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GNDU QUESTION PAPERS 2023
BA/BSc 4
th
SEMESTER
MUSIC (Vocal)
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. Describe in detail Khayal styles of singing.
2. Dene the musical terms:
(a) Lakshan Geet
(b) Raag Malika.
SECTION-B
3. Dene Raag. How can you get 484 Ragas from one thaat only?
4. Write down ten ancient Raag Lakshan.
SECTION-C
5. Write the notaon of Drut Khayal with one alap and two tanas in Raag Bhairavi.
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6. Write the brief introducon of Taal Ada Chautal, its ekgun and dugun.
SECTION-D
7. Write down the life sketch and contribuon of S. Sohan Singh.
8. Write in detail folk singing styles used in Gurmat Sangeet.
GNDU ANSWER PAPERS 2023
BA/BSc 4
th
SEMESTER
MUSIC (Vocal)
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. Describe in detail Khayal styles of singing.
Ans: What is Khayal?
Imagine a singer who is not bound by strict rules but still respects discipline. The singer is
free to explore, decorate, stretch, twist, and emotionally color every musical note. That is
Khayal. It developed after Dhrupad and gradually became more popular in North Indian
classical music because it gave artists space to experiment, express feelings, and connect
emotionally with listeners.
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In Khayal, the voice is the hero. Every note is treated lovingly. Every phrase is carved
carefully. The singer creates beauty through slow expansion, delicate ornamentation, and
playful creativity.
Basic Structure of Khayal Singing
A Khayal performance is usually sung in two main parts:
Vilambit Khayal (Slow Movement)
This is the heart of the performance. It is sung in a slow tempo and allows the singer to paint
emotions gradually. The singer introduces the raga, explores it gently, stretches notes, adds
delicate ornamentations, and expresses mood. Listeners relax and slowly get absorbed in
the world of that raga.
Drut Khayal (Fast Movement)
After the emotional slow portion, comes the energetic part. The tempo increases. Patterns
become faster. Rhythmic play (layakari) becomes stronger. The vocalist now displays skill,
confidence, creativity and command over rhythm.
So, a Khayal performance is like a journey: first calm and thoughtful, then energetic and
exciting.
Special Features of Khayal
To truly understand Khayal singing, we should know what makes it special:
• Freedom of creativity – The singer can experiment a lot
• Emotional depth – It is full of feelings and expressions
• Raga exploration – Detailed presentation of raga mood
• Use of ornamentation like meend, gamak, murki, taan
• Stress on improvisation rather than fixed composition
• Strong connection with rhythm (Tala)
Unlike Dhrupad, which is more devotional and serious, Khayal is lively, expressive, and
romantic in nature.
Different Styles (Gharanas) of Khayal Singing
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Just like different families have different traditions, Khayal singing also has different
gharanas (schools or styles). Each gharana developed its own personality, techniques, and
singing style. Let’s understand the important ones in a simple way.
Gwalior Gharana – The Oldest and Most Balanced Style
This is like the “foundation stone” of Khayal. It is one of the oldest gharanas and focuses on
clarity, simplicity, and discipline. The singing is straightforward, clear in pronunciation, and
strong in melody. Improvisation is powerful but not over-decorated. It balances tradition
with beauty.
Kirana Gharana – The Kingdom of Swaras
If you love slow, emotional, deeply meditative music, Kirana gharana is for you. This style
gives importance to perfect notes and long, emotional expressions of swaras. Singers
stretch notes beautifully like silk threads. The pace is slow, thoughtful, and full of bhava
(emotion). The raga feels alive and breathing.
Agra Gharana – Power, Boldness, and Strength
This gharana is strong, bold, and full of energy. It has roots connected to Dhrupad, which is
why its singing style is powerful and majestic. Voice projection is strong. Rhythmic play is
impressive. The singing feels royal and confident. It combines both masculinity and musical
beauty.
Patiala Gharana – Grace, Beauty, and Romance
Patiala gharana brings glamour to Khayal. The singing is stylish, graceful, and full of
attractive taan patterns, fast movements, and emotional charm. It focuses on sweetness of
voice and emotional expression. The music feels colorful and sparkling. Listeners often get
emotionally carried away with this style.
Jaipur-Atrauli Gharana – Intellectual and Complex
This gharana is like a genius student in class. It focuses on rare ragas, complex patterns, and
deep intellectual beauty. The singing style is highly technical, with beautifully structured
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improvisations. It may feel serious, but when understood, it feels magical and deeply
satisfying.
Rampur-Sahaswan Gharana – Discipline and Perfection
This gharana gives importance to accuracy, systematic improvisation, slow tempo
development, and precise taans. The style appears calm but powerful, organized yet
emotional. It creates a majestic and respectful presentation of raga.
Other Notable Gharanas
• Benares Gharana – graceful and devotional flavor
• Bhendi Bazaar Gharana – clear pronunciation and smooth flow
Why Khayal is So Important?
Khayal became the heart of Hindustani classical music because:
• It allows artistic freedom
• It connects emotionally with listeners
• It keeps tradition alive but also encourages creativity
• It has space for innovation and growth
• It expresses human emotions beautifully
Through Khayal, musicians do not just sing—they express life, feelings, dreams, devotion,
romance, sadness, calmness, joy, and spirituality.
Conclusion
Khayal singing is not just a musical form; it is a beautiful world of imagination and
expression. It gives singers the freedom to explore music like a painter explores colors or a
poet explores words. From the calm beauty of Kirana gharana to the powerful strength of
Agra gharana, from the romantic charm of Patiala to the intellectual depth of Jaipur-Atrauli,
every style brings its own flavor. Together, they make Khayal rich, diverse, and everlasting.
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2. Dene the musical terms:
(a) Lakshan Geet
(b) Raag Malika.
Ans: Introduction
Indian classical music is not just about melodies—it is a structured system where every raga
has its own grammar, personality, and emotional flavor. To help students learn and to
showcase creativity, musicians developed special forms of compositions. Two of the most
fascinating are Lakshan Geet and Raag Malika.
In simple words: Lakshan Geet is like a musical “definition” of a raga, while Raag Malika
is like a “medley” of ragas strung together.
(a) Lakshan Geet
Meaning
The word Lakshan means “characteristics” and Geet means “song.” So, Lakshan Geet is a
song that explains the rules and features of a raga.
• It describes the aroha (ascending scale) and avaroha (descending scale).
• It mentions the vadi (most important note) and samvadi (second important note).
• It highlights the time of performance and the mood (rasa) of the raga.
Example: A Lakshan Geet for Raga Yaman might include lines that describe its teevra Ma
(sharp Ma) and the sweet, romantic mood it creates.
Purpose
• Educational Tool: Helps beginners memorize the structure of a raga.
• Mnemonic Device: Instead of dry theory, students learn through a song.
• Foundation: Builds strong understanding before moving to complex improvisations.
Structure
• Like a khayal composition, it has sthayi (first part) and antara (second part).
• Sung in simple talas (rhythmic cycles).
• Sometimes influenced by dhrupad style, with clear and straightforward delivery.
Importance
Lakshan Geet is not usually performed in concerts—it is mainly for classroom learning. But
its role is crucial because it ensures that every student knows the “DNA” of a raga before
exploring its artistic possibilities.
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Think of Lakshan Geet as a musical dictionary entry that teaches you the identity card of
a raga.
(b) Raag Malika
Meaning
The word Malika means “garland.” So, Raag Malika is a composition that strings together
multiple ragas, one after another, like beads in a necklace.
Features
• Each section of the composition is set in a different raga.
• The transition from one raga to another must be smooth and artistic.
• Often used in devotional or thematic compositions.
Example: A Raag Malika might begin with Raga Bhairav (serene morning mood), move to
Raga Yaman (romantic evening mood), and end with Raga Bhairavi (devotional conclusion).
Purpose
• Showcase of Skill: Demonstrates the musician’s mastery over multiple ragas.
• Variety: Keeps the listener engaged with changing moods and colors.
• Symbolism: Represents unity in diversity—different ragas woven into one
composition.
Usage
• Popular in devotional music, where different ragas express different emotions of
bhakti (devotion).
• Found in both Hindustani and Carnatic traditions.
• Sometimes used in dance performances to highlight different moods.
Importance
Raag Malika is not just technical—it is deeply artistic. It allows musicians to paint with
multiple colors on the canvas of time, creating a rich tapestry of emotions.
Think of Raag Malika as a musical bouquet, where each flower (raga) adds its own
fragrance to the arrangement.
Comparison Table
Aspect
Lakshan Geet
Raag Malika
Meaning
Song describing features of a raga
Composition combining multiple ragas
Purpose
Educational, for beginners
Artistic, for performance
Structure
Sthayi and antara, simple tala
Sections in different ragas
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Performance
Rarely in concerts
Often in concerts/devotional settings
Symbolism
Identity card of a raga
Garland of ragas, unity in diversity
Everyday Analogies
• Lakshan Geet: Like a recipe card that tells you the ingredients and method of a dish.
• Raag Malika: Like a buffet meal where you taste many dishes in one sitting.
Conclusion
Both Lakshan Geet and Raag Malika are treasures of Indian classical music. Lakshan Geet
serves as a teacher’s tool, helping students grasp the grammar of a raga. Raag Malika serves
as a performer’s delight, showcasing creativity by weaving multiple ragas together.
SECTION-B
3. Dene Raag. How can you get 484 Ragas from one that only?
Ans: What is a Raag?
Imagine colours. You have only three basic colours – red, yellow, and blue. But from these
three, millions of shades can be created. Music works exactly like that. In Indian Classical
Music we mainly use seven musical notes, called Swaras:
Sa – Re – Ga – Ma – Pa – Dha – Ni
Just like different colours can create different paintings, these same seven swaras, when
arranged in different meaningful patterns, create different musical personalities called
Raags.
So, a Raag is not just a scale. It is a musical personality, a living emotion. A Raag tells you:
• which notes to use,
• which notes to avoid,
• in what order notes should move upward (Aaroh),
• how they should come back downward (Avaroh),
• which note is most important (Vadi),
• which note supports it (Samvadi),
• what mood it expresses,
• and at what time it should be sung.
So you can say:
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A Raag is a scientific and emotional arrangement of musical notes which creates a specific
mood and feeling.
When you listen to Raag Bhairav, it feels devotional and serious.
Raag Yaman sounds calm and peaceful.
Raag Malhar gives the feeling of rain.
This emotional power is what makes Raag so special.
How Can So Many Ragas Be Created?
Now comes the interesting part.
We already know that every Raag is made from seven basic swaras. But in classical music,
these swaras are not fixed in only one form. Some swaras can be sung in two ways:
• Re, Ga, Dha and Ni can be normal (Shuddha) or soft (Komal),
• Ma can be normal (Shuddha) or sharp (Tivra),
• Sa and Pa always stay the same.
So one Raag is like a “parent pattern,” but musicians can design many children ragas by
changing:
• which notes are used,
• how many notes are used,
• how they travel,
• and what emotion is created.
Understanding the Magical Number – 484
In many music theory discussions, especially in Hindustani Classical Music, teachers explain
that from one main musical scale or Thaat, nearly 484 possible ragas can be theoretically
created.
Students often get scared hearing this number, but actually it is logical.
Let us understand step-by-step in a very simple way:
1. Different Types of Note Patterns
A Raag does not always use all seven notes. Sometimes it uses:
• 5 notes (Audav Raag)
• 6 notes (Shadav Raag)
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• 7 notes (Sampoorna Raag)
Now think:
• Aaroh (ascending) can be 5, 6, or 7 notes.
• Avaroh (descending) can also be 5, 6, or 7 notes.
So combinations like:
• 5 up – 5 down,
• 5 up – 6 down,
• 6 up – 7 down,
• 7 up – 5 down,
and many such arrangements become possible. Already you can see how one Raag idea can
start splitting into dozens of variations.
2. Straight and Zig-Zag Movement
Some Raags move smoothly like a straight line (Sa Re Ga Ma Pa Dha Ni Sa).
But some move in a zig-zag style (Vakra), for example:
Sa Ga Re Ma Pa Ni Dha Sa.
Even if notes are same, the way they travel changes the entire identity of the Raag. This
again increases the number of possible ragas.
3. Vadi and Samvadi
Every Raag has two special notes:
• Vadi – the king note, most powerful one
• Samvadi – the queen, supporting note
By changing which note is Vadi and which is Samvadi, the emotional feel changes.
Again, more possible ragas are created.
4. Pakad and Chalan
Every Raag has a special musical phrase called Pakad – like its signature. Even if you play the
same notes but change the pakad, it becomes a different Raag. This also adds to the
number.
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5. Mood, Time, Emotion
In Indian music, even time of singing matters.
Some ragas are for morning, some for night, some for monsoon, some for festivals.
So when the mood changes, the musical character also changes.
Then How Does This Lead to 484?
Musicologists explain that when you mathematically combine:
• different note numbers (5, 6, 7),
• changes in Aaroh and Avaroh,
• straight and zig-zag movements,
• importance of notes,
• and emotional rules,
you get approximately 484 theoretical musical possibilities from one main Raag-pattern or
Thaat.
Do musicians actually sing all 484?
No. Many of these are only theoretical.
But this number beautifully shows how rich, deep and flexible our classical music system is.
So, when your question says:
“How can you get 484 ragas from one only?”
It simply means:
From one main musical framework, by changing notes, patterns, movements, emotions, and
rules, hundreds of beautiful ragas can be created. Just like thousands of words can be made
from a few alphabets, thousands of melodies can be made from a few swaras.
A Simple Way to Remember
Think of a Raag as:
• a recipe
• made from the same basic ingredients
• but cooked in different styles
• giving hundreds of delicious dishes
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Same vegetables, but so many unlimited recipes!
Same seven swaras, but hundreds of Raags!
Conclusion
A Raag is not just a tune; it is a complete musical soul full of rules, emotions, expressions
and beauty. Even though Indian Classical Music uses only seven basic notes, each note has
variations, combinations and emotional values. Because of this scientific and artistic
flexibility, musicians can theoretically create up to 484 ragas from one main Raag pattern or
Thaat. This number does not confuse music; instead it proves how powerful, deep and
limitless our music system is.
4. Write down ten ancient Raag Lakshan.
Ans: Introduction
In Indian classical music, a raga is not just a scale—it is a living entity with its own
personality, mood, and rules. To understand a raga, musicians study its lakshan
(characteristics). These lakshan include the notes used, the way they are arranged, the most
important notes, the emotional flavor, and the time of day when the raga is performed.
In simple words: Learning a raga’s lakshan is like reading its biography—it tells you who
the raga is, how it behaves, and when it shines best.
Let’s explore ten ancient ragas and their lakshan in detail.
Ten Ancient Ragas and Their Lakshan
1. Raga Bhairav
• Aroha (ascending): Sa Re Ga Ma Pa Dha Ni Sa
• Avaroha (descending): Sa Ni Dha Pa Ma Ga Re Sa
• Vadi (main note): Dha
• Samvadi (second important note): Re
• Mood (Rasa): Serious, devotional, meditative.
• Time: Early morning. Bhairav is considered one of the oldest ragas, symbolizing
peace and spirituality.
2. Raga Bhairavi
• Aroha: Sa Re Ga Ma Pa Dha Ni Sa (all komal notes except Ma and Pa)
• Avaroha: Sa Ni Dha Pa Ma Ga Re Sa
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• Vadi: Ma
• Samvadi: Sa
• Mood: Pathos, devotion, longing.
• Time: Morning, but often sung at the end of concerts. Bhairavi is like the closing
prayer of a musical journey.
3. Raga Malkauns
• Aroha: Sa Ga Dha Ni Sa
• Avaroha: Sa Ni Dha Ga Sa
• Vadi: Ma
• Samvadi: Sa
• Mood: Serious, meditative, mystical.
• Time: Midnight. Malkauns is associated with deep meditation and spiritual
awakening.
4. Raga Todi
• Aroha: Sa Re Ga Ma Pa Dha Ni Sa (with komal Re, Ga, Dha, Ni)
• Avaroha: Sa Ni Dha Pa Ma Ga Re Sa
• Vadi: Dha
• Samvadi: Ga
• Mood: Serious, introspective.
• Time: Late morning. Todi is subtle and complex, often used to express deep
emotions.
5. Raga Yaman
• Aroha: Ni Re Ga Ma(tivra) Pa Dha Ni Sa
• Avaroha: Sa Ni Dha Pa Ma(tivra) Ga Re Sa
• Vadi: Ga
• Samvadi: Ni
• Mood: Romantic, serene, devotional.
• Time: Evening. Yaman is one of the most popular ragas, often taught to
beginners for its beauty.
6. Raga Desh
• Aroha: Sa Re Ma Pa Ni Sa
• Avaroha: Sa Ni Dha Pa Ma Ga Re Sa
• Vadi: Re
• Samvadi: Pa
• Mood: Joyful, patriotic, festive.
• Time: Monsoon season, evening. Desh is often used in folk and patriotic songs,
symbolizing joy and celebration.
7. Raga Kedar
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• Aroha: Sa Ma Pa Ni Sa
• Avaroha: Sa Ni Dha Pa Ma Ga Re Sa
• Vadi: Ma
• Samvadi: Sa
• Mood: Devotional, calm.
• Time: Evening. Kedar is soothing and often sung in temples.
8. Raga Darbari Kanada
• Aroha: Sa Re Ga Ma Pa Dha Ni Sa
• Avaroha: Sa Ni Dha Pa Ma Ga Re Sa (with slow, heavy movements)
• Vadi: Re
• Samvadi: Dha
• Mood: Serious, majestic, grave.
• Time: Late night. Darbari Kanada was favored in royal courts, symbolizing dignity
and grandeur.
9. Raga Megh
• Aroha: Sa Re Ma Pa Ni Sa
• Avaroha: Sa Ni Pa Ma Re Sa
• Vadi: Ma
• Samvadi: Sa
• Mood: Joyful, refreshing, associated with rain.
• Time: Monsoon season. Megh is believed to bring rain when sung with devotion.
10. Raga Shree
• Aroha: Sa Re Ga Ma Pa Dha Ni Sa
• Avaroha: Sa Ni Dha Pa Ma Ga Re Sa
• Vadi: Re
• Samvadi: Pa
• Mood: Serious, devotional, majestic.
• Time: Evening. Shree is considered auspicious and often sung in temples.
Why Lakshan Matters
• Guides Musicians: Helps them know which notes to emphasize.
• Preserves Tradition: Ensures ragas are performed correctly.
• Creates Mood: Each lakshan defines the emotional flavor of the raga.
• Connects to Nature: Many ragas are linked to times of day or seasons.
A Relatable Analogy
Think of ragas as characters in a play. Each has its own costume (notes), personality (mood),
favorite time to appear (performance time), and role (devotional, romantic, serious). The
lakshan is like the script that tells the actor how to perform.
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Conclusion
The ten ancient ragas—Bhairav, Bhairavi, Malkauns, Todi, Yaman, Desh, Kedar, Darbari
Kanada, Megh, and Shree—are pillars of Indian classical music. Their lakshan define their
identity, guiding musicians to bring out their unique moods and flavors.
SECTION-C
5. Write the notaon of Drut Khayal with one alap and two tanas in Raag Bhairavi.
Ans: What is Raag Bhairavi?
Raag Bhairavi is one of the most famous and beautiful raagas in Indian Classical Music.
It is generally sung in the morning, especially after sunrise. This raag has a calm, devotional,
emotional and slightly serious mood. Students often learn Bhairavi early because it is both
simple and emotionally rich.
Scale of Raag Bhairavi
Bhairavi uses Komal (flat) notes except Sa and Pa, which are always shuddh.
Aaroh (ascending):
Sa Re♭ Ga♭ Ma Pa Dha♭ Ni♭ Sa
Avaroh (descending):
Sa Ni♭ Dha♭ Pa Ma Ga♭ Re♭ Sa
(Note: Komal swars are Re, Ga, Dha and Ni)
Because of these soft notes, Bhairavi sounds emotional and devotional.
What is Khayal?
Khayal is a major vocal form in Hindustani classical music. It means “imagination”.
It allows freedom, creativity and expressive singing.
There are two speeds in Khayal:
✔ Vilambit Khayal – Slow speed
✔ Drut Khayal – Fast speed
In this question, we need:
Drut Khayal – which means a fast composition.
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What is Drut Khayal?
Drut Khayal is normally sung in fast tempo (Teental or Ektal).
It has:
• a Bandish (composition)
• fast movement
• energetic feel
• more taans and improvisation
So here, you have to write the notation of a Drut Khayal in Bhairavi.
What is an Alap?
Before singing the main composition, the singer slowly introduces the Raag through
different notes. This slow musical introduction is called Alap.
In Alap, there is:
• no rhythm bound to taal
• free expression
• smooth introduction of swaras
• emotional presentation
So, in your answer you must write one Alap in notation form.
What are Tanas?
Tanas are fast musical patterns sung in Khayal singing, especially in Drut Khayal.
They show:
• skill of the singer
• speed
• clarity of swaras
• beauty of Raag
In this question, you must write two Tanas.
So Overall, Your Answer Should Contain:
Introduction about Raag Bhairavi
Drut Khayal Notation
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One Alap in notation
Two Tanas in notation
Now let’s see how a student-friendly answer looks.
Simple Model Explanation Answer
Raag Bhairavi is a very popular and commonly sung raag in Hindustani classical music. It is
usually sung in the morning time, and it has a devotional, emotional and peaceful character.
All the swaras except Sa and Pa are Komal in this raag, which gives it a soft and sweet
feeling. The aaroh and avaroh of Bhairavi clearly show the mood and specialty of this raag.
In Hindustani vocal music, Khayal is a very important form of singing. Khayal allows the
singer to use imagination, creativity and expression. There are two types of Khayal: Vilambit
Khayal and Drut Khayal. Vilambit Khayal is sung in slow tempo, while Drut Khayal is sung in
fast tempo. In this question, we are required to write the notation of a Drut Khayal in Raag
Bhairavi along with one Alap and two Tanas.
Before beginning the Drut Khayal, an Alap is sung to introduce the raag. Alap is sung in a
slow and free style without any strict rhythm. Through Alap, the singer shows the basic
structure of the raag and prepares the audience to understand its mood. After the Alap, the
singer begins the Drut Khayal in fast tempo. In Drut Khayal, the bandish is sung first, and
then different improvisations such as taans are added.
Tanas are very important in Drut Khayal. They are fast passages of swaras sung in a rhythmic
and clear manner. Through taans, the singer shows command over swaras, voice control
and artistic skill. In Bhairavi Drut Khayal, taans are sung using the swaras of Bhairavi and
they must maintain the mood of the raag.
Below is an example of how you can write the notation in your exam.
Example Notation Style Answer
Alap
Sa Re♭ Ga♭ Ma — Ma Pa Dha♭ Pa —
Pa Ma Ga♭ Re♭ — Re♭ Sa —
Sa Ni♭ Dha♭ Pa — Ma Ga♭ Re♭ Sa
Drut Khayal Bandish (Notation Style)
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(Teental / Fast Tempo)
S R♭ G♭ M | P D♭ N♭ S'
S' N♭ D♭ P | M G♭ R♭ S
Repeat with faster movement and variations.
Tana 1
S R♭ G♭ M G♭ R♭ S —
R♭ G♭ M P M G♭ R♭ S
Tana 2
G♭ M P D♭ P M G♭ R♭
S R♭ G♭ M P D♭ N♭ S'
How to Write in Exam
• First write name of Raag: Bhairavi
• Then write its time, nature and aaroh–avaroh briefly
• Then write Alap notation
• Then write Drut Khayal notation
• Finally write two taans
This makes your answer complete, systematic and full-marks ready.
6. Write the brief introducon of Taal Ada Chautal, its ekgun and dugun.
Ans: Introduction to Taal Ada Chautal
Indian classical music is built upon two great pillars: Raag (melody) and Taal (rhythm). While
ragas give music its emotional flavor, taals provide the rhythmic framework that keeps the
performance structured and dynamic. Among the many taals used in Hindustani classical
music, Ada Chautal holds a special place, especially in the Dhrupad tradition.
In simple words: Ada Chautal is like the heartbeat of certain classical compositions—it
sets the pace, organizes the rhythm, and gives performers a canvas to paint their musical
ideas.
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What is Ada Chautal?
• Definition: Ada Chautal is a rhythmic cycle (taal) of 14 beats.
• Structure: The 14 beats are divided into four sections (vibhags) with a distribution of
2 + 4 + 4 + 4.
• Use: It is commonly used in Dhrupad compositions, one of the oldest and most
profound forms of Hindustani classical music.
Theka (basic pattern of bols) of Ada Chautal
The theka (syllables played on the tabla or pakhawaj) for Ada Chautal is:
Code
Dha Dha | Din Ta Kita Dha Dha | Din Ta Kita Dha Dha | Din Ta Kita Dha Dha
This rhythmic cycle repeats continuously, forming the backbone of the composition.
Think of Ada Chautal as a rhythmic loop of 14 beats that musicians return to again and
again, no matter how complex their improvisations become.
Ekgun and Dugun
In Indian rhythm, laykari (tempo variations) are essential. Two basic forms are ekgun and
dugun.
1. Ekgun (Single Speed)
• In ekgun, the composition is sung or played exactly as it fits into the taal.
• One note or syllable corresponds to one beat.
• It is the simplest and most straightforward way of presenting a composition.
Example: If a line of the composition has 14 syllables, each syllable will align with one
beat of Ada Chautal.
2. Dugun (Double Speed)
• In dugun, the composition is sung or played at double the speed.
• Two notes or syllables are fitted into each beat.
• This creates excitement and energy, showing the performer’s skill in maintaining
rhythm while doubling the pace.
Example: If a line has 28 syllables, they will be sung in such a way that two syllables fit
into each beat of Ada Chautal.
Why Ekgun and Dugun Matter
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• Training: They help students understand how rhythm can be stretched or
compressed while staying within the taal.
• Performance: They add variety and dynamism to a recital.
• Improvisation: Musicians use ekgun and dugun to explore creativity, moving from
simple to complex rhythmic patterns.
In simple words: Ekgun is like walking at a normal pace, while dugun is like jogging—
you’re still on the same path, but faster.
Ada Chautal in Practice
In Dhrupad
• Ada Chautal is one of the main taals used in Dhrupad, the oldest surviving form of
Hindustani classical music.
• Dhrupad compositions often begin in vilambit lay (slow tempo) in Ada Chautal,
allowing the singer to explore the raga deeply.
• Later, the tempo increases, and dugun or even higher laykari (tigun, chaugun) are
introduced.
Instruments
• Traditionally played on the pakhawaj, a barrel-shaped drum.
• In modern times, it is also played on the tabla, though pakhawaj remains the
authentic choice for Dhrupad.
Structure of Ada Chautal
• Beats: 14
• Vibhags (sections): 4
• Sam (first beat): The point of return, emphasized strongly.
• Khali (empty beat): Usually the 9th beat, marked with a wave of the hand instead of
a clap.
Example of counting Ada Chautal:
Code
1 2 | 3 4 5 6 | 7 8 9 10 | 11 12 13 14
Claps are given on beats 1, 3, 7, and 11, while beat 9 is khali (empty).
Everyday Analogy
Think of Ada Chautal as a dance floor with 14 tiles arranged in a loop.
• In ekgun, you step on each tile once, moving steadily.
• In dugun, you step twice on each tile, moving faster but still covering the same loop.
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This way, the rhythm remains constant, but your movement changes in speed and energy.
Importance of Ada Chautal
1. Historical Value: It connects us to the ancient tradition of Dhrupad.
2. Educational Tool: Helps students learn rhythm in a structured way.
3. Artistic Expression: Provides a framework for improvisation and creativity.
4. Spiritual Dimension: In Dhrupad, Ada Chautal is not just rhythm—it is a meditative
cycle that enhances the devotional mood.
Conclusion
Ada Chautal is a 14-beat rhythmic cycle that forms the backbone of many Dhrupad
compositions. Its division into four sections, its powerful theka, and its use of ekgun (single
speed) and dugun (double speed) make it both a teaching tool and a performance delight.
SECTION-D
7. Write down the life sketch and contribuon of S. Sohan Singh.
Ans: Introduction
Art has always been a mirror of culture, and in Punjab, the Sikh tradition found one of its
greatest visual interpreters in S. G.S. Sohan Singh. His life story is not just about painting—it
is about preserving Sikh heritage, inspiring devotion, and creating a visual language that
connected ordinary people with their history.
In simple words: Sohan Singh turned Sikh heroes and saints into living images on canvas,
ensuring their legacy would never fade.
Early Life
• Born: August 1914, Amritsar, Punjab.
• Family: Son of Gian Singh Naqqash, a renowned fresco artist who worked at the
Golden Temple.
• Education: Attended Government High School, Amritsar, up to middle standard.
• Training: Apprenticed under Hari Singh, another respected artist.
From childhood, Sohan Singh was surrounded by art. His father’s fresco work at the Golden
Temple gave him a spiritual and aesthetic foundation. By the late 1920s, he was already
experimenting with oil colors, a medium not widely used in Sikh art at the time.
Career Beginnings
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• In 1929, he joined the Art Company of S. Hari Singh.
• In 1931, he traveled to Delhi, Bombay, and Calcutta, where he gained exposure to
wider artistic circles.
• In 1932, he painted a portrait of Jassa Singh Ramgarhia, which won first prize at the
Ramgarhia Federation Conference in Kharagpur.
• His portrait of Banda Singh Bahadur in a warrior’s pose became immensely popular,
selling thousands of copies.
These early successes showed his ability to combine technical skill with themes of Sikh
pride and devotion.
Artistic Contributions
1. Sikh School of Oil Painting
• Before Sohan Singh, Sikh art was largely frescoes, murals, and traditional miniature
styles.
• He pioneered oil painting in Sikh themes, giving them depth, realism, and modern
appeal.
• His works often depicted Sikh Gurus, martyrs, and historical battles.
2. Realism and Devotion
• His portraits were lifelike, with careful attention to facial expressions, clothing, and
atmosphere.
• Yet they were not just realistic—they carried a devotional aura, inspiring reverence
in viewers.
3. Popularization of Sikh Heroes
• His paintings of Banda Singh Bahadur, Maharaja Ranjit Singh, and other Sikh leaders
became iconic.
• These images were reproduced widely, entering homes, gurdwaras, and schools,
shaping collective memory.
4. Awards and Recognition
• Won gold medals and awards at exhibitions in Calcutta, Kharagpur, Bombay,
Trivandrum, and Delhi.
• His reputation spread across India, making him one of the most recognized Sikh
artists of the 20th century.
Legacy and Later Life
• Sohan Singh continued painting throughout his life, mentoring younger artists and
preserving Sikh heritage.
• He passed away on 28 February 1999, at the age of 84.
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• His family, including his sons Surinder Singh and Satpal Singh “Danish,” and grandson
Hardeep Singh, carried forward his artistic legacy.
• Today, the G.S. Sohan Singh Artist Memorial Trust keeps his memory alive,
promoting Sikh art and culture.
Significance of His Contribution
1. Cultural Preservation: His paintings ensured Sikh heroes and Gurus were
remembered visually, not just in words.
2. Artistic Innovation: Introduced oil painting into Sikh art, blending tradition with
modern technique.
3. Public Accessibility: His works were reproduced widely, making Sikh art available to
ordinary people.
4. Inspiration: His images inspired pride, devotion, and identity among Sikhs
worldwide.
In essence: Sohan Singh gave Sikh history a face, a form, and a lasting presence on
canvas.
Conclusion
S. G.S. Sohan Singh’s life (1914–1999) was dedicated to art and devotion. From his early
training under his father Gian Singh Naqqash to his pioneering oil portraits of Sikh heroes,
he transformed Sikh art into a modern, accessible, and deeply spiritual tradition. His
contribution lies not only in his technical skill but in his ability to inspire devotion and pride
through his canvases.
8. Write in detail folk singing styles used in Gurmat Sangeet
Ans: Introduction
Gurmat Sangeet is the sacred music tradition of Sikhism, rooted in the hymns (bani) of the
Sri Guru Granth Sahib. It is not just music—it is a spiritual practice meant to connect the
soul with the divine. While Gurmat Sangeet is deeply tied to classical ragas, it also embraces
folk singing styles, which make the teachings of the Gurus more relatable and easier to
understand for ordinary people.
In simple words: Gurmat Sangeet is like a river fed by two streams—classical ragas for
depth and folk styles for accessibility.
Folk Singing Styles in Gurmat Sangeet
1. Ashtpadi
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• Meaning: A composition with eight stanzas.
• Usage: Found in Guru Granth Sahib, especially in the bani of Guru Arjan Dev Ji.
• Style: Sung in a lyrical, folk-inspired manner, often with simple rhythms.
• Purpose: To narrate spiritual truths in a structured yet melodious way.
Example: The Sukhmani Sahib is composed in Ashtpadi style, making it easy to recite and
sing collectively.
2. Chaupade
• Meaning: A composition with four stanzas.
• Style: Compact and rhythmic, often resembling folk ballads.
• Purpose: To convey concise spiritual messages.
• Significance: Its brevity makes it suitable for communal singing.
3. Dupade and Tipade
• Dupade: Two-stanza compositions.
• Tipade: Three-stanza compositions.
• Style: Short, folk-like structures that emphasize repetition and rhythm.
• Purpose: To make teachings memorable and easy to sing in groups.
These forms show how Gurmat Sangeet adapts to folk simplicity while retaining spiritual
depth.
4. Parhtaal
• Meaning: A style with multiple rhythmic cycles.
• Style: Folk-inspired, with changing beats and tempos.
• Purpose: To add variety and energy to kirtan.
• Significance: Keeps listeners engaged, especially in large congregations.
5. Dhadi Tradition
• Definition: Dhadi singers narrate heroic ballads and spiritual stories using
instruments like the sarangi and dhad (small drum).
• Style: Folk storytelling combined with music.
• Purpose: To inspire courage, devotion, and moral values.
• Significance: Dhadi tradition connects Gurmat Sangeet with Sikh history, especially
tales of bravery and sacrifice.
6. Kavishri
• Definition: A folk singing style performed without instruments.
• Style: Energetic, fast-paced recitation of verses.
• Purpose: To spread Sikh teachings in villages and gatherings.
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• Significance: Its oral nature makes it accessible to audiences without formal musical
training.
7. Vaar Singing
• Definition: Singing of vaars (ballads) found in Guru Granth Sahib.
• Style: Folk ballad style, often accompanied by instruments like dhad and sarangi.
• Purpose: To narrate moral and spiritual lessons.
• Significance: Vaar singing bridges classical ragas with folk storytelling.
Why Folk Styles Matter in Gurmat Sangeet
1. Accessibility: Folk styles make spiritual teachings understandable to ordinary people.
2. Community Participation: Simple rhythms encourage collective singing in
congregations.
3. Cultural Connection: Folk traditions reflect Punjabi culture, making Gurmat Sangeet
rooted in local identity.
4. Emotional Impact: Folk ballads and kavishri evoke strong feelings, deepening
devotion.
In essence: Folk styles are the “voice of the people” within Gurmat Sangeet.
Everyday Analogy
Think of Gurmat Sangeet as a library. Classical ragas are like scholarly books—deep,
structured, and complex. Folk singing styles are like storybooks—simple, engaging, and easy
to share. Both are essential to make the library complete.
Conclusion
The folk singing styles of Gurmat Sangeet—Ashtpadi, Chaupade, Dupade, Tipade, Parhtaal,
Dhadi, Kavishri, and Vaar singing—show how Sikh devotional music balances classical
sophistication with folk simplicity. These styles ensure that the divine message of the Gurus
reaches every heart, whether in a grand temple or a small village gathering.
“This paper has been carefully prepared for educaonal purposes. If you noce any
mistakes or have suggesons, feel free to share your feedback.”
