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GNDU Most Repeated (Important) Quesons
B.A. 3rd Semester
MUSIC (Vocal)
Based on 3-Year GNDU Queson Paper Trend (2022–2024)
Must-Prepare Quesons (80–100% Probability)
SECTION–A (Indian Music History & Basic Terms)
1. Akbar’s Period – Golden Age of Indian Music
Appeared in: 2022 (Q1), 2024 (Q1)
Probability for 2025: (100%)
2. Musical Terms – Alap / Upaj / Bol Alap / Bol Baant
Appeared in: 2022 (Q2), 2023 (Q2), 2024 (Q2)
Probability for 2025: (100%)
3. Development of Indian Music (14th–17th Century / Akbar’s Period)
Appeared in: 2022 (Q1), 2023 (Q1), 2024 (Q1)
Probability for 2025: (100%)
SECTION–B (Musical Concepts & Instruments)
4. Sahayak Naad in Music / Tanpura and Its Role
Appeared in: 2022 (Q3), 2023 (Q4), 2024 (Q3)
Probability for 2025: (100%)
5. Taan / Tanas – Meaning, Variees, and Kinds
Appeared in: 2022 (Q4), 2023 (Q3), 2024 (Q5)
Probability for 2025: (100%)
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SECTION–C (Raga, Tala & Notaon Wring)
6. Raga Bhimpalasi – Aroh, Avroh, Pakar, Notaon with Alap and Tanas
Appeared in: 2023 (Q5), 2024 (Q5)
Probability for 2025: (100%)
7. Tala Sooltaal / Ektal – Descripon with Ekgun and Dugun Layakaries
Appeared in: 2022 (Q6), 2024 (Q6)
Probability for 2025: (100%)
SECTION–D (Musicians & Gurmat Sangeet)
8. Life Sketch and Contribuons of Famous Musicians
o Ustad Bade Ghulam Ali Khan (2022)
o Pt. Bhimsen Joshi (2023)
o Prof. Kartar Singh (2024)
Common Theme Probability for 2025: (100%)
Expected 2025 Trend: “Life sketch and contribuons of a famous Indian
musician.”
9. Kirtan Chownkis / Gurmat Sangeet Tradions
o “Kirtan Chownkis” (2022, 2024)
o “Bilawal di Waar di Chaunki” and “Aasa di Waar di Chaunki” (2023)
Probability for 2025: (100%)
10. Guru Arjan Dev Ji – Life and Contribuon to Music / Gurmat Sangeet
Appeared in: 2024 (Q7)
Probability for 2025: (90%)
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2025 Smart Predicon Table
(Based on GNDU 2022–2024 Trend)
No.
Queson Topic
Years
Appeared
Probability for 2025
1
Akbar’s Period – Golden Age of Indian Music
2022, 2024
(100%)
2
Alap / Upaj / Bol Alap / Bol Baant
2022–2024
(100%)
3
Development of Indian Music (14th–17th
Century)
2022–2024
(100%)
4
Sahayak Naad / Tanpura
2022–2024
(100%)
5
Tanas – Variees and Kinds
2022–2024
(100%)
6
Raga Bhimpalasi (Notaon + Alap + Tanas)
2023, 2024
(100%)
7
Tala Sooltaal / Ektal (Ekgun & Dugun)
2022, 2024
(100%)
8
Life Sketch & Contribuons of Musicians
2022–2024
(100%)
9
Kirtan Chownkis / Gurmat Sangeet
2022–2024
(100%)
10
Guru Arjan Dev Ji – Contribuon
2024
(90%)
2025 GUARANTEED QUESTIONS (100% Appearance Trend)
Top 7 Must-Prepare Topics
1. Akbar’s Period – Golden Period of Indian Music
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2. Alap, Upaj, Bol Alap & Bol Baant – Meaning and Features
3. Sahayak Naad / Tanpura – Concept and Importance
4. Tanas – Variees and Pracce
5. Raga Bhimpalasi – Notaon, Alap, and Tanas
6. Tala Sooltaal / Ektal – Descripon with Ekgun & Dugun Layakari
7. Kirtan Chownkis and Gurmat Sangeet (Tradion & Relevance)
BONUS HIGH-PRIORITY (80–90%) QUESTIONS
8. Guru Arjan Dev Ji – Life Sketch & Musical Contribuons
9. Life Sketch of Great Musicians (Bade Ghulam Ali Khan / Bhimsen Joshi / Prof.
Kartar Singh)
10. Historical Development of Indian Music (14th–17th Century Overview)
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GNDU Most Repeated (Important) Answers
B.A. 3rd Semester
MUSIC (Vocal)
Based on 3-Year GNDU Queson Paper Trend (2022–2024)
Must-Prepare Quesons (80–100% Probability)
SECTION–A (Indian Music History & Basic Terms)
Akbar’s Period – Golden Age of Indian Music
Appeared in: 2022 (Q1), 2024 (Q1)
Probability for 2025: (100%)
Ans: Akbar’s Period – The Golden Age of Indian Music
Long before microphones, recording studios, or YouTube existed, there was an emperor
whose court echoed with melodies so divine that even the birds stopped to listen. This
emperor was Akbar the Great — not only known for his power and polics but for his
unmatched love for art, especially music. His reign (1556–1605) marked a period when
Indian music reached such brilliance and renement that historians called it “The
Golden Age of Indian Music.”
But how did this magical era come to life? Let’s travel back in me and experience the
story of how Akbar’s heart and mind created a musical revoluon.
A King Who Heard More Than Words
Akbar wasn’t just a ruler who wore a crown — he was a man who listened. As a child, he
couldn’t read or write, but he could hear and feel deeply. He would sit quietly and listen
to the channg of prayers, the beat of drums, and the songs of wandering saints. Those
sounds entered his soul.
When he grew up to be emperor, he didn’t forget that love. While other kings lled their
palaces with gold, Akbar lled his with music. He believed that music was not just
entertainment — it was a form of worship, a bridge between the human heart and the
divine spirit.
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Under his rule, the Mughal court became a living concert hall where sounds from India,
Persia, and Central Asia met, blended, and blossomed into something enrely new and
beauful.
The Cultural Canvas of Akbar’s Court
Imagine Akbar’s court in Fatehpur Sikri — pillars decorated with delicate designs, the air
scented with jasmine, and a vast audience gathered to witness an evening performance.
The emperor sat on his throne, surrounded by poets, philosophers, painters, and
musicians.
This was no ordinary gathering. It was a melng pot of cultures. There were Hindu
pandits singing ragas, Muslim ustads performing qawwalis, and Persian arsts adding
their own delicate tunes. Akbar’s court became the symbol of unity — where art had no
religion, and music was the common language of love.
This was the secret behind why his age became so “golden” — it encouraged freedom,
respect, and innovaon in music.
Akbar’s Personal Love for Music
Akbar wasn’t a trained musician, but he had an extraordinary ear. His historian, Abul Fazl,
wrote in Ain-i-Akbari that the emperor’s understanding of rhythm, melody, and ragas
was so deep that even professional singers respected his opinions.
He listened to music almost every day, especially in the evenings. He believed that music
puried the soul and brought one closer to God. When musicians sang devoonal ragas
or qawwalis, Akbar oen closed his eyes in meditaon, feeling each note as if it were a
divine message.
He also encouraged both Hindu and Muslim musicians equally, creang an atmosphere
of harmony and learning. No other Mughal emperor before or aer him supported music
with such open heart and deep respect.
The Nine Jewels – Musical Stars of Akbar’s Court
Akbar’s court was famous for his “Navratnas” or Nine Gems — nine extraordinary
talents who shone brightly in dierent elds. Among them, one man stood out as the
brightest musical star — Tansen.
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Let’s meet a few of these legendary arsts who made Akbar’s court glow with musical
brilliance:
Miyan Tansen – The Miracle of Music
Tansen, originally named Ramtanu Pandey, was born in Gwalior and trained under the
saint-musician Swami Haridas. His voice was said to perform miracles. People believed
that when he sang Raga Deepak, lamps lit up on their own, and when he sang Raga
Megh Malhar, rain began to fall.
Akbar admired him so much that he gave him the tle “Miyan”, meaning “master.”
Tansen composed hundreds of new ragas and developed the Dhrupad style, which
became the foundaon of Hindustani classical music.
He also created ragas like Miyan ki Todi, Miyan ki Malhar, and Miyan ki Sarang — all
named in his honor. His music wasn’t just skill — it was spiritual power turned into
sound.
Swami Haridas
He was Tansen’s teacher and one of the purest souls in Indian musical history. Swami
Haridas believed that singing was a way to worship God. His bhajans (devoonal songs)
lled hearts with peace. His teachings inuenced not only Tansen but the enre spiritual
tone of Akbar’s court.
Baj Bahadur and Roopma
Their love story added a romanc melody to this era. Baj Bahadur, a ruler and musician,
and Roopma, a singer, were famous for their love and music. Akbar admired their
devoon to each other and to art, and their tale became part of Mughal cultural history.
The Musical Fusion – Birth of Hindustani Music
Before Akbar, Indian classical music existed mostly in temples and royal courts of Hindu
kings, while Persian and Central Asian music ourished among the Mughals. Akbar
brought these two worlds together.
Under his reign, Hindustani classical music was born — a beauful blend of the Indian
raga system and Persian maqam (melodic paern). This fusion created a fresh, soulful
sound that shaped North Indian music for centuries to come.
Persian instruments like Rabab and Sitar were mixed with Indian ones like Veena and
Pakhawaj. Even the language of songs became hybrid — combining Sanskrit, Hindi, Braj,
and Persian words.
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It was during Akbar’s me that music truly became a universal art, crossing all social and
religious boundaries.
Development of Musical Forms
Akbar’s reign saw the growth and perfecon of several musical styles:
1. Dhrupad – The most respected classical form of that me. It was devoonal,
serious, and based on deep ragas. Tansen made it royal.
2. Khayal – Though it developed fully later, the seeds were planted during this era as
musicians began to experiment with freedom of expression.
3. Qawwali – The Su devoonal music gained immense popularity, performed in
both court and shrine.
4. Instrumental Music – Instruments like Veena, Rabab, Sitar, Pakhawaj, and Tabla
became essenal in performances.
Each of these forms carried Akbar’s spirit of inclusiveness — where every sound had a
place and every voice was heard.
Akbar’s Patronage – The Foundaon of the Golden Age
The secret behind this golden age was Akbar’s unmatched patronage. He gave arsts not
only fame but also freedom.
• He honored musicians with tles and rewards.
• He invited arsts from across India — from Kashmir to Bengal, from Gujarat to
Deccan — making his court a naonal stage.
• He encouraged innovaon, allowing musicians to experiment and create new
ragas.
• He recorded musical tradions in Ain-i-Akbari, ensuring that future generaons
remembered this era.
Akbar also founded a group of expert musicians to preserve dierent musical tradions,
almost like an academy. This showed his vision of art not just as entertainment but as
heritage.
Music as a Symbol of Peace and Unity
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Akbar’s dream was not only to rule land but to rule hearts. Through music, he found a
way to unite his people. In his court, a Hindu sang alongside a Muslim, and a Persian
instrument played beside an Indian one. Music became the thread that wove the
diverse fabric of India into one beauful design.
This was the essence of Akbar’s philosophy of Sulh-i-Kul — universal peace. In a world
oen divided by religion, music became the voice of harmony.
The Timeless Legacy
Even aer Akbar’s death in 1605, the melodies of his age did not fade. His musical
innovaons shaped the future of Indian classical music. The styles developed then — the
ragas, the fusion, the instruments — are sll the foundaon of Hindustani music today.
From temples to concerts, from classical singers to lm composers, every note carries a
lile echo of Akbar’s golden age. Musicians even today begin their training by learning
ragas composed by Tansen — a direct gi from Akbar’s court.
Conclusion – When the Empire Sang
Akbar’s period truly deserves to be called “The Golden Age of Indian Music.” It was a
me when an emperor listened not to the noise of war but to the rhythm of harmony.
He made his court a sanctuary where devoon met art, and where music became the
voice of India’s soul.
His love for music, his open-mindedness, and his respect for arsts turned his empire
into a stage of divine creavity.
Even centuries later, the story of Akbar and his musicians reminds us that power may
fade, empires may fall, but the melody of art — once played — echoes forever.
2. Musical Terms – Alap / Upaj / Bol Alap / Bol Baant
Appeared in: 2022 (Q2), 2023 (Q2), 2024 (Q2)
Probability for 2025: (100%)
Ans: Musical Terms – Alap / Upaj / Bol Alap / Bol Baant
Imagine this — it’s a calm evening. The stage is dimly lit. A tanpura hums softly in the
background, filling the air with a peaceful drone. A sitar player sits cross-legged, eyes
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closed, lost in thought. The audience is silent, waiting. The concert hasn’t truly begun
yet, but something magical is about to unfold.
He plucks the first note — Sa. It vibrates in the air, slow and deep. Then comes another
note — Re, followed by Ga — each one melting into the other like colors in a painting.
This slow, emotional unfolding of melody before rhythm begins is called Alap — the soul
of Indian classical music.
And just like that, our story about Alap, Upaj, Bol Alap, and Bol Baant begins — not as
technical terms, but as living expressions of emotion, creativity, and beauty.
1. Alap – The Soul’s First Breath in Music
Let’s start with Alap.
In simple words, Alap means the introduction or slow unfolding of a raga. It’s the part
of a performance where the artist explores the raga — slowly, patiently, and deeply —
without the use of rhythm (taal) or percussion.
If the raga is a person, then Alap is like getting to know that person — their moods,
their emotions, their unique character.
The Nature of Alap:
• It is free from rhythm — there’s no fixed beat or tempo.
• It begins slowly, moving from lower notes (mandra saptak) to higher ones (tar
saptak).
• It helps the listener feel the mood (rasa) of the raga — whether it’s joyful,
devotional, or sad.
• It allows the artist to express their inner feelings through pure sound.
The Experience of Alap:
When Tansen, the great musician of Akbar’s court, performed Alap, people said the
lamps began to flicker and nature itself paused to listen. That’s the power of Alap — it’s
not about showing skill, it’s about touching hearts.
In instrumental music, Alap is played slowly and gracefully — for example, on sitar,
sarod, or flute. In vocal music, Alap is sung using syllables like aa, na, or ta, instead of
actual words.
Alap is like sunrise — it starts softly in the darkness and slowly fills the world with light.
It sets the emotional tone for everything that follows.
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2. Upaj – The Spark of Spontaneity
After the calm and steady Alap comes a moment of excitement — Upaj.
The word Upaj literally means “to grow” or “to arise.” In music, it refers to
improvisation or spontaneous creation by the artist during the performance.
If Alap is like a calm river flowing steadily, Upaj is like the ripples that form when a
breeze touches the surface. It adds life, freshness, and energy to the music.
What Happens in Upaj:
• The artist begins to create variations on the spot, within the boundaries of the
raga.
• There is more movement and rhythm, though not yet tied to a fixed taal.
• It shows the artist’s creativity, imagination, and command over the raga.
• Each Upaj is unique — no two performances are ever exactly the same!
The Spirit of Upaj:
Upaj is where the artist’s personality shines. It’s like a painter suddenly deciding to add a
stroke of gold to a blue sky.
A good musician balances technical perfection with emotional expression during Upaj.
It’s not rehearsed — it’s born in the moment, which is what makes Indian classical music
so magical.
For example, when a sitar player suddenly weaves in a beautiful pattern of notes that
surprises even himself, that’s Upaj. It’s the art of surprise, yet still rooted in discipline.
3. Bol Alap – The Alap Using Words (Bols)
Now, let’s move to Bol Alap, which combines the emotional depth of Alap with the
power of words.
In Hindi, Bol means “word” or “syllable.” So, Bol Alap means Alap sung using the actual
words of the composition (bandish) instead of meaningless syllables.
If Alap is like sketching with pencil, then Bol Alap is like coloring the sketch with real
shades — giving it meaning and emotion.
What Happens in Bol Alap:
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• The artist takes the lyrics (bols) of the song and sings them slowly, exploring how
each word can express the feeling of the raga.
• The rhythm is still free — it’s not bound by taal yet.
• The focus is on meaning, pronunciation, and emotional expression.
• It connects the audience more deeply because they can understand the words
being sung.
Example:
Let’s say the bandish (composition) is “Payo ji maine Ram ratan dhan payo.”
In Bol Alap, the singer would slowly sing each word — “Paa...yo... ji... maine...” —
stretching and bending the notes to bring out devotion and peace.
Bol Alap allows the musician to express not just sound, but feeling — love, devotion,
separation, or joy — all through the words of the song.
4. Bol Baant – The Art of Division and Pattern
Finally, we reach Bol Baant — another form of improvisation, but with a touch of
rhythm and structure.
The word Baant means “division” or “distribution.” So, Bol Baant literally means dividing
and arranging the words (bols) of the composition in rhythmic patterns.
While Bol Alap was free and emotional, Bol Baant is rhythmic and playful. Here, the
artist starts to introduce taal (rhythmic cycle) into the performance.
Characteristics of Bol Baant:
• It is performed after the Alap and Bol Alap, once rhythm (taal) is introduced.
• The artist divides the lyrics of the composition into creative rhythmic patterns.
• It shows the singer’s mastery over rhythm (layakari) — playing with slow,
medium, and fast tempos.
• It’s both intellectual and musical — a test of skill and imagination.
Example:
If the words are “Payo ji maine,” the singer may break them in rhythmic forms like:
• “Pa-yo... ji... maine”
• “Pa-yo ji... Pa-yo ji... maine”
• “Payo... Payo... maine ji...”
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Each repetition changes slightly with rhythm, creating a musical dance between words
and beats.
Importance:
Bol Baant makes the performance lively and dynamic. The audience starts tapping their
feet; the tabla joins in; and the concert reaches its energetic peak.
It’s like watching the sunrise turn into a bright day full of energy after the calm dawn of
Alap.
How They All Connect
You can think of Alap, Upaj, Bol Alap, and Bol Baant as four stages of a musical journey
— each one deeper and more vibrant than the last.
Stage
Meaning
Emotion
Rhythm
Alap
Introduction of raga
Calm & devotional
No rhythm
Upaj
Improvised creativity
Energetic & free
Optional rhythm
Bol Alap
Alap using words
Expressive & lyrical
No rhythm
Bol Baant
Division of words in rhythm
Playful & skillful
With rhythm
Each stage adds a new layer to the music — from peaceful exploration to joyful rhythm.
Together, they make an Indian classical performance feel like a living story told through
sound.
Why These Terms Are Important
These four terms are not just musical techniques; they are expressions of life itself.
• Alap teaches patience — starting slowly and letting beauty unfold.
• Upaj inspires creativity — trusting your instincts.
• Bol Alap reminds us to express emotion through meaning.
• Bol Baant celebrates discipline and rhythm — the harmony of life’s structure and
freedom.
In Indian music, every performance becomes a journey of self-expression, moving from
silence to sound, from emotion to joy.
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Conclusion – The Living Heartbeat of Indian Music
So, when we talk about Alap, Upaj, Bol Alap, and Bol Baant, we’re not just talking about
musical terms — we’re describing the heartbeat of Indian classical tradition.
They show how deeply Indian music connects emotion, imagination, and rhythm. Each
term represents a step in the artist’s conversation with the divine — a dialogue between
the soul and sound.
Every time a musician begins with Alap and ends with Bol Baant, it’s like reliving the
cycle of life — from birth (Alap) to maturity (Bol Baant), with creativity (Upaj) and
emotion (Bol Alap) guiding the way.
This is what makes Indian music timeless — it doesn’t just enter the ears; it enters the
heart.
3. Development of Indian Music (14th–17th Century / Akbar’s Period)
Appeared in: 2022 (Q1), 2023 (Q1), 2024 (Q1)
Probability for 2025: (100%)
Ans: Development of Indian Music (14th–17th Century / Akbar’s Period)
A Fresh Beginning
Imagine walking through the marble corridors of Fatehpur Sikri in the 16th century. The
air is lled with the scent of rosewater and incense. In the royal court, silence falls as a
man in white robes steps forward, eyes closed, tanpura in hand. He begins to sing—not
for applause, not for entertainment, but as an oering to the divine and the emperor. His
voice rises in Raag Darbari, echoing through the sandstone walls, and me itself seems
to pause.
This was the world of Indian music during the 14th to 17th century, a me of
transformaon, fusion, and owering. It was a period when music moved from temples
to courts, from devoon to expression, and from oral tradion to wrien treases. And
at the heart of this evoluon stood one of India’s greatest emperors—Akbar the Great,
whose love for music shaped an enre era.
Chapter 1: The Musical Landscape Before Akbar (14th–15th Century)
Before Akbar’s me, Indian music was already rich and diverse, but it was largely divided
along regional and religious lines.
Temple Tradions
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• In South India, Carnac music was ourishing in temples, with composions
rooted in devoon (bhak).
• Music was considered a form of spiritual oering, and ragas were used to express
emoons towards deies.
• Instruments like veena, mridangam, and ute were central to performances.
Courtly and Folk Inuences
• In North India, music was evolving under the inuence of Persian and Central
Asian tradions, brought by the Delhi Sultanate.
• The Su saints used music (qawwali, sama) as a means of divine connecon,
blending Persian poetry with Indian ragas.
• Folk music thrived in villages, with instruments like ektara, dholak, and sarangi.
This was a me of parallel tradions—sacred and secular, classical and folk, Hindu
and Islamic—each developing its own identy.
Chapter 2: The Mughal Era Begins – A New Cultural Synthesis
With the arrival of the Mughals in the 16th century, Indian music entered a new phase.
The Mughal emperors, especially Babur and Humayun, brought with them a deep
appreciaon for Persian and Central Asian music.
• Babur was a poet and musician himself.
• Humayun, during his exile in Persia, absorbed Persian musical styles and brought
back musicians to India.
But it was Akbar (1556–1605) who truly embraced and elevated Indian music, making
his court a melng pot of musical tradions.
Chapter 3: Akbar’s Court – A Golden Age of Music
Akbar’s Love for Music
• Akbar was deeply spiritual and believed that music could elevate the soul.
• He listened to music ve mes a day, oen in private meditaon.
• He abolished the ban on music imposed by earlier Islamic rulers, declaring it a
divine gi.
The Navaratnas and Tansen
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Among Akbar’s famed Navaratnas (Nine Gems) was Miyan Tansen, the most celebrated
musician of the era.
• Tansen was trained in Dhrupad, the oldest form of Hindustani classical music.
• He composed many new ragas, including Miyan ki Todi, Miyan ki Malhar, and
Darbari Kanada.
• His music was said to have miraculous powers—lighng lamps with Raag Deepak,
bringing rain with Raag Megh Malhar.
• He blended Hindu devoonal music with Persian aesthecs, creang a new
syncrec style.
Tansen’s inuence was so profound that he is considered the father of Hindustani
classical music.
Chapter 4: Musical Innovaons During Akbar’s Reign
1. Patronage and Instuonal Support
• Akbar established music schools and appointed court musicians from diverse
backgrounds—Hindu, Muslim, Persian, and Afghan.
• He encouraged musical debates and performances, making his court a center of
excellence.
• Music became part of royal ceremonies, fesvals, and daily court life.
2. Fusion of Styles
• Persian instruments like rabab, santoor, and naqqara were blended with Indian
instruments like veena, pakhawaj, and bansuri.
• New instruments like the sitar and tabla began to evolve during this period.
• Vocal styles like qawwali, khayal, and tarana began to take shape, inuenced by
both Su and classical tradions.
3. Development of Dhrupad
• Dhrupad, the dominant vocal form, was rened and formalized.
• It emphasized spiritual depth, strict rhythm (taal), and raag purity.
• Composions were oen in Braj Bhasha, praising Hindu deies or royal patrons.
Akbar’s court became a laboratory of musical innovaon, where tradion met
experimentaon.
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Chapter 5: Music Beyond the Court – Bhak and Su Movements
While Akbar’s court was a hub of elite music, the Bhak and Su movements were
spreading music among the masses.
Bhak Saints
• Saints like Meera Bai, Surdas, and Tulsidas composed devoonal songs in local
languages.
• Their bhajans were sung in temples and homes, making music a personal
spiritual experience.
Su Myscs
• Su saints like Khusrau and Bulleh Shah used music to express divine love.
• Qawwali became a powerful medium of spiritual ecstasy, performed in dargahs
and gatherings.
These movements ensured that music was not conned to courts—it became a voice
of the people.
Chapter 6: Legacy of the 14th–17th Century Musical Renaissance
The developments during this period laid the foundaon for modern Indian classical
music.
• Hindustani and Carnac music began to diverge, each developing its own
identy.
• The guru-shishya parampara (teacher-disciple tradion) was strengthened.
• Music treases like Sangeet Ratnakar and Ragmala were studied and expanded.
• The idea of raag and taal as central pillars was rmly established.
By the end of the 17th century, Indian music had become a rened, codied, and
deeply spiritual art form, ready to ourish in the centuries ahead.
A Humanized Conclusion
The story of Indian music from the 14th to 17th century is not just about ragas and
rhythms—it’s about people, passion, and purpose. It’s about emperors who listened
with reverence, saints who sang with love, and musicians who gave their lives to sound.
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Akbar’s court was not just a palace—it was a temple of art, where music was
worshipped, nurtured, and transformed. And from its echoes came the melodies we sll
hear today—in concerts, temples, and hearts.
So when we listen to a raga or a bhajan today, we are not just hearing notes—we are
hearing history, devoon, and the soul of a civilizaon.
SECTION–B (Musical Concepts & Instruments)
4. Sahayak Naad in Music / Tanpura and Its Role
Appeared in: 2022 (Q3), 2023 (Q4), 2024 (Q3)
Probability for 2025: (100%)
Ans: Sahayak Naad in Music / Tanpura and Its Role
A Fresh Beginning
Before a singer begins to sing, before the tabla joins in rhythm, before the raga unfolds
its emotion—there is a sound. A soft, continuous, soothing hum that fills the air like a
gentle breeze. It doesn’t demand attention, yet it holds everything together. This sound
comes from the Tanpura, and it creates what musicians call the Sahayak Naad—the
supporting sound.
In Indian classical music, this is not just background noise. It is the soul beneath the
melody, the canvas on which the raga is painted, and the invisible thread that binds
the performance together. To understand Sahayak Naad and the role of the Tanpura,
we must step into the world of sound—not just as listeners, but as seekers of its deeper
meaning.
Chapter 1: What Is Sahayak Naad?
Let’s begin with the term itself.
• Sahayak means “supporting” or “assisting.”
• Naad means “sound” or “musical vibration.”
So, Sahayak Naad refers to the supporting sound that accompanies the main melody in
Indian classical music. It is not the melody itself, nor the rhythm, but a continuous drone
that provides a tonal foundation.
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Imagine a singer performing Raga Yaman. As she explores the notes, her voice rises and
falls, expressing emotion and creativity. But beneath her voice, the Tanpura hums
steadily—Sa, Pa, Sa, Pa—creating a harmonic base. This base is the Sahayak Naad.
It helps the singer stay in tune, gives depth to the raga, and creates a meditative
atmosphere. Without it, the performance would feel hollow, like a painting without a
background.
Chapter 2: The Tanpura – The Silent Hero
The Tanpura (also spelled Tambura) is the instrument that produces the Sahayak Naad.
It looks like a sitar but has no frets. It is not played for melody or rhythm—it is played for
resonance.
Structure of the Tanpura
• It has four or five strings, usually tuned to Sa, Pa, Sa, Sa or Sa, Ma, Sa, Sa
depending on the raga.
• The strings are plucked in a continuous cycle, creating a rich, vibrating drone.
• The body is made of wood and gourd, designed to enhance resonance.
The Tanpura is not flashy. It doesn’t perform solos. But it is essential—like oxygen in
the air.
Chapter 3: The Role of Sahayak Naad in Music
Let’s now explore how Sahayak Naad supports a musical performance.
1. Tonal Anchor
• The drone provides a reference pitch (usually the tonic note, Sa).
• It helps the singer or instrumentalist stay in tune throughout the performance.
• Even when the melody explores higher or lower notes, the Sahayak Naad keeps
the performer grounded.
2. Emotional Depth
• The continuous hum creates a meditative mood.
• It allows the raga to unfold slowly and naturally.
• The listener feels immersed, as if floating in a sea of sound.
3. Harmonic Support
• Though Indian classical music is mostly melodic, the Tanpura adds a harmonic
layer.
• The overtones and vibrations enrich the sound texture.
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• It creates a sonic environment where the raga can breathe.
4. Spiritual Connection
• Many musicians say that the Tanpura connects them to the divine.
• Its sound is pure, unchanging, and eternal—like the Om in spiritual practice.
• It helps both performer and listener enter a state of contemplation.
In short, Sahayak Naad is not just a technical tool—it is a spiritual companion in the
journey of music.
Chapter 4: Tanpura in Practice – A Story from the Stage
Let’s imagine a concert. The hall is silent. The lights dim. The artist sits cross-legged, eyes
closed. Before singing a single note, she adjusts the Tanpura. The strings are tuned, the
vibrations checked. Then, she begins to pluck: Sa… Pa… Sa… Pa…
The sound fills the room—not loud, but deep. It sets the mood. The tabla player nods.
The violinist listens. The audience feels a shift, as if entering a sacred space.
Then, the singer begins the alaap—the slow, free exploration of the raga. Her voice
dances around the Tanpura’s drone, sometimes touching it, sometimes soaring above it.
But always returning to it.
This is the magic of Sahayak Naad. It is always present, never intrusive. It is the invisible
guide that keeps the music honest and alive.
Chapter 5: Types of Tanpura and Modern Adaptations
Types of Tanpura
• Male Tanpura: Larger, deeper sound, used by male vocalists.
• Female Tanpura: Slightly smaller, brighter tone, used by female vocalists.
• Instrumental Tanpura: Used with sitar, sarod, violin, etc.
• Electronic Tanpura: A modern device that replicates the drone digitally.
While electronic Tanpuras are convenient, many musicians still prefer the natural
resonance of the traditional instrument.
Chapter 6: Sahayak Naad Beyond Classical Music
Though rooted in classical tradition, the concept of Sahayak Naad has inspired other
genres too:
• In fusion music, Tanpura is used to add depth and Indian flavor.
• In meditation and yoga, the drone is used to create calm and focus.
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• In film music, Tanpura often appears in scenes of devotion or introspection.
The idea of a supporting sound is universal—it reminds us that even in creativity, we
need a foundation.
Chapter 7: Why It Matters – A Reflection
In a world full of noise, the Tanpura teaches us the value of stillness. In a performance
full of movement, Sahayak Naad reminds us of balance. In a melody full of emotion, it
offers stability.
For students of music, understanding Sahayak Naad is like learning to breathe before
learning to speak. It is the first lesson, the constant companion, and the last note that
lingers after the performance ends.
A Humanized Conclusion
The Tanpura never seeks applause. It never takes center stage. Yet, without it, the
performance would fall apart. It is the humble backbone of Indian classical music, and
Sahayak Naad is its gift to every raga, every singer, and every listener.
So, when we hear that soft drone in a concert, let us not ignore it. Let us recognize it as
the silent hero, the musical heartbeat, and the soul of the sound.
5. Taan / Tanas – Meaning, Variees, and Kinds
Appeared in: 2022 (Q4), 2023 (Q3), 2024 (Q5)
Probability for 2025: (100%)
Ans: Taan / Tanas – The Magic of Speed in Music
Picture this: You are sitting in a serene room where a sitar is gently being played. The
musician begins a slow, melodious raga, letting every note linger like a flower in bloom.
Suddenly, the pace changes — the notes begin to flow faster and faster, cascading like a
waterfall, each note precise yet free. Your heart races with excitement, and you can
almost feel the music painting the air with colors.
This magical stream of fast, intricate notes in Indian classical music is called a “Taan” (or
plural, Tanas). But what exactly is a taan, why is it important, and what types exist? Let’s
dive into this story of music, speed, and creativity.
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The Meaning of Taan
The word “Taan” comes from the Sanskrit root “tan”, which means “to stretch or
extend.” In music, a taan is a rapid, melodic improvisation sung by a musician on a raga.
It is not random speed — it is precise, controlled, and always follows the rules of the
raga.
Think of a taan as a musical sprint. Just as a sprinter follows a track, a taan follows the
raga’s scale, rhythm, and mood, but at a much faster pace than the main melody. It adds
excitement, drama, and brilliance to a performance, often leaving the audience in awe
of the musician’s skill.
In simpler words:
• Slow raga singing = storytelling.
• Taan = the thrilling climax of the story.
Why Taan is Important
Taan is like the spice that makes a dish unforgettable. It shows:
1. Mastery of the Raga: Only a musician who knows the raga deeply can perform a
taan without breaking the rules.
2. Technical Skill: Taan requires speed, precision, and breath control in vocal music
or finger agility in instruments.
3. Emotional Expression: Taan isn’t just fast notes — it carries the raga’s emotion,
whether it is joy, longing, devotion, or romance.
4. Audience Engagement: A well-executed taan energizes listeners, creating a
feeling of wonder and excitement.
Imagine a river flowing calmly, then suddenly gushing over rocks and waterfalls — that’s
the feeling a taan creates in music. It makes the performance dynamic and alive.
The Varieties of Taan
Taan is not one-size-fits-all. Musicians have developed different varieties, each with a
unique style, texture, and effect. Let’s meet them like characters in a musical story:
1. Sapat Taan (Straight Taan):
o Think of it as walking straight along the musical scale, like a traveler
moving steadily along a path.
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o Notes move in sequential order (Sa Re Ga Ma Pa Dha Ni Sa), ascending or
descending.
o It is simple, elegant, and often used as a foundation to begin taan
improvisations.
2. Koot Taan (Twisted or Crooked Taan):
o This is like a zigzag path in a forest, unpredictable but fascinating.
o Notes are arranged non-linearly, jumping back and forth across the scale.
o Koot taan creates surprise and excitement, challenging both the musician
and the listener.
3. Mishra Taan (Mixed Taan):
o A fusion of sapat and koot.
o Sometimes the notes flow straight, sometimes they twist unexpectedly.
o Mishra taan is versatile, showing a musician’s creativity and mastery.
4. Gamaka Taan (Ornamented Taan):
o Imagine painting each note with curves and shades.
o Gamaka Taan uses subtle ornamentations, slides, and oscillations to make
the fast notes expressive and emotional.
5. Bol Taan (Lyrics-based Taan):
o Here, the fast notes are sung using the words of the song, rather than just
syllables like “aa” or “na.”
o Bol Taan combines speed with meaning, connecting musical brilliance to
poetic expression.
6. Sargam Taan (Singing Notes by Name):
o In this type, the musician sings the names of the notes (Sa Re Ga Ma…).
o It helps listeners follow the scale even when the tempo is very fast.
Different Kinds of Tanas
Within these varieties, musicians also explore different kinds of execution, or “kinds” of
taans. Here’s a breakdown:
1. Aarohi (Ascending) Taan: Notes move upwards along the scale. It feels like
climbing a mountain, creating anticipation and tension.
2. Avarohi (Descending) Taan: Notes move downwards, like a river flowing to the
sea. It brings relief and resolution after intense buildup.
3. Sanchari Taan: Combines ascending and descending patterns, creating dynamic
movement across the raga.
4. Alankar Taan: Uses patterns and sequences repeated in a clever way, showing
technical brilliance.
5. Boltan / Shuddha Taan: Performed without any breaks, maintaining perfect
rhythm and clarity — the purest form of taan.
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How Taan is Practiced
Learning taan is like learning to run before you sprint. Musicians start with slow
exercises to understand:
• The raga’s scale
• The rhythm of the tala
• The precision of each note
Then, with practice and guidance, they gradually increase the speed, adding twists,
ornamentations, and patterns.
A story from Tansen’s life illustrates this beautifully. Once, he was asked to perform in
Akbar’s court. He started slowly, letting each note shine. Then, with confidence, he
moved into a taan — so fast yet precise that the emperor and courtiers were
astonished. That is the power of a well-executed taan.
Taan – More than Just Speed
It is important to remember that taan is not just about singing fast. A poor taan sounds
like noise, while a perfect taan is a flowing stream of musical beauty.
Taan:
• Follows raga rules
• Enhances emotion
• Shows skill and imagination
• Connects performer and audience
Think of it like a firework in music — dazzling, exciting, and leaving the listener thrilled.
Conclusion – Taan as the Soul of Musical Excitement
In the world of Indian classical music, taan is the heartbeat of brilliance. It turns a
performance from calm beauty into an exhilarating journey. Through various types —
sapat, koot, bol, gamaka, and sargam — musicians explore creativity, technical mastery,
and emotional expression.
Taan is like a musical sprint that challenges the performer and delights the listener. It
brings life, energy, and soul to every raga, showing that music is not just sound — it is
an experience, a story, and a celebration of human creativity.
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So, whenever you listen to a skilled musician performing a taan, imagine the notes as
tiny birds flying swiftly across the sky of the raga, free yet disciplined, fast yet perfectly
controlled. That is the magic of Taan — the crown jewel of Indian classical music.
SECTION–C (Raga, Tala & Notaon Wring)
6. Raga Bhimpalasi – Aroh, Avroh, Pakar, Notaon with Alap and Tanas
Appeared in: 2023 (Q5), 2024 (Q5)
Probability for 2025: (100%)
Ans: Raga Bhimpalasi – Aroh, Avroh, Pakar, Notation with Alap and Tanas
A Fresh Beginning
It’s late afternoon. The sun is mellow, casting golden shadows across the courtyard. A
tanpura hums gently in the background. The air is still, as if waiting. Then, a voice rises—
slow, deliberate, soaked in longing. It’s not just music. It’s emotion, memory, and
meditation woven into sound.
This is the world of Raga Bhimpalasi, a raga that captures the mood of late afternoon
yearning. It doesn’t rush. It doesn’t shout. It lingers, like a thought you can’t let go.
To understand Bhimpalasi is to understand how Indian classical music turns time into
emotion, and emotion into melody. Let’s walk through its Aroh, Avroh, Pakar, notation,
Alap, and Tanas—not as dry theory, but as a living experience.
Chapter 1: The Soul of Bhimpalasi
Raga Bhimpalasi belongs to the Kafi Thaat, and is traditionally performed in the late
afternoon. Its mood is devotional, introspective, and slightly melancholic. It evokes a
sense of longing—not sadness, but a sweet ache, like waiting for someone you love.
It is an audav-sampurna raga:
• Aroh (ascending scale) uses five notes.
• Avroh (descending scale) uses all seven notes.
Chapter 2: Aroh and Avroh – The Path of the Melody
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Let’s begin with the Aroh (ascending) and Avroh (descending)—the skeleton of the
raga.
Aroh (Ascending)
Ni Sa Ga Ma Pa Ni Sa
• Only five notes are used: Ni, Sa, Ga, Ma, Pa
• Re and Dha are omitted in ascent.
• The movement is straight and simple, creating a gentle rise.
Avroh (Descending)
Sa Ni Dha Pa Ma Ga Re Sa
• All seven notes are used.
• The descent is rich and expressive, allowing for emotional depth.
• Re and Dha return in the descent, adding color and complexity.
This structure gives Bhimpalasi its unique flavor: simplicity in ascent, richness in
descent.
Chapter 3: Pakar – The Signature Phrase
Every raga has a pakar—a musical phrase that captures its essence. It’s like a fingerprint,
instantly recognizable.
Pakar of Bhimpalasi
Ni Sa Ga Ma Pa, Ma Ga Re, Sa
• This phrase shows the gentle ascent and the expressive descent.
• The glide from Ma to Ga to Re is especially important—it creates the emotional
pull of the raga.
• The repetition of Sa at the end brings closure and calm.
The pakar is not just a phrase—it’s the identity of Bhimpalasi.
Chapter 4: Notation – Putting It on Paper
Let’s now look at a simple notation for Bhimpalasi, using sargam (Sa Re Ga Ma Pa Dha
Ni).
Basic Bandish (Composition) in Vilambit (slow tempo)
Sthayi:
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Ni Sa Ga Ma Pa, Ma Ga Re Sa
Ni Sa Ga Ma Pa, Ma Ga Re Sa
Antara:
Sa Ga Ma Pa Ni Sa, Ni Sa Ga Ma Pa
Ma Ga Re Sa, Ni Sa Ga Ma Pa
• The Sthayi stays in the lower and middle octave, expressing calm.
• The Antara explores the upper octave, expressing yearning.
• The movement is fluid, with gentle glides (meend) and subtle oscillations
(gamak).
The notation is a map, but the emotion comes from how the artist walks that path.
Chapter 5: Alap – The Unfolding of Emotion
Before the composition begins, the artist performs an Alap—a slow, free-flowing
exploration of the raga.
Alap in Bhimpalasi
• Begins with Ni Sa Ga, slowly introducing the notes.
• Ma is held with depth, creating a sense of stillness.
• Pa is touched gently, not emphasized.
• The descent—Ma Ga Re Sa—is explored with delicate glides.
• No rhythm, no words—just pure melody.
The Alap is like watching the sun set—gradual, beautiful, and full of feeling.
Chapter 6: Tanas – The Flight of the Melody
After the slow exploration, the artist performs Tanas—fast, rhythmic patterns that show
mastery and energy.
Tanas in Bhimpalasi
• Use Sa Ga Ma Pa Ni Sa in ascending runs.
• Descend with Sa Ni Dha Pa Ma Ga Re Sa.
• Include akar tanas (using the vowel “aa”) to show vocal strength.
• Use sargam tanas (naming the notes) to show clarity.
• Maintain the raga’s mood—even in speed, Bhimpalasi must feel gentle and
introspective.
Tanas are like birds flying across the sky—fast, free, but always returning to the
nest.
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Chapter 7: Bhimpalasi in Performance – A Story from the Stage
Let’s imagine a concert. The artist sits quietly, eyes closed. The tanpura hums. The
audience waits.
She begins with a slow Alap—Ni… Sa… Ga… Ma… Pa… The notes unfold like petals. The
mood is set.
Then comes the bandish: “Ab toh jaane na doongi…” A composition soaked in longing.
Her voice rises and falls, always anchored by the Tanpura’s drone.
Then come the tanas—fast, precise, but never aggressive. The raga remains soft,
emotional, and graceful.
The performance ends not with a bang, but with a whisper. The audience is silent—not
because they are bored, but because they are moved.
Bhimpalasi is not a show—it’s a journey inward.
Chapter 8: Why Bhimpalasi Matters
• It teaches balance—between simplicity and complexity.
• It shows how emotion can be expressed through structure.
• It reminds us that music is not just sound—it is feeling, time, and space.
• It connects the listener to the afternoon mood—a time of reflection, pause, and
gentle longing.
For students, Bhimpalasi is a gateway raga—easy to learn, rich to explore, and
deeply rewarding.
Conclusion
Raga Bhimpalasi is like a quiet conversation with the soul. It doesn’t shout. It doesn’t
rush. It waits, unfolds, and touches the heart.
Its Aroh and Avroh are simple, but its mood is profound. Its Pakar is brief, but
unforgettable. Its Alap is meditative, and its Tanas are graceful.
So, when you sing or listen to Bhimpalasi, don’t just follow the notes. Feel the emotion.
Live the moment. Let the raga speak.
Because in Indian classical music, the best performances are not those that impress—
they are those that move.
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7. Tala Sooltaal / Ektal – Descripon with Ekgun and Dugun Layakaries
Appeared in: 2022 (Q6), 2024 (Q6)
Probability for 2025: (100%)
Ans: Tala Sooltaal / Ektal – A Journey into Rhythm
Imagine stepping into a bustling music classroom in India, hundreds of years ago. The air
is thick with the excitement of rhythm; the tabla resonates with deep, rich beats, and
the sound of the singer’s voice floats in harmony with the percussion. The teacher raises
his hand and says, “Today we will explore one of the most important and fascinating
talas of Hindustani music — Sooltaal, also called Ektal.”
For any student of music, understanding Sooltaal is like discovering the heartbeat of a
performance — it’s not just about counting beats; it’s about feeling the rhythm in your
soul.
What is a Tala?
Before diving into Sooltaal, let’s step back and understand the concept of Tala. Tala is
the framework of rhythm in Indian classical music. Imagine a heartbeat — regular,
predictable, yet capable of infinite variation. That is Tala: a cycle of beats repeated
throughout a musical performance, guiding both the musician and the listener.
Each tala has a specific number of beats (matras), stress points (tali and khali), and a
particular pattern of claps and waves. These patterns help musicians keep track of time
and add layers of beauty to the performance.
Meet Sooltaal / Ektal
Now, let’s focus on Sooltaal, also known as Ektal. The word Ektal literally means “one
tala” because it has a single, unified cycle — but don’t be fooled! It’s far from simple.
This tala is majestic and profound, often used in Dhrupad and Khayal performances,
and is perfect for compositions that require deep emotional expression.
• Number of Beats: 12
• Division of Beats: 6+6 (it’s often divided into two equal halves for clarity)
• Tali (Claps): Beats 1, 5, 9, and 11
• Khali (Wave): Beat 7 (the “empty” beat, giving a unique pause in rhythm)
Think of it as a river flowing with 12 ripples, some strong (tali) and some gentle (khali),
creating a rhythmic journey that the listener can almost feel physically.
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Understanding Ekgun and Dugun Layakaries
To truly master Sooltaal, one must explore Layakaries — the variations in how beats are
counted and played. Two important layakaries are Ekgun and Dugun. Let’s meet them:
1. Ekgun Layakari – This is the simple, one-beat-per-count style.
Imagine walking along a path, taking one step per beat. In Ekgun, the tabla plays
one stroke per matra, and the rhythm flows at its natural pace. It’s clear, steady,
and majestic — perfect for the foundational understanding of Sooltaal.
2. Dugun Layakari – Now, imagine doubling your steps without changing the overall
rhythm of the walk. That’s Dugun! Each beat is split into two equal parts, so the
tabla plays two strokes per matra. The tala feels faster, yet the cycle remains the
same. Dugun adds excitement, energy, and a sense of elaboration to the
performance.
There are also other layakaries, like Tigun (triple) and Chaugun (quadruple), but for
today, Ekgun and Dugun are our main focus.
Sooltaal as a Story of Rhythm
Let’s imagine a tabla performance in Sooltaal. The first beat (sam) is the starting point
— like the opening of a story. The next few beats guide the listener through the tale,
with each tali (clap) marking a significant chapter and the khali (wave) creating a
moment of suspense or pause.
• Beats 1 (sam) – The hero enters. The story begins.
• Beat 5 (tali) – Conflict arises. The rhythm moves forward, capturing attention.
• Beat 7 (khali) – A gentle pause. Perhaps the hero is reflecting, or a quiet moment
arrives in the narrative.
• Beat 9 and 11 (tali) – Resolution builds, excitement grows, leading back to sam,
the cycle’s completion.
In Ekgun, this story moves gracefully, with each beat allowing the listener to savor the
journey. In Dugun, it accelerates — like turning pages quickly in a thrilling part of a
novel.
Why Sooltaal is Special
1. Versatility – Sooltaal can be used in slow (vilambit) or fast (drut) tempos. This
makes it perfect for both devotional and romantic compositions.
2. Balance – With its 12-beat cycle, it is long enough to explore complex rhythmic
patterns but not too long to confuse the listener.
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3. Expression – The combination of tali and khali allows musicians to create
emotional tension and release, similar to storytelling.
4. Foundation for Learning – Every serious tabla student must master Sooltaal, as it
strengthens timing, rhythm control, and improvisation skills.
The Tabla in Action
In practical terms, a tabla player will perform Sooltaal using a sequence of bols
(syllables) — Dha, Dhin, Tin, Na, etc. For example:
• Ekgun (simple): Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Tin Tin Na Na | Dhin
Dhin Dha Dha
• Dugun (double): Dha Dha Dhin Dhin Dhin Dhin Dha Dha | (and so on, doubling
each beat)
Even without knowing the exact bols, the student can feel the pulse: Ekgun is steady and
grand, Dugun is fast and lively, and both maintain the dignity of Sooltaal.
Learning through Feeling
The best way to understand Sooltaal is to clap, count, and feel it:
1. Clap on tali beats: 1, 5, 9, 11
2. Wave on khali: 7
3. Count the remaining beats silently
By practicing Ekgun first, you learn the natural flow of 12 beats. Then, when moving to
Dugun, you feel how the same cycle can transform into a more energetic rhythm
without losing its identity.
This method teaches students that rhythm is not just mathematical — it’s emotional,
expressive, and alive.
Conclusion – Sooltaal: A Teacher and a Friend
Sooltaal, or Ektal, is more than a 12-beat cycle. It’s a teacher, showing students how to
balance simplicity and complexity. It’s a friend, guiding musicians through slow
reflection and fast excitement. Through Ekgun, one learns patience; through Dugun, one
learns agility.
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Every performance in Sooltaal is like telling a story: starting, pausing, building tension,
and returning to the beginning — ready to begin again. It teaches the art of timing,
emotion, and expression, which is at the heart of Indian classical music.
So next time a tabla plays Sooltaal, don’t just hear the beats — feel the journey, live the
rhythm, and enjoy the story it tells.
SECTION–D (Musicians & Gurmat Sangeet)
8. Life Sketch and Contribuons of Famous Musicians
1. Ustad Bade Ghulam Ali Khan (2022)
2. Pt. Bhimsen Joshi (2023)
3. Prof. Kartar Singh (2024)
Common Theme Probability for 2025: (100%)
Expected 2025 Trend: “Life sketch and contribuons of a famous Indian
musician.”
Ans: Life Sketch and Contributions of Famous Musicians
A Fresh Beginning
In a quiet room, a child sits cross-legged before a tanpura, eyes closed, ears tuned to the
soft drone. The first note escapes their lips—shaky, unsure, but full of promise.
Somewhere, in another corner of the country, an old maestro listens to the same raga,
his voice seasoned by decades of devotion.
This is the magic of Indian classical music. It is not just a sound—it is a legacy, passed
from guru to shishya, from heart to heart. Behind every raga we hear today, there are
giants who shaped its journey—musicians who didn’t just perform, but transformed the
very soul of Indian music.
Let’s meet a few of these legends—through their life stories, their struggles, and their
timeless contributions.
1. Pandit Ravi Shankar – The Sitar Maestro Who Bridged Worlds
Born in 1920 in Varanasi, Pandit Ravi Shankar began his artistic journey as a dancer in
his brother’s troupe. But destiny had other plans. Under the guidance of Ustad Allauddin
Khan, he devoted himself to the sitar, practicing for hours in solitude.
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Contributions:
• He popularized Indian classical music globally, performing at Woodstock and
collaborating with Western legends like George Harrison of The Beatles.
• He introduced Indian ragas to the West, blending them with jazz and orchestral
music.
• He composed music for films, including Satyajit Ray’s Apu Trilogy.
• He trained a new generation of musicians, including his daughter Anoushka
Shankar.
Pandit Ravi Shankar didn’t just play the sitar—he made it speak across cultures,
turning it into a global voice of India.
2. M.S. Subbulakshmi – The Voice of Devotion
Born in 1916 in Madurai, Madurai Shanmukhavadivu Subbulakshmi was a child prodigy.
Her first concert at age 13 left audiences spellbound. But it was her bhakti-filled
renditions that made her a household name.
Contributions:
• She was the first Indian musician to perform at the United Nations in 1966.
• Her renditions of Bhajagovindam, Vishnu Sahasranamam, and Meera bhajans
are considered divine.
• She brought Carnatic music to the masses, making it accessible beyond elite
circles.
• She was awarded the Bharat Ratna, India’s highest civilian honor.
M.S. Subbulakshmi didn’t just sing—she prayed through music, and the nation
listened with folded hands.
3. Ustad Bismillah Khan – The Shehnai That Sang
Born in 1916 in Dumraon, Bihar, Ustad Bismillah Khan turned the humble shehnai into a
concert instrument. Raised in Varanasi, he practiced in the temples by the Ganga,
blending devotion with discipline.
Contributions:
• He was the first to bring the shehnai to the classical stage, which was earlier
limited to weddings and temples.
• He performed at India’s Independence Day in 1947, from the Red Fort.
• He remained deeply rooted in Banaras gharana and refused to leave Varanasi
despite global fame.
• He received the Bharat Ratna in 2001.
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His shehnai didn’t just play notes—it echoed the soul of India, from temple steps to
national celebrations.
4. Pandit Bhimsen Joshi – The Voice That Soared
Born in 1922 in Karnataka, Pandit Bhimsen Joshi ran away from home at age 11 in
search of a guru. He found his calling in the Kirana Gharana, where he trained under
Sawai Gandharva.
Contributions:
• Known for his powerful voice and emotional depth, especially in khayal singing.
• He organized the Sawai Gandharva Music Festival, one of India’s most
prestigious classical events.
• His renditions of abhangs and devotional songs brought classical music to the
common man.
• He was awarded the Bharat Ratna in 2008.
Bhimsen Joshi’s voice didn’t just perform—it soared, wept, and celebrated, carrying
the listener through every shade of emotion.
5. Ustad Zakir Hussain – The Tabla Wizard
Born in 1951, Ustad Zakir Hussain is the son of tabla legend Ustad Alla Rakha. But he
carved his own path, becoming a global ambassador of rhythm.
Contributions:
• Revolutionized tabla playing with unmatched speed, clarity, and creativity.
• Collaborated with global artists like John McLaughlin, Mickey Hart, and Yo-Yo Ma.
• Played a key role in fusion music, blending Indian rhythms with jazz, rock, and
world music.
• Received the Padma Bhushan and Grammy Awards.
Zakir Hussain didn’t just play tabla—he spoke through it, telling stories that crossed
borders and genres.
6. Pandit Hariprasad Chaurasia – The Flute That Whispered Magic
Born in 1938 in Allahabad, Pandit Hariprasad Chaurasia was expected to become a
wrestler like his father. But he secretly learned the bansuri (bamboo flute) and changed
the course of Indian music.
Contributions:
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• Elevated the bansuri to a major classical instrument.
• Known for his soulful, meditative style, especially in ragas like Pahadi and
Yaman.
• Collaborated with Western artists and composed for films with Shivkumar
Sharma as part of Shiv-Hari.
• Trained many disciples and established music academies.
His flute didn’t just play melodies—it breathed life into silence, turning air into art.
7. Gangubai Hangal – The Voice of Grit and Grace
Born in 1913 in Dharwad, Gangubai Hangal faced social discrimination as a woman from
a lower caste. But her passion for music was unstoppable. She trained in the Kirana
Gharana and became one of its most respected voices.
Contributions:
• Known for her deep, powerful voice and mastery over khayal.
• Broke gender and caste barriers in classical music.
• Performed for over six decades, inspiring generations of women musicians.
• Honored with Padma Bhushan and Padma Vibhushan.
Gangubai Hangal didn’t just sing—she fought, rose, and triumphed, her voice
echoing strength and dignity.
Conclusion
These musicians were not just performers—they were pilgrims of sound, walking the
sacred path of raga and rhythm. They faced poverty, prejudice, and personal loss. Yet,
they never stopped singing, playing, or teaching.
Their lives remind us that music is not just about talent—it is about devotion, discipline,
and daring to dream.
9. Kirtan Chownkis / Gurmat Sangeet Tradions
1. “Kirtan Chownkis” (2022, 2024)
2. “Bilawal di Waar di Chaunki” and “Aasa di Waar di Chaunki” (2023)
Probability for 2025: (100%)
Ans: Kirtan Chownkis and the Gurmat Sangeet Tradions
Imagine stepping into a serene Sikh Gurudwara in Punjab on a calm morning. The
sunlight lters soly through the windows, illuminang the sacred Guru Granth Sahib
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resng on its throne. The air vibrates with the soulful strains of a harmonium, the
rhythmic beats of the tabla, and the echo of hearelt singing. Here, in this sacred space,
you are not just witnessing music; you are stepping into a living tradion — the world of
Kirtan Chownkis and Gurmat Sangeet.
This story is about how music, devoon, and discipline merge to form a unique cultural
and spiritual treasure, cherished by Sikhs for centuries.
What is Gurmat Sangeet?
To understand Kirtan Chownkis, we rst need to know Gurmat Sangeet. The term comes
from “Gurmat” meaning the wisdom of the Guru, and “Sangeet” meaning music.
Gurmat Sangeet is the musical tradion of Sikhism, where songs are based on the
teachings of the Sikh Gurus in the Guru Granth Sahib.
It is not merely music for entertainment. It is music as a medium of devoon, a bridge
between the soul and the Divine. Every note, rhythm, and melody is carefully designed
to enhance spiritual experience. The Gurus themselves emphasized music as a powerful
tool for meditaon, moral development, and emoonal upliment.
The Concept of Kirtan Chownkis
Now, picture a Kirtan Chownki. The word “Chownki” literally means a plaorm or stage,
but in Sikh tradion, it refers to a formal session or gathering where Kirtan is
performed. These were not casual gatherings; they were organized with devoon,
discipline, and musical precision.
Kirtan Chownkis served several purposes:
1. Religious Educaon – People aending could learn the hymns and teachings of
the Gurus.
2. Spiritual Elevaon – The music helped listeners focus their minds on God and
culvate inner peace.
3. Cultural Transmission – They preserved the musical style and techniques handed
down by Guru Arjan Dev Ji, Guru Tegh Bahadur Ji, and other Gurus.
4. Community Bonding – It brought together people of all ages, castes, and
backgrounds, uning them through shared devoon.
Think of the Kirtan Chownki as a school of devoon, where music is both the teacher
and the lesson.
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The Structure of Gurmat Sangeet in Chownkis
Gurmat Sangeet is not random singing. It follows precise rules of raga (melody) and taal
(rhythm), carefully aligned with the spiritual mood of the hymn. Let’s explore how it
works in a Chownki:
1. Ragas – The hymns of the Guru Granth Sahib are set in specic ragas. Each raga
reects a certain mood or emoon. For example:
o Raga Asa in the morning inspires courage and devoon.
o Raga Bhairavi evokes serenity and compassion.
The Kirtan musicians, called Ragis, train for years to sing in these ragas while maintaining
their spiritual essence.
2. Taal (Rhythm) – The rhythmic paerns in Gurmat Sangeet, like Dadra, Rupak, and
Ek Taal, are simple yet powerful. They guide the congregaon’s focus and
enhance the meditave eect of the Kirtan.
3. Instruments – Tradional instruments such as harmonium, tabla, dilruba, taus,
and sarangi are used. Each instrument adds depth, resonance, and emoon,
turning every Chownki into a spiritual concert.
4. Singing Style – The singing in Kirtan is devoonal and precise. Every syllable of
the Guru Granth Sahib is pronounced carefully, reecng the sancty and
meaning of the words. The goal is not technical showmanship but spiritual
impact.
Kirtan Chownkis – A Story of Discipline and Devoon
Imagine a young Sikh named Harpreet. From a small village in Punjab, he dreams of
becoming a Ragi. Every day, he aends the local Kirtan Chownki, sing cross-legged on
the oor, absorbing the hymns. He observes the elder musicians carefully, nong how
they breathe, how their ngers dance on the harmonium, and how their voices ow with
devoon.
At rst, Harpreet struggles to sing the ragas perfectly. But the Chownki teaches him
discipline — to pracce every morning, to respect the words of the Guru, and to feel the
emoons behind each hymn. Over me, he not only learns the music but also develops
inner calm, focus, and spiritual awareness.
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This is the essence of Kirtan Chownkis: they are spaces for training both musicians and
devotees in spiritual excellence.
Historical Roots and Importance
The Gurus themselves recognized the power of music. Guru Nanak Dev Ji, the founder of
Sikhism, composed hymns to be sung. Guru Arjan Dev Ji compiled these hymns in the
Guru Granth Sahib, oen assigning specic ragas to them.
By Guru Gobind Singh Ji’s me, the tradion of organized Chownkis had matured. The
idea was simple yet revoluonary: music should not just entertain, but teach, inspire,
and transform lives.
These Chownkis also helped preserve Gurmat Sangeet through centuries, especially
during mes of adversity. They became living classrooms, ensuring that every generaon
could learn the sacred melodies and the spiritual wisdom behind them.
The Role of Ragis and the Community
The heart of every Chownki is the Ragi. A Ragi is more than a musician — he is a spiritual
guide. He interprets the hymns, maintains the correct raga, and engages the
congregaon in acve listening and parcipaon.
The congregaon also plays a vital role. Unlike a passive audience, they repeat the
hymns, meditate on the meaning, and parcipate in rhythm. This interacon creates a
powerful spiritual experience, making Kirtan Chownkis collecve journeys of devoon.
Modern Relevance
Even today, Kirtan Chownkis are vibrant across Punjab, India, and the world wherever
Sikh communies exist. While technology has introduced recordings and online
streaming, nothing matches the sacred energy of a live Chownki, where human voices
blend in harmony with instruments, and hearts unite in devoon.
It connues to inspire discipline, devoon, and musical excellence, proving that Gurmat
Sangeet is not frozen in history but alive and evolving.
Conclusion – Music as a Path to the Divine
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Kirtan Chownkis and Gurmat Sangeet tradions are not just about melodies; they are
about connecng to the Divine through music, discipline, and devoon. From the quiet
village gatherings to grand Gurudwaras, from Tansen-like virtuosity to humble voices
learning their rst raga, these tradions have preserved a spiritual and musical legacy
unmatched in the world.
When we speak of Gurmat Sangeet, we speak of music that heals, teaches, and
elevates. When we speak of Kirtan Chownkis, we speak of spaces where devoon and
discipline meet, where every note becomes a prayer. Together, they form a golden
thread in the cultural and spiritual fabric of Sikhism, reminding us that music can
indeed be a path to the divine.
10. Guru Arjan Dev Ji – Life and Contribuon to Music / Gurmat Sangeet
Appeared in: 2024 (Q7)
Probability for 2025: (90%)
Ans: Guru Arjan Dev Ji – Life and Contribuon to Music / Gurmat Sangeet
In the quiet hours of dawn, when the world is sll and the sky blushes with the rst light,
a voice rises from the Harmandir Sahib. It’s not just a melody—it’s a prayer, a vibraon, a
connecon to the divine. The raag ows gently, anchored by the tanpura, guided by
centuries of devoon.
This sacred soundscape owes its soul to one man: Guru Arjan Dev Ji, the h Guru of
Sikhism. He was not just a spiritual leader—he was a composer, compiler, and architect
of Sikh music. His life was a symphony of service, sacrice, and spiritual brilliance. To
understand his contribuon to music, especially Gurmat Sangeet, is to understand how
sound became a path to God.
Chapter 1: Life Sketch – The Saint Who Sang
Early Life
Guru Arjan Dev Ji was born on 2 May 1563 in Goindval, Punjab. He was the youngest son
of Guru Ram Das Ji and Bibi Bhani, the daughter of Guru Amar Das Ji. From childhood,
he was immersed in spiritual teachings and kirtan.
He became the h Guru of Sikhism on 16 September 1581, succeeding his father. His
guruship lasted unl 1606, when he aained martyrdom in Lahore.
Personal Qualies
• Known for his humility, wisdom, and poec brilliance.
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• He was deeply commied to seva (seless service) and shabad (divine word).
• His leadership was marked by peaceful expansion, community building, and
spiritual consolidaon.
Guru Arjan Dev Ji was not just a leader—he was a spiritual arst, shaping the Sikh
faith through music, architecture, and scripture.
Chapter 2: Musical Contribuons – The Architect of Gurmat Sangeet
What Is Gurmat Sangeet?
Gurmat Sangeet refers to the music of the Guru’s wisdom—a system of devoonal
singing based on raag, taal, and shabad. It is not entertainment—it is spiritual pracce,
meant to elevate the soul.
Guru Arjan Dev Ji played a foundaonal role in shaping this tradion.
1. Compilaon of the Adi Granth (Guru Granth Sahib)
• Guru Arjan Dev Ji compiled the Adi Granth in 1604, bringing together the hymns
of the rst four Gurus, his own bani, and the verses of saints like Kabir, Namdev,
Ravidas, and Sheikh Farid.
• He standardized the musical framework by assigning each shabad to a specic
raag.
• The Adi Granth contains 31 main raags and 30+ raag variants, creang a
complete musical system.
This was revoluonary—scripture and music were fused, making kirtan the central
mode of worship.
2. Original Composions
• Guru Arjan Dev Ji composed over 2,000 hymns, including the Sukhmani Sahib, a
masterpiece of spiritual poetry and musical rhythm.
• His bani is marked by clarity, compassion, and musical elegance.
• He used raag not just for melody, but to express emoon and spiritual states—
joy, longing, surrender, peace.
His composions are sll sung daily in gurdwaras, guiding millions through sound
and soul.
3. Musical Structure and Discipline
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• He emphasized raag purity—each shabad was to be sung in its assigned raag.
• He introduced ghar (musical house) numbers to indicate style and variaon.
• He promoted taal (rhythmic cycles) and sur (pitch accuracy), ensuring that kirtan
was both devoonal and technically sound.
Guru Arjan Dev Ji turned Sikh music into a disciplined spiritual art, not just a casual
pracce.
4. Instuonalizing Kirtan
• He made kirtan the central pracce in gurdwaras.
• He encouraged ragis (devoonal musicians) to learn and perform shabad in
proper raag.
• He built the Harmandir Sahib (Golden Temple) in Amritsar, where kirtan became
a daily oering.
Under his guidance, kirtan became the heartbeat of Sikh worship, echoing across
generaons.
Chapter 3: Sukhmani Sahib – A Jewel of Gurmat Sangeet
One of Guru Arjan Dev Ji’s most beloved composions is the Sukhmani Sahib—the
“Psalm of Peace.”
• Composed in Raag Gauri, it consists of 24 Ashtapadis (secons), each with 8
stanzas.
• It covers themes like meditaon, humility, divine grace, and inner peace.
• The rhythm is gentle, the melody soothing, and the message profound.
Sukhmani Sahib is not just recited—it is sung, making it a living experience of peace
through music.
Chapter 4: Martyrdom – The Ulmate Sacrice
In 1606, Guru Arjan Dev Ji was arrested by Mughal emperor Jahangir. He was tortured
and martyred in Lahore, refusing to renounce his faith or alter his teachings.
His nal words were of acceptance and surrender: "Tera Kiya Meetha Laage" – “Your will
is sweet to me.”
His martyrdom became a turning point in Sikh history, and his legacy in music
became even more sacred.
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Chapter 5: Legacy in Music and Spirituality
Guru Arjan Dev Ji’s contribuons to music are meless:
• He gave Sikhism a musical scripture.
• He created a system of devoonal music rooted in raag and taal.
• He made kirtan a daily spiritual pracce.
• He inspired generaons of ragis, composers, and seekers.
Today, every me a shabad is sung in its assigned raag, every me a child learns kirtan,
every me the Harmandir Sahib echoes with melody—it is Guru Arjan Dev Ji’s voice that
lives on.
Conclusion
Guru Arjan Dev Ji was not just a Guru—he was a composer of the soul, a builder of
sacred sound, and a martyr of truth. His life teaches us that music is not just art—it is
devoon, discipline, and divine connecon.
In Gurmat Sangeet, every note is a prayer, every raag a path, and every shabad a mirror
of the divine. And at the heart of it all stands Guru Arjan Dev Ji—the saint who sang,
served, and sacriced.
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