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GNDU QUESTION PAPERS 2023
BA/BSc 4
th
SEMESTER
MUSIC (Instrumental)
Time Allowed: 3 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.
SECTION-A
1. Explain Shudha and Chhayalag Raag in detail.
2. Discuss historical development of Indian music during medieval period.
SECTION-B
3. Write life sketch and contribuon of Ustad Ali Akbar Khan towards music.
4. Write the characteriscs of dierent Gharanas of Sitar.
SECTION-C
5. Compare Raag Malkauns and Chandrakauns.
6. Give an introducon of Raag Sohni and write its Drut Gat in notaon.
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SECTION-D
7. Write an essay on 'Importance of Instruments in Gurmat Sangeet'.
8. What do you know about Var and Chhant? Explain in detail.
GNDU ANSWER PAPERS 2023
BA/BSc 4
th
SEMESTER
MUSIC (Instrumental)
Time Allowed: 3 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.
SECTION-A
1. Explain Shudha and Chhayalag Raag in detail.
Ans: Shuddha Raag and Chhayalag Raag
Indian classical music is not just about singing notes; it is like painting emotions with sound.
Every raag has its own personality, its own mood, and its own special way of touching the
human heart. Among the many beautiful concepts in Hindustani music, two very important
ideas are Shuddha Raag and Chhayalag Raag. To understand them clearly, imagine music as
a garden of flowers. Some flowers bloom in their natural form, pure and unchanged. Others
may have a slight mixture of fragrance from another flower, creating a new and unique
smell. Exactly like this, some raags are pure in character, while others carry the gentle
“shadow” of another raag.
Let us understand both in a simple and interesting way.
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What is a Shuddha Raag?
The word “Shuddha” means “pure” or “natural.”
So, a Shuddha Raag is a raag that keeps its original identity completely pure without
borrowing any musical characteristics or influence from any other raag.
It has:
• A fixed structure
• A clear identity
• A strict set of notes
• A stable mood and emotion
There is no confusion while listening to it. The listener can easily recognize the raag because
it follows its rules faithfully and does not resemble or imitate any other raag.
Why is it called “Pure”?
Because:
• It does not mix features of any other raag.
• It has a stable emotional expression.
• Its notes (swaras), movement (chalan), and patterns remain constant.
• It strictly follows its own grammar.
Just like a person who has a clear personality and does not try to copy others, a Shuddha
Raag stands strong in its own identity.
Emotional Beauty of Shuddha Raag
Every Shuddha Raag carries a definite emotion, whether it is devotion, happiness, peace,
longing, or romance. When a singer performs it, the audience clearly feels that single
dominant emotion. There is no confusion and no blend—only pure feelings.
For example:
• Some Shuddha Raags express bhakti (devotion)
• Some express shanti (peace)
• Some express veer rasa (bravery)
• Some express karuna (sorrow)
Because they are so pure, they are often taught in the early stages of learning classical
music so students can understand raag identity clearly.
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What is Chhayalag Raag?
Now let’s move to the more interesting and artistic idea: Chhayalag Raag.
The word “Chhaya” means “shadow” and “lag” means “attached” or “mixed.”
So a Chhayalag Raag is a raag in which:
• The base of one raag is present
• But the “shadow,” flavor, or touch of another raag is also felt
In simple words:
It is mostly one raag, but slightly flavored by another raag.
Imagine you are drinking sweet milk and someone adds a little chocolate flavor. It is still
milk, but you can feel the taste of chocolate as well. That is exactly what a Chhayalag Raag
does—it keeps its main identity but gently borrows some characteristics of another raag.
How Does Chhayalag Happen?
Chhayalag does not mean two raags are mixed carelessly. Instead, it is done very artistically
and intelligently. Only a skilled musician can perform it beautifully.
Chhayalag may happen by:
• Using a note (swar) from another raag
• Borrowing a movement (phrase) from another raag
• Adopting a characteristic pattern
• Creating a slight emotional resemblance
• Using a different way of singing a swara to create another raag’s feel
Even though there is mixing, the base raag is never lost.
The audience should always feel:
“Yes, this is the main raag, but I can sense the shadow of another raag inside it.”
That is why Chhayalag Raags feel richer, deeper, and more artistic.
Why are Chhayalag Raags Special?
Chhayalag Raags are very intelligent and creative forms of music. They require:
• Deep understanding of raag grammar
• Perfect control over voice or instrument
• Clear awareness of two raags at the same time
• Emotional sensitivity
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They allow musicians to express multiple shades of feelings at once. Instead of a single
emotion, they create mixed emotions like:
• Happiness with a slight sadness
• Devotion with romance
• Serenity with longing
This emotional complexity makes Chhayalag Raags truly magical.
Main Difference Between Shuddha and Chhayalag Raag (In Simple Words)
Let’s understand the difference in the simplest way possible:
Shuddha Raag
Chhayalag Raag
Pure
Mixed (shadowed)
Has one identity only
Has primary identity + slight presence of another
Emotion is stable
Emotion has multiple shades
Easy to recognize
Artistic and complex
Strict musical grammar
Flexible but controlled
How Does It Feel to Listen?
When you listen to a Shuddha Raag, you feel clarity and purity. It is like looking at a clear
blue sky with no clouds—peaceful, focused, and emotionally direct.
When you listen to a Chhayalag Raag, you feel depth and curiosity. It is like watching a
sunset where multiple colors blend beautifully—you feel more than one emotion at once.
Both are beautiful in their own way. One is pure simplicity; the other is artistic complexity.
Importance in Indian Classical Music
Both these concepts are extremely important:
• Shuddha Raags help preserve traditional purity and discipline.
• Chhayalag Raags encourage creativity and innovation.
Together they make Hindustani music both scientific and artistic, both structured and
imaginative.
They prove that Indian classical music is not just about rules—it is about expression,
emotion, and creativity.
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Final Thoughts
Understanding Shuddha Raag and Chhayalag Raag is like understanding two different
philosophies of life. One teaches us the beauty of purity and discipline. The other teaches us
the magic of creativity and blending. Music becomes more meaningful when we know why
it sounds the way it does.
Shuddha Raag stands proudly like a strong tree—steady, pure, and rooted.
Chhayalag Raag dances like a gentle breeze—soft, artistic, and full of expression.
Both together make Indian classical music a divine, soulful, and limitless ocean of beauty.
2. Discuss historical development of Indian music during medieval period.
Ans: Introduction
The medieval period in India was a time of cultural blending, political change, and spiritual
awakening. Music was not just entertainment—it was a way of worship, storytelling, and
connecting communities. Between the 12th and 18th centuries, Indian music absorbed
influences from Bhakti saints, Sufi mystics, and Mughal courts, creating a rich tapestry that
still shapes our musical traditions today.
In simple words: Medieval Indian music was like a grand orchestra where Hindu
devotion, Islamic mysticism, and royal patronage all played together.
Bhakti Movement and Music
• The Bhakti saints like Mirabai, Chaitanya Mahaprabhu, Kabir, Tulsidas, and Surdas
used music to spread devotion.
• Their songs were simple, emotional, and accessible to common people.
• Instruments like the ektara, dholak, and manjira accompanied these devotional
songs.
• Bhajans and kirtans became popular forms, emphasizing love for God over ritual.
Example: Mirabai’s songs of devotion to Krishna are still sung in temples and homes
today.
Sufi Influence
• Sufi saints like Nizamuddin Auliya and Khwaja Moinuddin Chishti used music as a
spiritual tool.
• Qawwali emerged as a powerful form of devotional singing in Sufi shrines.
• Persian and Arabic musical elements blended with Indian ragas, enriching the
soundscape.
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• The emphasis was on ecstasy, rhythm, and group participation.
Example: The qawwalis of Amir Khusrau, a 13th-century poet-musician, are still
performed in dargahs across India.
Court Patronage and Mughal Influence
• The Delhi Sultanate and later the Mughal Empire gave immense patronage to
musicians.
• Akbar’s court had legendary musicians like Tansen, who composed new ragas and
perfected the Dhrupad style.
• Mughal rulers encouraged blending of Persian and Indian traditions, leading to
innovations in both vocal and instrumental music.
• Instruments like the sitar, tabla, and sarangi developed during this period.
Example: Tansen’s compositions in ragas like Miyan ki Todi and Darbari Kanada are still
performed in classical concerts.
Emergence of New Musical Forms
1. Dhrupad
• Oldest surviving form of Hindustani classical music.
• Serious, devotional, and performed in temples and courts.
• Sung in slow tempo with pakhawaj accompaniment.
2. Khayal
• Emerged later, more flexible and imaginative than Dhrupad.
• Allowed improvisation and emotional expression.
• Became the dominant form of Hindustani classical music.
3. Qawwali and Ghazal
• Qawwali: Devotional Sufi singing in group style.
• Ghazal: Poetic form set to music, expressing love and longing.
Regional Developments
• North India (Hindustani tradition): Fusion of Persian and Indian styles, rise of
Dhrupad and Khayal.
• South India (Carnatic tradition): More continuity with ancient traditions,
development of kritis by saints like Purandaradasa.
• Folk traditions: Bhajans, kirtans, and qawwalis spread among common people,
making music a part of everyday life.
Key Figures of Medieval Indian Music
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Personality
Contribution
Amir Khusrau
Introduced Persian elements, credited with inventing sitar and
tabla, composed qawwalis.
Tansen
Court musician of Akbar, composed new ragas, perfected Dhrupad.
Mirabai
Bhakti saint, composed devotional songs for Krishna.
Surdas
Bhakti poet, wrote songs in praise of Krishna.
Chaitanya
Mahaprabhu
Spread kirtan tradition in Bengal.
Cultural Significance
• Music became a bridge between communities, blending Hindu and Muslim
traditions.
• It reflected the spiritual mood of the age, emphasizing devotion and mysticism.
• It laid the foundation for modern classical music traditions in both North and South
India.
In essence: Medieval Indian music was not just art—it was a spiritual and cultural
revolution.
Everyday Analogy
Think of medieval Indian music as a recipe. The Bhakti saints added sweetness with their
devotional songs, the Sufi mystics added spice with their rhythmic qawwalis, and the
Mughal courts added richness with their classical innovations. Together, they created a dish
that still nourishes Indian culture today.
Conclusion
The medieval period was a golden era for Indian music. It saw the rise of devotional bhajans,
mystical qawwalis, and refined classical forms like Dhrupad and Khayal. With contributions
from saints, mystics, and court musicians, Indian music became a fusion of spirituality,
artistry, and cultural exchange.
SECTION-B
3. Write life sketch and contribuon of Ustad Ali Akbar Khan towards music.
Ans: Life Sketch and Contribution of Ustad Ali Akbar Khan
When we talk about the legends who shaped Indian Classical Music, one name shines like a
bright star—Ustad Ali Akbar Khan. He was not just a musician; he was a bridge between
traditions, generations, and even cultures. His music had a magical quality—calm, deep,
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emotional, and powerful enough to touch the heart of anyone who listened, whether they
were trained in music or not.
Ustad Ali Akbar Khan was born on 14th April 1922 in Shibpur, Bangladesh (then part of
undivided India). Music was not just an art in his house; it was a way of life. He was born
into the legendary Maihar Gharana, one of the most respected musical traditions of
Hindustani music. His father, Ustad Allauddin Khan, was one of the greatest gurus in Indian
classical music history. He was also the teacher of other great musicians like Pandit Ravi
Shankar and Annapurna Devi. Growing up in such an environment, Ali Akbar Khan was
destined for greatness.
But his musical journey was not easy or casual. From childhood, he was trained very strictly
by his father. His practice sessions would last for hours and hours every day. While other
children played outside, Ali Akbar Khan held his instrument, the sarod, and practiced
tirelessly. His father believed that real music comes only through discipline, patience, and
devotion, and Ali Akbar Khan followed this sincerely. This hard training shaped him into a
brilliant artist.
By the time he was in his teens, Ali Akbar Khan had already become a mature musician. His
first public performance came at a very young age and surprised everyone. People were
amazed by how deeply he could express emotions through music. His sarod did not just
produce sounds; it spoke, cried, smiled, and healed hearts. Soon, he was recognized across
India as a rising genius.
He did not remain limited to concerts alone. Ustad Ali Akbar Khan also served as a court
musician in the princely state of Jodhpur, where he continued to refine his art. His fame
spread far and wide. But his real historic contribution began when he stepped outside India
and carried Indian music across the world.
Ali Akbar Khan – Bringing Indian Music to the World
In the 1950s, Indian classical music was not widely known outside India. Only a few people
in the West had any idea about ragas or Indian instruments. This is where Ali Akbar Khan
played a revolutionary role. He was among the first Indian classical musicians to perform in
America and Europe, and his concerts left people completely amazed. For many foreigners,
listening to him was their first introduction to Indian music, and they instantly fell in love
with it.
In 1955, he gave a historic performance in the United States and even recorded an album
that became extremely popular. His music showed the world that Indian classical music was
not limited to rituals or traditions; it was a universal language of emotions. Soon,
international audiences began to respect Indian music as a serious and beautiful art form.
Great Guru and Music Educator
Ustad Ali Akbar Khan was not just a performer; he was also an extraordinary teacher. He
believed that music should not remain locked inside a few families—it should spread and
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reach everyone who truly respects it. With this dream, he founded Ali Akbar College of
Music in Calcutta in 1956. Later, he founded branches in California (USA) and Switzerland.
These institutions became centers of musical learning where students from all over the
world came to study Indian classical music. Many of his students became great musicians
themselves. Through teaching, he preserved and spread the deep knowledge of ragas, talas,
and the aesthetic beauty of classical music. He ensured that this precious heritage would
continue for future generations.
His Style and Musical Contribution
Ustad Ali Akbar Khan’s playing style was unique. His sarod had a beautiful, rich, and intense
sound. When he played slow, it felt like meditation. When he played fast, it felt like a storm
of emotions. His music carried spiritual depth and emotional warmth. He was a master of
‘alaap’ – the slow, emotional introduction of a raga, and also of fast and energetic
compositions.
He composed many new ragas, enriched traditional ones, and gave unforgettable
performances. His collaboration with Pandit Ravi Shankar is world famous. Together, they
opened a new chapter in world music. He also worked with musicians from other cultures,
blending Indian music with Western styles without losing its purity.
He recorded several albums and composed music for films as well. His work in films like
“Devi” and “Aandhiyan” showed how classical music could also enhance cinema.
Awards and Recognitions
Because of his outstanding contribution, he received many honors. Some major awards
include:
• Padma Bhushan (1967)
• Padma Vibhushan (1989) – India’s second highest civilian award
• Sangeet Natak Akademi Award
• He was also nominated for Grammy Awards
These awards were not just honors for him but a recognition of Indian classical music
globally.
A Humble Human Being
Despite being a world-famous musician, he always remained humble and simple. He
believed that music was not something to show off; it was something to worship. His life
was truly dedicated to music. Even when he grew older and his health began weakening, he
continued teaching and playing because music was his life’s breath.
Ustad Ali Akbar Khan passed away on 18th June 2009, but legends never really die. His
music still lives, his students continue his legacy, and his influence remains strong in the
world of music.
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Conclusion
Ustad Ali Akbar Khan was not only a legendary sarod maestro; he was a cultural
ambassador, a dedicated guru, a creative genius, and a gentle soul. He preserved the rich
heritage of Indian classical music and spread it across the globe. His life teaches us that
greatness is achieved through dedication, discipline, passion, and humility. His contribution
is priceless because he did not just play music—he touched hearts, connected cultures, and
ensured that Indian classical music would shine forever.
4. Write the characteriscs of dierent Gharanas of Sitar.
Ans: Introduction
In Indian classical music, a gharana is more than just a school—it is a family tradition, a
lineage of style, and a philosophy of performance. For the sitar, different gharanas
developed unique approaches to technique, improvisation, and expression. Understanding
these gharanas is like meeting different personalities of the same instrument: each speaks
the language of ragas, but with its own accent and flavor.
In simple words: The sitar gharanas are like different dialects of the same musical
language.
1. Imdadkhani (Etawah) Gharana
• Founder: Ustad Imdad Khan (19th century).
• Style: Known for gayaki ang—imitating the nuances of vocal music on the sitar.
• Characteristics:
o Smooth meend (glides between notes).
o Emphasis on lyrical expression.
o Balanced mix of melody and rhythm.
• Famous Exponents: Ustad Vilayat Khan, Shahid Parvez.
• Contribution: Made sitar sound closer to the human voice, appealing to audiences
emotionally.
Think of this gharana as the “singer’s sitar”—soft, expressive, and deeply emotional.
2. Senia Gharana
• Origin: Traces back to the legendary Tansen, hence the name “Senia.”
• Style: Preserves dhrupad ang—ancient, austere style of classical music.
• Characteristics:
o Heavy emphasis on alap (slow, unmetered introduction).
o Strong rhythmic patterns.
o Less ornamentation, more seriousness.
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• Famous Exponents: Mushtaq Ali Khan.
• Contribution: Maintained the purity of dhrupad tradition on sitar.
This gharana is like the “philosopher’s sitar”—serious, meditative, and deeply spiritual.
3. Bishnupur Gharana
• Origin: Bengal, influenced by dhrupad and folk traditions.
• Style: Blends classical rigor with regional folk flavor.
• Characteristics:
o Use of local talas and ragas.
o Simpler, more accessible style.
o Strong devotional element.
• Contribution: Helped spread sitar music in Bengal, making it popular among
common people.
This gharana is like the “storyteller’s sitar”—simple, direct, and rooted in folk culture.
4. Jaipur Gharana
• Origin: Rajasthan, with strong emphasis on rhythmic play.
• Style: Known for laykari—complex rhythmic improvisations.
• Characteristics:
o Bold strokes and fast taans (runs).
o Intricate rhythmic cycles.
o More instrumental than vocal in approach.
• Contribution: Added mathematical brilliance to sitar playing.
This gharana is like the “mathematician’s sitar”—precise, complex, and dazzling in
rhythm.
5. Maihar Gharana
• Founder: Ustad Allauddin Khan (early 20th century).
• Style: Integrated sitar with orchestral and instrumental innovations.
• Characteristics:
o Fusion of dhrupad and khayal styles.
o Emphasis on both melody and rhythm.
o Use of multiple instruments in ensemble (Maihar Band).
• Famous Exponents: Pandit Ravi Shankar, Nikhil Banerjee.
• Contribution: Popularized sitar globally, making it a symbol of Indian classical music.
This gharana is like the “ambassador’s sitar”—bridging India with the world.
Comparison Table
Gharana
Style Focus
Key Features
Famous Exponents
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Imdadkhani
Gayaki ang
Vocal-like, lyrical, smooth
meend
Vilayat Khan, Shahid
Parvez
Senia
Dhrupad ang
Serious, meditative, strong
alap
Mushtaq Ali Khan
Bishnupur
Folk-classical
Simple, devotional, regional
ragas
Bengal musicians
Jaipur
Laykari
Bold strokes, rhythmic
brilliance
Jaipur sitarists
Maihar
Fusion/orchestral
Blend of dhrupad & khayal,
ensemble style
Ravi Shankar, Nikhil
Banerjee
Cultural Significance
• These gharanas show the diversity of Indian classical music.
• Each gharana preserved tradition while innovating in its own way.
• Together, they enriched the sitar’s identity, making it versatile and universal.
In essence: The sitar gharanas are different paths leading to the same destination—
spiritual and aesthetic beauty.
Everyday Analogy
Imagine five chefs cooking with the same ingredient—rice.
• One makes a soft pudding (Imdadkhani).
• Another prepares a serious, plain dish (Senia).
• A third adds folk spices (Bishnupur).
• The fourth creates a mathematically precise recipe (Jaipur).
• The fifth makes a fusion dish for the world (Maihar).
All are rice, but each has its own flavor—just like the sitar gharanas.
Conclusion
The Imdadkhani, Senia, Bishnupur, Jaipur, and Maihar gharanas represent the rich
diversity of sitar playing traditions. Each has its own philosophy—lyrical, meditative, folk-
inspired, rhythmic, or global. Together, they shaped the sitar into one of the most
expressive instruments in Indian classical music.
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SECTION-C
5. Compare Raag Malkauns and Chandrakauns.
Ans: Compare Raag Malkauns and Chandrakauns
Indian classical music is like a beautiful universe full of moods, emotions, feelings, and
expressions. Each raag is like a different world that tells its own story, creates its own
atmosphere, and touches our hearts in a special way. Among the many legendary ragas,
Raag Malkauns and Raag Chandrakauns are two shining stars. They are deeply emotional,
soulful, and mysterious. They belong to the same musical family but still carry their own
unique identity — like two siblings who look similar but think and behave differently.
Let us explore them in a simple and interesting way.
A Small Story to Feel The Difference
Imagine a calm midnight. The world is silent. The sky is dark but peaceful. You sit near a
quiet river, and everything feels deep, spiritual, and powerful. This feeling is like Raag
Malkauns—strong, serious, divine, and meditative.
Now imagine the same midnight, but instead of silence, you see moonlight shining softly on
the water. The night is still calm, but there is a sweet emotional touch, a gentle sadness, and
beauty. That feeling is Raag Chandrakauns—soft, romantic, emotional, and slightly
melancholic.
Both belong to the night, both are peaceful, but their emotional colors are different.
Their Basic Nature and Feel
Raag Malkauns – The King of Calmness
Raag Malkauns is considered one of the oldest and most respected ragas in Indian classical
music. It is associated with seriousness, spirituality, and power. When played, it feels like
meditation. Many musicians say that this raag connects listeners to inner peace. It is also
believed to have a healing impact on the mind because of its slow, deep, and stable
movements.
Malkauns is often linked with strength and majesty. Historically, it was considered so
powerful that legends say it could calm storms and even tame wild animals. Whether those
stories are true or not, one thing is sure — Malkauns has a magical strength.
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Raag Chandrakauns – Emotional and Dreamy
Raag Chandrakauns came much later compared to Malkauns. It is inspired by Malkauns,
which is why their names sound similar. But emotionally, Chandrakauns is more delicate and
expressive. It carries sweet sadness, romance, longing, and emotional softness.
If Malkauns feels like meditation in a temple, Chandrakauns feels like thinking about
someone you love under a moonlit sky. It has sweetness and sensitivity. Many singers use it
to express emotions of love, devotion, and gentle sorrow. It is soothing and touching at the
same time.
Notes and Structure
Even though both ragas use almost the same notes, they are sung differently, which creates
a completely different mood.
Notes in Raag Malkauns
Malkauns is a pentatonic (Audav-Audav) raag, meaning it uses only five notes both in
ascending (Aroha) and descending (Avaroha).
It does not use Re (Rishabh) and Pa (Pancham).
The notes used are:
Sa – Komal Ga – Shuddh Ma – Komal Dha – Komal Ni – Sa
Because of these flat (komal) notes, the raag sounds deep, heavy, and serious. Notes are
stretched, movements are slow, and the feel is very stable.
Notes in Raag Chandrakauns
Chandrakauns also uses five notes, but with a slight change in expression.
It generally uses:
Sa – Komal Ga – Shuddh Ma – Komal Dha / Komal Ni – Sa
However, in Chandrakauns, the emotional presentation of notes becomes softer. Instead of
strength, the focus is on sweet emotion. Meends (glides between notes) are used more to
make it emotional and expressive.
Time of Performance
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Both ragas are night ragas, but their emotional role is different.
Malkauns
Performed usually late night, after 10 PM or midnight.
This time suits its meditative and majestic nature.
Chandrakauns
Also performed at night, especially in calm, peaceful late hours.
But its emotional softness makes it suitable for romantic and devotional moods.
Mood (Rasa)
This is the most important difference.
Mood of Raag Malkauns
• Serious
• Majestic
• Fearless
• Spiritual
• Meditative
• Deep peace
It is often used in Dhrupad, Khayal, and instrumental classical music, especially on
instruments like sitar, sarod, and flute, because they can handle its depth.
Mood of Raag Chandrakauns
• Romantic
• Emotional
• Sweetly sad
• Calmly expressive
• Dreamy
It is widely used in light classical, film music, and ghazals too, because it can beautifully
express human feelings and emotions.
Tempo and Movement
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Malkauns usually moves slowly, with depth and strength. You rarely see too many fast taans
or decorative patterns. Everything is dignified and majestic.
Chandrakauns, however, allows a little more emotional play. Singers can add emotional
bends, expressiveness, and sweetness. It feels like gently flowing water, while Malkauns
feels like a still deep lake.
Use in Music Tradition
Malkauns has a Classical Royal Position
It is considered a powerful main raag. Many great maestros choose it to show their skill,
depth, and control because it requires strong voice and discipline.
Chandrakauns is Popular in Modern and Light Music
Because it expresses emotions beautifully, many film composers use it. It has been used in
many beautiful classical-based songs, bhajans, and ghazals.
Simple Comparison Table
Point
Raag Malkauns
Raag Chandrakauns
Nature
Serious, spiritual, majestic
Emotional, romantic, dreamy
Mood
Peace, meditation, power
Sweet sadness, love, devotion
Notes
5 notes (Audav)
5 notes (Audav)
Time
Late night
Late night
Feel
Heavy, strong
Soft, emotional
Usage
Classical dominance
Classical + film/light music
Expression
Slow, deep, stable
Smooth, expressive, lyrical
Final Understanding in One Line
Malkauns feels like strong, silent meditation. Chandrakauns feels like emotional
moonlight on a calm night.
Even though they belong to the same musical family and sound somewhat related, their
personalities are beautifully different.
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6. Give an introducon of Raag Sohni and write its Drut Gat in notaon.
Ans: Introduction
Indian classical music is a universe of ragas, each with its own personality, mood, and rules.
Among these, Raag Sohni shines as a raga of intensity and brilliance. It belongs to the
Marwa thaat and is traditionally performed in the late evening. The word Sohni itself means
“beautiful,” and the raga lives up to its name by creating a mood of passionate energy and
brightness.
In simple words: Raag Sohni is like a flame—it glows brightly, full of intensity, and leaves
a lasting impression.
Structure of Raag Sohni
1. Thaat (Parent Scale):
• Marwa thaat.
2. Aroha (Ascending Scale):
𝑆𝑎 𝑅𝑒 𝐺𝑎 𝑀𝑎 𝐷ℎ𝑎 𝑁𝑖 𝑆𝑎
3. Avaroha (Descending Scale):
𝑆𝑎 𝑁𝑖 𝐷ℎ𝑎 𝑀𝑎 𝐺𝑎 𝑅𝑒 𝑆𝑎
4. Vadi (Most Important Note):
• Dha (dominant note).
5. Samvadi (Second Important Note):
• Ga (sub-dominant note).
6. Time of Performance:
• Late evening (around 9–12 pm).
7. Mood (Rasa):
• Passionate, intense, full of energy.
• Often associated with veera rasa (heroic mood).
Characteristics of Raag Sohni
• The use of komal Re (flat Re) gives it a sharp, piercing quality.
• Dha is strongly emphasized, creating intensity.
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• The raga avoids softness—it is bold and direct.
• The melodic movement is fast and energetic, making it suitable for drut
compositions.
Think of Raag Sohni as a warrior’s raga—brave, fiery, and commanding attention.
Drut Gat in Raag Sohni (Notation)
A Drut Gat is a fast-paced instrumental composition, usually played on sitar or sarod, set in
a rhythmic cycle (taal). Below is a simple drut gat in Teentaal (16 beats) for Raag Sohni.
Theka of Teentaal (16 beats):
Code
Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Ta Dhin Dhin Dha
Drut Gat Notation (in Sargam):
Sthayi (First part):
Code
Dha Dha Ma Ga | Re Sa Re Ga | Ma Dha Ni Sa | Sa Dha Dha Sa ||
Antara (Second part):
Code
Sa Re Ga Ma | Dha Ma Ga Re | Sa Re Ga Ma | Dha Ni Sa Sa ||
Explanation:
• The composition highlights Dha (vadi) and Ga (samvadi).
• The fast tempo (drut) brings out the fiery nature of Sohni.
• The interplay between ascending and descending movements creates brilliance.
How to Play/Render the Gat
1. Start with Alap: A slow, unmetered introduction to establish the raga’s mood.
2. Move to Drut Gat: Play the composition in Teentaal, emphasizing Dha and Ga.
3. Add Taan Patterns: Fast melodic runs to showcase virtuosity.
4. Conclude with Tihai: A rhythmic phrase repeated thrice to land on the sam (first
beat).
Significance of Raag Sohni
• Emotional Impact: Creates a mood of intensity and passion.
• Performance Value: Often chosen for fast-paced instrumental displays.
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• Cultural Heritage: Part of the Marwa family of ragas, showing the diversity of Indian
classical music.
Everyday Analogy
Imagine Raag Sohni as a racing horse. The alap is like the horse slowly walking, showing its
grace. The drut gat is when the horse gallops at full speed, powerful and unstoppable. The
audience feels the thrill of speed and energy, just as listeners feel the intensity of Sohni.
Conclusion
Raag Sohni is a jewel of the Marwa thaat, known for its fiery mood and late-evening
brilliance. With Dha as its vadi and Ga as its samvadi, it creates a passionate atmosphere.
The Drut Gat in Teentaal showcases its energy, making it a favorite for instrumentalists.
SECTION-D
7. Write an essay on 'Importance of Instruments in Gurmat Sangeet'.
Ans: Gurmat Sangeet is not just music. It is a spiritual journey, a way to connect the human
soul with the divine message of the Guru Granth Sahib. When we listen to kirtan in a
gurdwara, we don’t simply hear tunes — we feel peace, devotion, faith, and emotional
comfort. One of the biggest reasons behind this beautiful experience is the use of musical
instruments. Instruments give Gurmat Sangeet its unique identity, purity, and emotional
power. They help express the words of Gurbani in a deeper and more meaningful way.
To understand the importance of instruments in Gurmat Sangeet, we must first understand
what Gurmat Sangeet truly represents. It is a divine musical tradition based on the teachings
of the Sikh Gurus. Gurbani is written in different Raags, and each raag has its own emotional
mood. Some raags express happiness, some express love for God, others reflect sadness,
devotion, calmness, or inspiration. Musical instruments help bring these feelings to life.
Without instruments, Gurbani may still be sacred, but instruments make it more expressive,
more touching, and more powerful.
Historical Importance of Instruments in Gurmat Sangeet
From the time of Guru Nanak Dev Ji, musical instruments have played a central role in Sikh
devotional music. Guru Nanak Dev Ji himself traveled with Bhai Mardana, who played the
Rabab while Guru Ji sang shabads. This shows how deeply instruments are rooted in Gurmat
Sangeet traditions. Later, other Sikh Gurus also introduced and encouraged different
instruments. Guru Arjan Dev Ji and Guru Gobind Singh Ji promoted classical Indian
instruments such as Taus, Saranda, Dilruba, Rabab, and Sarangi. These instruments were
specially chosen because they created soft, melodious, spiritual sounds that were suitable
for Gurbani.
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So from the very beginning, instruments were never “extra” in Gurmat Sangeet. They were
an essential part of it.
Instruments Help Create Spiritual Atmosphere
Imagine sitting inside a gurdwara. The sangat is quiet. Suddenly, the harmonium begins to
play, followed by tabla. The slow melody fills the air, and the whole environment becomes
peaceful. Even before the words of Gurbani begin, the mind starts calming down. This is the
magic of musical instruments.
Instruments help prepare the listener’s mind to absorb the divine message. Their sound
clears mental distractions and focuses attention on shabad. This spiritual atmosphere
connects the listener emotionally and mentally with God. Without instruments, Gurbani
may still be read, but it would not create the same emotional impact.
Instruments Make Gurbani Easier to Understand and Feel
Music has a special power: it can express emotions that words alone cannot. Instruments
help explain the meaning of Gurbani through sound. For example:
• A slow and soft tune can make a shabad feel peaceful and meditative.
• A joyful melody can express happiness and gratitude to God.
• A serious raag can make us reflect deeply on life and spirituality.
In this way, instruments help bring Gurbani “alive.” Students and listeners who may not fully
understand every Punjabi word still feel the essence of Gurbani through musical expression.
Preserving Sikh Musical Heritage
Another great importance of instruments in Gurmat Sangeet is cultural preservation. Sikh
Gurus established a unique musical identity for Sikhism. Traditional instruments like Rabab,
Saranda, Dilruba, Taus, and Jori are not just instruments; they are historical treasures. When
ragis and learners continue to use these instruments, they keep Sikh tradition alive.
Unfortunately, many traditional instruments started disappearing when modern
instruments like harmonium became more popular. But today, many institutions and
musicians are reviving these original instruments again because they carry the true sound of
Gurmat Sangeet. By using them, Sikhs stay connected with their roots, history, and
originality of Guru’s music.
Instruments Help Maintain Raag System
Gurmat Sangeet follows a strict classical system of raags. Each raag has rules, specific
musical notes, and emotional purpose. Instruments help maintain these raags correctly.
String instruments like Taus, Rabab, and Dilruba are especially helpful because they produce
pure classical notes. When choruses sing Gurbani with proper raag on instruments, the
beauty and discipline of Gurmat Sangeet is preserved.
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This is important because Sikh Gurus did not randomly choose raags. They selected each
raag thoughtfully to match the meaning of the bani. Instruments ensure that this originality
is not lost.
Instruments Unite Sangat Emotionally
When kirtan is performed with instruments, sangat becomes emotionally united. Everyone
sings together, claps together, and feels the same devotion. Instruments guide rhythm,
speed, and tone so that listeners can easily follow and join. This creates a collective spiritual
experience.
In big samagams and kirtan programs, instruments help manage long performances while
keeping the sangat engaged. Without instruments, long Gurbani sessions may become
monotonous or tiring, but instruments keep energy and devotion alive.
Educational Value of Instruments in Gurmat Sangeet
Instruments also help in teaching music. Students who learn Gurmat Sangeet also gain
knowledge of Sur (notes), Taal (rhythm), Raag (melody), and musical discipline. Learning
instruments develops concentration, patience, and dedication—qualities which also support
spiritual growth. Many children start loving Gurbani more when they learn to play
instruments. Thus, instruments are not only part of prayer but also powerful tools of
education and character building.
Emotional Healing and Mental Peace
Modern life is stressful. Many people feel anxiety, sadness, and overthinking. Gurmat
Sangeet played with instruments has healing power. The soothing sound helps relax the
mind. The combination of Gurbani and music calms emotions, reduces stress, and gives
hope. Many people say they cry, feel relief, or experience inner peace while listening to
instrumental-supported kirtan. This emotional healing is another strong reason why
instruments are important.
Conclusion
Instruments in Gurmat Sangeet are much more than musical tools. They are spiritual
companions that carry the emotions of Gurbani, preserve Sikh heritage, maintain raag
tradition, create divine atmosphere, unite sangat, educate learners, and provide emotional
healing. From the time of Guru Nanak Dev Ji and Bhai Mardana to the present day,
instruments have remained a vital pillar of Sikh devotional music. Without instruments,
Gurmat Sangeet would lose its depth, beauty, and emotional strength. Therefore,
instruments hold a sacred, respected, and irreplaceable place in Gurmat Sangeet, helping
every listener travel closer to Waheguru through the power of divine music.
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8. What do you know about Var and Chhant? Explain in detail.
Ans: Introduction
Indian music and Sikh devotional traditions are full of unique forms of poetry and song. Two
such important forms are Var and Chhant. Both are found in the Sri Guru Granth Sahib, the
holy scripture of Sikhism, and they represent distinct styles of composition. While Var is a
ballad-like form that narrates heroic or moral tales, Chhant is a lyrical, poetic style that
expresses emotions in a structured way.
In simple words: A Var is like a musical story of courage and values, while a Chhant is
like a devotional song of beauty and emotion.
What is a Var?
Definition
• A Var is a traditional Punjabi ballad, often sung to narrate heroic deeds, moral
lessons, or historical events.
• In Sikh scripture, Vars are spiritual ballads composed by the Gurus and Bhagats to
convey divine wisdom.
Characteristics
1. Narrative Style: Vars tell a story, often with a moral or spiritual message.
2. Musical Setting: Each Var is set in a specific raga (musical mode).
3. Structure: A Var usually consists of pauris (stanzas) and is accompanied by saloks
(short verses).
4. Themes: Courage, sacrifice, devotion, and moral conduct.
Example from Guru Granth Sahib
• The Asa Di Var, composed by Guru Nanak Dev Ji and Guru Angad Dev Ji, is one of the
most famous Vars.
• It is sung in the early morning in Gurdwaras and emphasizes truthful living, humility,
and devotion to God.
Think of a Var as a musical sermon—teaching values through rhythm and poetry.
What is a Chhant?
Definition
• A Chhant is a lyrical composition found in Sikh scripture.
• The word Chhant means “verse” or “song.”
• It is highly poetic, often expressing emotions like love, longing, devotion, or joy.
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Characteristics
1. Poetic Style: Chhants are written in a refined, lyrical manner.
2. Musical Setting: Like Vars, Chhants are also set in specific ragas.
3. Structure: Usually composed in four-line stanzas, with rhythmic balance.
4. Themes: Spiritual love, union with God, longing of the soul for the Divine.
Example from Guru Granth Sahib
• Guru Arjan Dev Ji composed many Chhants, expressing the soul’s yearning for God.
• These are sung in Gurdwaras during kirtan, often in melodious ragas that highlight
their emotional depth.
Think of a Chhant as a devotional love song—expressing the soul’s emotions in poetic
beauty.
Differences Between Var and Chhant
Aspect
Var
Chhant
Nature
Ballad, narrative, sermon-like
Lyrical, poetic, emotional
Structure
Pauris + Saloks
Four-line stanzas
Themes
Courage, morality, devotion
Love, longing, union with God
Performance
Sung in morning congregations
Sung in kirtan, often melodious
Tone
Serious, instructive
Emotional, lyrical, devotional
Role in Sikh Devotional Music
Var
• Sung in Asa Di Var kirtan every morning in Gurdwaras.
• Inspires moral strength and spiritual discipline.
• Connects the congregation with Sikh values of truth, humility, and courage.
Chhant
• Sung during kirtan in various ragas.
• Creates an atmosphere of devotion and emotional connection.
• Helps the listener feel the soul’s longing for God.
Cultural Significance
1. Preservation of Tradition: Both Var and Chhant preserve Punjabi poetic and musical
heritage.
2. Accessibility: Their simple yet powerful style makes spiritual teachings accessible to
ordinary people.
3. Emotional Impact: Vars inspire courage and discipline, while Chhants evoke love and
devotion.
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4. Integration with Music: By setting them in ragas, Sikh Gurus ensured that these
forms were not just read but sung, making them more impactful.
Everyday Analogy
Imagine a classroom:
• A Var is like the teacher telling a moral story to inspire students.
• A Chhant is like a poem recited to touch the heart and stir emotions.
Both teach lessons, but in different ways—one through narrative and instruction, the other
through lyrical beauty.
Conclusion
Var and Chhant are two important poetic-musical forms in Sikh tradition. Vars are ballads
that narrate moral and spiritual lessons, while Chhants are lyrical verses expressing the
soul’s emotions. Together, they enrich Gurmat Sangeet, making Sikh devotional music both
instructive and emotionally moving.
“This paper has been carefully prepared for educaonal purposes. If you noce any
mistakes or have suggesons, feel free to share your feedback.”
