and spiritual enlightenment. The musical repetition of sacred words enabled a

rhythmic focus of the mind, creating a meditative and transcendental experience. In other

words, Guru Nanak pioneered the concept of music as spiritual practice, a precursor to

modern understandings of meditative and therapeutic music.

Influence on Indian Music and Legacy

Guru Nanak Dev Ji’s contribution did not remain confined to his lifetime. The Gurbani

Sangeet tradition, which he inaugurated, influenced generations of musicians and

composers in North India. His use of ragas, emphasis on devotional lyrics, and inclusion of

vernacular languages provided a model that would later inspire both Sikh and non-Sikh

musical traditions. Even today, Indian classical vocalists and folk singers draw inspiration

from his compositions. Many of his Shabads are performed in classical, semi-classical, and

folk styles, highlighting their enduring musical versatility.

Furthermore, Guru Nanak’s musical philosophy laid the groundwork for future Sikh Gurus,

who expanded and refined this tradition. The incorporation of musical instruments, the

codification of ragas, and the integration of music with ethical and spiritual education were

all innovations initiated by Guru Nanak. His influence extended beyond Sikhism—his

approach to inclusive, devotional music inspired Bhakti and Sufi traditions across India. The

very idea that music could be a universal bridge between humans and the divine can be

traced back to Guru Nanak’s vision.

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The Human and Emotional Connection

What makes Guru Nanak Dev Ji’s contribution to music truly remarkable is the human and

emotional connection he fostered. His hymns do not speak to the intellect alone—they

resonate with the heart. They invite the listener to feel, to empathize, and to reflect. In a

sense, Guru Nanak transformed music into a living experience, a dialogue between the soul

and the cosmos. This humanization of music—making it both deeply spiritual and

emotionally accessible—is what sets him apart as a musical genius in Indian history.

Conclusion

In summary, the contribution of Sri Guru Nanak Dev Ji to Indian music is multifaceted and

profound. He:

1. Recognized music as a powerful tool for spiritual expression and social

transformation.

2. Composed hymns in accessible languages while integrating classical Indian ragas.

3. Established the structured framework of Gurbani Sangeet, assigning specific ragas to

his compositions.

4. Encouraged the use of musical instruments like the Rabab in devotional practice.

5. Broke social and religious barriers, making music a collective and inclusive spiritual

experience.

6. Emphasized the philosophical and meditative aspects of music, turning it into a

vehicle for ethical and spiritual teaching.

7. Left a legacy that influenced not only Sikh musical traditions but Indian music as a

whole, inspiring future generations of musicians and devotees.

Sri Guru Nanak Dev Ji’s life demonstrates that music is far more than melody—it is a

language of the soul, a bridge to the divine, and a medium through which humanity can find

connection, understanding, and enlightenment. His vision continues to reverberate through

centuries, reminding us that the true power of music lies not in performance, but in its

ability to elevate the heart and awaken the spirit.

Through his hymns, Guru Nanak taught that music is universal, transcending barriers, and

that a song sung with devotion can touch the lives of all. The world today, with its varied

musical forms and spiritual traditions, owes a debt to this extraordinary sage who

transformed Indian music into a living, breathing, and divine art.

8. Write down brief notes on the following Musical Terms of Gurmat Sangeet:

(a) Raga

(b) Mohalla

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Ans: Musical Terms of Gurmat Sangeet: Raga, Mohalla, and Rahao

A Fresh Beginning

Imagine yourself sitting in the sanctum of a gurdwara. The sangat is gathered, the Guru

Granth Sahib is open, and the raagis begin to sing. The harmonium hums, the tabla beats

softly, and the shabad flows in melody. As you listen, you notice certain words written in the

scripture: the name of a Raga, the mention of a Mohalla, and the instruction Rahao.

These are not random words. They are the guiding lights of Gurmat Sangeet, the Sikh

musical tradition. They tell us how to sing, who composed the bani, and where to pause and

reflect. Let’s explore each of them in detail.

(a) Raga – The Soul of Gurmat Sangeet

Meaning of Raga

A Raga is not just a scale of notes; it is a mood, a color, a living emotion expressed through

sound. The word Raga comes from Sanskrit, meaning “to color” or “to please.” In music, a

raga is a framework of notes that creates a specific emotional atmosphere.

In Gurmat Sangeet, ragas are the backbone. The Guru Granth Sahib is arranged according to

31 main ragas and their variations. Each raga sets the tone for the shabad, guiding the

singer and the listener into a particular spiritual mood.

Ragas in Guru Granth Sahib

• The very first raga is Sri Raga, followed by Majh, Gauri, Asa, and so on.

• Each raga has its own rules: which notes to emphasize, which to avoid, and what

time of day it is best sung.

• For example:

o Asa Raga is uplifting, often sung in the morning, inspiring hope.

o Bhairav Raga is serious and devotional, often sung at dawn.

o Malhar Raga evokes the monsoon and is linked with longing and joy.

Philosophical Significance

1. Spiritual Coloring: Just as colors affect our mood, ragas color the mind with

devotion, peace, or longing.

2. Unity of Music and Message: The Gurus chose ragas carefully so that the music

enhances the meaning of the bani.

3. Timelessness: By embedding ragas in scripture, the Gurus ensured that the bani

would always be sung, not just read.

Story-Like Illustration

Think of a shabad in Asa di Vaar sung at dawn. The raga lifts the sangat’s spirits, filling them

with energy for the day. Without the raga, the words would still be powerful, but with the

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raga, they become an experience—something felt in the heart, not just understood in the

mind.

(b) Mohalla – Identifying the Voice of the Guru

Meaning of Mohalla

When you open the Guru Granth Sahib, you often see the word Mohalla followed by a

number—Mohalla 1, Mohalla 2, Mohalla 3, and so on.

• Mohalla literally means “succession” or “order.”

• In Gurmat Sangeet, it identifies which Guru composed the bani.

Examples

• Mohalla 1: Compositions of Guru Nanak Dev Ji.

• Mohalla 3: Compositions of Guru Amar Das Ji.

• Mohalla 5: Compositions of Guru Arjan Dev Ji.

So, when you see “Raga Gauri, Mohalla 5,” it means the shabad is set in Raga Gauri and was

composed by Guru Arjan Dev Ji.

Significance of Mohalla

1. Authorship: It tells us which Guru’s voice we are hearing.

2. Continuity: It shows the unity of thought across different Gurus, even as each

expressed it in their own style.

3. Respect for Tradition: By marking the Mohalla, the Gurus ensured that their bani

would never be confused with others.

Story-Like Illustration

Imagine a student listening to a lecture. If he knows who the teacher is, he understands the

context better. Similarly, when the sangat sees “Mohalla 3,” they know these are the words

of Guru Amar Das Ji, carrying his unique spiritual emphasis.

Meaning of Rahao

In many shabads, you will see the word Rahao after a line or stanza. Rahao literally means

“pause” or “stay.”

In Gurmat Sangeet, Rahao indicates the central theme of the shabad. It tells the singer and

the listener: “Pause here. Reflect on this line. This is the essence of the message.”

Function of Rahao

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• Musical Pause: The line marked Rahao is often repeated in singing, giving it

emphasis.

• Philosophical Anchor: It summarizes the main teaching of the shabad.

• Guidance for Listeners: It helps the sangat focus on the key idea, rather than getting

lost in poetic detail.

Example

Take the shabad:

"Mann tu jot saroop hai, apna mool pachhan. Rahao."

Here, the Rahao line tells us the essence: “O mind, you are the embodiment of divine light;

recognize your origin.” The rest of the shabad elaborates on this truth, but the Rahao is the

anchor.

Philosophical Significance

1. Meditative Pause: Rahao is like a deep breath, allowing the mind to absorb the

teaching.

2. Clarity of Message: It prevents misinterpretation by highlighting the core.

3. Musical Structure: It gives the raagis a refrain to return to, creating rhythm and unity

in the performance.

Story-Like Illustration

Think of Rahao as the chorus of a song. No matter how many verses there are, the chorus

keeps coming back, reminding you of the main theme. In the same way, Rahao keeps

bringing the listener back to the heart of the shabad.

Interconnection of Raga, Mohalla, and Rahao

These three terms work together like parts of a map:

• Raga tells you the mood in which to travel.

• Mohalla tells you the guide who is leading the journey.

• Rahao tells you the destination—the central truth to focus on.

Without any one of them, the experience would be incomplete. Together, they make

Gurmat Sangeet not just music, but a spiritual path.

Conclusion

The terms Raga, Mohalla, and Rahao are the pillars of Gurmat Sangeet.

• Raga colors the bani with emotion and melody.

• Mohalla identifies the Guru whose voice we are hearing.

• Rahao highlights the essence of the teaching, guiding reflection.

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They transform the Guru Granth Sahib from a written scripture into a living, singing,

breathing experience. When the sangat listens to kirtan, these terms quietly shape the

journey—telling us how to sing, whose words we are hearing, and where to pause and

reflect.

In short, they remind us that Gurmat Sangeet is not just about sound—it is about meaning,

devotion, and connection with the Divine.

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

have suggestions, feel free to share your feedback.”