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GNDU Question Paper-2024

B.A 3

Semester

MUSIC (Vocal)

Time Allowed: Three Hours Max. Marks: 50

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

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

SECTION-A

1. Why do we call Akbar period, a golden period? Write in detail.

2. Explain the simple characteristic of Upaj and Alap.

SECTION-B

3. What is the method of tuning your instrument Tanpura?

4. Write the life sketch of Prof. Kartar Singh and his contributions towards Music.

SECTION-C

5. By giving Aroh, Avroh, Pakar of Raga Bhimplasi, also write Drut Khyal with one Alap and

two Tanas.

6. Write down the introduction of Sultal with their Ekgun and Dugun Layakaries.

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SECTION-D

7. Explain the contributions and life sketch of Guru Arjan Dev Ji.

8. Salient features of Kirtan Chownkis in special context of Gurmat Sangeet.

GNDU Answer Paper-2024

B.A 3

Semester

MUSIC (Vocal)

Time Allowed: Three Hours Max. Marks: 50

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

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

SECTION-A

1. Why do we call Akbar period, a golden period? Write in detail.

Ans: Why Akbar’s Period is Called a Golden Period

Imagine India in the late 16th century: a land of kingdoms, forts, bustling cities, and vibrant

cultures. Among all these rulers, one emperor emerged whose reign would be remembered

as a shining chapter in Indian history. This was Emperor Akbar, the third ruler of the Mughal

dynasty, who ruled from 1556 to 1605. Historians often call his era a golden period of India.

But why? Let’s unfold this story step by step.

1. Political Stability and Strong Administration

One of the main reasons Akbar’s reign is considered golden is the political stability he

brought to India. Before Akbar, the Mughal Empire faced threats from rebellious nobles,

rival kingdoms, and foreign invaders. When Akbar ascended the throne at just 13 years old,

the empire was fragile. But through wisdom, courage, and strategic thinking, he managed

to consolidate his power.

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He reorganized the administration through the Mansabdari system, where officials were

given ranks (mansabs) based on merit and loyalty. This system created discipline in

governance and helped integrate nobles of different backgrounds, including Rajputs, into

his administration. The result was a unified and stable empire, which allowed people to live

in peace and prosperity.

This stability also encouraged trade, agriculture, and urban growth, forming the backbone of

a prosperous empire.

2. Religious Tolerance and Cultural Harmony

Akbar was not only a clever politician but also a visionary leader. He realized that India was

a land of diverse religions and cultures. To ensure harmony, he adopted religious tolerance.

Unlike many rulers who forced their religion on subjects, Akbar introduced Sulh-i-Kul, which

means "peace with all."

He invited scholars, theologians, and thinkers from Hinduism, Islam, Christianity, Jainism,

and Zoroastrianism to discuss philosophy and religion at his court in Fatehpur Sikri. His aim

was not only to understand different religions but also to promote mutual respect and

coexistence.

This inclusive approach reduced social tensions, strengthened loyalty to the empire, and

created a climate where arts, literature, and ideas could flourish.

3. Economic Prosperity

A golden period is incomplete without economic prosperity, and Akbar’s empire had it in

abundance. Akbar reformed the revenue system under the guidance of his finance minister,

Todar Mal. This system, known as the Zabt system, assessed land revenue based on the

fertility and productivity of the land, ensuring fairness and preventing exploitation of

peasants.

With agriculture thriving, trade routes secured, and markets bustling, India saw

unprecedented wealth. Cities grew larger, crafts and industries flourished, and both

domestic and international trade increased. Merchants from Europe and Asia came to India

to trade in spices, textiles, and precious metals. This economic boom contributed to the

golden character of Akbar’s reign.

4. Advancements in Art, Literature, and Architecture

Akbar’s reign is often called a golden period of Indian art and culture because he personally

encouraged creative talents. Artists, painters, poets, and scholars were welcomed at his

court. Under his patronage:

• Miniature paintings flourished, especially in the Akbarnama (the official chronicle of

Akbar’s reign), which combined history with beautiful illustrations.

• Literature in Persian and Hindi gained prominence, and works on history,

philosophy, and science were written and translated.

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• Architecture reached new heights with the construction of Fatehpur Sikri, Agra Fort,

and the Buland Darwaza, blending Persian, Indian, and Central Asian styles into the

famous Mughal architecture.

• Music and dance also received royal attention, promoting cultural synthesis across

regions.

Akbar’s cultural policies created a vibrant and harmonious society, making India a center of

global culture.

5. Social Reforms and Welfare Policies

Akbar was also a reformer who cared for his subjects. He introduced policies to reduce

social inequalities and improve welfare:

• He abolished Jizya, a tax imposed on non-Muslims, showing fairness and concern for

all communities.

• He encouraged marriage alliances with Rajput rulers, which not only strengthened

politics but also promoted social harmony.

• Public works, like roads, wells, and gardens, were built to benefit the common

people.

These measures ensured that his subjects lived safer, happier, and more prosperous lives, a

hallmark of a golden period.

Summary

In simple terms, Akbar’s period is called a golden period because it was a time when:

1. Political stability allowed the empire to flourish.

2. Religious tolerance fostered peace and harmony.

3. Economic prosperity made India wealthy and vibrant.

4. Arts, culture, and architecture reached unprecedented heights.

5. Social reforms and welfare improved the lives of all people.

Akbar’s genius was in combining power with wisdom, strength with compassion, and

authority with inclusiveness. This is why historians and students alike remember his era as

a shining golden chapter in India’s history.

Diagram: Factors Making Akbar’s Reign a Golden Period

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This story-like explanation shows how politics, culture, economy, religion, and social

welfare came together to make Akbar’s reign truly golden. His vision and policies created an

empire where people, culture, and prosperity thrived side by side, leaving a legacy

remembered even today.

2. Explain the simple characteristic of Upaj and Alap.

Ans: 󷙣󷙤󷙥 Alap and Upaj: The Soul and the Spark of a Raga

󷊆󷊇 The Beginning: Alap

When a raga begins, it does not rush. It takes its time, like a storyteller setting the scene

before the drama unfolds. This unhurried introduction is called the Alap.

󹶓󹶔󹶕󹶖󹶗󹶘 Simple Definition

• Alap is the slow, non-rhythmic introduction of a raga.

• It is performed without tabla or percussion.

• The artist explores the notes (swaras) of the raga, one by one, establishing its mood

and identity.

󷊨󷊩 Characteristics of Alap

1. No Rhythm (Laya): Alap is free from fixed rhythm. The artist is not bound by tala

(beats). Instead, the flow is like natural speech or the rhythm of breath.

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2. Slow and Meditative: It begins in a very slow tempo, allowing each note to be

savored.

3. Exploration of Notes: The artist introduces the important notes (vadi, samvadi) and

characteristic phrases of the raga.

4. Mood Creation: The purpose of Alap is to create the emotional atmosphere (rasa) of

the raga—be it devotion, longing, serenity, or joy.

5. Gradual Development: Alap often moves from lower notes (mandra saptak) to

higher notes (tara saptak), slowly unfolding the raga’s full range.

󷘧󷘨 Analogy

Think of Alap as the sunrise. The first rays appear gently, spreading light slowly, revealing

the landscape little by little. Similarly, Alap reveals the raga step by step, without hurry.

󷈷󷈸󷈹󷈺󷈻󷈼 Example

In Raag Yaman, the Alap might begin with a soft glide from Ni to Re, then gently touch Ga

and Ma, slowly establishing the sweetness of the raga. No tabla, no rhythm—just pure

melody floating in the air.

󹻦󹻧 The Spark: Upaj

Once the raga has been introduced and the mood is set, the artist begins to play with it—

improvising, creating new patterns, and showing mastery. This is called Upaj.

󹶓󹶔󹶕󹶖󹶗󹶘 Simple Definition

• Upaj literally means “to sprout” or “to arise.”

• In music, it refers to spontaneous improvisation within the framework of the raga

and tala.

• It is where the artist’s creativity shines, as they invent new melodic patterns on the

spot.

󷊨󷊩 Characteristics of Upaj

1. Improvisation: Upaj is not pre-composed. It is created in the moment, showing the

artist’s imagination.

2. Bound by Tala: Unlike Alap, Upaj usually happens when the tabla joins in. The

improvisation must fit within the rhythmic cycle.

3. Playfulness: Upaj often has a playful, conversational quality, as if the artist is

challenging themselves and the accompanists.

4. Speed and Energy: It is usually faster than Alap, adding excitement and brilliance to

the performance.

5. Show of Skill: Upaj demonstrates the artist’s command over both melody and

rhythm.

󷘧󷘨 Analogy

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If Alap is the sunrise, Upaj is the morning breeze that suddenly stirs the trees, making the

leaves dance. It is lively, spontaneous, and full of energy.

󷈷󷈸󷈹󷈺󷈻󷈼 Example

In Raag Bhairav, after a serious Alap, the artist may begin Upaj by weaving quick,

unexpected patterns around the notes Sa and Komal Re, playing with the tabla’s rhythm,

surprising the audience with creativity.

󼩺󼩻 Comparing Alap and Upaj

Aspect

Alap

Upaj

Meaning

Introduction of the raga

Improvisation within raga and

tala

Tempo

Slow, unhurried

Faster, energetic

Rhythm

No fixed rhythm, free-flowing

Bound by tala (beats)

Purpose

To establish mood and identity

of raga

To showcase creativity and skill

Mood

Meditative, calm, serious

Playful, lively, surprising

Stage of

Performance

Beginning of the raga

Middle or later part of the

performance

󹶓󹶔󹶕󹶖󹶗󹶘 Story Illustration

Imagine a sitar concert. The artist begins with Alap. The hall is silent except for the drone of

the tanpura. Slowly, the sitar strings sing—Sa, Re, Ga—each note stretched, savored, like

drops of honey. The audience closes their eyes, sinking into the mood.

Then, after a while, the tabla joins. The artist smiles and begins Upaj. Suddenly, the sitar

dances—fast patterns, unexpected turns, playful dialogues with the tabla. The audience

leans forward, clapping in delight at the clever improvisations.

This journey from Alap to Upaj is the journey from meditation to celebration, from calmness

to creativity.

󷇮󷇭 Importance in Hindustani Classical Music

• Alap is essential because it preserves the purity of the raga. Without Alap, the

listener would not understand the raga’s true character.

• Upaj is essential because it keeps the performance alive and fresh. It shows that

classical music is not rigid but a living, breathing art form.

• Together, they balance discipline and freedom. Alap is discipline—staying true to

the raga’s essence. Upaj is freedom—exploring within that essence.

󹶓󹶔󹶕󹶖󹶗󹶘 Conclusion: The Soul and the Spark

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In Hindustani classical music, Alap and Upaj are like two sides of the same coin. Alap is the

soul—calm, meditative, and foundational. Upaj is the spark—creative, lively, and

spontaneous.

• Alap teaches patience, depth, and respect for tradition.

• Upaj teaches creativity, imagination, and the joy of discovery.

Together, they make a performance complete. Without Alap, the music would lack depth.

Without Upaj, it would lack excitement.

So, the next time you listen to a raga, notice how it begins with the slow unfolding of Alap

and then blossoms into the playful brilliance of Upaj. You will realize that this is not just

music—it is life itself: sometimes calm and steady, sometimes surprising and full of energy,

but always flowing, always alive.

SECTION-B

3. What is the method of tuning your instrument Tanpura?

Ans: Imagine you are entering a calm room filled with the gentle aroma of sandalwood, and

in the corner rests a Tanpura, the soulful companion of every Indian classical musician. The

Tanpura is not just an instrument; it is the anchor of melody, providing a drone that holds

the entire performance together. But before it can start singing, it must be carefully tuned.

Let me take you through the process of tuning this beautiful instrument, step by step, as if

we are discovering its magic together.

Understanding the Tanpura and Its Strings

A Tanpura usually has four strings, although some varieties may have five. Each string has a

unique purpose:

1. Pa (Pancham) – This string resonates as the fifth note of the scale.

2. Sa (Shadja) – This is the tonic, the fundamental note.

3. Sa (Octave) – Often repeated an octave higher for balance.

4. Ma (Madhyam) – This string complements the harmony and rounds out the drone.

Some styles of Tanpura tuning may vary depending on whether it is used for Hindustani or

Carnatic music, but the basic principles remain the same.

Tools You Need

Before you begin, you should have a few simple tools:

• A Tanpura key (usually a small tuning peg wrench or your fingers for wooden pegs)

• A digital tuner (optional but helpful for beginners)

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• Patience and a gentle touch

Think of tuning as talking to a friend—you don’t rush, you listen carefully, and you adjust

gradually.

Step 1: Fixing the Pegs

Start by inspecting the pegs at the top of the Tanpura. These pegs hold the strings in place.

In older Tanpuras, the pegs are made of wood and fit snugly into the holes. Newer Tanpuras

may have metal fine tuners.

If your pegs are too tight, gently loosen them. If they are too loose, slightly tighten so they

can hold the string’s tension. Be cautious—over-tightening can break the string.

Step 2: Identifying the Correct Notes

Now, let’s decide the key or tonic (Sa) of your performance. You can ask the vocalist or use

a digital keyboard to find the correct Sa. Once you have the Sa, the rest of the strings can

follow.

The typical Tanpura tuning for Hindustani classical music is:

• 1st string (Pa) – optional, can be tuned to Pa or Sa

• 2nd string (Sa) – tonic, the base note

• 3rd string (Sa) – same as 2nd string but an octave higher

• 4th string (Ma) – fourth or fifth note depending on the raga

Step 3: Tuning the Strings One by One

1. Start with the Sa string:

Pluck the second string gently, and turn the peg slowly. Listen closely. You want the

note to resonate clearly and match the tonic pitch. Avoid forcing the peg—small

adjustments make a huge difference.

2. Move to the Pa or Ma string:

Next, pluck the first string. If your Tanpura has a Pa string, tune it so it harmonizes

with the Sa. For Ma, adjust the pitch so it complements the Sa and forms a pleasant

drone.

3. Tuning the octave Sa:

The third string is the higher Sa. Pluck it, and slowly tighten the peg until it matches

the octave of the tonic. You will notice that when this string is correctly tuned, the

overall sound begins to “bloom,” creating that enchanting Tanpura resonance.

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Step 4: Adjusting the Fine Tones

Once all strings are near the correct pitch, pluck each string together slowly. You may notice

slight beating or wobbling sounds. This is normal. Use fine adjustments: slightly turn the

pegs clockwise or counterclockwise until the strings blend perfectly.

For beginners, a digital tuner or mobile tuning app can help identify whether the string is

slightly sharp or flat. With experience, you can rely entirely on your ear—this is where the

real artistry comes in.

Step 5: Stretching the Strings

A freshly tuned Tanpura may need a little stretching. Gently pull each string away from the

body of the instrument, then retune. This stabilizes the pitch and prevents frequent

detuning. It’s like giving the strings a gentle massage to settle them into the correct

vibration.

Step 6: Final Harmonization

Once all strings are tuned individually and stretched, play them together. Listen carefully to

the rich, vibrating drone. The sound should be continuous and even, without harshness.

Adjust any string slightly if the harmony feels off. The goal is a resonant, meditative tone,

which forms the foundation of Indian classical music performances.

Additional Tips for Perfect Tuning

• Always tune in a quiet room to hear subtle differences.

• Use clean fingers or cloth when touching strings to avoid oil or dirt affecting tension.

• Check tuning regularly, as humidity and temperature can affect the Tanpura.

• For beginners, practice listening to professional Tanpura recordings to train your ear.

A Simple Diagram to Visualize Tanpura Tuning

Here’s a basic illustration showing the string layout and typical tuning for a 4-string Tanpura:

| Pegs |

-----------------

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| String 1: Pa |

| String 2: Sa |

| String 3: Sa (Octave) |

| String 4: Ma |

-----------------

• Strings are plucked from bottom to top when tuning.

• The pegs at the top are adjusted to match the desired pitch.

The Joy of a Tuned Tanpura

Tuning a Tanpura is more than a technical exercise—it’s an experience of patience,

listening, and balance. Once it is perfectly tuned, the Tanpura begins to hum a steady

drone, creating a sonic canvas for melody. Every Raga feels more alive, and the vocalist or

instrumentalist finds a supportive foundation to explore musical beauty.

4. Write the life sketch of Prof. Kartar Singh and his contributions towards Music.

Ans: 󷙣󷙤󷙥 Life Sketch of Prof. Kartar Singh and His Contributions to Music

󷊆󷊇 Early Life and Background

Every great musician begins with a seed of passion planted early in life. Professor Kartar

Singh was born into a cultural environment where music was not just entertainment but a

way of life. From his childhood, he showed a deep inclination towards melody and rhythm.

Surrounded by the devotional traditions of Punjab, especially the rich heritage of Gurmat

Sangeet, he absorbed the sounds of kirtan, folk tunes, and classical ragas.

His early training was marked by discipline and devotion. He studied under respected gurus,

learning both the technical grammar of Hindustani classical music and the spiritual depth of

Sikh musical traditions. This dual foundation—classical rigor and devotional essence—

shaped his personality as a musician and later as a teacher.

󷖤󷖥󷖦 Academic Journey

Kartar Singh’s love for music was not confined to performance alone. He believed that music

should also be studied, researched, and preserved as an academic subject. With this vision,

he pursued higher education in music, eventually becoming a professor.

• He taught at leading institutions, where he inspired generations of students.

• His classrooms were not just about scales and ragas; they were about understanding

music as a living philosophy.

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• He emphasized that music is both science and art—it requires discipline, but it also

demands emotion and imagination.

As a professor, he combined scholarship with artistry. His lectures were filled with

anecdotes, demonstrations, and insights that made even the most complex concepts easy to

grasp.

󷙣󷙤󷙥 Contributions to Gurmat Sangeet

One of the most significant contributions of Prof. Kartar Singh was his work in the field of

Gurmat Sangeet—the Sikh tradition of singing Gurbani in prescribed ragas.

• He researched the 31 ragas of Guru Granth Sahib, explaining their structure, mood,

and application.

• He trained students to sing Gurbani in its authentic raga form, preserving the purity

of the tradition.

• He wrote extensively on the philosophy of Gurmat Sangeet, showing how it is not

just music but a spiritual discipline.

Through his efforts, many young musicians came to appreciate the depth of Sikh musical

heritage, which might otherwise have been overshadowed by modern trends.

󹶜󹶟󹶝󹶞󹶠󹶡󹶢󹶣󹶤󹶥󹶦󹶧 Writings and Research

Prof. Kartar Singh was not only a performer and teacher but also a prolific writer. His books

and research papers became valuable resources for students and scholars.

• He authored works on musicology, explaining the technical aspects of ragas, talas,

and compositions.

• He wrote about the history of music in Punjab, tracing its evolution from folk

traditions to classical and devotional forms.

• His writings on Gurmat Sangeet are particularly respected, as they combine

historical research with practical guidance.

By documenting his knowledge, he ensured that future generations would have access to

authentic material on Indian and Sikh music.

󷗰󷗮󷗯 Performer and Guide

Though known as a scholar, Prof. Kartar Singh was also a gifted performer. His voice carried

both technical precision and emotional depth. When he sang a shabad in raag, listeners felt

not just the beauty of the notes but also the spiritual message behind them.

• He performed at academic conferences, religious gatherings, and cultural festivals.

• His style was marked by clarity, devotion, and respect for tradition.

• He often guided young performers, correcting their mistakes gently and encouraging

them to find their own voice.

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For him, performance was never about personal fame—it was about service to music and to

the divine.

󷇮󷇭 Preservation of Tradition

In an age when popular music often overshadows classical and devotional forms, Prof.

Kartar Singh worked tirelessly to preserve tradition.

• He encouraged the use of traditional instruments like rabab, saranda, and taus in

kirtan.

• He opposed the dilution of Gurmat Sangeet into light tunes, insisting that Gurbani

should always be sung in its prescribed ragas.

• He collaborated with institutions to archive recordings, manuscripts, and oral

traditions.

Through these efforts, he became a guardian of heritage, ensuring that the roots of music

remained strong even as new branches grew.

󷈷󷈸󷈹󷈺󷈻󷈼 Personality and Influence

What made Prof. Kartar Singh truly remarkable was not just his knowledge but his

character.

• He was humble, never boasting of his achievements.

• He was dedicated, spending long hours teaching, writing, and practicing.

• He was inspiring, motivating students to see music as a lifelong journey rather than a

short-term pursuit.

His influence extended beyond his immediate students. Many of his writings and teachings

continue to guide musicians, researchers, and kirtaniyas today.

󼩺󼩻 Legacy

The legacy of Prof. Kartar Singh can be seen in three main areas:

1. Education: Generations of students trained under him carry forward his teachings in

universities, schools, and gurudwaras.

2. Research: His writings remain reference points for scholars of Indian and Sikh music.

3. Preservation: His insistence on authentic Gurmat Sangeet has helped preserve the

original raga tradition of Gurbani.

In this way, his life’s work continues to resonate, like the echo of a raga that lingers long

after the performance ends.

󹶓󹶔󹶕󹶖󹶗󹶘 Conclusion: A Life in Melody

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The life sketch of Prof. Kartar Singh is the story of a man who lived and breathed music.

From his early training to his role as a professor, from his performances to his writings,

every aspect of his life was dedicated to nurturing and preserving the art of sound.

His greatest contribution was showing that music is not just about entertainment—it is

about education, preservation, and above all, spiritual connection. He gave Gurmat Sangeet

a strong academic foundation, ensuring that it would be respected not only in gurudwaras

but also in universities and research halls.

Even today, when a student opens one of his books, or when a shabad is sung in its

prescribed raag, the spirit of Prof. Kartar Singh is present. His life was like a perfectly tuned

instrument—balanced, harmonious, and devoted to spreading the eternal message of

music.

SECTION-C

5. By giving Aroh, Avroh, Pakar of Raga Bhimplasi, also write Drut Khyal with one Alap and

two Tanas.

Ans: Music is like a language of the soul, and when we explore a raga, we are entering a

world of moods, emotions, and intricate patterns that speak to both the mind and the heart.

Raga Bhimplasi is one such enchanting melody in Indian classical music, celebrated for its

deep, soulful, and somewhat melancholic essence. Imagine sitting on a quiet evening, where

the sun is just setting, and the soft notes of Bhimplasi seem to mirror the gentle sadness

mixed with a hint of longing. This is the emotional world of Bhimplasi.

Now, let’s start from the basics of Raga Bhimplasi and understand it piece by piece:

1. Aroh (Ascending Scale)

The Aroh, or ascending order of notes in a raga, tells us which notes we use when moving

upwards in a melody. In Raga Bhimplasi, the ascent is smooth, contemplative, and avoids

certain notes that give it its unique character.

Aroh (Ascending notes):

Ni Sa Ga Ma Pa Ni Sa

• Ni here is Komal (flat), giving a gentle, slightly yearning touch.

• Notice that Re and Dha are omitted in the ascent; this selective omission is what

makes Bhimplasi distinct from other ragas.

Think of it like painting a sky: we choose only certain shades to create the mood of dusk,

skipping the brighter colors that would change the atmosphere entirely.

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2. Avroh (Descending Scale)

The Avroh, or descending scale, allows the notes to move downward in a pattern that often

adds depth to the raga. Here, Bhimplasi becomes even more expressive, with the fall of

notes conveying longing and depth.

Avroh (Descending notes):

Sa Ni Dha Pa Ma Ga Re Sa

• Here, Dha and Re appear, unlike in the ascent, giving a sense of completion and

resolution.

• This contrast between ascent and descent is a key characteristic of Bhimplasi and

contributes to its emotional depth.

If the ascent is the slow walking up a hill, then the descent is the reflective walk down,

observing the scenery and letting emotions flow.

3. Pakar (Signature Phrase)

Every raga has a pakar, a signature phrase that captures its essence, like a musical

fingerprint. Bhimplasi’s pakar ensures that even a casual listener can recognize it instantly.

Pakar of Bhimplasi:

Ni Sa Ga, Ma Pa, Dha Pa, Ma Ga, Re Sa

• The pakar often emphasizes Ni-Sa-Ga, which instantly gives the raga its identity.

• The movements in Pa-Ma-Ga-Re highlight the emotional gravity of the raga.

The pakar is like the hero in a story – the moment it appears, the raga’s character becomes

clear and unforgettable.

4. Mood and Timing

Raga Bhimplasi is typically performed in the afternoon or early evening, which

complements its serious, devotional, and reflective mood. The use of Komal Ni and Komal

Ga contributes to a sense of gentle longing, making it ideal for slow, expressive elaborations.

Think of it like a cinematic scene where the music perfectly matches the golden hour

sunlight; every note, every pause, and every glide evokes the intended feeling.

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5. Drut Khyal in Bhimplasi

A Drut Khyal is a fast-paced form of Khyal composition in Hindustani classical music. After

setting the mood with an Alap, which is slow and contemplative, the Drut Khyal adds

energy, excitement, and virtuosic flair. Let’s construct a Drut Khyal in Bhimplasi.

a) Alap

The Alap is like the introduction to our story, where the musician gently explores the raga

without rhythm, letting each note breathe. In Bhimplasi, a simple Alap could sound like this

in notation (words are optional, but syllables like “Aa” or “Na” are used for vocal exercises):

Ni Sa Ga, Ma Pa, Ni Sa

Sa Ni Dha Pa, Ma Ga, Re Sa

Ni Sa Ga, Ma Pa, Dha Pa, Ma Ga Re Sa

• The Alap here introduces the essential notes and phrases, slowly building the mood.

• It’s calm, meditative, and lets the audience feel the emotional depth of the raga

before the rhythmic sections start.

b) Drut Khyal Composition

Once the Alap sets the tone, the Drut Khyal enters, often accompanied by tabla. In Drut

Khyal, the tempo is brisk, but the essence of Bhimplasi is maintained. Here is an example of

how the two Tanas can be structured:

First Tana (fast melodic run):

Ni Sa Ga Ma Pa, Ni Dha Pa Ma Ga, Re Sa Ni Sa

• Quick, flowing, and joyful while staying true to the raga.

Second Tana (another fast pattern):

Ga Ma Pa Dha Ni Sa, Dha Pa Ma Ga Re Sa, Ni Sa Ga Ma Pa

• This adds variety and excitement, giving a sense of climax.

• Tanas allow the vocalist to demonstrate skill, control, and creativity.

The Drut Khyal is the musical equivalent of moving from a gentle conversation to a

passionate story, maintaining the raga’s identity while adding energy and excitement.

6. Summary in Story Form

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Imagine the journey of Bhimplasi as a day in a village.

• The Aroh is the early morning walk, quiet and reflective, skipping certain notes,

creating gentle suspense.

• The Avroh is the walk back home in the afternoon, where all the paths are covered,

emotions deepen, and you see the full picture.

• The Pakar is the village’s signature sight, maybe a banyan tree that everyone

recognizes – no matter how many times you walk past, it defines the place.

• The Alap is the calm before the village festival, where everyone settles in and listens

to the soft sounds around.

• The Drut Khyal is the festival itself – lively, vibrant, and thrilling, yet still tied to the

spirit of the village.

Through this journey, the student can feel the raga, understand its technicalities, and also

relate emotionally to its expression.

7. Diagram of Raga Bhimplasi

Here’s a simple diagram to visually understand Aroh, Avroh, and Pakar:

Aroh (Ascending): Ni Sa Ga Ma Pa Ni Sa

Avroh (Descending): Sa Ni Dha Pa Ma Ga Re Sa

Pakar (Signature Phrase):

Ni Sa Ga | Ma Pa | Dha Pa | Ma Ga Re Sa

• The vertical movement shows pitch, while the horizontal phrases show sequence.

• Students can use this as a reference while practicing.

8. Conclusion

Raga Bhimplasi is a beautiful mix of emotion, technical skill, and expressiveness. By learning

its Aroh, Avroh, Pakar, and then performing a Drut Khyal with one Alap and two Tanas, a

student not only masters the raga technically but also conveys its soul. It’s like telling a story

with music: from gentle introspection to energetic climax, every note has a purpose, every

phrase a meaning, and every performance a unique experience.

Mastering Bhimplasi is not just about memorizing notes; it’s about feeling the journey,

playing with the rhythm, and letting the music narrate a story that words cannot capture.

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6. Write down the introduction of Sultal with their Ekgun and Dugun Layakaries.

Ans: 󷙣󷙤󷙥 Introduction to Sultal

Imagine rhythm as the invisible thread that ties together the beads of melody. Without

rhythm, music would feel like scattered pearls. In Hindustani classical music, this rhythm is

organized into talas—cyclical patterns of beats.

Sultal is one such tala. It is a 10-beat cycle (samay chakra) that is widely used in both vocal

and instrumental music. Its structure is balanced, neither too short nor too long, making it

versatile for different kinds of compositions.

󷊆󷊇 Structure of Sultal

Sultal has 10 beats (matras), divided into 5 vibhags (sections) of 2 beats each.

The theka (basic pattern played on tabla) of Sultal is:

Dha Dhin Na | Dha Tin Na | Ta Dhin Na | Dha Tin Na |

(Each “|” marks the division of vibhag.)

• Sam (first beat): Dha – the point where the cycle begins and where emphasis is

given.

• Khali (empty beat): The 6th beat, marked by a wave of the hand instead of a clap.

This structure gives Sultal a flowing, symmetrical feel.

󷘧󷘨 The Character of Sultal

• Mood: Sultal is graceful and balanced. It is neither as heavy as Dhamar nor as light as

Dadra.

• Usage: It is often used in dhrupad and dhammar styles, as well as in instrumental

performances.

• Feel: Its 10-beat cycle allows for both serious, meditative compositions and playful

improvisations.

Think of Sultal as a calm river—steady, flowing, and capable of carrying both depth and

beauty.

󷈷󷈸󷈹󷈺󷈻󷈼 Layakari in Sultal

Now that we know what Sultal is, let’s explore layakari.

Layakari means the play of rhythm—how the artist fits notes or bols (syllables) into the tala

cycle. It is like a dancer playing with steps while staying in sync with the beat.

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Two of the simplest and most important layakaries are Ekgun and Dugun.

󷚆󷚇󷚈 Ekgun Layakari

󹶓󹶔󹶕󹶖󹶗󹶘 Definition

• Ekgun means “single speed.”

• In this layakari, the artist sings or plays one note/bol per beat.

• It is the most basic form of rhythm, where the music moves in perfect alignment

with the tala.

󷊨󷊩 Example in Sultal

Since Sultal has 10 beats, in Ekgun the artist will place 10 notes or bols in one cycle.

If the theka is: Dha Dhin Na | Dha Tin Na | Ta Dhin Na | Dha Tin Na |

Then in Ekgun, the artist’s composition will match each beat exactly.

󷘧󷘨 Effect

Ekgun feels steady, simple, and clear. It is like walking at a normal pace, one step for each

beat of the drum.

󷚆󷚇󷚈 Dugun Layakari

󹶓󹶔󹶕󹶖󹶗󹶘 Definition

• Dugun means “double speed.”

• In this layakari, the artist sings or plays two notes/bols per beat.

• The tala cycle remains the same, but the density of notes doubles.

󷊨󷊩 Example in Sultal

Since Sultal has 10 beats, in Dugun the artist will place 20 notes or bols in one cycle.

If the theka is: Dha Dhin Na | Dha Tin Na | Ta Dhin Na | Dha Tin Na |

Then in Dugun, instead of one sound per beat, the artist will fit two, making the rhythm feel

faster and more energetic.

󷘧󷘨 Effect

Dugun feels lively and dynamic. It is like walking briskly, taking two steps for every beat of

the drum.

󼩺󼩻 Comparing Ekgun and Dugun in Sultal

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Aspect

Ekgun

Dugun

Meaning

Single speed

Double speed

Notes per Beat

Total Notes in 1 Cycle (10

beats)

Feel

Calm, steady, simple

Energetic, lively, playful

Analogy

Walking at normal

pace

Walking briskly, two steps per

beat

󹶓󹶔󹶕󹶖󹶗󹶘 Story Analogy

Think of a child learning to recite a poem. At first, the child says one word per clap—this is

Ekgun. Once confident, the child says two words per clap—this is Dugun. The rhythm (clap)

remains the same, but the speed of delivery changes.

Similarly, in Sultal, the tala cycle remains constant, but the artist plays with speed through

layakari.

󷇮󷇭 Importance of Ekgun and Dugun in Sultal

1. Foundation of Rhythm: Ekgun is the base. Without mastering it, no artist can

progress to higher layakaries like Tigun (triple speed) or Chaugun (quadruple speed).

2. Expression of Creativity: Dugun allows the artist to show skill and imagination while

staying within the tala.

3. Balance of Simplicity and Complexity: Together, Ekgun and Dugun show how music

balances clarity with creativity.

4. Training Tool: Students of tabla, vocal, or instrumental music practice Sultal in Ekgun

and Dugun to develop control over rhythm.

󷊨󷊩 Sultal in Performance

In a typical performance:

• The artist begins with Alap (slow, free exploration).

• Then the composition enters Sultal in Ekgun, establishing the tala clearly.

• Gradually, the artist moves into Dugun, adding excitement.

• Sometimes, higher layakaries like Tigun or Chaugun are also explored, but the

foundation always lies in Ekgun and Dugun.

This journey from simplicity to complexity keeps the audience engaged, much like a story

that begins calmly and then builds momentum.

󹶓󹶔󹶕󹶖󹶗󹶘 Conclusion: The Flow of Rhythm

Sultal is one of the most graceful talas of Hindustani classical music, with its 10-beat cycle

offering balance and beauty. Within it, Ekgun and Dugun layakaries are like the first steps of

rhythmic play—Ekgun steady and calm, Dugun lively and energetic.

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Together, they show how rhythm is not rigid but flexible, how it can be stretched and

compressed while still keeping its cycle intact. For the listener, this creates both peace and

excitement. For the performer, it is a chance to balance discipline with creativity.

So, the next time you hear a dhrupad or instrumental piece in Sultal, listen closely. You will

hear the calm steadiness of Ekgun and the sparkling energy of Dugun—two simple yet

profound ways in which rhythm comes alive.

SECTION-D

7. Explain the contributions and life sketch of Guru Arjan Dev Ji.

Ans: 󷊨󷊩 Life Sketch and Contributions of Guru Arjan Dev Ji

󷊆󷊇 Early Life

Guru Arjan Dev Ji was born on 15 April 1563 at Goindwal Sahib, Punjab. He was the

youngest son of Guru Ram Das Ji, the fourth Sikh Guru, and Mata Bhani Ji, the daughter of

Guru Amar Das Ji (the third Guru). From childhood, Arjan Dev Ji displayed qualities of

humility, devotion, and a deep love for Gurbani.

Unlike other children, who might be drawn to play, young Arjan found joy in listening to

kirtan and serving the sangat. His gentle nature and spiritual inclination made him stand

out. His father, Guru Ram Das Ji, recognized in him the qualities of a true leader and spiritual

guide.

In 1581, at the age of 18, Guru Arjan Dev Ji became the fifth Guru of the Sikhs. His Guruship

marked a turning point in Sikh history, as he laid the foundations of Sikh institutions,

scripture, and identity.

󷩡󷩟󷩠 Contributions to Sikhism

1. Compilation of the Adi Granth

Perhaps the most enduring contribution of Guru Arjan Dev Ji was the compilation of the Adi

Granth in 1604, which later became the Guru Granth Sahib, the eternal Guru of the Sikhs.

• He collected the hymns of the first four Gurus, his own compositions, and also

included the verses of saints like Kabir, Namdev, Ravidas, Sheikh Farid, and others.

• By doing this, he gave Sikhism a universal scripture, emphasizing that truth is not

confined to one religion but shines wherever devotion exists.

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• The Adi Granth was installed in the newly built Harmandir Sahib, with Bhai Gurdas Ji

as the scribe and Baba Buddha Ji as the first granthi.

This act gave the Sikh community a spiritual anchor and a unifying scripture.

2. Construction of Harmandir Sahib (Golden Temple)

Guru Arjan Dev Ji envisioned a central place of worship for Sikhs, open to all people

regardless of caste, creed, or background.

• He completed the construction of the Harmandir Sahib in Amritsar, with doors on all

four sides, symbolizing openness and equality.

• The temple was built at a lower level than the surrounding land, signifying humility.

• The sarovar (holy tank) around it was filled with water, symbolizing purity and

spiritual cleansing.

Today, the Golden Temple stands as a living testimony to Guru Ji’s vision of inclusiveness

and humility.

3. Promotion of Gurmat Sangeet

Guru Arjan Dev Ji was a poet and musician of extraordinary depth.

• He composed over 2,000 hymns, many of which are sung daily in Sikh congregations.

• He emphasized that Gurbani should always be sung in raagas (musical modes), giving

Sikh music a structured and devotional form.

• His compositions, like Sukhmani Sahib, are treasures of spiritual wisdom and musical

beauty.

Through this, he ensured that Sikh spirituality would always be experienced through the

medium of music, touching both the mind and the heart.

4. Strengthening Sikh Institutions

Guru Arjan Dev Ji strengthened the Sikh community both spiritually and socially.

• He organized the masand system, where representatives collected offerings from

Sikhs in different regions to support the Guru’s projects and the community kitchen

(langar).

• He encouraged Sikhs to engage in honest work, share with others, and live a life of

humility and service.

• Under his leadership, Sikhism grew from a small community into a well-organized

faith with its own scripture, place of worship, and institutions.

5. Martyrdom and Sacrifice

The most defining moment of Guru Arjan Dev Ji’s life was his martyrdom.

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• His growing influence and the popularity of Sikhism attracted the suspicion of the

Mughal emperor Jahangir.

• In 1606, Guru Arjan Dev Ji was arrested and subjected to severe torture in Lahore.

He was made to sit on a hot iron plate, burning sand was poured over him, and he

was immersed in boiling water.

• Despite the unbearable pain, Guru Ji remained calm, immersed in the remembrance

of God. His last words were of acceptance: “Tera Kiya Meetha Lage” (O Lord, Your

will is sweet to me).

With his martyrdom, Guru Arjan Dev Ji became the first Sikh martyr, setting an example of

courage, faith, and sacrifice. His death marked the transformation of Sikhism into a

community that would not only meditate on God but also stand against oppression.

󷈷󷈸󷈹󷈺󷈻󷈼 Personality and Character

Guru Arjan Dev Ji’s character was a blend of gentleness and strength.

• Gentleness: His poetry reflects compassion, humility, and love for humanity.

• Strength: His martyrdom shows his unshakable courage and faith.

• Visionary Leadership: He gave Sikhism its scripture, its central shrine, and its musical

tradition.

• Inclusiveness: By including the hymns of saints from different backgrounds in the Adi

Granth, he showed his belief in the universality of truth.

󼩺󼩻 Legacy

The legacy of Guru Arjan Dev Ji is immense:

1. Spiritual Legacy: The Adi Granth remains the eternal Guru of the Sikhs.

2. Architectural Legacy: The Harmandir Sahib is a symbol of Sikh identity and devotion.

3. Musical Legacy: His compositions continue to be sung in Gurmat Sangeet, inspiring

millions.

4. Moral Legacy: His martyrdom set the foundation for the Sikh spirit of resilience and

sacrifice.

󹶓󹶔󹶕󹶖󹶗󹶘 Conclusion: A Life of Melody and Martyrdom

The life of Guru Arjan Dev Ji is like a raga—beginning with the gentle unfolding of devotion,

rising into the grandeur of creation and organization, and ending with the powerful

crescendo of sacrifice.

• He gave the Sikhs their scripture, their temple, their music, and their spirit of

resilience.

• His life teaches us humility, inclusiveness, and courage.

• His martyrdom reminds us that true faith is not shaken by suffering but shines

brighter in adversity.

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Even today, when one sits in the Harmandir Sahib and listens to the shabad kirtan, one is

experiencing the vision of Guru Arjan Dev Ji. His life was a song of devotion, and his sacrifice

was the final note that made that song eternal.

8. Salient features of Kirtan Chownkis in special context of Gurmat Sangeet.

Ans: When we think of Sikh devotional music, the image that often comes to mind is of the

serene yet powerful sound of kirtan filling the atmosphere of a Gurdwara. But have you ever

wondered how these musical recitations are structured, performed, and experienced? This

is where Kirtan Chownkis play a crucial role. The word “chownki” may sound simple, but it

holds a rich cultural and spiritual meaning, especially within the realm of Gurmat Sangeet,

the sacred musical tradition of Sikhism.

Imagine walking into a Gurdwara on a peaceful morning. The aroma of fresh flowers, the

soft flicker of candles, and the gentle murmur of devotees create a setting that is almost

cinematic. Now, in this serene atmosphere, the kirtan begins. But it doesn’t just start

randomly. The kirtan is organized in structured chownkis, which can be thought of as

musical “chapters” or “phases,” each designed to guide the listener through a journey of

devotion, reflection, and spiritual awakening.

At its core, a Kirtan Chownki is a carefully planned segment of kirtan performance. Each

chownki has a specific purpose, mood, and rhythm. In the context of Gurmat Sangeet, this is

not mere entertainment. It is a path to internalize the teachings of the Gurus, to meditate

on the divine word, and to experience a direct connection with spirituality. Unlike ordinary

music, which may primarily aim to entertain, a chownki’s function is both spiritual and

educational.

One of the most salient features of Kirtan Chownkis is their structured sequence. Each

chownki starts with a particular raga (a melodic framework), chosen not just for its musical

appeal but for its emotional and spiritual resonance. In Gurmat Sangeet, ragas are not just

technical scales; they are mood-setters, carefully matched to the verses (shabads) they

accompany. For example, a morning raga might be used to invoke clarity, peace, and

introspection, while an evening raga could stir devotion and surrender. The chownki,

therefore, acts as a musical roadmap, guiding listeners through a carefully crafted spiritual

experience.

Another defining feature is the use of rhythm or taal. A chownki is never random in its beat

or pace. The rhythm is meticulously selected to match the theme and emotional tone of the

shabad being recited. In Gurmat Sangeet, each tala (rhythmic cycle) has symbolic

importance. Slow talas might evoke contemplation, allowing the devotee to dwell on the

meaning of the verses, whereas faster talas can express joy and celebration. This rhythmic

structure helps maintain a flow, ensuring that the kirtan moves from one emotion to

another in a harmonious and spiritually meaningful manner.

Furthermore, vocal techniques and improvisation are central to Kirtan Chownkis. Unlike

conventional singing, Gurmat Sangeet requires the performer to blend disciplined musical

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skills with the ability to convey devotion. Chownkis often allow space for alap (slow, melodic

exploration) at the beginning, which sets the tone and immerses the audience in the raga.

Then, the composition gradually moves into the main verse, sometimes interspersed with

improvisational flourishes. These improvisations are never arbitrary; they are designed to

highlight certain words, phrases, or emotional undertones of the shabad. In this way, the

chownki becomes a living conversation between the performer, the scripture, and the

audience.

The collective participation of the congregation is also a hallmark of Kirtan Chownkis.

Unlike a solo recital, chownkis are interactive. The congregation may sing along, repeat

refrains, or respond with subtle gestures of devotion. This interaction is especially important

in Gurmat Sangeet, where the emphasis is on collective meditation and internalization of

the divine word. The chownki provides a structured framework that encourages

participation without chaos, making the devotional experience both communal and deeply

personal.

Another interesting aspect is the integration of traditional instruments. Instruments like

the harmonium, tabla, and traditional stringed instruments such as the taus or dilruba are

commonly used. In a Kirtan Chownki, these instruments are not just ornamental; they shape

the mood and enhance the spiritual impact. The choice of instrument, the way it

accompanies the voice, and the subtle variations in melody all contribute to the unique

character of each chownki. For instance, the tabla may provide a soft, meditative rhythm in

one chownki, while in another, it may deliver energetic beats to celebrate a victorious

theme in a shabad.

Moreover, Kirtan Chownkis emphasize continuity and thematic coherence. A well-

executed chownki ensures that the musical and lyrical narrative flows seamlessly from one

verse to another. This continuity is critical in Gurmat Sangeet, as the goal is not to entertain

momentarily but to guide the listener through a sustained spiritual experience. In some

traditions, chownkis are carefully planned to follow the sequence of the Guru Granth Sahib,

reflecting the philosophical progression of the scripture itself. This allows devotees to

connect more profoundly with the teachings and internalize their wisdom.

The spiritual impact on the performer is another essential feature. Preparing and

performing a chownki requires the kirtankar (performer) to immerse themselves in

devotion. It is not just technical mastery but also an emotional and spiritual discipline. The

performer’s inner state reflects in the music, making the chownki a bridge between divine

inspiration and human expression. In Gurmat Sangeet, this internal devotion of the

performer is as important as the audience’s experience.

Finally, the adaptability and versatility of Kirtan Chownkis stand out. While they are rooted

in classical ragas and traditional talas, they are flexible enough to incorporate variations in

tempo, mood, or improvisation depending on the occasion or audience. Whether it’s a

solemn morning service, a celebratory festival, or a special religious event, chownkis can be

tailored to suit the spiritual atmosphere. This adaptability ensures that Gurmat Sangeet

remains relevant, engaging, and impactful across generations.

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In conclusion, Kirtan Chownkis are much more than a musical segment—they are structured

spiritual experiences. They combine melodic beauty, rhythmic precision, improvisational

skill, thematic continuity, and devotional fervor into a cohesive form that serves both the

performer and the congregation. In the special context of Gurmat Sangeet, chownkis

embody the essence of Sikh devotional music: they educate, elevate, and immerse the

listener in a meditative journey, all while preserving the sanctity and philosophical depth of

the Guru Granth Sahib.

Through their structured sequence, careful use of ragas and talas, interactive nature, and

the devotional commitment of the performer, Kirtan Chownkis exemplify the perfect

harmony of music and spirituality. They are a testament to how sound, rhythm, and

devotion can come together to create an experience that is at once aesthetically pleasing

and profoundly transformative. A well-executed chownki does not merely end when the

music stops; it lingers in the hearts of listeners, inspiring reflection, devotion, and inner

peace long after the last note fades.

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

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