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GNDU QUESTION PAPERS 2021
BA/BSc 4
th
SEMESTER
MUSIC (Instrumental)
Time Allowed: 2 Hours Maximum Marks: 50
Note: Aempt Five quesons in all, selecng at least One queson from each secon. The
Fih queson may be aempted from any secon. All quesons carry equal marks.
1. Write down the role of Indian Music during medieval period from 15th and 18th
century.
2. Explain in detail the formaon of 484 Ragas from Thata.
3. Write detailed notes on the following musical terms:
(i) Chayalag Raag
(ii) Ashraya Raag.
4. Write down the biography and contribuon of Ustad Mushtak Ali Khan towards Indian
Classical Music.
5. Write down the notaon of Raag Malkauns in drut gat with three toras in my taal.
6. Wrife down descripon of Raag Puriya.
7. Write down the Theka of Ada Chautal in Dugun, Tigun and Chaugun laykaries.
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8. Describe in detail the role and relevance of Instrumental Music in Gurmat Sangeet.
GNDU ANSWER PAPERS 2021
BA/BSc 4
th
SEMESTER
MUSIC (Instrumental)
Time Allowed: 2 Hours Maximum Marks: 50
Note: Aempt Five quesons in all, selecng at least One queson from each secon. The
Fih queson may be aempted from any secon. All quesons carry equal marks.
1. Write down the role of Indian Music during medieval period from 15th and 18th
century.
Ans: When we think about medieval India, we often imagine great kings, beautiful palaces,
powerful empires, and rich cultural traditions. But one of the most beautiful parts of this
time was Indian music. Between the 15th and 18th centuries, music was not just
entertainment—it was a powerful force that shaped religion, culture, emotions, politics, and
social life. Let’s understand it in a very simple and relatable way.
Music as the Soul of Medieval Life
During the medieval period, music was like the heartbeat of society. Whether in royal
courts, temples, Sufi shrines, villages, or festivals, music had a place everywhere. Life was
not complete without it. People used music to pray, to celebrate, to express love, and even
to connect spiritually with God.
This was also the time when Indian classical music evolved in a big way. Earlier traditions
were refined, new styles emerged, and music became more organized, professional, and
respected.
Division into Hindustani and Carnatic Music
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One of the most important things that happened in this period was the division of Indian
classical music into two main traditions:
Hindustani Music (North India)
Carnatic Music (South India)
This division happened mainly because of cultural and political differences between North
and South India. North India came under strong Mughal influence, which led to a fusion of
Persian and Indian musical elements. South India, on the other hand, remained rooted in
ancient Indian traditions and temple culture.
Even today, these two styles remain the foundation of Indian classical music!
Music in Royal Courts – Symbol of Power, Culture, and Prestige
Medieval Indian kings did not just rule with weapons—they ruled with culture too.
Supporting music made a king look powerful, refined, and civilized.
Almost every great ruler had musicians in their court. These musicians were highly
respected, rewarded, and treated like treasures.
Famous examples include:
• Emperor Akbar, who had the legendary musician Tansen in his court.
• Mughal courts encouraged music deeply, which led to the rise of many new musical forms.
• Rajput kings also supported music, making their courts vibrant with melodies and
performances.
Royal courts became centres of musical creativity, where new ragas, instruments, and
styles were born.
The Influence of Sufi Saints – Music as Devotion
Another beautiful role of music in medieval India was in Sufism. Sufi saints believed that
music was the best way to connect the soul with God. Their musical gatherings, known as
Qawwalis, became extremely popular.
Places like Khanqahs (Sufi centers) were filled with devotional singing, clapping rhythms,
emotional poetry, and spiritual energy. Music here was not for entertainment—it was for
love, peace, and spiritual connection. This made music emotionally deep and soulful.
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Bhakti Movement – Music as a Bridge to God
Parallel to Sufism in the North, the Bhakti Movement flourished across India. Saints
believed that devotion to God should be simple, emotional, and full of love—and music
helped them spread this message.
Great saints like:
• Mirabai
• Tulsidas
• Surdas
• Chaitanya Mahaprabhu
used music and devotional songs to reach common people. Music became a language
everyone understood—whether rich or poor, educated or illiterate.
Through Bhajans and Kirtans, music brought people together and encouraged unity, faith,
and moral values.
Development of Musical Forms and Instruments
This period was like a golden laboratory for music. Many new forms of singing and
instruments developed.
Some famous musical forms included:
• Dhrupad – majestic and serious, often sung in royal courts
• Khayal – more emotional and flexible, developed later
• Thumri – romantic and expressive
• Qawwali – devotional Sufi singing
Instruments also developed beautifully:
• Tabla and Pakhawaj evolved as percussion instruments
• Sitar, Sarod, and Veena gained popularity
• Wind instruments like Shahnai were refined
Music became rich, sophisticated, and artistically powerful.
Growth of Music Literature and Theory
Music was not only performed; it was also studied deeply. Scholars wrote books explaining
ragas, rhythms, rules, and techniques. These writings helped standardize music and guided
future generations.
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Musical texts helped transform music into a structured art, rather than something random
or unorganized.
Music in Festivals, Drama, and Daily Life
Medieval India was full of festivals, fairs, temple rituals, marriages, and celebrations—and
music was at the center of all of them.
During marriage ceremonies, religious celebrations, fairs, and seasonal festivals, music
created happiness and unity. Folk music also grew, reflecting the life of ordinary people,
their struggles, joys, and dreams.
Even traditional dance forms like Kathak, Bharatanatyam, and Odissi were deeply
connected with music during this time.
Music as a Cultural Bridge
One of the most beautiful roles of music in medieval India was its power to bring cultures
together. The mixing of Persian, Central Asian, and Indian traditions created new musical
flavors. Instead of dividing people, music united Hindus and Muslims emotionally and
culturally.
It promoted:
✔ harmony
✔ tolerance
✔ cultural exchange
Music became a universal language of unity.
In Simple Words…
Between the 15th and 18th centuries, Indian music was not just entertainment—it was life
itself. It shaped religion, culture, emotions, and society. It connected kings with glory, saints
with spirituality, and common people with joy and devotion.
It helped India become culturally richer, emotionally deeper, and spiritually vibrant.
Final Thought
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If medieval Indian society was like a beautiful painting, music was its brightest color. It
touched every part of life, and its influence is still alive today in Indian classical music,
devotional songs, qawwalis, bhajans, and folk traditions.
2. Explain in detail the formaon of 484 Ragas from Thata.
Ans: Indian classical music is like a vast ocean, full of waves of melody and rhythm. At its
heart lies the concept of Rāga—a melodic framework that guides how notes are chosen,
emphasized, and woven into music. But behind the thousands of ragas we hear, there is a
systematic foundation called Thāta. Understanding how ragas are formed from thātas is like
learning the grammar behind poetry. Let’s explore how the 484 ragas emerge from this
system, step by step, in a way that feels simple and enjoyable.
What is a Thāta?
A Thāta is a parent scale in Hindustani classical music. It is a set of seven notes (swaras)
arranged in a specific order:
𝑆𝑎, 𝑅𝑒, 𝐺𝑎, 𝑀𝑎, 𝑃𝑎, 𝐷ℎ𝑎, 𝑁𝑖
• These seven notes can appear in their natural (shuddha), flat (komal), or sharp
(tivra) forms.
• A thāta is not performed directly; rather, it serves as the framework from which
ragas are derived.
Think of a thāta as a “family tree,” and ragas as its children. Each raga inherits notes
from the thāta but uses them in unique ways to create its own personality.
The Ten Main Thātas
Vishnu Narayan Bhatkhande, a great musicologist, classified Hindustani ragas into ten
thātas:
1. Bilawal
2. Kalyan
3. Khamaj
4. Bhairav
5. Poorvi
6. Marwa
7. Kafi
8. Asavari
9. Todi
10. Bhairavi
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Each thāta is a heptatonic scale (seven notes), and ragas are grouped under them based on
their note structure.
How Do Ragas Form from Thātas?
Here’s the fascinating part: from each thāta, multiple ragas can be formed by varying:
1. Selection of Notes (Jati):
o Ragas may use 5 notes (audav), 6 notes (shadav), or 7 notes (sampoorna).
o Example: Raga Malkauns uses 5 notes, while Raga Bhairav uses all 7.
2. Ascending and Descending Order (Aroha–Avaroha):
o The way notes are arranged in ascent and descent changes the raga’s
identity.
o Example: In Raga Yaman (from Kalyan thāta), Tivra Ma is emphasized in
ascent.
3. Vadi and Samvadi (Main and Secondary Notes):
o Each raga highlights certain notes as central.
o Example: In Raga Bhairav, Dha is the vadi (main note), and Re is the samvadi.
4. Mood and Time of Performance:
o Even with the same notes, ragas differ by the emotion they evoke and the
time they are sung.
o Example: Raga Darbari evokes seriousness, while Raga Desh evokes joy.
The Mathematical Formation of 484 Ragas
Now let’s see how the number 484 ragas comes about.
1. Seven Notes with Variations:
o Out of the seven notes, five (Re, Ga, Dha, Ni, Ma) can change form (shuddha,
komal, tivra).
o This gives multiple possible scales.
2. Jati Combinations:
o Ragas can be pentatonic (5 notes), hexatonic (6 notes), or heptatonic (7
notes).
o Each thāta allows different jati combinations.
3. Aroha–Avaroha Variations:
o The ascent and descent can be straight, zig-zag, or omit certain notes.
o This multiplies the possibilities.
4. Vadi–Samvadi Choices:
o Choosing different main notes creates distinct ragas even within the same
thāta.
When all these possibilities are calculated systematically, the total comes to 484 ragas.
In simple words: By mixing and matching notes, patterns, and emphasis, musicians can
create 484 distinct ragas from the thāta system.
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A Relatable Story
Think of thātas as recipes. Each recipe has seven basic ingredients (notes). But you don’t
always use all of them—you might choose five or six. You can cook them in different orders
(ascending/descending), highlight one ingredient more than others (vadi/samvadi), and
serve the dish at different times of day (time theory of ragas).
From just ten recipes, chefs (musicians) can create 484 unique dishes (ragas), each with its
own flavor, aroma, and mood. That’s the beauty of Indian classical music—it’s infinite
creativity built on simple foundations.
Examples of Ragas from Thātas
• Bilawal Thāta: Raga Alhaiya Bilawal, Raga Deshkar.
• Kalyan Thāta: Raga Yaman, Raga Shuddha Kalyan.
• Khamaj Thāta: Raga Khamaj, Raga Desh.
• Bhairav Thāta: Raga Bhairav, Raga Ahir Bhairav.
• Poorvi Thāta: Raga Poorvi, Raga Puriya Dhanashree.
• Marwa Thāta: Raga Marwa, Raga Puriya.
• Kafi Thāta: Raga Kafi, Raga Bhimpalasi.
• Asavari Thāta: Raga Asavari, Raga Darbari Kanada.
• Todi Thāta: Raga Miyan ki Todi, Raga Gujari Todi.
• Bhairavi Thāta: Raga Bhairavi, Raga Malkauns.
Each of these ragas has its own personality, even though they share the same parent thāta.
Summary Table
Step in
Formation
Explanation
Example
Thāta
Parent scale of 7 notes
Kalyan thāta
Jati
Choice of 5, 6, or 7 notes
Raga Malkauns (5 notes)
Aroha–Avaroha
Ascending/descending
arrangement
Yaman: Sa Re Ga Ma(t) Pa Dha Ni
Sa
Vadi–Samvadi
Main and secondary notes
Bhairav: Dha (vadi), Re (samvadi)
Mood/Time
Emotional and temporal identity
Darbari Kanada (serious,
midnight)
Final Thoughts
The formation of 484 ragas from thātas shows the mathematical elegance and artistic
richness of Indian classical music. From just ten parent scales, musicians can create
hundreds of ragas, each with its own mood, time, and emotional depth.
It’s like a tree: the thāta is the trunk, and the ragas are the branches. Together, they form a
living, breathing tradition that continues to inspire musicians and listeners alike.
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3. Write detailed notes on the following musical terms:
(i) Chayalag Raag
(ii) Ashraya Raag.
Ans: Understanding the World of Ragas
Before jumping straight into the terms, let’s take a small step back and understand the
world they belong to. In Indian classical music, a Raga is not just a tune. It is like a living
musical framework that creates a mood, emotion, and spiritual experience through specific
notes and patterns.
But ragas do not live alone; they belong to bigger musical families called Thaats. A Thaat is
like a “parent family” that provides the basic notes and character from which many ragas
are born. Now within this musical world, some ragas behave like loyal members of their
family, some borrow features from other families, and some are so important that they
become the base or foundation of their thaat.
This is where our two terms come in:
Chayalag Raag
Ashraya Raag
Let’s understand them one by one.
(i) Chayalag Raag — The Raga with Borrowed Personality
Imagine a child who belongs to one family but spends so much time with another family
that he starts picking up their accent, habits, and style. Something similar happens in music
too!
What is a Chayalag Raag?
A Chayalag Raag is a raga that officially belongs to one thaat (musical family), but while
singing or playing it, we start feeling the “shadow”, “color”, or influence of another raga.
The Hindi word “Chaya” means shadow or reflection, and “lag” means attached. So, the
term beautifully explains itself:
A Chayalag Raga shows the shadow or influence of another raga.
It is as if the raga carries the fragrance of another raga along with it.
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Why Does This Happen?
This influence happens because:
• Some ragas share similar notes
• Some ragas use similar melodic phrases (pakads)
• Some ragas are sung in such a way that traces of another raga naturally appear
So although they officially belong to one thaat, their behavior reminds us of another.
Example to Understand Better
Let us take a simple example.
• Raga Todi belongs to the Todi thaat
• But while singing it, sometimes it gives a light feel of Raga Multani
Or
• Raga Kafi sometimes shows the influence of Raga Pilu
These ragas do not become that other raga completely. They only carry a flavor or
resemblance. That is why they are called Chayalag — like a painting where one color slightly
merges with another and creates a beautiful blended effect.
Importance of Chayalag Ragas
Chayalag ragas are very interesting and beautiful because:
• They make Indian classical music richer and more expressive
• They show how flexible and imaginative ragas are
• They help musicians explore creativity while staying disciplined
• They make the musical experience deeper and more emotional
They challenge the musician as well because the artist must maintain the identity of the
main raga while allowing only a soft reflection of the other. If overdone, the raga may lose
its purity. So, performing a Chayalag Raga requires great skill, musical maturity, and
emotional sensitivity.
In short, a Chayalag Raga is like a raga standing in its own identity, but wrapped lightly in
the shade of another.
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(ii) Ashraya Raag — The Raga That Becomes a Foundation
Now let us move to the next term: Ashraya Raag.
To understand this beautifully, imagine that in every home we have a head of the family —
someone who is strong, dependable, and acts as the foundation. Similarly, in every Thaat,
there is usually a main raga that represents it the best. That main raga is called Ashraya
Raga.
What is an Ashraya Raag?
The word Ashraya means support, shelter, base, or foundation. So, an Ashraya Raga is a
raga that acts as the main representative of its Thaat. It is like the “identity” of that thaat.
When musicians want to understand or identify a thaat, they usually study its Ashraya raga
because it clearly shows:
• The notes of the thaat
• The musical mood of the thaat
• The general structure of related ragas
How Does a Raga Become an Ashraya Raag?
A raga becomes an Ashraya Raag when:
• It fully reflects the character of its thaat
• Its notes match the thaat perfectly
• It represents the musical nature of the group
• It is traditionally recognized as the main raga of that thaat
So basically, it holds the responsibility of representing the entire musical family.
Examples of Ashraya Ragas
To make it clearer, here are a few examples:
• Raga Bilawal is the Ashraya Raga of Bilawal Thaat
• Raga Yaman is the Ashraya Raga of Kalyan Thaat
• Raga Bhairav is the Ashraya Raga of Bhairav Thaat
• Raga Kafi is the Ashraya Raga of Kafi Thaat
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So whenever we think of a thaat, its Ashraya Raga immediately comes to mind, just like
thinking of a country often reminds us of its capital city.
Importance of Ashraya Ragas
Ashraya ragas play a very important educational and musical role:
• They help students understand the thaat system
• They serve as a reference to identify other ragas of the same thaat
• They preserve tradition and musical structure
• They give stability and clarity to the classification of ragas
In simple words, without Ashraya Ragas, it would be very difficult to organize the hundreds
of ragas in Indian classical music.
Final Understanding in Simple Words
Let’s summarize both in the simplest possible way:
Chayalag Raga
A raga that belongs to one thaat but shows the influence or shadow of another raga.
It is like a person who belongs to one family but carries habits of another.
Ashraya Raga
A raga that acts as the main representative or foundation of its thaat.
It is like the head of the family who represents everyone.
Why These Concepts Matter?
These terms are not just theory. They reveal the beauty, depth, and intelligence of Indian
classical music. They show:
• How ragas are interconnected like relationships
• How tradition and creativity live together
• How every raga has its own story, personality, and identity
By understanding Chayalag and Ashraya Ragas, a student does not just memorize definitions
— they begin to feel the living nature of ragas.
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4. Write down the biography and contribuon of Ustad Mushtak Ali Khan towards Indian
Classical Music.
Ans: Biography and Contribution of Ustad Mushtaq Ali Khan to Indian Classical Music
When we talk about Indian classical music, we often think about famous names like Ravi
Shankar, Allauddin Khan, Bismillah Khan, or Zakir Hussain. But there are also many great
musicians who may not be as widely known to the general public, yet their contribution is
extremely important. Ustad Mushtaq Ali Khan is one such legendary artist. He was a true
guardian of tradition, a dedicated musician, and one of the finest sitar and surbahar players
India has ever seen.
Ustad Mushtaq Ali Khan belonged to the prestigious Senia Gharana, which traces its roots
directly to the great Mughal court musician Tansen. This gharana is known for preserving
the pure, ancient style of Hindustani classical music. Mushtaq Ali Khan did not just follow
this tradition; he lived it, protected it, and passed it on with great devotion.
He was born on 20th June 1911 in Banaras (Varanasi), a city known as one of the biggest
cultural centers of Indian music. Music was in his blood. His father, Ustad Ashiq Ali Khan,
was himself a highly respected musician and played a huge role in shaping his son’s musical
journey. From a very young age, Mushtaq Ali Khan was surrounded by music. While other
children might have been busy playing, he spent countless hours listening to ragas, watching
musicians practice, and slowly developing a deep love for classical music.
His father trained him with strict discipline. Training in classical music is never easy. It
requires patience, sacrifice, and years of practice. Mushtaq Ali Khan went through all of this.
He practiced for long hours every day and slowly mastered instruments like the sitar and
surbahar (a deeper, bass version of sitar used for serious, meditative music). Because of his
dedication and focus, he grew into a musician who not only played music but understood its
soul.
As he grew older, Mushtaq Ali Khan became well-known for his powerful yet graceful style
of playing. He never played music for show-off or popularity. His main goal was to keep the
purity of classical music alive. During his time, many musicians started experimenting to
make music more appealing to large audiences. They added flashy techniques and speed to
impress listeners. But Ustad Mushtaq Ali Khan stayed firm in his belief that classical music is
not for entertainment alone; it is a spiritual journey and an art that requires dignity and
honesty.
One of the most important aspects of his contribution was his strong commitment to the
“Dhrupad-Ang” style of sitar playing. This style focuses on depth, seriousness, and spiritual
calmness. It is slow, meditative, and soulful. Instead of focusing on fast rhythms and crowd-
pleasing tricks, his music emphasized purity of raga, clarity of notes, and emotional
expression.
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He was especially famous for his Alap (the slow, free-flowing beginning of a raga). His Alap
was like a quiet conversation between the instrument and the soul. Listeners often
described his performances as deeply peaceful and spiritually uplifting. His sitar did not just
produce sound; it created an atmosphere.
Another great contribution of Ustad Mushtaq Ali Khan was his mastery of the surbahar. Not
many musicians play this instrument today because it is difficult to handle and requires
tremendous control. But Mushtaq Ali Khan made it his strength. Through the surbahar, he
revived old traditional playing styles that were almost disappearing. Because of him, many
rare playing techniques and ragas were preserved and passed on to future generations.
He was not just a great performer; he was also a wonderful teacher and guru. He trained
many students who later became respected musicians themselves. His students admired
him not only for his musical knowledge but also for his humility, discipline, and passion. He
always encouraged his students to respect tradition, stay grounded, and never forget the
true purpose of music.
Ustad Mushtaq Ali Khan also performed across India and abroad. His concerts were
attended by serious music lovers, scholars, and artists who deeply appreciated classical art.
Even though he did not chase fame like some other musicians, he earned immense respect
in the music world. Many top musicians admired his dedication and purity of style.
In recognition of his great contribution to Indian music, he received many honors. One of
the most prestigious was the Padma Bhushan, one of India’s highest civilian awards. This
award symbolized the country’s respect for him and his lifelong devotion to preserving
classical traditions. But even after receiving such big honors, he remained humble and
continued his musical journey with the same sincerity.
He passed away on 13th July 1989, but his music did not die with him. His recordings, his
students, and the influence he left behind continue to keep his legacy alive. Today,
whenever musicians talk about dedication to tradition, honesty in art, and purity in music,
the name of Ustad Mushtaq Ali Khan naturally comes up.
So, what makes his contribution truly special?
It is not only that he was a brilliant sitar and surbahar player. It is also that he was a
protector of tradition, a musician who refused to commercialize music, a guru who shaped
future generations, and an artist who believed that music is a sacred responsibility.
In simple words, Ustad Mushtaq Ali Khan reminds us that true greatness lies not just in
becoming popular, but in staying honest to your art, preserving cultural heritage, and
inspiring others through your dedication.
His life teaches students that success is not always about fame or applause; sometimes, it is
about quietly doing meaningful work, protecting what is valuable, and leaving behind a
legacy of purity, knowledge, and inspiration.
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5. Write down the notaon of Raag Malkauns in drut gat with three toras in my taal.
Ans: Understanding the Basics
1. Raag Malkauns
• Belongs to the Bhairavi thāta.
• Uses only five notes (audav jati):
o Sa, komal Ga, shuddha Ma, komal Dha, komal Ni.
• Pa and Re are omitted.
• Mood: Serious, meditative, often performed late at night.
Think of Malkauns as a raga that creates a mystical, almost hypnotic atmosphere.
2. Drut Gat
• Gat means a fixed composition in instrumental music.
• Drut means fast tempo.
• A drut gat in Malkauns is played after the slow elaboration (vilambit), bringing
energy and rhythmic excitement.
Imagine a dancer who begins slowly, then bursts into fast, graceful movements—the
drut gat is that burst of energy.
3. Tāl (Rhythmic Cycle)
• The question specifies “my tāl,” which usually refers to Teentāl (16 beats), the most
common cycle.
• Teentāl structure:
o 16 beats divided into 4 sections of 4 beats each.
o Claps on 1, 5, 13; wave on 9.
This is the rhythmic canvas on which the melody is painted.
4. Toras
• Tora means a fast, improvised passage played after the main composition.
• In drut gat, toras are like fireworks—short bursts of creativity within the rhythm.
• Three toras give variety and showcase the artist’s skill.
Notation of Raag Malkauns in Drut Gat
Let’s now write the notation in a simple, clear way.
Aroha (Ascending):
Sa – komal Ga – Ma – komal Dha – komal Ni – Sa
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Avaroha (Descending):
Sa – komal Ni – komal Dha – Ma – komal Ga – Sa
Drut Gat Composition (in Teentāl)
Sthāyī (Main Theme):
Code
Sa Ma Ga Ma | Dha Ni Sa Ni ||
Sa Ma Ga Ma | Dha Ni Sa - ||
Antarā (Second Line):
Code
Ni Dha Ma Ga | Sa Ma Ga Ma ||
Dha Ni Sa Ni | Sa Ma Ga - ||
Tora 1 (Fast Passage)
Code
Sa Ga Ma Dha | Ni Sa Ni Dha ||
Ma Ga Sa - | Sa Ni Dha Ma ||
This tora emphasizes the pentatonic structure, moving quickly through the notes.
Tora 2 (Variation)
Code
Ma Dha Ni Sa | Ni Dha Ma Ga ||
Sa Ga Ma Dha | Ni Sa - - ||
This tora highlights upward movement, creating a rising energy.
Tora 3 (Final Burst)
Code
Sa Ni Dha Ma | Ga Sa Ga Ma ||
Dha Ni Sa Ni | Sa - - - ||
This tora closes with a flourish, returning to the tonic (Sa) for resolution.
Importance of Toras in Drut Gat
• Showcases Skill: Toras allow the musician to demonstrate mastery over speed and
rhythm.
• Adds Variety: Each tora brings a new flavor, preventing monotony.
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• Engages Audience: The fast passages excite listeners, keeping them attentive.
• Completes the Performance: Toras act as climaxes, giving the drut gat a satisfying
conclusion.
Summary Table
Element
Description
Example in Malkauns
Raga
Pentatonic, serious, meditative
Sa, komal Ga, Ma, komal Dha, komal Ni
Drut Gat
Fast composition in Teentāl
Sthāyī + Antarā
Tora 1
First fast variation
Sa Ga Ma Dha Ni Sa…
Tora 2
Rising energy variation
Ma Dha Ni Sa Ni Dha…
Tora 3
Final burst, resolution
Sa Ni Dha Ma Ga Sa…
Final Thoughts
Raag Malkauns in drut gat with three toras is a perfect example of how Indian classical
music balances discipline and creativity. The raga’s pentatonic structure gives it a mystical
identity, while the drut gat adds speed and excitement. The three toras are like jewels, each
sparkling differently but all part of the same necklace.
For students, learning this notation is not just about memorizing notes—it’s about
understanding how melody and rhythm interact, how a raga can be both meditative and
thrilling, and how tradition leaves room for improvisation.
6. Wrife down descripon of Raag Puriya.
Ans: Raag Puriya is one of those beautiful evening ragas of Hindustani classical music that
feels like a quiet conversation between sound and emotion. When you listen to it, you don’t
just hear notes—you feel a gentle but serious mood settling around you, as if the day is
slowly folding into night. To truly understand Raag Puriya, imagine standing at sunset. The
sky hasn’t yet turned dark, but the brightness of the day is slowly fading. There is calmness,
slight seriousness, and a dignified peace in the air. That exact emotional scene is what Raag
Puriya tries to express through music.
Raag Puriya belongs to the Marwa Thaat, which is known for ragas that create serious,
introspective, and thoughtful moods. Puriya is not a playful, cheerful raga; instead, it is
deep, meditative, slightly tense, and very dignified. It is meant to be performed in the
evening, just after sunset, also called Sandhya Samay (evening time). Musicians believe
every raga has a suitable time of performance because each time of the day has a special
emotional color. Raag Puriya fits beautifully with the calm, slightly solemn atmosphere of
dusk.
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Now let’s talk about its musical structure in simple terms. Every raga has certain notes it
uses and certain notes it avoids. In Puriya, the note Pa (Pancham) is not used at all, which
already gives it a unique sound compared to many other ragas that rely heavily on Pa. The
main notes used are:
Aaroh (ascending movement):
S r G M^ D N S’
Avaroh (descending movement):
S’ N D M^ G r S
Here,
• r stands for Komal Rishabh (flat Re)
• M^ stands for Tivra Madhyam (sharp Ma)
These two special notes give Raag Puriya its distinct identity. The Komal Re creates a sense
of slight restlessness or emotional tension, while Tivra Ma adds brightness and intensity.
Together, they build a unique emotional landscape—serene yet serious, calm yet slightly
restless.
In Raag Puriya, every note is not just played; it is carefully shaped and emotionally
expressed. This is why experienced musicians say Puriya is not a raga for beginners. It
demands sensitivity, emotional maturity, and good control over voice or instrument. The
beauty of Puriya lies in how slowly and thoughtfully it unfolds. A musician usually begins
softly, almost like whispering feelings through sound, and gradually expands the melody,
allowing emotions to bloom naturally.
Like every raga, Puriya also has important notes called Vadi and Samvadi, which are like the
“king” and “queen” of the notes. In Raag Puriya:
• Vadi (most important note): Ga (Gandhar)
• Samvadi (second most important): Ni (Nishad)
Because of this, the raga often revolves around these notes, resting on them, decorating
them, and coming back to them repeatedly. This repetition doesn’t make it boring; rather, it
deepens the emotional effect and gives the listener a sense of stability within the
seriousness.
Another important aspect of Raag Puriya is its Pakad or characteristic phrase. Think of Pakad
as the “signature” of the raga. If someone plays or sings this phrase, you can immediately
recognize, “Oh, this is Raag Puriya!” A common Pakad is:
N r G M^ D N r G
This phrase beautifully highlights the mood, the special notes, and the overall personality of
the raga.
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Emotionally, Raag Puriya is often described as serious, devotional, introspective, and
slightly tense but peaceful at the same time. It is not sadness, but rather a thoughtful
calmness. It feels like deep thinking, quiet reflection, or a silent prayer. Many performers
use Puriya to express feelings related to devotion, respect, and internal strength. It has a
majestic dignity, like the peaceful silence inside a temple or the thoughtful silence of nature
at dusk.
Because of its emotional richness, Raag Puriya is frequently used in Khayal singing, classical
instrumental performances, and sometimes in semi-classical or light classical compositions
too. Instruments like sitar, sarod, violin, flute, and harmonium handle it beautifully because
they can express its smooth gliding notes and emotional depth. Vocalists especially love it
for long, stretched notes that sink slowly into the listener’s heart.
Understanding Raag Puriya also helps students understand how ragas are not just
combinations of notes; they are living emotional expressions. Each decision in the raga—
like removing Pa, using Komal Re, highlighting Tivra Ma, stressing Ga and Ni—has a purpose.
These musical choices shape its personality.
If you compare it with more joyful ragas, you’ll notice that Puriya doesn’t try to make you
dance or smile. Instead, it invites you to sit quietly, feel deeply, and think softly. It makes
you aware of silence, of time slowing down, of emotions that cannot always be spoken but
can surely be felt.
7. Write down the Theka of Ada Chautal in Dugun, Tigun and Chaugun laykaries.
Ans: Indian classical music is not only about melody (rāga) but also about rhythm (tāl). Just
as a building needs a strong foundation, music needs rhythm to give it structure and life. In
the world of rhythm, the theka is the basic pattern of beats played on the tabla or pakhawaj
that defines a tāl. One of the important tāls in Hindustani music is Ada Chautāl, and
understanding its theka in different laykaries (tempos) like dugun, tigun, and chaugun is
essential for students of music. Let’s explore this in detail, step by step, in a way that feels
natural and enjoyable.
What is Ada Chautāl?
• Ada Chautāl is a 14-beat rhythmic cycle (tāl) commonly used in dhrupad and
dhammar styles of Hindustani classical music.
• It is played on the pakhawaj (a traditional barrel-shaped drum) and sometimes
adapted for tabla.
• The word Ada means “half” or “modified,” and Ada Chautāl is considered a variation
of the full Chautāl (which has 12 beats).
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In simple words: Ada Chautāl is a rhythmic cycle of 14 beats, forming the backbone of
many classical compositions.
Structure of Ada Chautāl
Ada Chautāl has 14 beats (mātrās) divided into 4 vibhāgs (sections):
• 1st vibhāg: 4 beats
• 2nd vibhāg: 4 beats
• 3rd vibhāg: 3 beats
• 4th vibhāg: 3 beats
This division gives Ada Chautāl its unique flavor.
Theka of Ada Chautāl
The basic theka (pattern of bols) of Ada Chautāl is:
Code
Dha Dha | Din Ta | Kita Dha | Ta Kita | Dha Dha | Din Ta | Kita Dha | Ta Kita
But since it is 14 beats, the actual arrangement is:
Code
Dha Dha Din Ta | Kita Dha Ta Kita | Dha Dha Din Ta | Kita Dha Ta Kita
This is the skeleton rhythm, which musicians elaborate upon during performance.
Laykaries (Tempos)
Laykaries are variations in speed relative to the basic tempo (ekgun).
• Ekgun: Basic speed (one bol per beat).
• Dugun: Double speed (two bols per beat).
• Tigun: Triple speed (three bols per beat).
• Chaugun: Quadruple speed (four bols per beat).
Think of laykaries as gears in a car: you can drive slowly (ekgun), faster (dugun), even
faster (tigun), and very fast (chaugun). The theka remains the same, but the speed of
execution changes.
Theka of Ada Chautāl in Different Laykaries
1. Ekgun (Basic Speed)
Code
Dha Dha Din Ta | Kita Dha Ta Kita | Dha Dha Din Ta | Kita Dha Ta Kita
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Each bol is played once per beat.
2. Dugun (Double Speed)
In dugun, each beat carries two bols.
Code
Dha Dha Din Din Ta Ta | Kita Kita Dha Dha Ta Ta Kita Kita | Dha Dha Din Din Ta Ta | Kita Kita
Dha Dha Ta Ta Kita Kita
The rhythm feels faster, but the cycle length (14 beats) remains the same.
3. Tigun (Triple Speed)
In tigun, each beat carries three bols.
Code
Dha Dha Dha Din Din Din Ta Ta Ta | Kita Kita Kita Dha Dha Dha Ta Ta Ta Kita Kita Kita | Dha
Dha Dha Din Din Din Ta Ta Ta | Kita Kita Kita Dha Dha Dha Ta Ta Ta Kita Kita Kita
This creates a dense, energetic texture, often used to show virtuosity.
4. Chaugun (Quadruple Speed)
In chaugun, each beat carries four bols.
Code
Dha Dha Dha Dha Din Din Din Din Ta Ta Ta Ta | Kita Kita Kita Kita Dha Dha Dha Dha Ta Ta Ta
Ta Kita Kita Kita Kita | Dha Dha Dha Dha Din Din Din Din Ta Ta Ta Ta | Kita Kita Kita Kita Dha
Dha Dha Dha Ta Ta Ta Ta Kita Kita Kita Kita
This is the fastest laykari, producing a thrilling climax in performance.
A Relatable Story
Imagine a pakhawaj player in a dhrupad concert. He begins with the basic theka (ekgun),
steady and majestic, like the slow march of elephants. The audience feels the grandeur of
Ada Chautāl.
Then, he shifts to dugun—the rhythm doubles, like a horse picking up speed. The energy
rises.
Next, he moves into tigun—the rhythm triples, like a river rushing faster, carrying everyone
along.
Finally, he bursts into chaugun—the rhythm quadruples, dazzling the audience with speed
and precision, like fireworks exploding in the sky.
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This journey through laykaries is not just technical—it is emotional, carrying listeners from
calm to excitement to awe.
Importance of Laykaries in Ada Chautāl
1. Demonstrates Skill: Playing theka in different laykaries shows mastery over rhythm.
2. Adds Variety: It prevents monotony, keeping the audience engaged.
3. Builds Energy: Moving from slow to fast creates dramatic tension and release.
4. Tradition: Laykaries are part of the classical tradition, especially in dhrupad
performances.
Summary Table
Laykari
Speed
Example Pattern (Simplified)
Ekgun
1 bol per beat
Dha Dha Din Ta Kita Dha Ta Kita
Dugun
2 bols per beat
Dha Dha Din Din Ta Ta Kita Kita
Tigun
3 bols per beat
Dha Dha Dha Din Din Din Ta Ta Ta
Chaugun
4 bols per beat
Dha Dha Dha Dha Din Din Din Din Ta Ta Ta Ta
Final Thoughts
The theka of Ada Chautāl in dugun, tigun, and chaugun laykaries is more than a technical
exercise—it is a journey through rhythm. Each laykari adds a new dimension:
• Ekgun is majestic and steady.
• Dugun is lively and energetic.
• Tigun is dense and powerful.
• Chaugun is dazzling and climactic.
Together, they show the richness of Indian rhythm, where a single theka can transform into
multiple experiences simply by changing speed.
8. Describe in detail the role and relevance of Instrumental Music in Gurmat Sangeet.
Ans: When we hear the term Gurmat Sangeet, the first image that usually comes to mind is
of devotional singing in gurdwaras, the melodious kirtan that touches the soul and connects
us to spirituality. Gurmat Sangeet is not just any music—it is the sacred musical tradition of
Sikhism, deeply rooted in the teachings of Guru Granth Sahib and the Guru traditions. While
singing is the central part of Gurmat Sangeet, instrumental music also plays a powerful and
meaningful role. It is not merely “background sound”; rather, it supports, enriches, and
enhances the spiritual experience.
Let us understand this in a very simple and engaging way.
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What is Gurmat Sangeet?
Gurmat Sangeet refers to the musical tradition that conveys the teachings (Gurmat) of the
Sikh Gurus through music. It is based on Raags, fixed musical structures that evoke specific
feelings like peace, devotion, love, introspection, and humility. Gurmat Sangeet is meant to:
• Bring the mind closer to God
• Create a peaceful spiritual environment
• Help the listener emotionally connect with Gurbani
Now the question is: where does instrumental music come into this?
Instrumental Music: Not Just Music, But a Spiritual Companion
Instrumental music in Gurmat Sangeet is not meant for entertainment or show. Instead, it
acts as a companion to Gurbani singing, guiding the emotions of the listeners and helping
them focus better on the divine message.
Think of it like this:
If Gurbani is a beautiful flower, instrumental music is the fragrance that spreads its beauty
further.
Historical Importance of Instruments in Gurmat Sangeet
Instrumental music has been part of Gurmat Sangeet since the time of the Sikh Gurus. The
Gurus themselves introduced and encouraged the use of instruments to make devotional
singing more soulful and structured.
Some key instruments include:
• Rabab – Introduced by Guru Nanak Dev Ji and played by Bhai Mardana. The Rabab
helped spread the message of Gurbani wherever Guru Nanak traveled.
• Saranda – Introduced by Guru Arjan Dev Ji to accompany kirtan in a deep, soothing
way.
• Taus – A majestic bowed instrument introduced by Guru Hargobind Sahib Ji.
• Dilruba and Esraj – Popularised by Guru Gobind Singh Ji for student training and
kirtan tradition.
• Jori, Pakhawaj, Tabla – For rhythm and maintaining musical structure during kirtan.
These traditional instruments were chosen for their ability to create calmness, devotion,
and concentration—qualities essential for spiritual reflection.
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Emotional and Spiritual Impact
Instrumental music helps in setting the mood for Gurbani. Just like soft lighting creates a
peaceful environment, gentle instrumental music prepares the mind to receive divine
wisdom.
• Soft instrumental tones make the mind calm.
• They reduce distractions and wandering thoughts.
• They deepen emotional connection with Gurbani.
• They help even those who may not fully understand Punjabi or the deep meanings of
Gurbani to still feel spiritually touched.
For example, when a Shabad about peace is sung in a soothing Raag with instruments like
Dilruba and Taus, the heart naturally feels calm and meditative.
Supporting the Voice and Enhancing Raag
Another major role of instruments is to support the singing. Instruments like harmonium or
string instruments maintain the Raag structure so that the Shabad is sung correctly,
according to the musical tradition intended by the Gurus.
Instruments:
• Maintain pitch (sur)
• Keep rhythm (taal)
• Ensure the Raag mood remains intact
• Add depth and richness to the singing
Without instruments, it might be difficult for singers to stay consistent in Raag for long
durations. Instruments act like guiding hands.
Instruments Help in Concentration and Meditation
Listening to Gurbani with instrumental music is like meditation. The repeating rhythmic
patterns and melodious notes slowly bring the listener into a peaceful state where they can
truly experience the divine message.
Instrumental sound waves:
• Slow down the racing mind
• Bring listeners into a devotional mindset
• Help in naam simran and spiritual reflection
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This is why even when Shabad is not being sung, pure instrumental kirtan is sometimes
played. It continues to remind listeners of God and keeps the spiritual environment alive.
Making Kirtan Universally Appealing
Instrumental music also helps make Gurmat Sangeet more appealing to:
• Children
• Youth
• People of different cultures and countries
Many people may not understand every word of Gurbani at first, but through the emotional
power of instruments, they still feel spiritual energy. Music crosses language barriers.
Maintaining Tradition and Identity
Traditional Sikh instruments are not just musical tools; they are symbols of Sikh heritage.
Preserving them keeps the original flavour and purity of Gurmat Sangeet alive.
Today, modern instruments like harmonium and tabla are commonly used, but there is a
strong movement to revive original Sikh instruments like Rabab, Taus, and Dilruba. This
revival reminds us of our roots and keeps the blessing of Guru Sahiban’s musical heritage
living.
Relevance in Modern Times
Even in today’s digital and fast-moving world, instrumental music in Gurmat Sangeet
remains extremely relevant.
It helps:
• Reduce stress and anxiety
• Provide emotional healing
• Strengthen spiritual connection
• Maintain cultural continuity
Whether listened to in Gurdwaras, at home, or online, instrumental Gurmat Sangeet
continues to inspire peace, devotion, and moral clarity.
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Conclusion
Instrumental music in Gurmat Sangeet is not just an optional addition—it is deeply
meaningful and spiritually powerful. From the times of Guru Nanak Dev Ji to the present
day, instruments have supported Gurbani singing, helped create devotional atmosphere,
guided emotional expression, maintained musical discipline, and strengthened the spiritual
experience of listeners.
“This paper has been carefully prepared for educaonal purposes. If you noce any
mistakes or have suggesons, feel free to share your feedback.”
