BHATHKHANDE SANGITH

PRATHAMA VOCAL
Theory notes

The affiliated Examination Center of Bhathkhande Sangith Vidyapith in Lucknow, India

387 - SANDASA KALA PEETAYA, SRI LANKA

 Indian Music
Hindu & Mohamedan Period
Hindus believed that the music had been created by Brahma.
So the regarded the music as a Devine legacy Even Hindu Kings and Emperors
studied music. Some became proficient musicians. Such a king was Samudra
guptha(330-375 A.D)He was prominent Veena player.The writer of Amarakosh,
Pt. Amara Singhe and the poet Kalidasawas in the service of King
Vickramadithya Samudra Guptha’s Court. (375-413 A.D) There
were professional musicians in king places. They received great favors from
king’s .Before the invasion of Muslims during 9th and 10th century. Bharathiya
Sangeeth had risen up to the grand status. Indian Music was influenced by
Jayadeva’s “Geetha Govinda” The composers Bhakthi Geeth also rendered a
great service for the progress of the Indian music. Such as Vidyapati (1368-
1450),Kabir(1440-1586),Chandidas(1417-1477),Surdas(1478-1586) Chaitanya
(1486-1534),Tulsidas (1573-1623), Tukaram (1609-1649), Meerabai (1560-
1630) etc. There glorious names glitter in the history of Indian music for ever.

Bharathiya Sangeeth was survived even in the eras of

invaders.Yet most of moghal kings did a great favor for the progress of music.
Such a king Allahuddin kulji (1296-1316) the great musician Amir kushru was
in his service. Koshro work in music field is unique. He was a musician of
genius versatile. He modified and modernized the Hindustani music by
mistuning the taste of Persian and Arabic music. Among them, here were few
rulers who ignored music and musicians. The emperor Our angasheb not only
drove away the musician from his palace but also prohibited music through our’
his empire. The dogmatic emperor was recognized as “Assassin of Music”

The golden era of Hindustani music was seen during the

reign of the great Akbar (1556-1605) the greatest of all musicians Thansen was
in his Service. All the ministers of Akbar’s were musicians. Akbar himself was
prominent Musician and “Nakkara” player. Other great singers who lived
during his reign were Nayak Baiju, Ramdas, Bashbahadur, Tan Tarang Khan,
Meerabai, Haridas swami,who lived in Brindavan was a great teacher of music
(Nayak).

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 Till the 13th century A.D there was only one of music
prevalent all over India known as Bharathiya sangeeth paddathi. Accordingly
Grama Moorchana Jathi system had been functioning in north and south. After
the time of Sharanga Deva (13th century) in south one Ramamatya introduced.
Thata Raga System (Janaka mela and Janya raga) in place of Grama –
Moorchana jathi system of music. In north one Narada (author-Sangeeth
makaranda) introduced Raga-Ragani system of music. The two systems were
known as Hindustani and Karnataka. Ahobala, Hatidaya Narayana introduced
Thata-Raga system of south in north .but it was in vain. Raga-Ragani system
was prevalent till 19th century with popularity in 1813 Mohammed Raja a
nobleman of Patna exploded a new Raga–Ragani system of music.

In 20th century Chatur Pandit V.N Bhathkande realized the

Raga –Ragani system were not scientific and he boldly introduced Thata –Raga
system in north from 72 Thatas of Vyankatamukhi and from his 72 Thata as he
selected only 10 for the classification of all the ragas. The north Indian music is
based on Thata-Raga system and it has been in vogue today.

Nada
By sticking two objects together may emit either sound or
noise. Noise consists of irregular and non-periodic vibrations. While sound
consists of regular and periodic vibrations. Vibration is the cause of noise or
sound.

Sound give pleasant sensation, Noise does not please the ear.
Some writers define nada as the combination of breath and energy. Nada can be
divided in to two categories.

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 Nada

Ahatha Nada. Anahatha Nada.

(Can be hear) (Cannot be hear)

Madura Nada. Amadura Nada.

(Sweet sound) (Sweet less sound)

Nada has three qualities.

1. Pitch.
2. Magnitude.
3. Timbre

Pitch - (Uchcha -Nichabedaya) Pitch indicates that the sound which is

being produced is high or low. The quality of pitch helps us to hear something
in high or low tone.

Magnitude- (Intensity/ Rupa Bedaya) Intensity indicates that the sound which is
being produced is soft or loud. The quality of intensity helps to hear something
soft or a loud tone.

Timbre - (Jathi Bheda) timbre indicate the sound which is being produced is a
human voice or sound of an instrument. (sithar,flute,thabla.etc)

Sangeeth.
The combination of singing, playing instruments and dancing is called
Sangeeth. Singing alone can be called music. Because it can stand by itself
independent music is best of all fine arts. Any sort of feeling can be given by
the sounds of music. Dancing cannot stand alone because it needs song or
melody. The Combination of singing, playing instruments and dancing is called
Sangeeth.

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 Shruthi.
I. Can be clearly heard.
II. Can be distinctly identified.
III. Can be used in music.

In short every distinct and audible musical sound is called Shruthi. Shruthi
become Swara, when it is used in raga but it remains by original name when it
is not used.
Swara is a musical note all large interval while shruthi is musical sound at
very small interval (microtone).
All Ganthakaras (Ancient, Medieval, and Modern) recognized the number of
shruties as 22. They accept the rule of chatus chatus chatus chaiva etc.
accordingly Sa Ma and carries 4 shruties each, Ri and Dha carries 3shruties
each, Ga and Ni carries 2 shruties each. Ancient and medieval writers fix their
suddha swara on the first shruthi while modern writers fix them on the last
shruthi as follows.

Ancient and Medieval writers

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
Sa Ri Ga Ma Pa Da Ni

Modern writers
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

Sa Ri Ga Ma pa Da Ni

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 Shruthi swara location of the Ancient writers
Shruthi name Ancient Medieval

1 Teevra Sa
2 Kumudwati
3 Mandra
4 Chandowathi Sa
5 Dayawathi Ri
6 Ranjini
7 Raktika Ri
8 Roudri Ga
9 Krodhi Ga
10 Vajrika Ma
11 Prasarini
12 Preethi
13 Marjini Ma
14 Kshithi Pa
15 Rakthika
16 Sandeepini
17 Alapini Pa
18 Madanthi Dha
19 Rohini
20 Ramya Dha
21 Ugra Ni
22 Khobhini Ni

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 Swara
Swara is charming and melodious sound which is taken music.
There are mainly 07 swaras.Their names are shadja, Rishaba, Gandhara.
Madyama, Panchama, Dhaiwatha, Nishadha. Their initial syllables are Sa, Ri,
Ga, Ma, Pa, Dha, Ni are used in practice music. In addition there are 5 shifted
notes known as vickrith swaras.

Achala swaras(constant notes)

Sadja (Sa)
panchama (Pa)

Shuddha swaras (prakrurthi swara / natural notes)

S - Sajjaya
R - Rishabaya
G - Gandharaya
M - Madhyamaya
P - Panchamaya
D - Dhaiwathaya
N - Nishadaya

Vickrit swaras(chala swara / shifted notes)

R
G
M
D
N

Some times shuddha R G D N also taken as Teevra swaras. But they are
not symbolized as M (Madyama) is also taken a komala “Ma” but is not
symbolized as RGDN

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 Sapthaka
Sapthaka means a group of seven notes in serial order
as S R G M P D N . They are three sapthakas, namely Mandra, Madya,
Uchcha. There may be more than 03 Sapthakas. But manly three are used in
Hindustani music.

Three sapthakas (Voice – Registers)

. . . . . . .
S R G M P D N
S R G M P D N

Madya sapthaka Uchcha sapthaka

S R G M P D N
. . . . . . . (no symbols) (Notes are indicated by
Mandra sapthaka (putting a dot abow)
(notes are indicated by
putting a dot below)

Vadi
Vadi is the predominant and the life note of the raga. It is most frequently used
and long stoppages are done on it.Vadi note discharge live functions. It
determines the name of the raga, whether it is a poorvangavadi or
uththarangavadi raga and also the approximate time when the raga has to be
sung. Vadi note is compared to a king.

Eg :- Raga Yaman (Ga)

Raga Boopali(Ga)

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 SamVadi
Beside Vadi note Samvadi is more important than other notes. Vadi and
Samvadi is co-related to each other. Samvadi is the fifth or forth note from
vadi.(eg:Yaman Ga-Ni / Bhoopali Ga-Da)Samvadi is compared to a minister.

Anuvadi
Apart from Vadi and Samvadi the remaining notes are called Anuvadi
eg:In raga Yaman Ga is vadi and Ni is Samvadi, Anuvadi notes are Ri ,Ma,Pa,
Da. Anuvadi notes are also important. Vadi and Samvadi alone cannot gave any
impression of the raga without the help of Anuvadi notes, Anuvadi notes are
compared to the servant of state.

Vivadi
Vivadi does not belong to a raga. It can be used sparing to beautify the raga. But
it should be done very carefully in a proper manner at the proper place.
Otherwise the whole raga will be spoiled.

Vakra swara
While ascending or descending to a desired note we sometimes make a turn
from a note in the middle to the next lower note, then again reach the desired
note without stopping anywhere. That turning note is called vakra swara or
crooked note.

Eg: Pa Dha Ni Dha Sa (Ascend) Ni crooked note.

Ga Ri Ma Ga (descend) Ri crooked note.

Alankara(Palta)
The peculiar pattern of a group of notes is known as alankar. It operates both in
ascend and descend.

eg: Sa Ga, Ri Ma, GaPa, Ma Dha, Pa Ni, Dha Sa,

Sa Dha, Ni Pa, Dha Ma, Pa Ga, Ma Ri, Ga Sa.

Alankara helps a great deal to achieve clear expression and intonation of every
note .No one cannot be proficient artist without practicing alankaras.

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 10

Thata (mela) -A collection of notes which can produce raga is called thata.
There are some rules regarding thata.

1. Thata must have seven notes

2. Notes must be in serial order.eg: Sa Ri Ga Ma Pa Dha

3. No matter, to have 2 notes of komala and theevra belong to

same family one after another (Ma Ma).

4. No need to have both Ascend and Descend. Ascend alone can

indicate thata (eg : kalyana-Sa Ri Ga Ma Pa Dha Ni Sa)

5. No need to have Ranjakata (Music value )

Raga -A composition of notes which can please ear and mind is called
raga. But each and every composition cannot be called a raga. There are
some rules regarded Raga.

1. Raga should be derived from thata.

2. Raga should have at least five notes.

3. Raga should have regular Ascend and Descend.

4. Ma and Pa should not be omitted simultaneously.

5. Sa should not be omitted in any circumstance.

6. Raga should have its own vadi note.

7. Raga should have Ranjakata Music value.

8. Note of komala and teevra belong to same family (Eg: Ma Ma,

Ga Ga) should not be used one after another.(yet few exception
are seen Lalith , Kedar, Behag)

Pakad
Mukhayanga is another name for pakad. It is predominant passage of notes of a
raga in short. That means catch notes. Which indicate the peculiar raga.eg: SS
RR GG MM P. On hearing this combination of notes we can recognize it as
raga kafi.
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 11

Meend
A graceful transition from one note to another without silencing the voice is
called meend. It is of great aesthetic value in music. In violin it is played by
sliding from one note to another. In sithar it is played pulling the main wire.
Meends are played both upwardly and down wardly: GMP this is how upwardly
meend is written in a notation. PMG is an example for a downward meend.

Kan
Kan is defined as a grace note. Sometimes a peculiar note is played touching
another note slightly. The preceding touched note is the kan. It is written over
the peculiar note. eg: pm

Alap
Alap creates an atmosphere regarding the raga which is going to be sung. As
an athlete do some sort of free exercises before the event, the artiste perform
some phrases of notes in rhythmic manner, much slower than tempo of the
raga. It is the rhapsodically embellishment of a raga. Alap is used at the
beginning, at interval and the end. As a example

Tan
Singing or playing of same lines of raga repeatedly may create monotony. Tans
help to give fresh sweetness throughout the raga. In short tans are open voiced
running passages of notes in quick tempo. Its main aim is to develop the raga
with embellishment. Unlike other styles of singing tans are not used in Drupad
and Dhamar. Tan helps to stretching the raga and it beautify the raga too. Tan
can develop it can multiplication two, three or four to a one mathra the raga.
Ex: - SS RR GG MM / P- PM GR S-
      
Laya - Laya means speed or tempo of a beat (Tal). Laya is mainly three kinds.
1. Vilambit laya (slow tempo)
2.Madhya laya (medium tempo)
3. Drut laya (fast tempo)
Music is controlled by laya. Vilambit Khyal (Bada khyal) applies vilambit laya,
while Druth khyal (Chota Khyal) applies Madhya and Drut laya respectively.
There are more verities of laya. It namely ; Ati vilambit, Anudtut, Adi, Kuadi,
and Biadi.

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 12

Tal
Tal means beating. Tal is formed by clapping hands or beating on tal
instruments. Such as Tabla, Mrudanga, etc. Tal is the singer or the
instrumentalist to do his task rhythmically and attentively. Notation of a song
cannot be written without the help of tal. A raga or song depends on tal as well.

Theka
The composition of syllables which are used to play tal instruments is called
theka. Each tal has its own deferent number of mathras. The syllables set,
according to the number of matras is called theka. Some of the syllables
(Akshara) of tabla are: Dha, Ti, Na, Tha, Thiri, kita etc.

Theka Dadara Tal

1 2 3 4 5 6
Dha Dhi Na Dha Tu Na
X o

Dhrupad
Dhrupad is the best type of Gayaki. In 13thcentury A.D. in time of sarangadeva
the jati gayan was more popular and after jati gayan the Dhrupad style of
singing came in to practice.

This type of composition and style of singing has it origin from Raja Man singh
of Gwalior. He is considered as the founder of Dhrupad style of singing and
most proficient composer as well as great pattern of it. It is sung in slow
rhythm.

It contains for parts: Sthai (First part), Antara (Second part), Sanchari (Third
part), and Abhoga(Fourth part).The language of Dhrupad is high and the
thoughts are deep. The Tan-Paltas are prohibited in it. This Gayan needs a
forcefully voice and throat hence it is mainly sung by the male musicians.

Veer, Shanti, and Shringar Rasas are prominent in this type f song. The central
theme of this Gayan contains the ideas of self-reliance and songs of devotion to
god and is mainly sung in Chartala and oblique Talas.

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 13

Dhamar
The songs sung in Dhamar Tala are called Dhamar. It is a kind of Hori. A
Dhamar depicts the picture of life activities of of Sri Krishna just like Ram
Leelas which are sung to display the life activities of Radha and Krishna in the
month of Falgun of Vickram Era. Sringar Rasa is more prominent in this Rasa
and contains four parts – Sthai, Antara,Sanchari,and Abhoga like Dhrupad
Gayan. These Gayans are sung in Gamak, Meend, Boltalas and in Duggun and
Chaugun, It also requires a forceful sound.

Khayal
Khayal is the derived from Urdu language which carries thoughts assist
meaning. This Gayan is very popular now –a-days. The Anibaddha Gayan was
sung in from of prolongation without time and rhythm. Khyal Gayan came in
practice by combining the Anibaddha Gayan with Nibaddha Gayan. Amir
Khusro tried to popularize this Gayan but it could not complete with Dhrupad
Gayan which continued for a long time. After this in the period of Mohommad
Shah, Adarand and Sadarang took interest in popularizing the Khyal Gayan.
Khyal Gayan is two types: - a) Bada Khayal ( slow khayal )
b) Chota Khayal (fast khayal )

Bada khayal is sung in Vilambit Laya Teental, Ektal and Ada Chartal, while
Chota khayal in Teen tala and Jhap tala. Sringar Rasa plays the prominent role
in this Gayan. How does the musician express his art by prolongation in his
Gayan, depends upon individual efforts of the musician himself. The poetic
words are not given importance in comparison with prolongation.

Thumary
The Thumary Gayan was started from Nawab families near about 200 years
ago. It is sweet and popular like Khayal Gayaki but the musician is not expected
to maintain the correctness and purity of Raga like Khayal Gayaki. Beauty of
Gayaki expresses the prominent part of the sung. Thumary is sung in Khafee,
Bhairavi and Khamaj Thatas, Ragas in Teen Tala, Keharwa and Dadara thala
etc. Thumaries mainly depict the life activities of Radha and Krishna. Thumary
Gayans are more popular in Brij mandal and in eastern U.P.
The Thumary Gayan is divided in to two parts, First part is called (sthai)
and second part is called (Antara). The use of Tan paltas makes the Gayan more
beutyful.
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 14

Tarana
This Gayan is sung through the word like Tom, Tana, Ta, Dir, Da and Nee
instead of songs. This Gayan is rhythmical and corrrectness of Raga is the chief
characteristic of this Gayan. The musicians now –a-days sing this song for
recreation only. Tarana was started in times of Allauddin Khilji who originated
it to impart the musical education to the foreigners who were not familiar with
Indian and the musical symbols etc. Hence he taught them Ragas through the
above bols.

Lakshan Geet
The Gayan which tells us the special features of Raga is called the Lakshan
Geet. The Lakshan Geet makes us known with the name and theory of Raga, its
ascent and descent and time of singing etc. The lakshan Geet is sung in time and
rhythm of the Raga to which it belongs. The Lakshan Geet clearly explains the
special features of its mother Raga.

Sargam (Suwara malika)

The Sargam Gayan is the rhythmical representation of notes in the shape of
song and the ragas which are properly controlled by proper time and rhythm.
Sargam is most important part in ragas. Before learning raga it used to
recognize the raga and it used to know about shape of the raga well. Sargam is
only use notes only. It has the model of Sthai, Anthara.

Dhatu
Dhatu means the different parts of Prabandha, Vastu, Roopak etc. In ancient
times prabandha vastu Roopak had different parts called Udgraha, Melapak,
Dhruva, Antara and Abhog which were called “Dhatu”.

Nayaki: The traditional music set to swara and taal which has been trained by
masters and dispels is called Nayaki. We sing any traditional set of music
(Nayaki) and if we present same set composition in beautiful manner through
our creative alap. Tan and so on. It will be called Gayaki.

Gayaki: The Great Singers who had come from “Guru – Shisya Parampara
(Nayaki) and who can perform Alap, Than, Alankar are example. Were known
as Gayaki.

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 15

Pandith Vishnunrayan Bhatkhande

He is honored as the founder of the modern Hindustani music. He was
born in Bombay on the 13th of August 1860 and took to flute playing at the early
age of ten years. There after he studied the sitar and later he passed his law final
examination and practiced as a lawyer for some time. As his wife and only child
died he god bend towards music to banish his loneliness.

Having studied the styles of Dhrupad and Khayal vocal music from experts like
Raojibuwa Bel Bagkkar, Ali Hussain and Vilayathkhan, he decided to
standardize the north Indian music which was in a state of disorder. In order to
do this he started traveling all over Indian meeting renowned musicians and
collecting their composition and also started studying famous music books
which were in renowned public libraries. He also made a study of south Indian
music and got a good understanding of 72 melakartas.

There after he selected 10 melakartas from the south Indian music system and
constructed the ten. Thats of north Indian music. For the first time in the History
of North Indian music, he founded a notation system and published all the
composition he had collected, through six volumes titled “Kramik Pustak
Malika”, There after he wrote many useful books on music like “Rag
Trangani”, “Rag Manjhari”, “Raga Tatwa Vibhoda”, “Sangeeta Shastra”, etc. In
1916 he convened the first music conference in Baroda and there in the
musicians, discussed the shortcomings, exiting in music at that time. Having
convened the second music conference in 1919 and the third conference 1929
he established the “Marris College of music” in 1929 at lucknow in India. This
was later known as the Bhatkhande College of Hindustani Music at Kaiserbagh
Lucknow. This becomes the first music college in north India. Student from all
over the world come here to study Ragadhari music Vocal Instrument and
Dance. It is fact that. North Indian classical music reached Sri Lanka also
through the same esteemed institution. No other person worked so hard to make
North Indian music so popular among the north Indian public, like him. And he
is there for called father of modern north Indian classical music, having
rendered unforgettable service to the North Indian Music. He left this world on
the 14th of September 1936.

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Dr. S.N.Rathanjankar
He was the disciple of late Pandit Vishnunarayan Bhatkhande and was born in
Bombay on the 31st of December in 1900. He started his music lessons at the
age of seven under the guidance of pandit Krishna Bhat. Pandit Bhatkhande
took him under his studentship in 1911 and was sent to the great musician of
Agra Gharana, Ustad Faizkhan for further study. He was later appointed as the
principal of the Bhathkhande College of music Lucknow, at the invitation of
Pandit Bhatkhande. After serving in that capacity, he was elected Vice
Chancellor of the “Indira Kala Sangil” Viswavidyalaya, of Khairagarh M.P. In
1957, He was awarded the honorary title of Padma Bhushan.

Besides, he was an able writer in music and published very informative articles
on classical music and there by brought publicity to music. Being a skilled
composer, He published about 200 rare compositions under the title of “Geeta
Manjari” which consisted of two volumes, in addition to that. He also wrote
“Tan Sangraha” in three volumes which helped the students of music
comprehends “Tanalamkaras” Having composed several new Ragas like Marga
Bihag, akedar, Bahar, Savni, Salagavarai, Rajani Kalayan, He also published
“Varnams” and “Kritis” of carnatic music in Sankrit for the guidance of music
lovers In this manner. He did memorable service to music by popularizing
North Indian music among the public.

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Raga Description
Raga Marwa
Raga : - Marwa
Scale : - Marwa
Jathi : - Shadawa
Ascent : - Sa, Ri, Ga, Ma Dha, Ni Dha, Sa
Descent : - Sa Ni Dha, Ma Ga Ri, Sa
Catch Notes : - Dha Ma Ga Ri, Ga Ma Ga, Ri Sa
Vadi Note : - “Ri”
Samavadi Note : - “Dha”
Time of Singing : - Last Prahara of the day
Particular : - Raga Marwa derived from Marwa Scale. It is raga of Shadawa
Shawa Jathi. It means raga Marwa used only six notes both in ascent and
descent. Its ascent is Sa, Ri, Ga, Ma Dha, Ni Dha, Sa and descent is Sa Ni Dha,
Ma Ga Ri, Sa. It remove “pa” both ascent and descent. Vadi note of Raga Mawra
is “Ri” and Samavadi Note is “Dha”. Its catch motes are Dha Ma Ga Ri, Ga Ma
Ga, Ri Sa.
It takes “Ri” flat and “Ma” sharp both in ascent and descent. It used “Ni” as a
crooked note. Notes “Ri, Ga, Sha” are very important and very special notes in
this raga. This raga is paramela praveshaka raga. Not only that raga Mawra is
Sandhi prakash raga. Time of singing of this raga is Last Prahara of the day.

Raga Asawari
Raga : - Asawari
Scale : - Asawari
Jathi : - Oudawa- Sampoorna
Ascent : - Sa, Ri, Ma Pa, Dha, Sa
Descent : - Sa Ni Dha, Pa, Ma Ga, Ri Sa
Catch Notes : - Ri, Ma, Pa, Ni Dha Pa
Vadi Note : - “Dha”
Samavadi Note : - “Ga”
Time of Singing : - Second Prahara of the day
Particular : - Raga Ashawari is derived from Ashawari Scale. It is raga of Oudwa-
Sampoorna jathi. It means used only six notes in ascent and all the seven notes used
in the descent. Its ascent is Sa, Ri, Ma Pa, Dha, Sa and descent is Sa Ni Dha, Pa, Ma
Ga, Ri Sa.
Vadi note of raga Asawari is “Dha” and Samavadi note is “Ga”. It takes
“Ga”, “Dha”, “Ni” flat and remaing other notes are natural. Its catch notes are Ri,
Ma, Pa, Ni Dha Pa. Time of Singing of raga Ashawari is second prahara of the day.

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 18

Raga Bilawal
Raga : - Bilawal
Scale : - Bilawal
Jathi : - Sampoorna
Ascent : - Sa, Ri, Ga, Ma, Pa dha, Ni Sa
Descent : - Sa, Ni Dha Pa, Ma Ga, Ri Sa
Catch Notes : - Ga Ma Ri, Ga Pa, Da Ni Sa
Vadi Note : - “Da”
Samavadi Note : - “Ga”
Time of Singing : - First Prahara of the Morning
Particular : - Raga Bilawal is derived from Bilawal Scale. It’s raga of
Sampoorna-Sampoorna jathi. It means raga Bilawal used all the seven
notes both in ascent and descent. Ascent is Sa, Ri, Ga, Ma, Pa dha, Ni
Sa and descent is Sa, Ni Dha Pa, Ma Ga, Ri Sa. It takes all the natural
notes both in ascent and descent.
Vadi note of raga Bilawal is “Da” and Samavadi note is “Ga”. Its
catch notes are Ga Ma Ri, Ga Pa, Da Ni Sa. This raga is Uththaranga
vadi raga. Because the Vadi note “Da” is in the second part of the
octave. Time of singing of this raga is first prahara of the morning.

Raga Poorvi
Raga : - Poorvi
Scale : - Poorvi
Jathi : - Sampoorna
Ascent : - Sa, Ri, Ga, Ma Pa ,Dha, Ni Sa
Descent : - Sa, Ni Dha Pa, Ma Ga, Ri Sa
Catch Notes : - Ni, Sa Ri Ga, Ma Ga, Ma, Ga, Ri Ga, Ri Sa
Vadi Note : - “Ga”
Samavadi Note : - “Ni”
Time of Singing : - Last Quarter of the Day

Particular : - Raga Poorvi is derived from poorvi scale. It is raga of Sampoorna-

Sampoorna jathi. It’s ascent is Sa, Ri, Ga, Ma Pa ,Dha, Ni Sa and
descent is Sa, Ni Dha Pa, Ma Ga, Ri Sa. It takes “Ri” and “Dha” flat
and “Ma” sharp both in ascent and descent and remaining other notes
natural.

Vadi note of raga poorvi is “Ga” and Samavadi Note is “Ni”. Its catch
notes are Ni, Sa Ri Ga, Ma Ga, Ma, Ga, Ri Ga, Ri Sa. This raga is
evening sandhi Prakash raga. Time of singing of this raga is last
Quarter of the day.

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Raga Bhupali
Raga : - Bhupal
Scale : - Bhupal
Jathi : - Oudawa
Ascent : - Sa, Ri, Ga Pa, Da Sa
Descent : - Sa, Da Pa, Ga, Ri Sa
Catch Notes : - Ga, Ri, Sa Da, Sa Ri Ga, Pa Ga, Dha Pa, Ga Ri
Vadi Note : - “Ga”
Samavadi Note : - “Dha”
Time of Singing : - First Quarter of Night
Particular : - Raga Bhupali is derived from kalian scale. It is a raga of Oudawa-
Oudawa jathi. It means it used. Only five notes. Raga Bhupali remove
“Ma” and “Ni” both in ascent and descent. Raga Bhupali used all the
natural notes. It vadi note is “Ga” and samavadi note is “Dha”. It
ascent is Sa, Ri, Ga Pa, Da Sa and descent is Sa, Da Pa, Ga, Ri Sa.
Raga Bhupali catch notes are Ga, Ri, Sa Da, Sa Ri Ga, Pa Ga, Dha Pa,
Ga Ri. This raga is poorangavadi raga. Because the vadi note “Ga” is
in the first part of the octave. Raga Bhupali is sing on the first Quarter
of Night.

Raga Kamaj
Raga : - Kamaj
Scale : - Kamaj
Jathi : - Shadawa- Sampoorna
Ascent : - Sa, Ga Ma, Pa, Da Ni Sa
Descent : - Sa Ni, Da Pa, Ma Ga, Ri Sa
Catch Notes : - Ni Dha, Ma Pa, Dha, Ma Ga
Vadi Note : - “Ga”
Samavadi Note : - “Ni”
Time of Singing : - Second Prahara of Night

Particular : - Raga Kamaj is derived from Kamaj Scale. It is raga of Shadawa-

Sampoorna Jathi. It means raga Kamaj used only six notes in ascent
and used all the seven notes in the descent. It remove “Ri” in the ascent
and “Ni” flat in the descent. Its ascent is Sa, Ga Ma, Pa, Da Ni Sa and
Sa Ni, Da Pa, Ma Ga, Ri Sa. Vadi note of raga Kamaj is “Ga” and
Samavadi note is “Ni”.

Its catch notes are Ni Dha, Ma Pa, Dha, Ma Ga. This raga mostly sings
by Muslims. This raga is poorangavadi raga. Because the Vadi note
“Ga” is in the first part of the octave. Time of singing of this raga is
second prahara of night.

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Raga Bhairva
Raga : - Bhairva
Scale : - Bhairva
Jathi : - Sampoorna
Ascent : - Sa, Ri, Ga Ma, Pa Da Ni Sa
Descent : - Sa Ni Dha Pa, Ma Ga Ri Sa
Catch Notes : - Sa, Ga, Ma pa, Dha, Pa
Vadi Note : - “Dha”
Samavadi Note : - “Ri”
Time of Singing : - 1st Prahara of the day

Particular : - Raga Bhairva is derived from Bhairva Scale. It is araga of

Sampoorna-Sampoorna jathi. Its ascent is Sa, Ri, Ga Ma, Pa Da Ni Sa
and descent is Sa Ni Dha Pa, Ma Ga Ri Sa. Catch notes of Raga
Bhairawa is Sa, Ga, Ma pa, Dha, Pa.

Vadi note of Raga Bhairva is “Dha” and Samavadi Note is “Ri”. It is a

sepatonic raga of Sampoorna verity. It has all the seven notes both in
ascent and descent. Time of singing is 1st Prahara of the day. This raga
is poorangavadi raga. Because the vadi note “Dha” is in the second
part of the octave.

Raga Yaman
Raga : - Yaman
Scale : - Kalyan
Jathi : - Sampoorna
Ascent : - Sa Ri Ga, Ma, Pa Dha Ni, Sa
Descent : - Sa, Ni Dha Pa, Ma, Ga Ri Sa
Catch Notes : - Ni Sa Ga, RG, PMG, RG, NRS
Vadi Note : - “Ga”
Samavadi Note : - “Ni”
Time of Singing : - First Quarter of the Day
Particular : - Raga Yaman is derived from Kalyan Scale. It is raga of Sampoorna-
Sampoorna Jathi. Its ascent is Sa Ri Ga, Ma, Pa Dha Ni, Sa and
descent is Sa, Ni Dha Pa, Ma, Ga Ri Sa. It has all the seven notes both
in ascent and descent. Raga Yaman used “Ma” sharp and remaining
other notes is natural. Its Vadi note is “Ga” and Samavadi note is “Ni”.
Its catch notes are Ni Sa Ga, RG, PMG, RG, NRS. Yaman Raga is
poorangavadi raga. Because the vadi note “Ga” is in the first part of the
octave.

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Raga Kafi
Raga : - Kafi
Scale : - Kafi
Jathi : - Sampoorna
Ascent : - Sa Ri Ga, Ma Pa Dha Ni Sa
Descent : - Sa Ni Dha, Pa Ma, Ga Ri Sa
Catch Notes : - Sa Sa, Ri Ri, Ga Ga, Ma Ma, Pa
Vadi Note : - “Pa”
Samavadi Note : - “Sa”
Time of Singing : - 3rd Prahara of night

Particular : - Raga Kafi is derived from Kafi Scale. It is raga of sampoorna-

Sampoorna jathi. IT means Raga Kafi used all the seven notes both in
ascent and descent. Its ascent is Sa Ri Ga, Ma Pa Dha Ni Sa and
descent is Sa Ni Dha, Pa Ma, Ga Ri Sa. Its Vadi note is “Pa” and
samavadi Note is “Sa”. IT takes “Ga” and “Ni” flat both in ascent and
descent and remaining other notes are natural. Catch notes of raga kafi
is Sa Sa, Ri Ri, Ga Ga, Ma Ma, Pa. Raga Kafi is uththaranga vadi raga.
Because the vadi of the octave. Its time of singing is 3rd prahara of
night.

Raga Bhairavi
Raga : - Bhairavi
Scale : - Bhairavi
Jathi : - Sampoorna
Ascent : - Sa, Ri Ga, Ma, Pa Dha, Ni Sa
Descent : - Sa Ni Dha Pa, Ma Ga, Ri Sa
Catch Notes : - Ma, Ga, Sa Ri Sa, Dha, Ni, Sa
Vadi Note : - “Ma”
Samavadi Note : - “Sa”
Time of Singing : - Any time of the day

Particular : - Raga Bhairavi is derived from Bhairavi Scale. It is raga of

Sampoorna-Sampoorna jathi. It means raga Bhairavi used all the seven
notes used in both ascent and descent. Its ascent is Sa, Ri Ga, Ma, Pa
Dha, Ni Sa and descent is Sa Ni Dha Pa, Ma Ga, Ri Sa. It take “Ri”,
“Ga”, “Dha”, “Ni” flat both in ascent and descent.

Its vadi note is “Ma” and samavadi note is “Sa”. It is sung in any time
of the day. Its catch notes are Ma, Ga, Sa Ri Sa, Dha, Ni, Sa. Raga
Bhairavi is uththaranga vadi raga. Because the vadi note “Ma” is in the
second part of the octave.

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Thala Descriptions
Tri tal (Teen tal)
Taal signs x 2 0 3
Mathra 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Bols Dha Dhin Dhin Dha Dha Dhin Dhin Dha Dha Thin Thin Tha Tha Dhin Dhin Dha

This thala consists of 16 mathras. It used only four thal signs. These are
Sum “X”, second sub thal “2”, Kali “O” and third sub thal “3”. The sum is on
the 1st mathra and the Kali is on the 9th mathra and it consists of 4 vibagas. Each
vibaga has 4 mathras. The four vibagas are in the four groups from the 1st
mathra to the 4th mathra, from 5th mathra to the 8th mathra, from 9th mathra to
12th mathra and 13th mathra to 16th mathra. It has same mathras in each vibagas.

The complete movement from the 1st mathra to the 4th mathra is called
“Avartha”. An avartha having the syllables of the “Bols” called “Theka”. A
musical performance is done normally in three “Layas” or tempos. They are the
slow speed which is called “Vilamba Laya” the medium speed which is called
the “Madhya laya” and the fast speed which is called “Druth laya” . Teen Thala
is used to the medium speed which is called “Madhya Laya”.

Ektal

Taal signs x 0 2 0 3 4
Maatra 1 2 3 4 5 6 7 8 9 10 11 12

Bols Dhin Dhin Dhage Tirikita Thu Na Kath Tha Dhage Tirikita Dhin Na

This thala consists of 12 mathras. It used only six thal signs. These are Sum
“X”, Kali “0”, second sub thal “2”, Kali “0”, third sub thal “3” and Fourth sub
thal “4”. The sum is on the 1st mathra and the Kali is on the 3rd mathra and the

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7th mathras. It consists of 6 vibagas .Each vibaga has 2 mathras. The six
vibagas are in the six groups from the 1st to the 2nd mathra, from 3rd mathra to 4th
mathra, from 5th mathra to 6th mathra,from 7th mathra to 8th mathra, from 9th
mathra to 10th mathra and 11th mathra to 12th mathra. It has same mathras in
each vibagas.
The complete movement from the 1st mathra to the 12th mathra is called
“Avartha”. An avartha having the syllables of the “Bols” called “Theka”. A
musical performance is done normally in three “Layas” or tempos. They are the
slow speed which is called “Vlamba laya” ,the medium speed which is called
the “Madhya laya” and the fast speed which is called the “Druth” laya. Ektal
Thala is used to the medium speed which is called “Madhya Laya”.

Jap Tal
Taal signs x 2 0 3
Maatra 1 2 3 4 5 6 7 8 9 10

Bols Dhi Na Dhi Dhi Na Thi Na Dhi Dhi Na

This thala consists of 10 mathras. It used only four thal signs. These are Sum
“X”, second sub thal “2”, Kali “O” and third sub thal “3”. The sum is on the 1st
mathra, 2nd sub thal is on 3rd mathra, the Kali is on the 6th mathra and 3rd sub
thal is on the 8th mathra. It consists of 4 vibagas. Each vibaga has 2 or 3
mathras. The four vibagas are in the four groups from the 1st to the 2nd mathra,
from 3rd mathra th 5th mathra,from 6th mathra to the 7th mathra and from 8th
mathra to 10th mathra. It has same mathras in one vibag and third vibag and also
it has same mathras in second vibag and fourth vibaga.

The complete movement from the 1st mathra to the 10th mathra is called
“Avartha”. An avartha having the syllables of the “Bols” called “Theka”. A
musical performance is done normally in three “Layas” or tempos. They are the
slow speed which is called “Vlamba laya” the medium speed which is called the
“Madhya laya” and the fast speed which is called the “Druth” laya. Jap Thala is
used to the medium speed which is called “Madhya Laya”.

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Kherva Tal
Taal signs x 0
Mathra 1 2 3 4 5 6 7 8

Bols Dha Ge Na Thi Na Ka Dhi Na

This thala consists of 8 mathras. It used only two thal signs. These are Sum
“X” and Kali “O”. The sum is on the 1st mathra and the Kali is on the 5th
mathra. It consists of 2 vibagas. Each vibaga has 4 mathras. The two vibagas
are in the two groups from the 1st to the 4th mathra, and from 4th to the 8th
mathra. It has same mathras in each vibagas.

The complete movement from the 1st mathra to the 8th mathra is called
“Avartha”. An avartha having the syllables of the “Bols” called “Theka”. A
musical performance is done normally in three “Layas” or tempos. They are the
slow speed which is called “Vlamba laya” the medium speed which is called the
“Madhya laya” and the fast speed which is called the “Druth laya”. Kherva
Thala is used to the medium speed which is called “Madhya Laya”.

Chau Thal

Taal signs x 0 2 0 3 4
Maatra 1 2 3 4 5 6 7 8 9 10 11 12

Bols Dha Dha Dhin Dha Thita Dha Dhin Dha Thita Katha Gadi Gena

This thala consists of 12 mathras. It used only six thal signs. These are Sum
“X”, Kali “0”, second sub thal “2”, Kali “0”, third sub thal “3” and Fourth sub
thal “4”. The sum is on the 1st mathra and the Kali is on the 3rd and 7th mathras .
It consists of 6 vibagas.Each vibaga has same mathras. The six vibagas are in
the six groups from the 1st to the 2nd mathra, from 3rd mathra to the 4th mathra,
from 5th mathra to 6th mathra, from 7th mathra to 8th mathra, from 9th mathra to

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10th mathra and from 11th mathra to 12th mathra. It has same mathras in each
vibagas.
The complete movement from the 1st mathra to the 12th mathra is called
“Avartha”. An avartha having the syllables of the “Bols” called “Theka”. A
musical performance is done normally in three “Layas” or tempos. They are the
slow which is called “Vlamba” the medium speed which is the “Madhya” and
the fast which is the “Druth” laya. Thala Dhadara is used to the medium speed
which is called “Madhya Laya”.

Tilavada Tal
Taal signs x 2 0 3
Maatra 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Bols Dha Thirikita Dhin -Dhin DhaDha Thin Thin ThaThirikia Dhin -Dhin Dha Dha Dhin Dhin

This thala consists of 16 mathras. It used only four thal signs. These are Sum
“X”, Two “2”, Kali “0” and Three “3”. The sum is on the 1st mathra and the
Kali is on the 9th mathra and it consists of 4 vibagas each vibaga has 4 mathras.
The four vibagas are in the four groups from the 1st to the 4th mathra, and from
1th to the 16th mathra. It has same mathras in each vibagas.

The complete movement from the 1st mathra to the 16th mathra is called
“Avartha”. An avartha having the syllables of the “Bols” called “Theka”. A
musical performance is done normally in three “Layas” or tempos. They are the
slow speed which is called “Vlamba laya” the medium speed which is called the
“Madhya laya” the fast speed which is the “Druth” laya. Tilavada Tal Thala is
used to the medium speed which is called “Madhya Laya”.

Dhamar Tal
Taal signs x 2 0 3
Maatra 1 2 3 4 5 6 7 8 9 10 11 12 13 14

Bols Ka Dhi Ta Dhi Ta Dha __ Ge Thi Ta Thi Ta Tha __

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This thala consists of 14 mathras. It used only four thal signs. Those are Sum
“X”,second sub thal “2”, Kali “O” and Third sub thal “3”. The sum is on the 1st
mathra, second sub thal on the 6th mathra,the Kali is on the 8th mathra and 3rd
sub thal is on the 11th mathra,It consists of 4 vibagas. Each vibaga has different
mathras. The four vibagas are in the four groups from the 1st mathra to 5th
mathra, from 6th mathra to 7th mathra, from 8th to the 10th mathra and 11th
mathra to the 14th mathra. It has different mathras in each vibagas.
The complete movement from the 1st mathra to the 14th mathra is called
“Avartha”. An avartha having the syllables of the “Bols” called “Theka”. A
musical performance is done normally in three “Layas” or tempos. They are the
slow speed which is called “Vlamba laya” the medium speed which is called the
“Madhya laya” and the fast speed which is called the “Druth laya”. Dhamar
Thala is used to the medium speed which is called “Madhya Laya”.

Dadara Tal

Taal signs x 0
Mathra 1 2 3 4 5 6

Bols Dha Dhi Na Dha Tu Na

This thala consists of 6 mathras. It used only two thal signs. Those are Sum
“X” and Kali “O”. The sum is on the 1st mathra and the Kali is on the 4th
mathra. It consists of 2 vibagas. Each vibaga has same mathras.it means one
vibaga has 3 mathras. The two vibagas are in the two groups from the 1 st to the
3rd mathra, and from 4th to the 6th mathra. It has same mathras in each vibagas.

The complete movement from the 1st mathra to the 6th mathra is called
“Avartha”. An avartha having the syllables of the “Bols” called “Theka”. A
musical performance is done normally in three “Layas” or tempos. They are the
slow speed which is called “Vlamba laya” the medium speed which is called the
“Madhya laya” and the fast speed which is called the “Druth laya”. Thala
Dhadara is used to the medium speed which is called “Madhya Laya”.

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# Raga Arohi/Avarohi Thata Jathi Vadi S.Vadi Pakad Time
1 Yaman Kalyana Sampurna G N First
quarter of
the night
2 Bilawal S,R,G,M,P,D,N,S/S,N,D,P,M,G,R,S Bilawal Sampurna D G S,GMGR,GP,DN, Morning
DNS
3 Alhiya S,R,GR,GP,DND,NS/SND,P, Bilawal Shadava- D G GR,GP,D,NDNS Morning
Bilawal DNDP,MG,MRS Sampurna

4 Khamaj S,G,MP,DNS/SNDP,MGRS Khamaj Shadava- G N ND,MPD,MG Second

Sampurna quarter of
the nigh
5 Bhairava SRG,M,PD,NS/SND,PM,GR,S Bhairava Sampurna D R SG,MP,D,P Early
hours of
the
morning
6 Poorvi SR D RS Poorvi Sampurna G N N,SR Last
RGRS quarter of
the day
7 Marwa S,R RS Marwa Shadava R D R RS Last
quarter of
the day
8 Kafi SRG,MP,DNS/SND,P,MG,RS Kafi Sampurna P S SSRRGG,MMP Midnight
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9 Bhairavi SRGM,PD,NS/SNDP,MG,RS Bhairavi Sampurna M S MG,SRS,DNS Morning

10 Bhoopali SRGP,DS/SDP,G,R,S Kalyan Odava G D G,RS,SDSRG,PG, First

DPG,RS quarter of
the night
11 Asawari S,RMP,DS/SND,PMG,R,S Asawari Odava- D G R,M,P,ND,P Second
Sampurna quarter of
the day
12 Todi S,RG D,NS/SND G,R,S Asawari Odava- D G G,RS,SDSRG,PG, First
Sampurna DPG,RS quarter of
the night

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TAL JaP

1 2 3 4 5 6 7 8 9 10

Di Na Di Di Na Ti Na Di Di Na

X 2 O 3

TAL JaP - DUGUN

1 2 3 4 5 6 7 8 9 10

DiNa DiDi NaTi NaDi DiNa DiNa DiDi NaTi NaDi DiNa

X 2 O 3

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TAL JaP - THUGUN

1 2 3 4 5 6 7 8 9 10

DiNaDi DiNaTi NaDiDi NaDiNa DiDiNa TiNaDi DiNaDi NaDiDi NaTiNa DiDiNa

X 2 O 3

TAL JUP - CHAUGUN

1 2 3 4 5 6 7 8 9 10

DiNaDiDi NaTiNaDi DiNaDiNa DiDiNaTi NaDiDiNa DiNaDiDi NaTiNaDi DiNaDiNa DiDiNaTi NaDiDiNa

X 2 O 3

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TAL DADHARA

1 2 3 4 5 6

Da Di Na Da Tu Na

X O

TAL DHDHARA - DUGUN

1 2 3 4 5 6

DaDi NaDa TuNa DaDi NaDa TuNa

X O

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TAL DADHARA - TUGUN

1 2 3 1 2 3

DaDiNa DaTuNa DaDiNa DaTuNa DaDiNa DaTuNa

X O

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TAL DADHARA - CHAUGUN

1 2 3 4 5 6

DaDiNaDa TuNaDaDi NaDaTuNa DaDiNaDa TuNaDiDi NaDaTuNa

X O

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