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GNDU QUESTION PAPERS 2024
BA/BSc 6
th
SEMESTER
MUSIC (Instrumental)
Time Allowed: 3 Hours Maximum Marks: 100
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. Write an essay on role of media in promong Indian Music.
2. Throw light on the life sketch of Pt. Nikhil Banarji, emphasizing his contribuon towards
Indian Music.
SECTION-B
3. According to Pt. Venkat Mukhi, what is the method of deriving 72 Thaats out of 1
Saptak?
4. Explain in detail the me theory of Indian Raags.
SECTION-C
5. Write in notaon one Maseetkhani Gat along with 2 Toras in any raag of your course.
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6. Give full descripon of any 2 Raags of your course.
SECTION-D
7. Write full descripon of Taal Dhamaar along with its theka in Ekgun and Dugun
Laikaries.
8. What do you know about various Folk Instruments of Punjab? Explain clearly.
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GNDU ANSWER PAPERS 2024
BA/BSc 6
th
SEMESTER
MUSIC (Instrumental)
Time Allowed: 3 Hours Maximum Marks: 100
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. Write an essay on role of media in promong Indian Music.
Ans: Traditional Media: Oral and Cultural Transmission
Before modern technology, Indian music was mainly spread through oral tradition. Gurus
taught students directly in the guru–shishya parampara, and music was performed in
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temples, courts, and village gatherings. Folk songs passed from generation to generation
during festivals, marriages, and rituals.
This form of media—though not technological—was powerful because it kept music
connected to daily life and culture. Many regional musical styles survived for centuries
because of this living tradition. Thus, even without machines or screens, early “cultural
media” preserved Indian music’s identity.
Print Media: Documentation and Awareness
With the arrival of printing in India, music began to be documented. Books, magazines, and
newspapers started publishing articles on ragas, musicians, and musical history. Music
notation systems were developed, helping students learn compositions accurately.
Print media also introduced audiences to great musicians and classical traditions. Music
journals and cultural magazines created awareness about concerts, festivals, and musical
heritage. This was important because it transformed music from a purely oral art into a
recorded and teachable discipline.
Radio: The Voice that Reached Every Home
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The real mass promotion of Indian music began with radio, especially All India Radio (AIR).
Radio brought music into millions of homes, even in rural areas where people had never
attended concerts.
AIR played classical, folk, devotional, and light music regularly. It also graded artists and
gave them national recognition. Many legendary musicians became famous through radio
broadcasts. For ordinary listeners, radio became their first music teacher—introducing
ragas, instruments, and regional songs.
Radio also preserved rare recordings, ensuring that traditional music did not disappear. In
this way, it democratized Indian music by making it accessible to all social classes.
Cinema and Television: Popularization and Glamour
Indian cinema has been one of the strongest promoters of music. Film songs blend classical,
folk, and modern styles, reaching audiences across languages and regions. Many people first
encountered ragas through film songs based on classical melodies.
Television further expanded this reach. Channels like Doordarshan broadcast classical
concerts, folk performances, and music programs. Later, private channels introduced music
reality shows, talent hunts, and countdown programs. These platforms discovered new
singers and made music aspirational for youth.
Cinema and TV also created star musicians and composers, making music a respected and
glamorous profession. Thus, audio-visual media made Indian music both popular and
profitable.
Digital Media and Internet: Globalization of Indian Music
In the 21st century, digital media has transformed the promotion of Indian music. Platforms
like YouTube, streaming apps, podcasts, and social media allow artists to share music
instantly with global audiences. A classical recital in India can now be heard worldwide
within minutes.
Young musicians use Instagram, reels, and online concerts to build their own audience
without depending on big companies. Folk artists from remote villages can upload songs and
gain recognition. Online tutorials and virtual classes also help students learn Indian music
anywhere.
Digital media has also encouraged fusion and experimentation. Collaborations between
Indian and international musicians have created new sounds while preserving tradition.
Thus, the internet has turned Indian music into a global cultural force.
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Media’s Role in Preservation and Cultural Identity
Media does more than entertainment—it preserves heritage. Recordings, archives,
documentaries, and interviews store knowledge of ragas, gharanas, instruments, and
performance styles. Without media, many traditions might have been lost.
Media also strengthens national identity. Patriotic songs, devotional music, and regional folk
traditions broadcast through media connect people emotionally to their culture. During
festivals and national events, music on media reinforces unity in diversity.
Challenges and Responsible Promotion
Despite its positive role, media also creates challenges. Commercialization sometimes favors
popular film or pop music over classical or folk traditions. Auto-tune and digital editing may
reduce focus on musical purity. Fast-changing trends can overshadow traditional depth.
Therefore, media must promote Indian music responsibly—giving equal space to classical,
folk, and regional forms, supporting authentic artists, and educating audiences about
musical heritage.
Conclusion
The journey of Indian music from temple courtyards to global digital platforms shows the
immense role of media in its promotion. Traditional cultural transmission preserved music;
print media documented it; radio popularized it; cinema and television glamorized it; and
digital media globalized it.
Today, media acts as the lifeline of Indian music—connecting past and present, artist and
audience, India and the world. Without media, much of India’s musical richness would
remain unheard. With media, it continues to evolve, inspire, and unite people across
generations and borders.
2. Throw light on the life sketch of Pt. Nikhil Banarji, emphasizing his contribuon towards
Indian Music.
Ans: Early Life and Training
• Birth: Nikhil Ranjan Banerjee was born on 14 October 1931 in Calcutta.
• His father, Jitendranath Banerjee, was an amateur sitarist and introduced him to the
instrument at the age of five.
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• By the age of nine, he had already won an All-India sitar competition and became
the youngest musician employed by All India Radio.
• His early training was under Mushtaq Ali Khan and later Birendra Kishore Roy
Chowdhury, but his greatest inspiration came from Ustad Allauddin Khan, the
legendary guru of the Maihar Gharana.
• He also drew immense influence from Ustad Amir Khan, whose vocal style shaped
Banerjee’s approach to melody and raga development.
Musical Style and Philosophy
• Banerjee belonged to the Maihar Gharana, the same lineage as Ravi Shankar and Ali
Akbar Khan.
• His style was marked by:
o Meditative depth: He treated each raga as a spiritual journey, unfolding it
slowly and thoughtfully.
o Balance of technique and emotion: His playing combined flawless technical
mastery with profound emotional expression.
o Alap development: He was renowned for his long, introspective alaps (slow,
non-rhythmic introductions to ragas).
o Subtlety over showmanship: Unlike some contemporaries, he avoided
flamboyance, focusing instead on purity and sincerity.
Contributions to Indian Music
1. Reviving the Spiritual Dimension of Sitar
Banerjee believed music was not entertainment but a path to self-realization. His
performances often felt like meditations, reminding audiences of the spiritual roots of
Indian classical music.
2. Mastery of Raga Interpretation
He had an extraordinary ability to analyze and present ragas with clarity. Each performance
was like a lesson in how a raga should be unfolded, making him a “musician’s musician.”
3. Global Recognition
Banerjee performed widely across Europe, America, and Asia, bringing Hindustani classical
music to international audiences. His concerts in Munich (1980) and other cities are still
remembered for their depth and brilliance.
4. Recordings and Legacy
Though he passed away relatively young at 54, his recordings remain treasures. Albums like
Raag Malkauns, Raag Maru Bihag, and Raag Puriya Dhanashree showcase his artistry.
5. Influence on Future Generations
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His sincerity and devotion inspired countless musicians. Many sitarists and students
continue to study his recordings as models of raga interpretation.
Recognition and Personality
• Banerjee was awarded the Padma Bhushan in 1984, one of India’s highest civilian
honors.
• Despite fame, he remained humble, often saying that he was only a medium through
which music flowed.
• He lived a disciplined, almost ascetic life, dedicating himself entirely to music.
Critical Appreciation
• Strengths: His music was praised for its spiritual depth, technical perfection, and
emotional sincerity.
• Criticism: Some felt his style was too introspective and lacked the dramatic flair of
Ravi Shankar. Yet, this very restraint gave his music a timeless quality.
• Legacy: He is remembered as one of the finest sitarists of the 20th century, whose
art elevated Indian classical music to new heights.
Conclusion
Pandit Nikhil Banerjee’s life was a journey of devotion to music. From a child prodigy in
Calcutta to a world-renowned sitar maestro, he embodied the spirit of Indian classical
tradition. His contribution lies not just in his performances but in the way he redefined sitar
playing as a spiritual, meditative art.
SECTION-B
3. According to Pt. Venkat Mukhi, what is the method of deriving 72 Thaats out of 1
Saptak?
Ans: Basic Idea: One Saptak contains all possibilities
In Indian classical music, a Saptak (octave) contains 7 basic swaras:
Sa, Re, Ga, Ma, Pa, Dha, Ni
But some of these notes can appear in different forms:
• Re → 2 forms (Komal, Shuddha)
• Ga → 2 forms
• Ma → 2 forms (Shuddha, Tivra)
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• Dha → 2 forms
• Ni → 2 forms
However:
• Sa and Pa are fixed (no variants)
So within one octave, there are multiple possible combinations of notes.
Venkatamakhin’s Brilliant Question
He asked:
If we keep Sa and Pa fixed,
and choose one version of each movable swara (Re, Ga, Ma, Dha, Ni),
then how many complete heptatonic (7-note) parent scales are possible?
This is exactly how the 72 Thaats (Melakarta) arise.
Step-by-Step Method of Deriving 72 Thaats
Divide the Saptak into two tetrachords
Venkatamakhin divided the octave into two parts:
• Poorvang (lower tetrachord) → Sa Re Ga Ma
• Uttarang (upper tetrachord) → Pa Dha Ni Sa
Each part can vary independently (except Sa & Pa fixed).
Poorvang Variations (Sa-Re-Ga-Ma)
Here we choose:
• one type of Re
• one type of Ga
• one type of Ma
But Indian music has a rule:
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Ga must always be higher than Re
So only certain combinations are valid.
Possible Re-Ga combinations:
1. R₁ G₁
2. R₁ G₂
3. R₁ G₃
4. R₂ G₂
5. R₂ G₃
6. R₃ G₃
So we get 6 valid Re-Ga groups.
Now Ma has 2 choices:
• M₁ (Shuddha Ma)
• M₂ (Tivra Ma)
So Poorvang possibilities:
6 × 2 = 12
Thus:
12 different Poorvang patterns exist.
Uttarang Variations (Pa-Dha-Ni)
Same logic applies:
• Dha must be lower than Ni
• Each has 3 positions (like Re-Ga)
Possible Dha-Ni groups:
1. D₁ N₁
2. D₁ N₂
3. D₁ N₃
4. D₂ N₂
5. D₂ N₃
6. D₃ N₃
So:
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6 Uttarang possibilities.
Final Combination: 12 × 6
Now combine:
• 12 Poorvang patterns
• 6 Uttarang patterns
Total Melakarta (Thaats):
12 × 6 = 72
Thus Venkatamakhin derived 72 parent scales from one octave.
The Elegant Logic in Simple Words
Imagine you are building musical ladders using one octave.
You keep:
• Sa fixed at bottom
• Pa fixed in middle
• Sa fixed at top
Now you choose different versions of:
• Re
• Ga
• Ma
• Dha
• Ni
But always in correct order (no note crossing).
By systematically combining all valid choices, you get exactly 72 unique full scales.
No more, no less.
Why This Method is Genius
Before Venkatamakhin, ragas existed but classification was unclear.
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He:
✔ Used logic + mathematics
✔ Respected musical rules
✔ Covered all tonal possibilities
✔ Created complete scale system
This became the foundation of:
• Carnatic Melakarta system
• Later Hindustani Thaat theory
Relation with Hindustani 10 Thaats
In North Indian music, Vishnu Narayan Bhatkhande later simplified this into 10 Thaats.
But those 10 are only selected representatives from Venkatamakhin’s 72 possibilities.
So:
72 = complete theoretical system
10 = practical classification
Final Conceptual Understanding
According to Pt. Venkatamakhin:
One Saptak contains all musical possibilities
Swaras have variant forms
Valid combinations are counted logically
Poorvang × Uttarang combinations = 72
Thus:
All parent scales of Indian music arise from one octave itself.
Final Answer
According to Pt. Venkatamakhin, the 72 Thaats (Melakarta scales) are derived from one
Saptak by fixing Sa and Pa and selecting permissible variants of the remaining swaras (Re,
Ga, Ma, Dha, Ni) in both Poorvang (Sa-Re-Ga-Ma) and Uttarang (Pa-Dha-Ni). There are 12
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possible combinations in the Poorvang and 6 in the Uttarang. By combining these (12 × 6), a
total of 72 parent scales are obtained from a single octave. This systematic method forms
the theoretical basis of the Melakarta system of Indian classical music.
4. Explain in detail the me theory of Indian Raags.
Ans: What is the Time Theory of Ragas?
• In Hindustani classical music, each raga (melodic framework) is traditionally assigned
a specific time of day or night when it is considered most effective.
• The belief is that a raga performed at its prescribed time resonates more deeply with
the listener, evoking the intended mood (rasa).
• This system is unique to Indian music—unlike Western scales, ragas are not just
collections of notes but living entities tied to time, season, and emotion.
The Division of the Day
The 24-hour cycle is divided into eight three-hour segments, and ragas are grouped
accordingly:
1. Early Morning (4 am – 7 am):
o Ragas: Bhairav, Ramkali
o Mood: Peaceful, devotional, meditative.
2. Morning (7 am – 10 am):
o Ragas: Todi, Bilawal
o Mood: Fresh, calm, awakening.
3. Late Morning (10 am – 1 pm):
o Ragas: Deshkar, Gaud Sarang
o Mood: Bright, energetic.
4. Afternoon (1 pm – 4 pm):
o Ragas: Multani, Patdeep
o Mood: Introspective, serious.
5. Evening (4 pm – 7 pm):
o Ragas: Yaman, Puriya
o Mood: Romantic, serene, devotional.
6. Night (7 pm – 10 pm):
o Ragas: Kedar, Bageshree
o Mood: Joyful, soothing.
7. Late Night (10 pm – 1 am):
o Ragas: Malkauns, Darbari Kanada
o Mood: Deep, meditative, serious.
8. Midnight to Pre-dawn (1 am – 4 am):
o Ragas: Jog, Shuddha Kalyan
o Mood: Mystical, tranquil.
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Basis of the Time Theory
1. Psychological: Human emotions vary across the day—morning calm, afternoon
intensity, evening romance, midnight introspection. Ragas align with these moods.
2. Scientific: The position of the sun and changes in light, temperature, and
atmosphere affect human psychology and perception of sound.
3. Spiritual: Ancient musicians believed ragas were cosmic vibrations, best expressed at
certain times to harmonize with nature.
Examples of Ragas and Their Times
• Raga Bhairav: Early morning, evoking devotion and serenity.
• Raga Yaman: Evening, symbolizing romance and peace.
• Raga Malkauns: Midnight, creating a meditative, mystical atmosphere.
• Raga Darbari Kanada: Late night, solemn and introspective.
Relevance Today
• In traditional concerts, musicians often respect time theory, choosing ragas
appropriate to the hour.
• However, in modern times, with concerts scheduled at fixed times and recordings
available anytime, strict adherence has loosened.
• Still, many musicians and listeners feel ragas sound more powerful when performed
at their prescribed times.
Critical Analysis
Strengths
• Deepens emotional connection between music and listener.
• Preserves tradition and discipline in performance.
• Enhances the spiritual dimension of Indian classical music.
Limitations
• In today’s globalized world, strict time adherence is impractical.
• Recorded music can be played anytime, reducing the impact of time theory.
• Some argue that the emotional power of ragas transcends time.
Conclusion
The Time Theory of Ragas is a beautiful blend of sound, science, and sentiment. It shows
how Indian classical music is not just about notes but about harmony with nature and
human emotion. While modern life has made strict adherence difficult, the philosophy
remains timeless: music is most powerful when it flows with the rhythm of the universe.
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SECTION-C
5. Write in notaon one Maseetkhani Gat along with 2 Toras in any raag of your course.
Ans: Understanding the Question (In Simple Words)
The question says:
“Write in notation one Maseetkhani Gat along with 2 Toras in any raag of your course.”
So you must do three things:
1. Choose any Raag from your syllabus (like Yaman, Bhairav, Kafi, Bilawal etc.)
2. Write one Maseetkhani Gat (slow instrumental composition in Teentaal)
3. Write two Toras (short fast melodic passages used for variation)
All in notation form (Sargam + taal structure)
What is a Maseetkhani Gat? (Very Simple)
A Maseetkhani Gat is:
• A slow (vilambit) composition
• Played in Teentaal (16 beats)
• Mostly used in Sitar and instrumental music
• Graceful, expanded, and melodic
• Traditionally associated with Ustad Masit Khan
Think of it like the main theme of a sitar performance in slow tempo.
What is a Tora?
A Tora is:
• A short fast melodic phrase
• Played after Gat
• Adds movement and variation
• Ends on Sam (1st beat)
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So examiners want:
Gat (main composition)
Two Toras (variations)
Complete Exam Answer
(Example in Raag Yaman – Teentaal)
Raag Yaman – Basic Info (Write briefly)
• Thaat: Kalyan
• Aroh: N R G M^ D N S'
• Avroh: S' N D P M^ G R S
• Vadi: Ga
• Samvadi: Ni
• Time: Evening
Maseetkhani Gat in Teentaal (Vilambit)
Taal: Teentaal (16 Matras)
Laya: Vilambit
Sam: On “Ni”
Notation
Sthai:
Dha
Dhin
Dhin
Dha
Ni R G M^
G R S N
R G M^ D
N D M^ G
| Dha | Dhin | Dhin | Dha |
M^ D N S' | N D M^ G |
R G M^ D | N R S ||
Antara:
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| Dha | Dhin | Dhin | Dha |
S' N D N | S' N D M^ |
D N S' R' | S' N D M^ |
| Dha | Dhin | Dhin | Dha |
G M^ D N | R' S' N D |
M^ G R S | N R S ||
Tora 1
Ni R G M^ D N S'
S' N D M^ G R S
Ni R G M^ D N R
S (Sam)
Tora 2
G M^ D N S' N D
M^ G R S N R G
M^ D N R' S' N
D M^ G R S (Sam)
How to Present in Exam (Important Tips)
Students often lose marks due to presentation. Write like this:
1. Raag name + taal + laya
2. Write Gat in Sthai & Antara
3. Clearly mark Sam
4. Write 2 Toras separately
5. Maintain 16-matra structure
How Examiner Checks
They see:
• Correct Raag notes ✔
• Teentaal structure ✔
• Vilambit Gat style ✔
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• Sam landing ✔
• Toras ending on Sam ✔
If these are correct → Full marks
Simple Memory Trick
Think:
Gat = Main melody
Tora = Fast decoration
Sam = Home note
So every Tora must return home (Sam).
6. Give full descripon of any 2 Raags of your course.
Ans: Raag Yaman
Origin and Thaat
• Belongs to the Kalyan Thaat.
• It is a Sampurna-Sampurna Jati raga, meaning it uses all seven notes in both ascent
(Arohana) and descent (Avarohana).
• The special note here is the Teevra Ma (sharp Madhyam), which gives Yaman its
unique flavor.
Structure
• Arohana (Ascent): Ni Re Ga Ma(t) Dha Ni Sa’
• Avarohana (Descent): Sa’ Ni Dha Pa Ma(t) Ga Re Sa
• Vadi (Main note): Ga (Gandhar)
• Samvadi (Second important note): Ni (Nishad)
• Pakad (Signature phrase): Ni Re Ga Ma(t), Ga Re Sa
Time of Performance
• Traditionally performed in the early evening (6–9 pm).
• Its serene and romantic mood makes it perfect for twilight, when day transitions into
night.
Mood (Rasa)
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• Evokes shringara rasa (romantic and devotional).
• It is calm, soothing, and deeply spiritual, often associated with love and devotion.
Importance
• Considered a fundamental raga for beginners because it teaches the use of Teevra
Ma and the balance of notes.
• Many famous compositions, both classical and semi-classical (like thumris and
bhajans), are set in Yaman.
• Bollywood has also borrowed heavily from Yaman for romantic songs.
Raag Bhairav
Origin and Thaat
• Belongs to the Bhairav Thaat.
• Known as the “King of Morning Ragas” and often considered the Adi Raga (the very
first raga in Hindustani tradition).
• It is Sampurna-Sampurna Jati, using all seven notes in ascent and descent.
Structure
• Arohana (Ascent): Sa Re(k) Ga Ma Pa Dha(k) Ni Sa’
• Avarohana (Descent): Sa’ Ni Dha(k) Pa Ma Ga Re(k) Sa
• Here, Komal Re (flat Rishabh) and Komal Dha (flat Dhaivat) are used, which give
Bhairav its solemn and meditative quality.
• Vadi (Main note): Dha (Dhaivat)
• Samvadi (Second important note): Re (Rishabh)
• Pakad (Signature phrase): Ga Ma Dha Dha Pa, Ga Ma Re Re Sa
Time of Performance
• Traditionally performed at sunrise (6–9 am).
• Sets a devotional and meditative tone for the day.
Mood (Rasa)
• Evokes shanta rasa (peace and devotion).
• Majestic, serious, and inward-looking, often compared to the mood of prayer or
meditation.
Importance
• Bhairav is considered a parent raga, giving rise to many variations like Ahir Bhairav,
Anand Bhairav, Nat Bhairav.
• Its oscillation (aandolan) on Komal Re and Komal Dha is a defining feature, requiring
great skill to render properly.
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• It is often the first raga taught to students in the morning practice sessions, instilling
discipline and devotion.
Comparative Table
Feature
Raag Yaman
Raag Bhairav
Thaat
Kalyan
Bhairav
Jati
Sampurna-Sampurna
Sampurna-Sampurna
Special Notes
Teevra Ma
Komal Re, Komal Dha
Vadi
Ga
Dha
Samvadi
Ni
Re
Time
Evening (6–9 pm)
Morning (6–9 am)
Mood (Rasa)
Romantic, devotional, serene
Peaceful, meditative, majestic
Pakad
Ni Re Ga Ma(t), Ga Re Sa
Ga Ma Dha Dha Pa, Ga Ma Re Re Sa
Importance
Fundamental raga for beginners
Parent raga, basis of many forms
Conclusion
Both Raag Yaman and Raag Bhairav are pillars of Hindustani classical music.
• Yaman represents romance, devotion, and serenity, perfect for evenings.
• Bhairav embodies discipline, meditation, and solemnity, ideal for mornings.
Together, they show how ragas are not just scales but living moods tied to time, nature, and
human emotion.
SECTION-D
7. Write full descripon of Taal Dhamaar along with its theka in Ekgun and Dugun
Laikaries.
Ans: What is Taal Dhamaar?
Taal Dhamaar is a 14-beat rhythmic cycle (matra) used mainly in Dhamaar compositions,
which are devotional songs often associated with Lord Krishna and the festival of Holi.
These compositions describe playful divine love, colors, and festive moods.
Because of this connection, Dhamaar taal carries a joyful, swinging, and playful rhythm—
not very fast, not too slow, but expressive and graceful.
Structure of Taal Dhamaar
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Taal Dhamaar has:
• 14 beats (matras)
• Divided into 4 sections (vibhags)
• Pattern: 5 + 2 + 3 + 4
So the counting goes like this:
1 2 3 4 5 | 6 7 | 8 9 10 | 11 12 13 14
Clap–wave structure:
Beat
Action
1
Clap (Sam)
6
Clap
8
Wave
11
Clap
So the physical counting becomes:
2 3 4 5 | 7 | 9 10 | 12 13 14
This uneven grouping gives Dhamaar its special character—it feels like a playful rhythmic
dance rather than a strict march.
Theka of Taal Dhamaar (Basic Form)
The theka is the standard tabla pattern that expresses the taal.
Basic Theka (Ekgun – single speed)
Ka Dhi Ta Dhi Ta | Dha - | Ga Ti Ta | Ti Ta Ta -
Another common traditional version:
Ka Dhi Ta Dhi Ta | Dha - | Ga Ti Ta | Ti Ta Ta -
Matra-wise placement:
Beats
Bols
1
Ka
2
Dhi
3
Ta
4
Dhi
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5
Ta
6
Dha
7
—
8
Ga
9
Ti
10
Ta
11
Ti
12
Ta
13
Ta
14
—
Here:
• Beat 1 = Sam (strongest)
• Beat 8 = Khali (wave) → lighter feel
Understanding the Feel of Dhamaar
Unlike symmetrical taals like Teentaal (4+4+4+4), Dhamaar’s 5+2+3+4 division creates a
swing.
It feels like:
A playful step
Then a short pause
Then a flowing phrase
Then a settling ending
This is why Dhamaar suits Holi songs describing Krishna’s playful actions.
Layakari in Taal Dhamaar
Layakari means rhythmic variation—playing the same taal in different speeds while the taal
cycle remains same.
Two common layakaris asked in exams:
• Ekgun (1× speed)
• Dugun (2× speed)
Ekgun Theka (Single Speed)
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Each beat has one bol.
1 2 3 4 5 | 6 7 | 8 9 10 | 11 12 13 14
Ka Dhi Ta Dhi Ta | Dha - | Ga Ti Ta | Ti Ta Ta -
So the bols align exactly with beats.
Dugun Theka (Double Speed)
In Dugun, we play two bols per beat.
The cycle still has 14 beats—but now bols double.
So Dhamaar Dugun becomes:
Ka Dhi Ta Dhi Ta Dha Dha |
Ga Ti Ta Ti Ta Ta Ka Ta |
Dhi Ta Dhi Ta Dha Dha |
Ga Ti Ta Ti Ta Ta -
A clearer exam-style Dugun layout:
Beat
Dugun Bols
1
Ka Dhi
2
Ta Dhi
3
Ta Dha
4
Dha Ga
5
Ti Ta
6
Ti Ta
7
Ta Ka
8
Dhi Ta
9
Dhi Ta
10
Dha Dha
11
Ga Ti
12
Ta Ti
13
Ta Ta
14
—
(Teachers may accept slight variations; Dugun bols often differ by gharana.)
How Dhamaar is Performed
In a classical concert:
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1. Singer starts Dhamaar composition
2. Pakhawaj or tabla plays Dhamaar theka
3. Improvisation happens with layakari
4. Bol-bant and rhythmic play occur
5. Ends on Sam (beat 1) dramatically
Because Sam is powerful, musicians aim to land phrases exactly there.
Musical Importance of Taal Dhamaar
Taal Dhamaar is important because:
• It belongs to ancient Dhrupad tradition
• Associated with Holi festival music
• Shows mastery of complex rhythm
• Teaches asymmetrical taal structure
• Used in classical vocal and pakhawaj
It also develops rhythmic intelligence because counting 14 with uneven divisions is
challenging.
8. What do you know about various Folk Instruments of Punjab? Explain clearly.
Ans: Wind Instruments
Algoza (Alghoza)
• A pair of wooden flutes played simultaneously.
• One flute plays the melody, while the other provides a drone.
• Creates a lively, rustic sound, often heard in Bhangra and Jhumar.
• Symbolizes the pastoral life of Punjab, often played by shepherds and folk musicians.
Percussion Instruments
Dhol
• The heartbeat of Punjabi folk music.
• A double-headed drum played with sticks, producing powerful rhythms.
• Essential for Bhangra and festive occasions.
• Its booming sound energizes dancers and symbolizes celebration.
Dhadd
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• A small hourglass-shaped drum, played with fingers.
• Used by balladeers and folk singers to accompany storytelling.
• Creates sharp, rhythmic beats, often heard in Dhadi (ballad singing).
Bugchu
• A small, hourglass-shaped instrument similar to a damru.
• Played by pulling a string attached to its body, producing a twangy sound.
• Adds comic and playful effects in folk performances.
Chimta
• A metallic tong fitted with jingling discs.
• Played by striking rhythmically, producing a sharp metallic sound.
• Common in Bhangra and devotional singing (Kirtan).
Sapp (Sap)
• A wooden instrument shaped like a snake, opened and closed rhythmically.
• Produces clapping sounds, adding visual and auditory excitement to dances.
• Often used in Malwai Giddha.
String Instruments
Tumbi
• A single-stringed instrument, small and portable.
• Produces high-pitched, energetic sounds.
• Closely associated with Punjabi folk singers like Gurdas Maan and Kuldeep Manak.
• Its sharp tone adds liveliness to folk songs.
Ektara
• A one-stringed instrument used by wandering minstrels.
• Symbolizes simplicity and devotion.
• Often used in spiritual and Sufi singing.
Dilruba
• A bowed string instrument, combining features of sitar and sarangi.
• Produces melodious, soulful tones.
• Used in classical as well as devotional music.
Sarangi
• A multi-stringed bowed instrument.
• Known for its ability to mimic the human voice.
• Often accompanies folk and classical singing, adding emotional depth.
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Other Folk Instruments
Kato
• A wooden instrument shaped like a squirrel.
• Played by pulling a string, producing a squeaky sound.
• Adds humor and playfulness to folk performances.
Gharha / Gagar
• Clay pots used as percussion instruments.
• Played by striking with rings or sticks.
• Common in Giddha, symbolizing rural household life.
Khartal
• Wooden clappers used to produce rhythmic beats.
• Simple yet effective, often used in devotional singing.
Contribution of Punjabi Folk Instruments
1. Cultural Identity: They preserve Punjab’s rural traditions and connect people to their
roots.
2. Dance and Celebration: Instruments like dhol, chimta, and sapp energize dances like
Bhangra and Giddha.
3. Storytelling: Instruments like dhadd and ektara accompany ballads and spiritual
songs, keeping oral traditions alive.
4. Spiritual Expression: Dilruba, sarangi, and ektara are used in devotional music,
enhancing the spiritual atmosphere.
5. Innovation and Fusion: Many Punjabi folk instruments are now used in modern
music, blending tradition with contemporary styles.
Conclusion
The folk instruments of Punjab are more than musical devices—they are living symbols of
joy, devotion, humor, and resilience. From the booming dhol that drives Bhangra to the
soulful sarangi that echoes human emotion, each instrument carries a piece of Punjab’s
soul.
“This paper has been carefully prepared for educaonal purposes. If you noce any
mistakes or have suggesons, feel free to share your feedback.”
